Korg Kross Operation Guide

About this manual

Thank you for purchasing the Korg KROSS SYNTHESIZER WORKSTATION. To help you get the most out of your new instrument, please read.

The manuals and how to use them

The KROSS comes with the following manuals.

• Quick Start Guide (printed)

The manuals listed below can be downloaded from the Korg website.

• Operation Guide (PDF) (this document)

• Parameter Guide (PDF)

• Voice Name List (PDF)

• Quick Start Guide (PDF)

You can also watch video manuals on the Korg website.

• Video manual

http://www.korg.com/

Quick Start Guide

This provides a simple explanation of the KROSS’s functions. To begin, please read the Quick Start Guide.

Operation Guide (this document)

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 KROSS, 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.

Conventions in this manual

References to the KROSS

The KROSS is available in 88-key, and 61-key models. The manuals refer to all models without distinction as “the KROSS.”

Abbreviations for the manuals: PG

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

PG: Parameter Guide

Symbols , , Note, Tips

These symbols respectively indicate a caution, a MIDI-related 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 on the LCD screen of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.

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 KROSS.

Voice Name List

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

PDF versions

The KROSS 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.

Video Manual

This video illustrates the main functionality of the KROSS.

What is ?

(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 sound-production 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 KROSS. . . . . . . . . . . . . . . .1

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

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

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Items in the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Basic Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

About the KROSS’s modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Turning the power on/off. . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting the AC adapter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Turning the power on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Turning the power off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Using batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

An overview of the edit pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Basic oscillator settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Creating time-varying changes (LFO and EG) . . . . . . . . . . . . . . . . . . . . .38

Diverse modulation settings (AMS and AMS mixer) . . . . . . . . . . . . . . . .39

Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Making controller assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Using the step sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Automatically importing a Program into Sequence mode . . . . . . . . . . .44

Playing and editing Combinations . . . . . . . 45

Playing combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Selecting Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Combination categories and numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Using controllers to modify the sound . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Performing with the arpeggiator, drum track or step sequencer . . . . .46

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Connecting foot controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Using an SD card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Connecting the KROSS to a computer . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Connecting MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Playing and editing Programs . . . . . . . . . . 27

Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Program categories and numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Performing with the arpeggiator, drum track or step sequencer. . . . . 28

Quick Layer/Split function . . . . . . . . . . . . . . . . . . . . . . . . .29

Quick Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Quick Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Combination settings made by Quick Layer/Split . . . . . . . . . . . . . . . . . 30

Easy program editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Using the Tone Adjust and EG Adjust functions . . . . . . . . . . . . . . . . . . . 31

Adjusting the volume balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Using REALTIME CONTROLS to adjust the sound or effects . . . . . . . . . . 32

Comparing the unedited sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Detailed Editing with Programs . . . . . . . . . . . . . . . . . . . .34

Before you start editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Editing a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Summary of the edit pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

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

Comparing with the sound before you started editing. . . . . . . . . . . . . . 48

Changing the program of each timbre . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Using the Tone Adjust and EG Adjust functions. . . . . . . . . . . . . . . . . . . .49

Saving a Combination you’ve edited. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using REALTIME CONTROLS to adjust the sound or effects . . . . . . . . . .49

Layers, Splits, and Velocity Switches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Status settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Changing the program settings to match the combination. . . . . . . . . . 51

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

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

Using the step sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

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

Automatically importing a combination into Sequence mode . . . . . . . 52

Favorites function . . . . . . . . . . . . . . . . . . . . . 53

What is the Favorites function? . . . . . . . . . . . . . . . . . . . . 53

Using the Favorites function. . . . . . . . . . . . . . . . . . . . . . . 53

Recalling a favorite sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Registering a sound in Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Convenient ways to use favorites . . . . . . . . . . . . . . . . . . 54

Specifying a program change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

iii

Table of Contents

Saving your Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

About the KROSS’s Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Sequencer mode structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Playing back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Playback methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Preparations for recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Recording MIDI in real time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Performing with the arpeggiator drum track or step sequencer. . . . . .62

Recording your pad sampler performance . . . . . . . . . . . . . . . . . . . . . . . .62

Recording System Exclusive events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Song editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Saving your MIDI song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Drum Track function. . . . . . . . . . . . . . . . . . . 83

Performing with the Drum Track function . . . . . . . . . . . 83

Using the Drum Track function in Program mode . . . . . . . . . . . . . . . . . 83

Using the Drum Track function in Combination mode . . . . . . . . . . . . . 84

Drum Track function settings . . . . . . . . . . . . . . . . . . . . . . 85

Drum Track function settings in Program mode. . . . . . . . . . . . . . . . . . . 85

Drum Track function settings in Combination mode . . . . . . . . . . . . . . . 85

Drum Track function settings in Sequencer mode . . . . . . . . . . . . . . . . . 86

Synchronizing the Drum Track function . . . . . . . . . . . . . 86

The Trigger “Sync” parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Synchronization with song stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Slave operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Master operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Step sequencer . . . . . . . . . . . . . . . . . . . . . . . 89

Performing with the step sequencer. . . . . . . . . . . . . . . . 89

Playback and settings in Program mode . . . . . . . . . . . . . . . . . . . . . . . . . 89

Step sequencer settings in Combination mode . . . . . . . . . . . . . . . . . . . 91

Step sequencer settings in Sequencer mode . . . . . . . . . . . . . . . . . . . . . 91

Using the step sequencer with Favorites. . . . . . . . . . . . . . . . . . . . . . . . . 92

Using Effects. . . . . . . . . . . . . . . . . . . . . . . . . . 67

An overview of the KROSS’s effects. . . . . . . . . . . . . . . . . . 67

Effect I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Routing and effect settings . . . . . . . . . . . . . . . . . . . . . . . . 68

Effect settings for a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Effect settings for a combination or song. . . . . . . . . . . . . . . . . . . . . . . . . 70

Effect settings for audio input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Dynamic modulation (Dmod). . . . . . . . . . . . . . . . . . . . . . . 72

Arpeggiator function. . . . . . . . . . . . . . . . . . . 73

Using the arpeggiator while you play . . . . . . . . . . . . . . . 73

Using the arpeggiator in Program mode . . . . . . . . . . . . . . . . . . . . . . . . . 73

Arpeggio pattern selection and operation settings . . . . . . . . . . . . . . . . 74

Using the arpeggiator in Combination mode . . . . . . . . . . . . . . . . . . . . . 75

Arpeggiator settings in Combination and Sequencer modes . . . . . . . . 76

Linking the arpeggiator to programs or combinations . . . . . . . . . . . . . 77

Creating a user arpeggio pattern . . . . . . . . . . . . . . . . . . . 78

About user arpeggio patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Editing a user arpeggio pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Regarding arpeggiator synchronization . . . . . . . . . . . . . 81

“Key Sync.” parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Synchronizing the step sequencer. . . . . . . . . . . . . . . . . . 92

Pad Sampler. . . . . . . . . . . . . . . . . . . . . . . . . . 93

Performing with the pad sampler . . . . . . . . . . . . . . . . . . 93

Recording samples (sampling) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Editing a sample . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Playing samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

MIDI transmission and reception for the pad sampler function. . . . . . 97

Using samples in other ways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Exporting a sample. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Audio recorder. . . . . . . . . . . . . . . . . . . . . . . . 99

An overview of the audio recorder. . . . . . . . . . . . . . . . . . 99

About the audio recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

AUDIO RECORDER SETUP window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Recording and playing audio . . . . . . . . . . . . . . . . . . . . . 101

Preparations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Recording the performance of the KROSS . . . . . . . . . . . . . . . . . . . . . . . 101

Recording external audio input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Playing back an audio song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Multi-track recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Preparing a new audio song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Convenient functions for playback and recording. . . . 104

Returning to the state before or after recording (Undo/Redo). . . . . . 104

Specifying how recording will start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Table of Contents

Loop playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Pad audio play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Importing or exporting WAVE files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Adjusting the volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

SD card-related messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Pad audio play. . . . . . . . . . . . . . . . . . . . . . . 109

Performing with the pad audio play function. . . . . . . . 109

Specifying an audio song and assigning the song to a pad. . . . . . . . . 109

Using the pads to play back audio songs . . . . . . . . . . . . . . . . . . . . . . . . 109

Using Drum Kits. . . . . . . . . . . . . . . . . . . . . . 111

Drum Kit Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Before you start editing… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Editing a Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Overall settings for the KROSS, and saving/

loading data . . . . . . . . . . . . . . . . . . . . . . . . 115

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Problems at start-up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132

Basic operation (screen and functions). . . . . . . . . . . . . . . . . . . . . . . . . .133

Audio output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

Audio input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Programs and Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Drum Track function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Step sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Pad sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Audio recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Damper pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Connections with a computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Error and confirmation messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Operating requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144

How Global/Media mode is organized . . . . . . . . . . . . . .115

Global setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Basic settings for the KROSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Pedal and other controller settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Creating and selecting scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Data used by the KROSS . . . . . . . . . . . . . . . . . . . . . . . . . .119

Saving data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Saving data on the KROSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Writing to internal memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Editing names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Saving to SD card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Data that can be loaded. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Loading data from SD card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Media utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Formatting SD card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Setting the current time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . 145

Appendices . . . . . . . . . . . . . . . . . . . . . . . . . 131

Restoring the factory settings. . . . . . . . . . . . . . . . . . . . .131

Loading the preloaded data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Initializing the user bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Initializing the system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Updating the system. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Table of Contents

Introduction to the KROSS

732

8 11

9 10

12 13 14 15

KROSS 61-key

* The battery compartment of the KROSS 61-key is located on the bottom panel.

9 10

13 14

KROSS 88-key

Front and rear panels

Front panel

1. Keyboard

The KROSS 61-key has a 61-note keyboard (velocity sensitive, aftertouch not supported). The KROSS 88-key has a 88-note natural weighted hammeraction (NH) keyboard (velocity sensitive, aftertouch not supported).

When playing these keyboards, your playing strength (velocity) can affect aspects of the sound such as the volume and the EG speed, allowing you to vary the character of the attack. (see pages 31 and 43)

You can also set keyboard tracking settings so that the sound will change as you move across the keyboard, for example by becoming brighter as you play higher notes. (see page 42)

2. Controllers

SW1, SW2 buttons

You can assign various functions to the SW1 and SW2 buttons for each program, combination, or song. 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 lock the Pitch Bend position.

Each button can work as either a

Toggle

In and off each time the button is pressed. In 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> MAIN page. For details, please see “SW (Switch assignment) information” on page 28. When you write a Program or Combination, the on/off status of the SW1 and SW2 buttons is saved. Please see “Setting the functions of SW1 and SW2” on page 44.

Pitch bend wheel (left)

Move this wheel forward or backward to control the pitch. The center is the normal position, where there is no pitch change. When you take your hand off of the pitch bend wheel, it will return to the center position. The amount of pitch change can be specified individually for each program’s oscillator, combination timbre, and song track. You can also use the pitch bend lock function of the SW1 or SW2 buttons to lock the pitch so that it will stay at the position of the wheel immediately before the button was released.

Modulation wheel (right)

Move this wheel away from yourself to control various program parameters or effect parameters. If the wheel is moved all the way

Toggle

Momentary

mode, the assigned function is switched between on

Momentary

button.

mode,

Introduction to the KROSS

toward yourself, the effect will be zero. The modulation wheel will stay in its position when you release it, and the effect will continue. The function that is controlled by the wheel is assigned by the program parameters or effect parameters. Although different effects are assigned for different programs and combinations, a vibrato effect which cyclically varies the pitch is typically assigned to the modulation wheel.

3. VOLUME knob

This knob adjusts the volume of the OUTPUT L/MONO, R outputs, as well as the volume of the headphone jack. (see page 17)

4. ARP (Arpeggiator) button

This button turns the arpeggiator on/off. The button will be lit up if the arpeggiator is on. (see page 73)

5. 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 83)

6. REALTIME CONTROLS

When you're playing a program or combination,you can use these to adjust the sound or the effects, or to make simple edits. Here you can also turn the external audio input on/off, adjust the vocoder function, and adjust the tempo of the arpeggiator or sequencer.

For details on operating each parameter and on saving your changes, see PG p.311.

Note:

REALTIME CONTROLS can be used when the SELECT

LED is lit. They cannot be used when the LED is unlit.

the program etc., the program-related knob values are reset to the center position.

Tips:

When you operate a knob, the function and value that you operated are shown. After a time, you return to the previous page or window.

Note:

Display indications return to the previous page or window

after a certain time has passed.

7. Modes

Press one of these buttons to enter the corresponding mode. The KROSS has four operating modes. The currently selected mode button will be lit up. (see “Selecting modes” on page 12)

PROG button

This button selects Program mode. Programs are basic sounds; in Program mode you can play and edit programs.

COMBI button

This button selects Combination mode. Combinations are sets of programs with split or layer settings; you can use a combination to create sounds that are more complex than a program. In Combination mode you can play and edit combinations.

SEQ button ( )

This button selects Sequencer mode. In this mode you can record, play, and edit MIDI songs.

By pressing the EXIT button ( ) and the SEQ button ( ), selects Global/Media mode. In this mode you can adjust overall settings for the KROSS, edit drum kits and arpeggio patterns, and save or load data using an SD card.

8. CATEGORY dial, LED

Use this dial to select the sound category of the program or combination.

SELECT button, SELECT LED

This selects the functions that are controlled by the SWITCH button, KNOB 1 button, and KNOB 2 button. Each time you press the button, the functions being controlled are switched, and the SELECT LED is lit. The functions controlled by the SELECT button are saved for each program, combination, or song.

SWITCH button, SWITCH LED

Each time you press this button, the function selected by the SELECT button turns on or off. If the function selected by the SELECT button is on, the SWITCH LED is brightly lit. The SWITCH LED is dimly lit for functions that are not selected by the SELECT button, letting you see the on/off status of those functions. The TAP LED blinks according to the tempo setting.

When you operate the button, the parameter name and value of the selected function appears in the display for a time.

Tips:

If you long-press the SELECT button, a list of the selected functions appears. After a time, you return to the previous page or window.

Note:

Display indications return to the previous page or window

after a certain time has passed.

KNOB1 knob, KNOB2 knob

Turn these knobs to edit the functions selected by the SELECT button. If you edit a setting and then use the SELECT button to select another function, the state or value edited by the KNOB 1 and 2 knobs is preserved. However, be aware that if you re-select

9. Quick layer/split

Here you can easily create layered or split sounds using two programs. Select the first sound in Program mode; then press this button. In the dialog box that appears, select the second sound and specify its volume; then confirm the settings. Choose LAYER if you want the two sounds to play together across the entire keyboard; choose SPLIT if you want the two sounds to play separately in the high and regions of the keyboard.

Note:

A layer or split sound that you create can be saved as a

combination.

Tips:

If you want to adjust more sophisticated settings in order to

obtain more complex sounds, use Combination mode.

LAYER/SPLIT button

When you press the LAYER/SPLIT button, the QUICK LAYER dialog box or the QUICK SPLIT dialog box appears.

In the QUICK LAYER dialog box, pressing the PAGE+



SPLIT) button opens the QUICK SPLIT dialog box. In the

(



QUICK SPLIT dialog box, pressing the PAGE- (LAYER button opens the QUICK LAYER dialog box.

QUICK LAYER DIALOG

A program of the strings category is layered with the currently selected program. Select a program to layer, and adjust the volume and octave settings. By pressing the MENU (WRITE) button you can save the settings to a user combination bank. (see page 29)

)

Front and rear panels Front panel

QUICK SPLIT DIALOG

The currently selected program is assigned to the high range and a program of the bass category is assigned to the low range. Select the split program, swap the high and low programs if desired, and adjust settings such as the split point, volume, and octave. By pressing the MENU (WRITE) button you can save the settings to a user combination bank. (see page 30)

10. AUDIO REC (Audio recorder)

Here is where you can control the audio recorder, which lets you record and play back your KROSS performance or signal from an external audio input. You can execute functions such as play, stop, or record, and adjust various settings for the recorder.

To control the audio recorder, use the AUDIO REC (play/pause) button and the four buttons below the AUDIO RECORDER SETUP window.

In order to use the audio recorder, you’ll need a SD card (separately sold).

(play/pause) button ( )

This is a dedicated button that executes the recorder playback (or record) and pause functions. In any mode, this button lets you immediately play (or record) or pause. The state of the light and color of the button indicates the operating status of the recorder.

Unlit: Stopped Lit green: Playing Blinking green: Playback is paused Lit red: Recording Blinking red: Recording is paused Blinking orange: Recording is paused

(waiting for Auto input)

If you hold down the EXIT button ( ) and press the

(play/pause) button ( ), the AUDIO

RECORDER SETUP window appears.

11. Display

This shows the parameters and settings of the KROSS, as well as a variety of other information.

Pages:

Each screen of parameters or information is called a “page.” To edit or adjust the settings of the KROSS, you’ll access the page that contains the desired parameter, and then change its value.

Dialog box:

command function, confirm a result, or recall a temporary function is called a “dialog box.” For more about various objects that you’ll see in pages and dialog boxes, please see page 7.

The screen that appears when you need to perform a

Adjusting the display contrast

To adjust the contrast of the display, hold down the EXIT button and turn the VALUE dial. You can also adjust the display contrast in the Global/Media mode PREF 1 page. (see page 117)

12. Functions / Page controller

You’ll use these buttons to access pages in the display, and to select or execute functions that provide convenient commands in each page. The functions of the four buttons will change according to the page or dialog box that’s currently shown.

PAGE– button PAGE+ button

Use these two buttons to move between pages in order to select the page that you want to see. The page name or tab that’s displayed on the upper part of the page indicates the currently shown page.

MENU button

This button displays the page menu for each mode, allowing you to select a page.

Operations while a dialog box is shown

While a dialog box is shown, the function of these four buttons will change so that you can perform tasks that are appropriate for that dialog box. The functions assigned to the buttons are shown in the bottom of the display.

For example, suppose that you’re in Program mode and press the FUNCTION button to access the function list. The functions that are assigned to the four buttons are shown in the bottom of the dialog box. If you press the CLOSE (actually FUNCTION) button, the dialog box will close and you’ll return to the previous page.



Press the button to select a function. Press the OK (actually MENU) button to open or execute the selected function. For example if you select Write Program and press the MENU (OK) button, the WRITE PROGRAM dialog box will appear. Here, the FUNCTION (CANCEL) and MENU (OK) functions are assigned to the two buttons.

(actually PAGE–) button or (actually PAGE+)

13. Value Controller

Use these to edit in the display. You’ll use these to move the cursor and select parameters, to edit values, and also to execute or cancel commands.

VALUE dial

Edit the value of the parameter (edit cell) where the cursor is located.

Tips:

You can adjust the contrast of the display by holding down

the EXIT button ( ) and turning the VALUE dial.

EXIT button ( )

Use this button to cancel the execution of a function or the change in a parameter value, or to close a dialog box. You’ll also use this to move to the first page (such as the MAIN page) within the mode.

FUNCTION button

This button shows a function list containing convenient commands on each page.

Introduction to the KROSS

By using the EXIT button together with another button, you can perform the following functions.

Button or dial used

with EXIT

Selects Global/Media mode. If while in Global/Media mode you

SEQ button ( )

AUDIO REC (play/pause) button (

SEQUENCER (REC) button (

STEP SEQ ACTIVE button (

FAVORITE ACTIVE button (

SAMPLER ACTIVE button (

SAMPLER HOLD button (

AUDIO PLAY ACTIVE button (

VALUE dial Adjusts the contrast. (see above)

REALTIME CONTROLS SELECT button

BANK SELECT button

)

once again press the EXIT button

()

( ), you'll jump to the MEDIA >FILE page.

Opens the AUDIO RECORDER SETUP window.

In Sequencer mode, moves to the previously-specified playback start position. (see page 56)

Opens the STEP SEQ EDIT page.

)

Enters the Add to Favorite registration-

)

ready state.

Opens the SAMPLER SETUP

)

window.

Puts the pad sampler in mute mode

)

Opens the AUDIO PLAY SETUP

)

window.

Selects the parameter to be controlled in reverse order.

Selects favorites, pad sampler, and pad audio play banks in reverse order.

Func tions

and SEQ button

ENTER button

Use this button to perform a function, select an radio button, or to turn a check box on/off. When you select a parameter and press the ENTER button, you’ll



be able to use the you’ve edited the value, press the ENTER button to confirm the change.

When you press the ENTER button on the MAIN page of Program or Combination mode, a sound select list will appear.

cursor buttons to edit the value. After

◄►▲▼ Cursor buttons

Use these buttons to move the cursor in the display. Move the cursor up/down/left/right to select the parameter that you want to edit.

If the page contains more parameters than can be shown on a



single screen, a and you’ll be able to scroll the page up/down. (see “j: Scroll” on page 8)

You can also use the value in steps of 1. (see “ENTER button and ▲▼ cursor buttons” on page 13)

symbol is shown to the left of the screen,



buttons to increment or decrement the

14. SEQUENCER

You’ll use these buttons in Sequencer mode to record and play back MIDI.

(REC) button ( )

Pressing this button will enter record-ready mode. Once you’re in record-ready mode (shown by the button’s light), you can begin recording by pressing the SEQUENCER (start/stop) button. For details, please see “Recording MIDI in real time” on page 61.

By pressing this (REC) button in Program mode or Combination mode, you can instantly access the Auto Song Setup function which lets you start recording immediately. (see page 60)

Hold down the EXIT button( ) and press the (REC) button ( ) to instantly move the song playback position to the specified location. By default, this will be the first beat of the first measure. You can also specify a desired location by using a function command.

(start/stop) button

This button starts or stops recording and playback.

15. Pad section

1-16 Pad

Use pads 1-16 to control the step sequencer, favorites, sampler, and audio play. You can switch the function of pads 1-16 by pressing the ACTIVE button( ) that corresponds to each function, making it light. By pressing an ACTIVE button ( ) together with the EXIT button ( ), you can access the setup page for each function.

STEP SEQ (Step Sequencer)

The

step sequencer

using pads 1–16 to turn the notes on/off that are played by the kick, snare, and hi-hat etc.

ACTIVE button ( )

This button indicates and changes the on/off status of the step sequencer. If this is lit, you can use pads 1-16 to control the step sequencer. (see page 89)

When you hold down the EXIT button ( ) and press this button, the STEP SEQ EDIT page for Program, Combination, or Sequencer mode will appear, allowing you to turn steps on/off and to specify the pattern's resolution, length, and the sound used for each tone.

Note:

If the favorites select screen is shown, holding down the EXIT button ( ) and pressing this button does not show the STEP SEQ EDIT page.

While the STEP SEQ EDIT page is shown, you can hold down the ACTIVE button and press pads 1-13 to select the tone (e.g., kick, snare, accent) that will be controlled by pads 1-16.

By holding down the ACTIVE button and pressing a key, you can select the sound (instrument) that’s actually played by each tone. (see page 90)

RUN button

When you press the RUN button (the button will be lit), the step sequencer will begin playing. You’ll hear the drum loop pattern that’s specified by pads 1–16.

When you press the RUN button once again (the button will be unlit), the step sequencer will stop playing.

FAVO RIT ES

The

Favorites function

recall frequently-used programs, combinations, or audio songs for the audio recorder to play. You can use this function to register your favorite sounds, or to arrange the sounds you’ll use during a live performance in the order that they will be needed.

lets you easily create drum loop patterns by

lets you use pads 1–16 to instantly

Front and rear panels Front panel

ACTIVE button ( )

Use this button to turn the Favorites function on/off, or to register sounds. (see page 53) To recall a sound that you've registered, turn this button on, and then use the BANK SELECT button and pads 1-16. To register a sound, select that program or combination; then hold down the EXIT button ( ) and press the FAVORITES ACTIVE button ( ), and finally use the BANK SELECT button and pads 1-16.

SAMPLER (Pad Sampler)

The pad sampler function lets you use pads 1-16 to play or perform samples that you recorded from the performance of the KROSS or from an external audio input. You can also edit the samples. Up to four stereo samples can be played simultaneously. (see page 93)

Note:

When using the pad sampler function, we recommend that you use an SD card. You can use the card to automatically save or load sample data.

ACTIVE button ( )

This button makes the pad sampler active, or displays the SETUP page when used with the EXIT button ( ). In the SAMPLER SETUP window, this lets you check and edit the assignments of samples to pads, prepare for sampling, and edit the recorded samples.

Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16, bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16

When the pad audio play function is on (AUDIO PLAY ACTIVE button lit), you can select the audio play bank. You can use pads 1-16 to perform the following audio song operations.

Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16, bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16

16. Battery compartment

The KROSS can be powered by batteries that you install here. (see page 19) The battery compartment of the KROSS 61-key is located on the bottom panel.

17. Compartment (KROSS 88-key only)

The compartment can store small items such as a USB cable or AC adapter.

You can open the lid in the same way as you open the battery compartment cover. (→ p.19)

HOLD button ( )

By pressing this simultaneously with a pad, you can hold the pressed state of that pad. By using this with the EXIT button ( ), you can temporarily mute the currently-sounding pads.

AUDIO PLAY (Pad Audio Play)

ACTIVE button ( )

This button makes the pad audio play function active, or displays the SETUP page when used with the EXIT button ( ). In the AUDIO PLAY SETUP window, this lets you check and edit the assignments of audio songs to pads, import WAVE files, and adjust the volume.

BANK SELECT

BANK SELECT button, BANK LED A-H

Use this button to select the displayed zone of the step sequencer, or to switch banks of favorites, pad sampler, or pad audio play.

Tips:

When selecting a bank, pressing the EXIT button ( ) and BANK SELECT button lets you select banks in reverse order. (Except for the step sequencer)

If the step sequencer is on (with the STEP SEQ button lit), pads 1–16 will show the on/off status of each step. You can use pads 1–16 to turn each step on/off. A:Step1-16, B:Step17-32, C:Step33-48, D:Step49-64

If the Favorites function is on (FAVORITES button lit), this button selects the Favorites bank. Use pads 1–16 to select the following Favorites.

Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16, bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16

When the pad sampler function is on (SAMPLER ACTIVE button lit), this selects sampler banks. You can use pads 1-16 to perform the following sample operations.

Introduction to the KROSS

12 367 45

The headphone jack of the KROSS 88-key model is located on the front of the unit on the left.

Rear panel

12 367 45

1. Power supply

Be sure to see the “Turning the power on/off” section on page 17 and follow the correct procedure described there.

Note:

The KROSS 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 poweroff function” on page 18)

(Power) button

To turn the power on or off, hold down the power button. (see page 17)

DC 9V jack

The included AC adapter is connected here. (see page 17)

Connections must be made with the power turned off.

Please be aware that careless operation may damage

your speaker system or cause malfunctions.

Cord hook

Use this to secure the cord of the included AC adapter. After connecting the AC adapter, loop the cord around the hook that’s located on rear panel so that the cord 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 17)

Be careful not to bend the base of the plug any more

than necessary.

3. Audio input

This jack lets you input audio from an external source; the audio can be recorded on the audio recorder or pad sampler, or sent through the internal effects and output via the OUTPUT jacks. To adjust the input gain (Gain) etc., use REALTIME CONTROLS - AUDIO IN 1 - KNOB1:GAIN.(You can also adjust these settings in the AUDIO IN page of each mode.)

The input gain (Gain) can be saved as a global setting (G-SET). (see “Global audio input settings (G-SET) and individual settings” on page 22)

Note:

The input signals from the MIC IN jack and the LINE IN jack cannot be used simultaneously. To select the input that will be used, choose the REALTIME CONTROLS setting AUDIO IN 2 and use the SWITCH (MIC/LINE) button.

For more about connections and settings, please see “Connecting your input devices” on page 21.

MIC IN jack (1/4" phone type)

This is a 1/4" phone jack. You can connect a dynamic mic, an active-type guitar, or a guitar effect unit.

Note:

This jack does not support condenser mics or other mics that require phantom power or plug-in power. Such types of mic must be connected via a mic preamp or appropriate device.

LINE IN jack (stereo mini type)

This is an 1/8" stereo mini phone jack. Connect it to the output jack of your audio device or external audio source.

2. Audio output

OUTPUT L/MONO, R jacks

These are stereo audio outputs. For stereo connections, use the L/ MONO and R jacks. For mono connections, use the L/MONO jack. Use the VOLUME knob to adjust the volume. (see “Connecting your output devices” on page 21)

(Headphone) jack

Connect the 1/8" stereo mini-phone plug of your headphones here. This jack outputs the same signal as the OUTPUT L/ MONO and R jacks.

The headphone volume is controlled by the VOLUME knob.

Note:

The headphone jack of the KROSS 88-key model is located

on the front of the unit at the left.

4. USB

port

(USB B type, for connecting to computer)

You can connect your computer to this port. Note data and other performance data, as well as sound settings, can be transmitted and received via MIDI between a computer and the KROSS; audio data can also be transmitted and received. (→ p.25)

Front and rear panels Items in the display

b: Page tabs a: Mode/Page title

d: Edit cell

g: Toggle

h: Check box

c: Parameters

e: Popup button

f: Radio buttons

5. SD card

SD card slot

You can insert an SD card here. An SD card can be used to store KROSS sounds and song data. (see page 25)

Since the SD card is accessed directly when you use the audio recorder to play or record, an SD card is required in order to use this functionality.

Note:

When using the pad sampler function, we recommend that you use an SD card. You can use the card to automatically save or load sample data.

6. MIDI

MIDI IN connector MIDI OUT connector

MIDI lets you connect the KROSS to a computer or other MIDI devices, for sending and receiving note data, controller gestures, sound settings, and so on. (see page 26)

7. Foot controllers

DAMPER jack

An optional DS-1H (damper pedal) can be connected to this jack. If the optional DS-1H is connected, it will function as a halfdamper pedal. If another switch-type pedal is connected, it will function as a damper switch. The DS-1H half-damper pedal allows a finer degree of control compared to a switch-type pedal. Set the pedal polarity so that the pedal will function correctly. (see “Connecting a damper pedal” on page 23)

ASSIGNABLE SWITCH jack

An on/off-type foot switch such as the optional PS-1 or PS-3 (pedal switch) can be connected to this jack. You can use a foot switch to apply modulation to sounds or effects, to set the tap tempo, or to start/stop the sequencer or to punch-in/out.

The function of the assignable switch is specified by Global/ Media mode settings in the G-INPUT/CTRL> FOOT page, just as for the assignable pedal. (see “Connecting a foot switch” on page 23)

ASSIGNABLE PEDAL jack

An optional EXP-2 (foot controller), XVP-10 or XVP-20 (expression pedal) can be connected to this jack. You can use a pedal to apply modulation to sounds or effects, or to adjust the overall volume.

The function of the assignable pedal is specified by Global/Media mode settings in the G-INPUT/CTRL> FOOT page. (see “Connecting a foot pedal” on page 24)

Items in the display

a: Mode/Page title

This indicates the current page within the selected mode. From the left, this shows the initial letter of the mode name and

the page name.

b: Page tabs

Most pages are divided into multiple tabs. Use the PAGE+/– buttons to select the tab that you want to see.

c: Parameters

The parameters for various settings are shown in the display. Use the ◄►▲▼ cursor buttons to select a parameter.

d: Edit cell

Some of the parameters or parameter values will be highlighted when you use the ◄►▲▼ cursor buttons. This is called the

cell

, and the highlighted item will be available for editing.

Other methods can also be used to adjust parameters that are indicated by the following icons.

e: Popup button

If you use the cursor buttons to select a parameter indicated by this button (making it the edit cell) and press the ENTER button, a popup menu shows the available parameter values. To enter a value for the parameter, use the ▲▼ cursor buttons.

f: Radio buttons

If you use the cursor buttons to select a parameter with this type of button (i.e., making it the edit cell) and press the ENTER button, you then can choose one of multiple options.

You can also use the cursor buttons to select a parameter (making it the edit cell) and use the VALUE dial to select the value.

g: Toggle

If a parameter with this symbol is selected (i.e., when it is the edit cell), pressing the ENTER button will switch the function or turn it on/off each time you press the ENTER button.

edit

8. KORG Logo Light

The LED of the KORG logo will light. You can specify the color of the LED illumination, and whether it is lit or unlit. (→ PG p.159)

Introduction to the KROSS

h: Check box

j: Scroll

k: Function list

h: Check box

By selecting a check box parameter and pressing the ENTER button or turning the VALUE dial, you can select or clear the check box. You can enable or disable a parameter or function by selecting or clearing the check box. The parameter or function is enabled if the check box is selected, and disabled if it is cleared.

i: Category select icon

For parameters indicated by this icon, you can use the CATEGORY dial or the VALUE dial to select the category or number.

j: Scroll

Use this to see parameter values that cannot be shown in a single screen. Additional parameters exist in the direction of the black indicator.

* Text edit

When you select a parameter indicated by this icon and press the ENTER button, a text edit window will appear. In this screen you can rename text (such as the name of a program, combination, or song). (see “Editing names” on page 124)

* MENU (OK) button, FUNCTION (CANCEL) button

To execute a function, press the OK button. To cancel without executing, press the CANCEL button.

* DONE button, COPY button, INSERT button

There are also buttons such as DONE, COPY, and INSERT which perform an action when pressed, like the OK button and CANCEL button explained in “* Function dialog box.”

k: Function list

The function list will appear when you press the FUNCTION button. The functions that are shown will depend on the page that’s selected. The functions shown on the bottom of the dialog box are assigned to the four buttons. (see page 3)

l: Function dialog box

When you select a function, you’ll see a dialog box where you can adjust the settings that are needed to execute the command. The dialog box that appears will depend on the command that you selected. Some commands such as Solo Setting do not display a dialog box.

l: Function dialog box

Text edit icon

FUNCTION (CANCEL) button MENU (OK) button

Basic Information About the KROSS’s modes

Basic Information

About the KROSS’s modes

The KROSS has four modes

The KROSS has numerous functions that let you play and edit programs or combinations, record and play back sequence data,

modes

and manage media. These functions are grouped into “ The KROSS has four modes.

Program mode

Programs are the basic sounds of KROSS. 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.

• You can use the step sequencer to easily create drum loop patterns. You can play a program while a drum pattern plays back. You can also perform simultaneously with the arpeggiator and drum track.

• Edit Programs

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

You can use the quick layer/split function to easily layer two programs or create split sounds.

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, and two master effects.

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

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 timbre for the drum track pattern, and play back a drum pattern while you perform.

• Use the step sequencer to easily create drum loop patterns. You can play a combination while a drum pattern plays back. You can also perform simultaneously with the arpeggiator and drum track.

• Use the KROSS as a 16-track multi-timbral 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, and keyboard and velocity zones; adjust settings for effects, arpeggiator, drum track, step sequencer.

.”

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

Sequencer mode

Sequencer mode lets you record, playback, and edit MIDI tracks. You c a n :

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

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

• Record and play back the pad sampler performance.

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

• Use one track for the drum track pattern, and play back or record a drum pattern.

• Use the step sequencer to easily create drum patterns.

• Edit songs

• Use the KROSS 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, and two master effects.

Global/Media mode

Here is where you can save/load data on an SD card. You can also adjust overall settings for the entire KROSS, and edit drum kits and arpeggio patterns.

You c a n :

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

• Create user scales

• Create drum kits using drumsamples.

• Create user arpeggio patterns.

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

• Transmit MIDI System Exclusive data dumps.

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

• Format the SD card.

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

Other functions

In addition to its four modes, the KROSS provides various functions that are convenient for performance and practice: audio recorder, pad audio play, pad sampler, and favorites.

AUDIO RECORDER

There's an independent audio recorder that can record an audio signal from an external mic or line input, or USB audio input, or the audio of the program, combination, or sequencer playback.The sequencer and audio recorder are not able to synchronize. (see page 99)

PAD AUDIO PLAY

Using this function, audio songs that you recorded or audio files that were imported from an external source can be assigned to the pads and recalled easily for playback.

Introduction to the KROSS

PAD SAMPLER

Using this function, external input audio or phrases that you perform can be recorded and saved as sample data, and assigned to pads 1-16 for playback. Up to four samples can play back simultaneously, while you use pad operations to play samples as one-shot or as a loop. Control the data filer function (save and load MIDI exclusive data).

Favorites function

You can register programs or combinations to pads 1-16 and recall them instantly regardless of the mode you're in.

Relational diagram of the KROSS’s modes

IFX 1

IFX 5

MFX 1

MFX 2

Insert / Master 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

IFX 1

IFX 5

MFX 1

MFX 2

Insert / Master 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

IFX 1

IFX 5

MFX 1

MFX 2

Insert / Master Eect

MIDI TRACK 1...16

PCG / SNG / SMF

WAV

Drum Track

DRUMS PROGRAM

Step Sequencer

STEP SEQ PROGRAM

ARPEGGIO PATTERN

Preset Pattern: Up - Random

Preload/User Pattern

OSC 1

PITCH1

FILTER1 AMP1

OSC 2

Multisample 1

Drum Kit

Multisample 2

Multisample 3

Multisample 4

PITCH2

FILTER2 AMP2

Multisample 1

Multisample 2

Multisample 3

Multisample 4

Key Assign

DRUM KIT

GLOBAL MODE

PROGRAM MODE

COMBINATION MODE

SEQUENCER MODE

DRUM TRACK PATTERN

MEDIA MODE

ARPEGGIO PATTERN

Arpeggiator

Drum Track

Step Sequencer

Arpeggiator

Preset Drum Track Pattern

Arpeggiator

FAVORITES

Audio Recorder

Drumsample 1

Drumsample 2

Drumsample 3

Drumsample 4

SAMPLER

STEP SEQ

AUDIO PLAY

SD Card

Pad Sampler

Drum Track

Step Sequencer

Pad Sampler

16 Pads

.KEP (EX-PCM)

Basic Information About the KROSS’s modes

Introduction to the KROSS

Basic operations

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

Selecting modes

In order to use a particular function on the KROSS, 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

EXIT button ( ) + SEQ button( )

For a summary of each mode, please see the “About the KROSS’s modes” section on page 9.

Note:

The mode that’s currently selected is shown by the mode

switch that’s lit up.

Selecting pages and tabs

One screen of displayed information is called a “page.” To access the page you want, you can use the PAGE– and PAGE+ buttons, or you can press the MENU button and choose from the page menu.

• Make sure that the desired mode is selected.

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

Using the PAGE+/– buttons to move between pages

• You can move between pages by pressing the PAGE+ or PAGE– button.

Using the page menu to access different pages

The page menu shows a list of the pages and tabs within each mode. Select the desired page and tab from this list.

1. Press the MENU button.

The page menu will appear.

The page where you were immediately before pressing the PAGE button is indicated by a diamond-shaped symbol to the left.

2. Press the PAGE+ button or the PAGE+ button to select a page.

As an example here, select C-ZONE/DELAY.

3. Press the FUNCTION (TABS) button.

The “tabs of” (TABS OF) page will appear.

Global/Media mode

4. Press the PAGE+ button or the PAGE– button to select a tab.

As an example here, select KEY ZONE.

5. Press the MENU (OK) button.

The C-ZONE/DELAY> KEY ZONE page will appear.

Note:

If you select a page from the page menu (rather than from the “tabs of” menu), the page for the previously-selected tab will appear.

Using the MENU button + PAGE+/- buttons to move between pages

• Hold down the MENU button and press the PAGE+ (PAGE–) button.

In Combination mode, this lets you move in units of pages; e.g., COMBI ↔ C-INPUT/CTRL ↔ C-Tone ADJ ↔ C-TIMBRE ↔ ... etc. Each time, the page of the most recently selected tab will be selected.

Using the EXIT button to move between pages

• Pressing this button will take you back to the MAIN page of the current mode. Each time you press the button, you’ll move between pages in the following way.

Program, Combination, and Sequencer mode: the MAIN page of each mode.

Global/Media mode: the BASIC page in Global/Media mode  the MAIN page in the previously-selected mode among program, conbination and sequencer.

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

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

Selecting a parameter and editing the value

1. Use the ◄►▲▼ cursor buttons to select 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 “Items in the display” on page 7)

• The value in the edit cell can be edited by using the VALUE dial, the ENTER button, and the ▲▼ cursor buttons.

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.

Basic Information Basic operations

ENTER button and ▲▼ cursor buttons

When you select a parameter and press the ENTER button, a ▲▼ symbol will appear beside the value ( → ), and you can use the ▲▼ cursor buttons to increment or decrement the value in steps of one. When you’ve specified the value, press the ENTER button once again to confirm it. This method is convenient when you want to make small changes.

Note:

If you decide not to change the value, press the EXIT button.

Using the keyboard to enter a note number or velocity value

For parameters that specify a note number (such as G4 or C#2) or a velocity value, pressing the ENTER button will cause a ▲▼ symbol to appear beside the value (see above). You can play a key to directly enter a note number or velocity value. When you’ve specified the value, press the ENTER button once again to confirm it.

ENTER button

If the parameter item is a toggle, radio button, or check box, press the ENTER button to switch the setting.

Other

CATEGORY dial, VALUE dial

Parameters indicated by (category select icon) can be edited using the CATEGORY dial and VALUE dial to change the category and program/combination number. The dial’s LED will light to indicate the current category.

In Program mode you can select the program category and number.

In Combination mode these dials have the following two functions.

• Select the combination category and number.

• When the edit cell is a timbre program (highlighted), the dials select the program category and number.

In Sequencer mode when the edit cell is a track program (highlighted), the dials select the program category and number.

Compare/Undo function

Compare on (i.e., the saved settings), the check mark will be cleared, and your previously edited settings will be lost. Even if you turn Compare on again (select the check mark), the previous settings will not return.

Sequencer mode

In Sequencer mode, you can use the Undo function 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 realtimerecording 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. If you turn on the Undo function (select the check mark), take 1 will be recalled.

4. If you turn off the Undo function (clear the check mark), 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 Undo function lets you recall the previous recording or the previous state of event editing.

Note:

If you edit while Undo is on (the check mark selected), the check mark will be cleared. That musical data now becomes the musical data that will be selected when Undo is off.

Global/Media mode

The Compare function is not available in Global/Media mode.

Audio recorder

When using the audio recorder, you can use Undo to return to a previously recorded state. You can step back through multiple takes. You can also redo. In the AUDIO RECORDER SETUP dialog box, press the PAGE– (UNDO) button.

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).

While editing a program or combination, you can turn on the Compare function (select the check mark) to recall the settings that were last written to that program number or combination number. When you turn off the Compare function (remove the check mark), you will return to the settings that you had previously been editing.

1. While editing, turn the Compare function on (select the check mark).

To turn this on, press the FUNCTION button to access the function list, use the PAGE+ (▼) or PAGE– (▲) button to select Compare, and press the MENU (OK) button.

The sound that had been saved before you began editing will be recalled.

2. When you turn off the Compare function (remove the check mark), you will return to the sound that you had previously been editing.

To turn it off, select the Compare function once again and press the MENU (OK) button.

Note:

If you edit the settings that were recalled by turning

Pad Audio Play

As with the audio recorder, the pad audio play function also lets you return to the previously recorded state. In the AUDIO SONG SETUP dialog box, press the PAGE- (UNDO) button.

Pad Sampler

The compare function cannot be used with pad sampler recording, nor when editing in the EDIT SAMPLE window.

Introduction to the KROSS

Selecting and executing functions

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

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

1. Press the FUNCTION button.

The function list will appear.

2. Use the PAGE+ (▼) and PAGE– (▲) buttons to select

a function, and press the MENU (OK) button.

A dialog box for the selected function will appear.

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

• If you want to close the list without selecting a command, press the FUNCTION (CLOSE) button once again.

3. Use the ◄►▲▼ cursor buttons to select parameters

in the dialog box, and use the VALUE dial, ENTER button, and ▲▼ cursor buttons to enter the value.

You can use the CATEGORY dial and VALUE dial when selecting a program or combination number in the dialog box.

4. To execute, press the MENU (OK) button.

If you decide not to execute, press the FUNCTION (CANCEL) button.

The dialog box will close.

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 that you edit in Global/Media mode, songs and Favorites

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

• Programs → p.122

• Combinations → p.122

• Favorites → p.54

• Global settings (GLOBAL–G-USER SCALE) → p.124

• Drum kits → p.124

• User arpeggio pattern → p.124

• User template songs → PG p.140

• For details on writing to internal memory → p.122

Please see the following pages for more information about saving.

• Saving a MIDI song → p.65

• Saving to SD card → p.121

Note:

On the KROSS, the action of writing into internal memory is called “Writing,” and the action of saving to an SD card device is called “Saving.”

Assigning a name (renaming)

You can edit the name of an edited program, combination, song, drum kit, or arpeggio pattern. For additional details, please see “Editing names” on page 124.

Basic Information Basic operations

SELECT LED

REALTIME CONTROLS

When you're playing a program or combination,you can use these to adjust the sound or the effects in real time, or to make simple edits. You can also adjust settings for external audio input and the vocoder function, and adjust the tempo of the arpeggiator and sequencer.

Here's how to use REALTIME CONTROLS to adjust the tempo.

1. Press the SELECT button several times to make the TEMPO light.

Note:

The selection of the SELECT button is saved for each

program, combination, or song.

Tips:

By holding down the EXIT button ( ) and pressing the SELECT button, you can step through the parameters in reverse order.

2. Turn the KNOB 1 knob to adjust the tempo.

3. You can set the tap tempo by pressing the SWITCH

button. The tempo will be specified when you tap twice, but you should tap several times for better precision.

Note:

REALTIME CONTROLS can be used when the SELECT

LED is lit. They cannot be used when the LED is unlit.

Parameters that can be operated using REALTIME CONTROLS

For details on each of the parameters that can be controlled, see the parameter guide. (→ PG p.305)

TONE 1

•VELOCITY

Specifies how the velocity of your keyboard playing affects the sound.

•CUTOFF

Adjusts the cutoff frequency of the filter. Varies the brightness of the sound.

• RESONANCE

Adjusts the resonance level of the filter. Raising the filter resonance level gives a distinctive character to the sound.

TONE 2

•OCTAVE

Raises or lowers the pitch of the entire keyboard in steps of an octave. With the default setting, the pitch is lowered one octave.

•ATTACK

Adjusts the envelope attack times of the filter and amp. This specifies the attack time that starts at note-on.

• RELEASE

Adjusts the envelope release times of the filter and amp. This specifies the time from note-off until the sound fades to silence.

EFFECT

•MASTER FX

Turns the master effect on/off.

Note: This is linked with the setting of the Global/Media mode parameter System- “Effect SW - MFX."

•INSERT FX

Controls the "Wet/Dry" balance of all insert effects.

• MFX2/REVERB

Controls the "Wet/Dry" balance of MFX2 (master effect

2).

AUDIO IN 1

• AUDIO ON/OFF

Selects whether an external audio source connected to the MIC IN or LINE IN jack will or will not be input.

• GAIN

Adjusts the level at the input stage of the external audio signal that's being input.

So that the sound does not change suddenly while

you're performing, the GAIN value does not change until the position of the knob matches the current value. Once you have turned the knob to the position of the current value, you can adjust the value.

• MFX2/REVERB

Adjusts the send level at which the external audio signal that's being input is sent to master effect 2.

For preload sounds, either a reverb-type or a delay-type effect is assigned to master effect 2. Use this when you want to apply these effects to the external audio from the mic input.

AUDIO IN 2

• MIC/LINE

Selects the external input jack that is used.

• VOCODER

Selects a vocoder effect using the mic input, or an effect and program settings that are appropriate for vocals.

In the VOCODER window, you can use the FUNCTION button to directly change or adjust settings such as AUDIO ON/OFF or GAIN for AUDIO IN 1.

• FX CONTROL

Adjusts the tonal character of the vocoder or vocal effect that's selected by the VOCODER knob.

Tempo

This adjusts the tempo for the entire KROSS. The tempo setting will control the following.

* Arpeggiator * Drum Track * Step sequencer * Songs in Sequencer mode * Tempo sync LFO * Tempo sync (BPM) delay effects

•TAP

Introduction to the KROSS

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

Tap tempo control is available whenever the KNOB1 knob (TEMPO) can be used.For example it cannot be controlled during songplayback if the Sequencer mode Tempo Mode is set to Auto. (see page 103 of the Parameter Guide)

Note: You can use the tap tempo control function by pressing the SWITCH (TAP) button and also by pressing a foot switch that’s connected to the ASSIGNABLE SWITCH jack. (page 23 and page 165, page 303 of the Parameter Guide)

•TEMPO

Adjusts the tempo.

•ARP-GATE

Changes the duration of the arpeggio notes in real time.

Setup

AC adapter

(Included)

Power button

DC9V (Power supply) jack

DC plug

Cord hook

to an AC outlet

Turning the power on/off

The KROSS can be powered either by an AC adapter or by using batteries.

Connecting the AC adapter

1. Make sure that the power is turned off. Make sure

that nothing is shown on the display, and that the LEDs are unlit.

2. Connect the DC plug of the included AC adapter to

the DC9V (power supply) jack on the KROSS’s rear panel.

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

3. Connect the AC adapter to an AC outlet.

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

4. Use the cord hook of the KROSS to fasten the AC

adapter cord so that it will not be unplugged accidentally.

Turning the power on

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

If any external equipment, such as a monitor amplifier is connected, lower their volume as well and then turn off their power.

2. On the rear panel of the KROSS, hold down the power button until the power turns on. Keep holding down the button until the display lights up.

The display will show the model name and software version.

With the factory settings, the auto power-off function of the KROSS is enabled; immediately after you start up, the following message will appear, indicating the time until the power will turn off automatically. If you disable the auto power-off function, this message is not displayed. (see “Auto power-off function” on page 18)

3. Turn on the power of the external equipment that’s connected to the KROSS’s OUTPUT L/MONO and R jacks, such as a monitor amplifier.

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

Setup

Auto power-off function

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 14)

If the KROSS’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 KROSS’s VOLUME knob all the way to the left so that the volume is lowered.

2. If external equipment such as a monitor amplifier is connected, lower their volume and then turn off their power before proceeding.

3. Hold down the power button of the KROSS to turn off the power. Keep holding down the button until the display turns off.

Never turn off the power while processing is in progress. Turning off the power while the following processes are in progress may damage the data in internal memory or on the SD card.

• Writing data to internal memory (display indicates “Now writing into internal memory”)

• Writing to an SD card (e.g., while saving in Media mode, recording on the audio recorder, or during Export)

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

2. Press the PAGE+ (or PAGE–) button to access the GLOBAL> PREF 1(Preferences 1) page.

3. Use the cursor ▼▲ buttons to select the Auto PowerOff parameter.

4. Use the VALUE dial to specify the time until the power will turn of.

If you don’t want the auto power-off function to turn off the power automatically, set this to Disabled.

5. Save the setting.

Press the FUNCTION button to access the function list. Choose Write Global Setting. (If a different function is selected, press the PAGE- button to select it.)

Press the MENU (OK) button. A confirmation message will appear; press the MENU (OK) button once again. The setting has now been saved.

Auto power-off function

The KROSS has an auto power-off function that automatically turns off the power when there is no user input (*) for a certain length of time. With the factory settings, this is set to four hours.

* Using the VOLUME knob is not considered to be user input.

Changing the auto power-off setting

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

1. Simultaneously press the EXIT button ( ) and SEQ button ( ) to access the GLOBAL/MEDIA page. (If it does not appear, press the EXIT button.)

Auto power-off warning message

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

When the power turns off, the settings you had been editing will be lost. If you want to keep the edited settings, you must save them first.

If you want to continue using the system, press the keyboard, or a button. 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.

Using batteries

Spare battery compartment

Batteries that can be used

Use six AA nickel-metal hydride batteries or alkaline batteries. Zinc-carbon batteries cannot be used.

Note: Batteries are not included. You’ll need to obtain them separately.

Do not mix new and old batteries, or batteries of differing types. Mixing batteries in this way may cause them to leak or burst.

Continuous operating time

Alkaline batteries will allow approximately four hours of usage with the factory settings. Battery life will depend on the type of batteries and the conditions of use.

Replacing the batteries

An indicator on the upper right side of the screen shows the remaining battery capacity ( , , ). If you’re using the AC adapter, this will indicate .

If is flashing, the batteries are almost exhausted. Immediately save any important data, and either install fresh batteries or switch to using the AC adapter.

If the batteries are exhausted, remove them immediately. Leaving exhausted batteries installed may cause malfunctions such as battery leakage. You should also remove the batteries if you won’t be using the unit for an extended period of time.

Note: If the batteries run low, you can plug in the AC adapter and continue operation without having to power-off.

Note: If you turn on the power with an SD card already inserted, there will be some cases in which the data from the SD card is read as a background process after the unit has started. While the data is being read, some functions will be in a paused state, and will be unavailable. During this time, the SD card access indicator ( ) blinks in a position that overlaps with the remaining battery capacity indicator or the AC adapter indicator. For details, refer to "Automatic SD card loading at start-up" (→ p.25).

Turning the power on/off Using batteries

KROSS 88-key: While pressing the ||| area of the cover(a.), slide it diagonally upward (b.), and open the battery compartment (c.).

Note: The battery compartment cover is located on the left side of the front panel.

Note: You can use the same procedure to open the storage compartment for small items that is located at the opposite side from the battery compartment.

The battery compartment cover does not detach. Do not apply excessive force to the battery compartment cover.

2. Install batteries.

When inserting the batteries, be sure to observe the correct polarity (“+” and “–”). Place the “–” end of each battery against the tip of the spring, and press it into place.

KROSS 61-key

Installing batteries

1. Remove the battery compartment cover.

KROSS 61-key: The battery compartment is located on

the bottom panel.

When turning the unit upside down, place it on a

blanket or similar material to prevent damage to the

knobs and dials.

While pressing the cover latch, pull it upward and remove it.

KROSS 88-key

3. Close the battery compartment cover.

Close the cover by reversing the steps you took to remove it.

Setup

In order for the remaining battery amount to be displayed correctly, you must set the Global/Media mode GLOBAL> PREF 1(Preferences 1) page Battery Type setting to specify the type of battery that you’re using.

Specifying the type of batteries you installed

After you’ve installed the batteries, turn on the power and specify the type of batteries you’re using.

1. In the GLOBAL>PREF 1 (Preferences 1) page, select the Battery Type parameter.

Perform steps 1–3 of “Changing the auto power-off setting” on page 18.

2. Press the ENTER button to switch the setting.

Alkaline batteries: Alkaline

Nickel-metal hydride batteries: Ni-MH

3. Save the setting.

Press the FUNCTION button, and in the function list choose Write Global Setting. (If a different function is selected, press the PAGE– button to select it.)

Press the MENU (OK) button. A confirmation message will appear; press the MENU (OK) button once again. The setting has now been saved.

Connections

AC adapter

(Included)

DC plug

to an AC outlet

DAMPER

ASSIGNABLE PEDAL

ASSIGNABLE SWITCH

SD card

MIDI keyboard

MIDI IN MIDI OUT

MIDI cable

USB cable

Audio player, etc.

Mic

Monitor Amplier, etc.

INPUT

Headphones

Computer

Pedal connections etc.

Connections to MIDI equipment

Connections to computers

Insert an SD card

Connect output devices

Connect input devices

SD card slot

USB B

MIDI OUT, IN

AUDIO OUTPUT R, L/MONO

LINE IN, MIC IN ASSIGNABLE DAMPER, SWITCH, PEDAL

KROSS-88key

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

Connections Audio connections

Audio connections

Connecting your output devices

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

Connecting audio equipment

The KROSS’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 KROSS’s OUTPUT L/MONO and R jacks to the input jacks of your monitor amplifier or mixer.

Note: If you connect only the L/MONO jack, the L and R sound will be mixed for mono output. In order to take full advantage of the KROSS’s capabilities, we recommend that you listen in stereo. If you’re playing back through your stereo audio system or an audio player that has external input connectors, connect the KROSS 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 KROSS’s Headphone jack.

Headphones

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

The KROSS’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 your input devices

You can sing while applying the built-in effects of the KROSS to your mic, or connect an audio player and perform along with the playback.

You can also use the audio recorder or pad sampler to record the audio input.Alternatively, you can record just the external audio input without mixing-in the performance of the KROSS. For example if you're rehearsing in the studio, you could record only the band's performance while you play the KROSS.(→ p.22)

When connecting an input device, use the REALTIME CONTROLS section's SELECT button to select AUDIO IN 1, and press the SWITCH button (ON/OFF) to turn the input off (unlit). After you have connected the input device, once again press the SWITCH button (ON/OFF) to turn the input on (lit).

If you're not using the MIC IN or LINE IN jack, use the REALTIME CONTROLS section's SELECT button to select AUDIO IN 1, and press the SWITCH button (ON/OFF) to turn the input off (unlit).

Connecting a mic

1. Make sure that the SWITCH button LED (ON/OFF)

2. Turn the VOLUME knob of the KROSS all the way to

is off (unlit) in the AUDIO IN 1 row of the REALTIME CONTROLS section.

the left, minimizing the volume.

Setup

Direct Send

3. Connect a dynamic mic to the MIC IN jack.

Note: This jack does not support condenser mics or other mics that require phantom power or plug-in power. Such types of mic must be connected via a mic amp.

Connecting a guitar

Connect your guitar to the MIC IN jack. Please see the “Connecting a mic” section above.

Note: Most guitars and basses (i.e., equipped with passive pickups that do not have a preamp) produce a low output level that cannot be recorded at a satisfactory volume or quality. Route such instruments through a preamp or effect unit before connecting them to the KROSS. If the output of the preamp or effect unit is too high, and you cannot set an appropriate input level, adjust the output level of the preamp or effect unit. If your instrument has active-type pickups with a built-in preamp, simply connect it directly.

Connecting an audio player

An audio player or other stereo line input source can be connected to the LINE IN jack.

1. Make sure that the SWITCH button LED (ON/OFF) is off (unlit) in the AUDIO IN 1 row of the REALTIME CONTROLS section.

2. Turn the VOLUME knob of the KROSS all the way to the left, minimizing the volume.

3. Connect your audio player to the LINE IN jack.

Selecting the audio input

Specify and enable the audio input to which you connected your mic, guitar, or audio player as described above.

Note: It's not possible to input audio via both the LINE IN jack and MIC IN jack simultaneously.

1. In REALTIME CONTROLS, use the SELECT button to select AUDIO IN 2.

2. In REALTIME CONTROL, use the SWITCH button to select either MIC (LED lit) or LINE (LED unlit). Only the selected input is enabled.

FUNCTION button while the popup screen is shown during steps 2 and 3, the AUDIO IN -QUICK SETTING- dialog box appears.

Note: The Global setting (G-SET) dialog box is shown above. These input settings are used by the entire KROSS. (see “Global audio input settings (G-SET) and individual settings”)

5. By setting the Direct Send parameter, you can record just the external audio input from a mic connected to the MIC IN jack, without recording the sound of the KROSS's performance. For example if you're rehearsing in the studio, you could record only the band's performance while you play the KROSS.

Direct Send off: The audio input and the KROSS's

performance are mixed and recorded.

Direct Send on: Only the audio input is recorded. The sound of the KROSS's performance is not mixed. (In this case, the audio input sound is not output from audio out.)

6. To save the settings, press the PAGE+ (WRITE GSET) button. A dialog box will appear; press the MENU (OK) button to save the settings.

Adjusting the audio input

1. Select the input. (“Selecting the audio input” on page 22)

2. Use the GAIN to adjust the level of the external audio signal. In REALTIME CONTROLS, use the SELECT button to select AUDIO IN 1, and use the KNOB 1 knob to adjust the volume of the input signal.

So that the sound does not change suddenly while you're performing, the GAIN value does not change until the position of the knob matches the current value. Once you have turned the knob to the position of the current value, you can adjust the value.

3. If you want to change the amount of effect that is applied, adjust MFX2/REVERB in the AUDIO IN 1 row of the REALTIME CONTROLS section. Operating the KNOB 2 knob adjusts the amount that is sent to the MFX2 effect.

Tip: Although it will depend on the settings of the program or combination, Send2 typically applies reverb. For more about effect-related settings, see “Effect settings for audio input” on page 71.

4. To specify the pan, or the amount that is sent to the MFX1 effect, adjust settings in the AUDIO IN QUICK SETTING- dialog box. If you press the

Note: The explanation above is the procedure for saving Global settings (G-SET). (see “Global audio input settings (G-SET) and individual settings”)

7. Press the MENU (DONE) button to return to the page you were in prior to the dialog box.

Global audio input settings (G-SET) and individual settings

The audio input of the KROSS is affected by settings that are shared by the entire instrument (Global settings / G-SET) and by individual settings that are made independently for each program, combination, or MIDI song.

With the factory settings, the programs, combinations, and MIDI songs are set to use G-SET by default. For some sounds, individual settings have been made for the vocoder sound or vocal effect. By opening the AUDIO IN -QUICK SETTING- dialog box, you can check whether that program or combination uses the global settings (G-SET) or its own individual settings.

Tip: Sounds with individual settings are stored in the DRUM/SFX category.

Connections Connecting foot controllers

Connecting foot controllers

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

The AUDIO IN -QUICK SETTING- dialog box can be opened from the FUNCTION (QUICK SETTING) button shown in the lower left when you operate an audio-related parameter in REALTIME CONTROLS.

In the upper left, [G-SET], [PROG] (or [COMBI], [SEQ]) indicate whether the global settings (G-SET) or the individual settings are specified.

Global setting (G-SET)

Individual setting (PROG, COMBI, SEQ)

The global setting dialog box contains a PAGE+ (WRITE GSET) button; by pressing this button you can save the edited settings as global settings. For individual settings, press the MENU (DONE) button to close the dialog box, and use the appropriate Write function to save the settings. For details on how to save, please see “Writing a Program or Combination” on page 122.

Only in the case of input gain (Gain), the global setting (G-SET) and the individual setting are shared. Use the global setting (G-SET) to save the setting. Although you can edit this in the AUDIO IN page or the QUICK SETTING dialog box of each mode, you can’t save it as an individual setting (PROG, COMBI, SEQ).

To create individual settings

In addition to using the AUDIO IN -QUICK SETTINGdialog box, you can also adjust this setting in the INPUT/ CTRL> AUDIO IN page of each mode. For a program, combination, or MIDI song that uses G-SET, the upper left of the screen will show the G-SET indication selected. By clearing this selection you can adjust individual settings.

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 amount of damper that’s applied. 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 be applied to some sounds but not to other sounds.

1. Connect a Korg DS-1H damper pedal to the DAMPER jack.

2. Set the polarity of the switch.

In the G-INPUT/CTRL> FOOT page, set the Damper Polarity parameter.

If you’re using the DS-1H, choose the (–) KORG Standard setting. With the factory settings, (–) KORG Standard is selected. If the operation is inverted when you use a foot switch other than the DS-1H, simply set the polarity to the (+) setting.

Note: The half-damper sensitivity is adjusted to a standard value when the KROSS is shipped from the factory. If the half-damper pedal you’re using does not respond appropriately, please adjust the sensitivity. (see page 177 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:

• Selecting programs or favorites

• An assignable source for modulating sounds and effects

• Portamento on/off

• Sequencer start/stop or punch in/out

• Starting, pausing, and stopping audio recorder playback or recording

•Tap Tempo

• Arpeggiator on/off

• Switch the Drum Track on/off

• Step sequencer RUN on/off

• Use various KROSS controls (modulation wheel, 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/Media mode.

Setup

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– which is 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.

• Program Up/Down: When performing with the usual MAIN page or the favorites list open

• VALUE Inc/Dec: When performing with the sound select list 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 set this up:

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

Use an optional PS-1/PS-3 pedal switch.

2. Access the G-INPUT/CTRL> FOOT page.

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 124)

6. Press the PROG button to enter PROG> MAIN, and press the foot switch to change the Program.

Note: This setting also works in the same way for selecting combinations or favorites.

Note: With the Program Up/Down method, you can’t switch programs while the sound select list is open. Use the method explained below in “Assigning the foot switch to Value Inc/ Dec”.

Assigning the foot switch to Value Inc/Dec

This lets you use the Assignable Foot Switch to duplicate the functions of the VALUE dial.

This method is convenient if you want to open the Sound select list 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 turning the VALUE dial.

Note: The foot switch will work like this for the entire KROSS–not just when the Sound select list is open.

Proceed as follows.

Hold down the EXIT button ( ) and press the SEQ button ( ) to enter the GLOBAL/MEDIA mode.

Press the MENU button to access the function list. Use the PAGE+ (▼) and PAGE– (▲) buttons to select GINPUT/CTRL, and press the MENU (OK) button.

Use the PAGE+ (▼) and PAGE– (▲) buttons to select the G-INPUT/CTRL> Foot page, and press the MENU (OK) button.

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.

Use the cursor ▲▼ buttons to select Foot Switch Assign. Press the ENTER button to access the list, and use the cursor ▲▼ buttons to select Program Up or Program Down. Press the ENTER button to confirm your choice.

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. Use the cursor ▼ button to select the parameter, and press the ENTER button. The setting will alternate on/off each time you press the button.

Connecting a foot pedal

If you connect an optional EXP-2 foot controller or XVP-10/ XVP-20 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/Media 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 KROSS controls (Modulation wheel, etc.)

1. Connect an optional XVP-10, XVP-20 or EXP-2 to the ASSIGNABLE PEDAL jacks.

2. Use the Foot Pedal Assign parameter (G-INPUT/ CTRL> FOOT page) to specify the function that will be controlled by the foot pedal.

Adjust settings as explained in “Assigning the foot switch to Program Up/Down”.

Using an SD card

SD card slot

SD card

Connections Using an SD card

If you need to perform these procedures, you must first set the switch to its original position.

You can use an SD card to save or load programs, combinations, and song data, and also for audio recording and the pad sampler function.

Types of SD card you can use

SD card specifications

SD memory cards up to 2GB and SDHC memory cards up to 32GB are supported.

SDXC memory cards are not supported.

MS-DOS format FAT16 or FAT32 are supported.

SD card is not included. You will need to purchase it

separately.

Formatting SD card

Some consumer electronics products that use SD cards utilize their own proprietary format method. Before using an SD card with the KROSS, you must format it on the KROSS. (see page 129)

Inserting/removing an SD card

Inserting an SD card

• 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.

Automatic SD card loading at start-up

If the unit is powered-on with an SD card containing audio data already inserted, data loading may continue automatically after start-up in some cases. During this time, there are no restrictions on playing the keyboard or performing most operations, but functions that access the SD card will be in a paused state. The SD card access indicator ( ) will blink in a position that overlaps with the remaining battery capacity indicator or the AC adapter indicator.

At this time, the AUDIO REC, SAMPLER ACTIVE/HOLD, and AUDIO PLAY ACTIVE buttons will be disabled; if you press these buttons, the message “SD card busy Please wait.” is displayed. Likewise, the “SD card busy Please wait.” message is displayed if you access the MEDIA page, and that page will be unavailable.

Similarly, GLOBAL - FUNCTION - “Load Preload/Demo Data” and “Update System Software” will also be unavailable. To use these functions, wait until the SD card access indicator has stopped blinking.

Connecting the KROSS to a computer

USB connection

The KROSS provides both MIDI connectors and USB port as standard equipment. By connecting the KROSS 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 KROSS from your computer as though it were a software plug-in.

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

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

Removing an SD card

During loading, saving, formatting, audio recorder operation, or MIDI data dump reception, you must never remove the SD card from the slot or insert it in the slot. Doing so may cause the SD card or the internal data to be damaged.

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

Please see the owner’s manual included with your card, and observe the guidelines for handling and use.

About the write protect setting of an SD card

SD cards have a write protect switch that prevents the data from being overwritten accidentally and lost. If a card is protected, you can’t save or delete data on it, use it to record with the audio recorder, or format the card.

About the software

The latest version of the KORG USB-MIDI driver and the KROSS Editor/Plug-in Editor can be downloaded from the Korg website. (http://www.korg.com/)

Make connections as follows.

1. From the Korg website, download the KORG USBMIDI driver.

2. Install the driver as described in the documents that accompany it.

Note: For audio, the KROSS uses the standard USB audio driver that is built into Windows or Mac OS, so you don't need to install the audio driver separately.

3. Power-on the KROSS.

4. Connect the KROSS's USB B port to a USB port of your computer.

When the KROSS is connected to the computer, the computer detects the KROSS as a USB MIDI device and a USB audio device.

Setup

KROSS

MIDI IN

MIDI OUT

MIDI keyboard

Connecting via the MIDI connectors

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

Note: For more about MIDI interfaces, please see the owner’s manual of the MIDI interface that you’re using.

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

Connecting MIDI devices

By connecting the KROSS’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 KROSS.

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 an external MIDI tone generator from KROSS

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

Controlling KROSS’s tone generator from an external MIDI device

When you wish to play or control the KROSS’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 KROSS.

MIDI IN

KROSS

MIDI OUT

MIDI keyboard

Controlling two or more external MIDI tone generators from the KROSS

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

KROSS

MIDI IN

MIDI patch bay

MIDI OUT

MIDI IN

MIDI keyboard

MIDI tone generator

Playing and editing Programs

3 3

Mode, page name Tab s Tempo Power supply

Category icon

(Bank USER icon)

Program name

SW control information

Category type: Program number (bank number)

About the KROSS’s Programs

Programs are the basic sounds of the KROSS; you can play and edit them in Program mode.

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

1. Press the PROG button. (LED lit)

You’ll enter Program mode.

Access the PROG> MAIN page. The upper line of the display shows the page that you’re on. If a different page is shown, press the EXIT button several times to access the PROG MAIN page.

Tip: The sound select list will also appear when you press the ENTER button.

You can also use the cursor buttons ◄► to switch categories.

3. Turn the VALUE dial to select the program that you want to play.

Play the keyboard to hear the sound.

Tip: You can also select programs by using the cursor buttons ▲▼ or the PAGE-(▲)PAGE+(▼) buttons.

4. To return to the MAIN page, press the MENU button or the ENTER button to close the menu.

When you press the FUNCTION button or the EXIT button, your selection will be discarded and you’ll return to the program where you were before opening the list.

Other ways to select programs

In addition to using the controls on the KROSS’s front panel, you can select programs in the following ways.

• Using a connected foot switch (see page 24)

• Receiving a MIDI program change (from an external MIDI sequencer or MIDI controller)

• Selecting a program that you’ve registered in Favorites (see page 53)

• Selecting a VOCODER or other program that's optimized for use with a mic input by the REALTIME CONTROLS. (see page 15)

Tip: In the PROG> MAIN page, you can also select programs by using the cursor buttons ▲▼ or the VALUE dial.

2. Turn the CATEGORY dial to select the category of program that you want to play.

The sound select list will appear.

Playing and editing Programs

Program categories and numbers

For details on programs, please see the separate “Voice Name List.”

The sounds of the KROSS are organized by type into categories; within each category, an index number is assigned to each sound. All programs are also assigned a bank and program number that are used to recall that program via MIDI.

Note: Depending on the bank, there are limitations on where a program can be saved. For details, please see “Bank numbers and conditions for saving” on page 121.

Category and index number

Category Index number (bank number) Type o f sound s

PIANO

E.PIANO

ORGAN

BELL

STRINGS

BRASS

SYNTH LEAD

SYNTH PAD

GUITAR

BASS

DRUM/SFX

USER 000...511 (UA000...UD127)

Index number

With the factory settings, the 768 preload programs of banks A–F, the 256 GM2 preset programs of the GM banks (GM– g(d)), and the 9 GM2 preset drum programs are organized into the PIANO–DRUM/SFX categories. Within each category, the programs are assigned an index number starting with 000.

The 512 initialized programs of bank UA000...UD127 are assigned to the USER category.

Using Controllers

In addition to using the keyboard, the KROSS lets you control the sound by using the pitch bend wheel, modulation wheel, SW1 and SW2 buttons, damper pedal, and foot switch or foot pedal.

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

• Pitch bend wheel, modulation wheel, SW1, SW2 buttons → p.1

• Damper pedal, foot switch/pedal → p.23

• REALTIME CONTROLS → p.15

Performing with the arpeggiator, drum track or step sequencer

Based on the note data that it receives from the keyboard or from the MIDI IN connector, the arpeggiator can generate an arpeggio (broken chord), or produce a wide variety of phrases and patterns that are appropriate for the sound of the selected program, such as guitar or keyboard backing riffs, bass phrases, or drum patterns.

For more about the arpeggiator, please see page 73.

The Drum Track is a function that plays drum patterns in a variety of styles. For more about the Drum Track, please see page 83.

The step sequencer is a function that lets you create and play drum patterns in a way that’s similar to the Drum Track. While the Drum Track lets you select preset patterns, the step sequencer lets you create patterns from scratch. You can create and play drum patterns by turning on/off pads 1–16, which are located to the right side of the front panel. For more about the step sequencer, please see page 89.

The Drum Track and the step sequencer each produce sound using a drum program that is separate from the program that you play on the keyboard. You can play a program along with an accompaniment provided by the Drum Track and the step sequencer.

Arpeggiated phrases, the Drum Track, and the step sequencer pattern can all be synchronized, and you can also play along with them.

Quick Layer/Split function Quick Layer

Piano

Strings

Split point

Piano

Bass

Quick Layer/Split function

Quick Layer is a function that makes it easy to set up a layer, letting you play two sounds that are layered together. You can also adjust the volume balance.

Quick Split is a function that lets you create split settings so that you can play different sounds on the left and right regions of the keyboard. You can select each of the two programs, and adjust their volume and octave.

Note: The sound you create will be saved as a combination.

Note: This function makes layer or split settings that

combine two program sounds. Since Combination mode lets you use up to 16 programs to create complex layers and splits, you can use Combination mode to make more detailed edits to the layer or split sound that you created here.

Quick Layer

Quick Split

5. Select the other program (strings) that will be layered with the program you selected in step 2; then specify its volume and pitch.

• Program:

Select the program. If you used the CATEGORY dial and the VALUE dial, press the MENU button to close the list.

(Default setting: category STRINGS, index number 000)

• Volume:

Adjust the volume (0–127) of the program you selected above for the Program to be layered. (Default setting 127)

• Octave:

Adjust the pitch of the program you selected above for the Program to be layered, in one-octave steps (-3, –2, –1, 0, +1, +2, +3). (Default setting 0)

•Use ARP:

This check box copies the arpeggiator settings of the program you selected above in the Program field. (Default setting: not selected)

Note: You can’t change the settings of the first program (piano).

Note: The next time you open this dialog box, the lastspecified settings will be selected as the default.

6. When you’re finished, press the MENU (WRITE) button.

The save dialog box will appear.

LAYER/SPLIT button

The Quick Layer/Split function lets you adjust settings by pressing the front panel LAYER/SPLIT button.

Note: This function is available if Program mode is selected. It is not available in Combination mode.

Note: It is not available when selecting favorites.

Quick Layer

A typical example of using layers is a sound that layers strings with piano or electric piano. As an example, here’s how to create this sound.

1. Press the PROG button to select Program mode.

2. Select one of the two sounds (piano) that you want to layer.

Turn the CATEGORY dial to select PIANO, and then turn the VALUE dial to select the piano program that you want to use.

Press the MENU (OK) button or the ENTER button. (see “Selecting Programs” on page 27)

3. Press the LAYER/SPLIT button. (The button blinks.)

4. The QUICK LAYER dialog box or QUICK SPLIT dialog box appear. If the QUICK SPLIT dialog box appears, press the PAGE- (LAYER◄) button to switch to the QUICK LAYER dialog box.

Play the keyboard, and you’ll hear the layer sound.

7. Specify the combination name, the category, and the save-destination.

• Combination name:

If you want to edit the name, select the combination name and press the ENTER button. Enter a name in the text window. (see page 124)

By default, this will show the first 11 characters of the two program names joined. The two program names will be separated by “+” for Quick Layer, or by “\” for Quick Split.

•Category:

Specify the combination category. By default, the category of the first program will be specified.

•WRITE To:

Specify the save-destination. You can only select the USER combination bank. By default, an ascending number starting at USER:000 will be selected.

8. Press the MENU (OK) button to save your combination.

The COMBI button will light up, you’ll be in Combination mode, and the combination that you saved will be selected.

If you decide not to save the combination, press the FUNCTION (CANCEL) button. The dialog box will close, ending the procedure. You will return to the state of step 2, with that program selected.

Pressing the blinking LAYER/SPLIT button will also close the dialog box and end the procedure. You can press the LAYER/SPLIT button again to reproduce the settings of step 4.

Playing and editing Programs

Quick Split

A typical example of a split is when you play a piano or electric piano with your right hand (in the upper region) and a bass sound with your left hand (in the lower region). As an example, here’s how to create this sound.

1. In Program mode, select a piano program.

Please see steps 1–2 of the “Quick Layer” section on page 29.

Note: The procedure will be smoother if you first select the sound that you want to play in the upper region of the keyboard.

2. Press the LAYER/SPLIT button. (The button blinks.)

3. The QUICK LAYER dialog box or QUICK SPLIT dialog box appear. If the QUICK LAYER dialog box appears, press the PAGE+(►SPLIT ) button to switch to the QUICK SPLIT dialog box.

4. Select the other program (bass) that will be split with the program you selected in step 1; then specify its volume and pitch.

• Program:

Select the other program. If you used the CATEGORY dial and the VALUE dial, press the MENU button to close the list.

(Default setting: category BASS, index number 000)

• Split Point:

Specify the point at which the two programs will be divided. When you play the keyboard, you’ll hear the bass in the lower region and the piano in the upper region (including C4). (Default setting C4)

Note: You can use the keyboard to specify the split point. Select this parameter, and press the ENTER button so that the ▲▼ symbols are shown beside the value. Press a key on the keyboard to enter the note number. Press the ENTER button once again to confirm the setting.

• Lower/Upper:

If you select this parameter and press the ENTER button, the two sounds will be exchanged. (Default setting: Lower)

• Volume:

• Octave:

•Use ARP:

Please see step 4 of the “Quick Layer” section on page 29.

Note: You can’t change the settings of the first program.

Note: The next time you open this dialog box, the last-

specified settings will be selected as the default.

5. When you’ve finished adjusting settings, press the MENU (WRITE) button to open the dialog box, adjust the appropriate settings, and save them.

Please see steps 6 and 7 of “Quick Layer” on page 29.

Combination settings made by Quick Layer/Split

When you use the Quick Layer or Quick Split function, the effects, Drum Track, and step sequencer will be assigned to the combination as follows.

The program that had been selected prior to pressing the LAYER/SPLIT button

Program: copied to T01

Drum Track: copied to T10

Step sequencer: copied to T16

Arpeggiator: copied to Arp A

IFX1, IFX2, IFX5: copied to IFX1, IFX2, and IFX5

However, depending on the effect types and routing settings, some effects will not be copied.

MFX1, MFX2: copied to MFX1 and MFX2

The program that was subsequently selected for layer/split

Program: copied to T02

Drum Track: not copied

Step sequencer: not copied

Arpeggiator: if Use ARP is selected, copied to Arp B

IFX1, IFX2: copied to IFX3 and IFX4

However, depending on the effect types and routing settings, some effects will not be copied.

MFX1, MFX2: not copied

Easy program editing Using the Tone Adjust and EG Adjust functions

EG Adjust: Time-varying change in volume and brightness

Tone Adjust (Amp): Volume change produced by your keyboard dynamics

Tone Adjust (Filter): Brightness of the sound

In the case of a Low Pass Filter

Frequency

HighLow

Level

Cutoff

Resonance

Easy program editing

Using the Tone Adjust and EG Adjust functions

The fastest way to create the sound you need is to find a preload program that’s close to what you want, and then modify its settings to your taste.

On the PROG> TONE page you can edit the sound’s most important parameters, such as cutoff frequency, resonance, attack time, and release time.

1. Access the PROG> TONE page.

Press the PROG button. Next, press the PAGE+ button or PAGE- button to access the PROG>TONE page.

2. Use the cursor buttons ◄►▲▼ to select the

parameter that you want to edit.

3. Use the VALUE dial etc. to edit the value.

EG Intensity

This adjusts the filter EG intensity (the depth of how the EG affects the filter). Normally, increasingly negative values (“–” settings) will make the filter EG have a shallower effect, and increasingly positive values (“+” settings) will make it have a deeper effect. Since the filter EG operates relative to the filter cutoff frequency, the tonal change produced by the filter will be affected both by Cutoff and by EG Intensity.

Level

Time

Vel. Intensity

Adjusts the velocity intensity for the amp level.

With a setting of –99, velocity will no longer produce any change at all. A setting of +99 will produce maximum change in the same direction (positive or negative) as for the original program.

EG Adjust controls

Note: With an adjustment of +00, the value of the program parameters will be unchanged.

Tone Adjust controls

Note: When the Tone Adjust controls are at +00, the program parameters will have their original values.

Cutoff

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

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.

Attack

Adjusts the EG attack times of the filter and amp simultaneously. This sets the time from note-on until the attack level is reached. Increasingly negative values (“–” settings) will shorten the attack time, and increasingly positive values (“+” settings) will lengthen it.

Level

note-on note-o

Sustain Level

Attack Time

Decay Time

Release Time

Time

Decay

Adjusts the EG decay times of the filter and amp simultaneously. This sets the time from when the attack level is reached until the break level is reached. Increasingly negative values (“–” settings) will shorten the decay time, and increasingly positive values (“+” settings) will lengthen it.

Sustain

Adjusts the EG sustain level that follows the decay/slope time, for both the filter and amp simultaneously. This specifies the level that is reached after the decay time has elapsed, and is held until note-off. Increasingly negative values (“–” settings) will lower the sustain level, and increasingly positive values (“+” settings) will raise it.

Release

Adjusts the EG release times of the filter and amp simultaneously. This specifies the time from note-off until the sound disappears. Normally, negative settings will shorten the release time, and positive settings will lengthen it.

Playing and editing Programs

Saving your edits

Internally, one controller modifies several parameters. Saving the program does not save the values of these controllers; it saves the edited state of the various parameters.

When the program has been written, the previously edited values will become the “new” reference values, meaning that the saved sound will be reproduced when these controllers are at +00.

Adjusting the volume balance

The sound of a program consists of up to two “oscillators” that are played mainly from the keyboard, one “Drum Track” that automatically plays a rhythm section, and one “step sequencer.”

The volumes of the oscillators and the drum track can be adjusted in the PROG> MIXER 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> MIXER page.

2. Use the cursor buttons ◄►▲▼ to select the “Vol” parameters of oscillator 1 or 2, the Drum Track, and the step sequencer, and adjust their volume.

Note: For single-oscillator programs, oscillator 2 will not be available for editing.

Note: If the Hold Balance function is selected, changing any of the volume values will simultaneously affect the other volume values as well. The overall volume balance will be preserved. This is convenient when you want to adjust the overall volume.

Mute

•Select Play/Mute for oscillator 1 or 2, the Drum Track, or the step sequencer, and press the ENTER button to change the setting.

Solo

• Select the Solo Setting function and press the MENU (OK) button to access the dialog box.

Use the cursor buttons ◄►▲▼ to select the item that you want to solo, and press the ENTER button to turn solo on/off.

Pressing the PAGE– (CLEAR) button will turn off solo for all items.

If Exclusive Mode is on, only one item at a time will be soloed.

To return to the PROG> MIXER page, press the MENU (DONE) button.

Using REALTIME CONTROLS to adjust the sound or effects

1. In program category "E.PIANO", select " 018 E.P.Suit Mark V"

This is an electric piano sound. Let's try modifying the character of the sound.

2. In REALTIME CONTROLS, press the SELECT button to select TONE 1. (LED lit)

3. While you play, slowly turn the KNOB 1 knob (CUTOFF) toward the right to about the 3/4 position.

The piano sound becomes more like a synth sweep.

4. Turn the KNOB 2 knob (RESONANCE) to about the 3/4 position as well.

5. Leave the KNOB 2 knob (RESONANCE) where it is, and try turning the KNOB 1 knob (CUTOFF) left and right.

Raising the resonance gives the sound a character as though it was being played through a wah pedal.

6. Next, in REALTIME CONTROLS, press the SELECT button to select TONE 2. (LED lit)

7. Try adjusting the KNOB 1 knob (ATTACK) or the KNOB 2 knob (RELEASE). These modify the attack time or the release time, changing the character of the sound.

8. If you want to save the sound that you edited, execute "Write Program" to save the edited sound.

Saving the edited content does not save the angle of the knobs; it saves the edited state of the various parameters.

When the data has been written, the previously edited values will become the "new" reference values, meaning that the saved sound will be reproduced when the knobs are at the center position. (see page 308 of the Parameter Guide)

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/Undo function” on page 13.

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.

For details, please see “Writing a Program or Combination” on page 122.

You can also save programs on an SD card as .PCG files. For additional details, please see “Saving to SD card” on page 125.

Easy program editing Saving your edits

Playing and editing Programs

OSC1 Basic

Amp

Pitch EG

Filter EG

Amp EG

OSC1 LFO1

OSC 1

OSC 2

Filter Mod

Filter LFO Mod

OSC1 Pitch

OSC1 LFO2

Amp Mod

OUTPUT L/MONO, R

Master Eect 1, 2

Insert Eect 1…5

Oscillator / Pitch

Filter

Amplier

Eects

Filter (A/B)

OSC1, 2

Insert Eects Master Eects

FX Control Bus

Routing

Common LFO

Tone Adjust Drum Track Step Sequencer Arpeggiator

Program structure

Detailed Editing with Programs

You can create original sounds by editing a preloaded program or by editing an initialized program.

For details, please see “Saving your edits” on page 33.

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 KROSS 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.

Pitch settings are made in the P-PITCH and P-PITCH EG pages; filter settings are made in the P-FILTER and PFILTER EG pages; amp settings are made in the P-AMP and P-AMP EG pages.

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 the modulation wheel. These modulators and controllers can apply changes to the basic program.

Take a look at the illustration below called “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.

OSC (oscillator) 1/2

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

The KROSS 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, and two master effects.

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.

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.

Drum Track and step sequencer

While the arpeggiator plays the main program, separate drum programs are provided for the Drum Track and the step sequencer.

The Drum Track lets you select a drum program and pattern, and specify how it will be triggered.

The step sequencer lets you select the instrument that the drum program will use, and lets you specify a pattern by using pads 1–16.

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 31 explained how to use the PROG> TONE page to do simple editing. For more detailed editing, you’ll use the P-BASIC and following edit pages.

Page Tabs Main content

MAIN Select and play programs

TONE Easy sound editing

PROG

P-INPUT/ CTRL

P-BASIC

P-OSC

P-PITCH

P-PITCH EG

P-FILTER

P-FILTER EG

P-AMP

P-AMP EG

P-OSC LFO

P-CMN LFO/KT

P-AMS MIXER

P-ARP

MIXER

ARP Simple arpeggiator editing

AUDIO IN External audio input settings

CONTROLLERS

VOICE

NOTE-ON

SCALE Scale settings

MS1...MS4 Multisample and drum kit settings

VEL Oscillator velocity zone settings

BASIC Oscillator 1 and 2 pitch settings

MOD Pitch modulation settings

PORTA Portamento settings

ENVELOPE Pitch EG settings

L-MOD Pitch EG level modulation settings

T-MOD Pitch EG time modulation settings

BASIC Oscillator 1 and 2 filter settings

MOD Filter modulation settings

EG-I Filter EG intensity settings

LFO-I Filter LFO intensity settings

KTRK Filter keyboard tracking settings

ENVELOPE Oscillator 1 and 2 filter EG settings

L-MOD Filter EG level modulation settings

T-MOD Filter EG time modulation settings

BASIC

MOD Amp modulation settings

KEYTRK Amp keyboard tracking settings

ENVELOPE Oscillator 1 and 2 amp EG settings

L-MOD Amp EG level modulation settings

T-MOD Amp EG time modulation settings

1. WAV

1. FRQ

2. WAV

2. FRQ

LFO.W Common LFO waveform settings

LFO.F

KT.1 Common keyboard tracking 1 settings

KT.2 Common keyboard tracking 2 settings

1 Oscillator 1 and 2 AMS mixer 1 settings

2 Oscillator 1 and 2 AMS mixer 2 settings

SETUP Arpeggiator settings

SCAN ZONE

OSC1, 2, Drum Track, and step sequencer volume adjustment and mute settings

SW1 and 2 function settings and tempo setting

Basic program settings, such as Oscillator mode

Key zone, and timing settings following note-on

Oscillator 1 and 2 amp (volume) and pan settings

Oscillator 1 and 2 LFO1 waveform settings

LFO1 frequency and modulation settings

Oscillator 1 and 2 LFO2 waveform settings

LFO2 frequency and modulation settings

Common LFO frequency and modulation settings

Specifies the range in which the arpeggiator operates

Detailed Editing with Programs An overview of the edit pages

Page Tabs Main content

P-DRUM TRACK

P-STEP SEQ

P-FX ROUTING

P-IFX

P-MFX

PAT TE R N

PROGRAM Drum Track program selection

BASIC

EDIT Step on/off entry

INST Instrument settings

MOD

MIX Drum program selection

BUS

SEND

IFX

MIXER Post-insert effect routing settings

IFX1

IFX2

IFX3

IFX4

IFX5

SETUP

MFX1

MFX2

Drum Track pattern selection and trigger region settings

Step sequencer program selection and length settings

Step sequencer effects such as accent and swing

Oscillator 1 and 2 insert effect bus settings

Oscillator 1 and 2 master effect send level settings

Insert effect type selection and chain settings

Insert effect 1–5 settings

Master effect type selection and chain settings

Master effect 1 and 2 settings

For details on how to access each mode and page, please see “Basic operations” on page 12.

Switching the screen between oscillator 1 and 2

To edit parameters such as the pitch, filter, or amp of oscillator 1 or oscillator 2, use the cursor buttons to select OSC on the upper left, and use the ENTER button or the VALUE dial to select the oscillator that you want to edit.

Playing and editing Programs

Multisample On/O

Bank

Multisample Select

Basic oscillator settings

Here is where 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 is where 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,” below)

This choice is made by the PROG> VOICE “OSC Oscillator Mode” setting, which specifies which type the oscillators will use.

• Multisample: Single, Double

• Drum kit: Drums

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/Media mode) instead of a multisample.

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 Po lyphony

Single 80

Double 40

Drums 80

Note:

• Double Programs 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.

Polyphonic/monophonic playing

To specify whether the program will play polyphonically (Poly) or monophonically (Mono), access the PROG> VOICE page and set the Voice parameter.

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

What is a multisample?

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.

For each oscillator, you can assign up to four multisamples 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 for each string, so that the multisample would consist of six samples.

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

Velocity switch, crossfades, and layers

Each oscillator provides four 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 switch, 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, the velocity settings pre-specified for the drum kit will be used, and therefore will not be shown in the screen. A drum kit’s velocity zones can be edited in the Global/Media mode DRUM KIT page. (see page 111)

Selecting Multisamples

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

1. Select the P-OSC> MS1 page, and turn the multisample 1 Multisample On/Off parameter On.

Switching pages as necessary, turn the Multisample On/ off parameter on for multisample 2, and off for multisamples 3 and 4.

Detailed Editing with Programs Basic oscillator settings

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.

6. 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.

7. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.

8. Access the P-OSC LFO> 1. FRQ page.

9. Use the FREQUENCY parameter to set the speed of the LFO.

For more information on LFOs, please see page 39 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 the basic LFO

1. Access the P-OSC LFO> 1. WAV page.

2. Select the oscillator (OSC) that you want to edit. (see page 35)

3. Select a Waveform.

Step through the various waveforms, and notice their shapes shown in the display.

There are a number of waveforms to choose from. Each are suited to different applications:

Triangle 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 Exp. (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.

4. After looking at the different waveforms, select Triangle.

5. 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.

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.

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.

Diverse modulation settings (AMS and AMS mixer)

Detailed Editing with Programs Diverse modulation settings (AMS and AMS mixer)

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 “12: P–AMS MIXER” on page 45 of the Parameter Guide.

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 KROSS, including:

• Controllers of the KROSS itself, such as the modulation wheel, the pitch bend wheel, and SW 1/2

• 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 modulation wheel or the pitch bend wheel 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 293 of the Parameter Guide

• “Creating Vibrato” on page 40

• “Pitch EG” on page 40

• “Filter EG” on page 42

• “LFO modulation” on page 42

• “AMS (Pan)” on page 32 of the Parameter Guide

• “LFO1/2” on page 43

Tips for using AMS

When adjusting 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 modulation wheel to control the feedback, you would select assignments where the modulation wheel controls the filter frequency and resonance.

Controller Setup page

For each program, the function of the SW1 and SW2 buttons can be assigned in the P-INPUT/CTRL> CONTROLLERS page.

For details, please see “Setting the functions of SW1 and SW2” on page 44.

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 modulation wheel to control the amount of pitch EG, allowing the pitch bend wheel to apply bend only to notes played while you hold down the foot switch.

The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs. An AMS mixer’s 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.

Playing and editing Programs

LFO1 Intensity

AMS AMS Intensity

Modulation Wheel IntensityPitch EG Intensity

Controlling Pitch

Pitch Bend

Pitch bend smoothly changes the pitch upward or downward, similar to how a guitarist can “bend” strings. On the KROSS, you can use the pitch bend wheel to control this in real time.

The amount of pitch change applied when you move the pitch bend wheel fully toward yourself or fully away from yourself is specified in semitone steps by the Bend(+) and Bend(–) settings. For example if Bend(+) is set to +12, moving the pitch bend wheel fully away from yourself will make the pitch rise one octave.

Note: This can also be controlled via MIDI or by using a controller other than the pitch bend wheel.

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.

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: #65.

Creating Vibrato

You can use an LFO to create vibrato.

LFO1 and LFO2 Intensity specify how deeply the selected LFO will affect the pitch. With a setting of +12.00, vibrato will vary the pitch in a range of one octave upward and downward.

M.Whl-Int specifies the amount of vibrato that will be produced by the LFO when the modulation wheel is moved fully away from you.

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, suppose that in the P-INPUT/CTRL>CONTROLLERS page, you set SW1 to SW1 Mod.:#80, set LFO1 AMS to SW1:#80, and set “Intensity” to an appropriate value; when you now turn on SW1 or receive MIDI control change CC#80, vibrato will be applied.

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.

Detailed Editing with Programs Using Filters

Filter Routing ResonanceFilter Type

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 P-FILTER> BASIC 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.

The Parallel routing 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

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.

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

Playing and editing Programs

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 27 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.

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 P-FILTER EG> ENVELOPE page; the way that it affects the filters is controlled by the parameters described below, on the P-FILTER> EG-I (Intensity) page.

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 “auto-wah” effect.

The P-FILTER> LFO-I (Intensity) 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.

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: #80, turning SW1 on will apply an auto-wah effect. (see page 40)

Keyboard Track

Most acoustic instruments get brighter as you play higher pitches. At its most basic application, keyboard tracking recreates 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 KROSS keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:

• 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.

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 Ve lo ci t y to A and Ve lo c it y to B settings let you use velocity to control the amount of EG modulation.

The Filter EG AMS setting selects an AMS modulation source to scale the amount of the Filter EG that’s applied to Filters A and B. The two filters share a single AMS source, with separate intensity A or B settings.

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 26 of the Parameter Guide.

Using the Amp section

Volum e

Time

Volume

Time

Piano Organ

Volume decays gradually

Volume remains constant until note is released

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.

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

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 OSC (Oscillator Mode) is set to Double, set the OSC1 Pan to L001, and the OSC2 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 KROSS, producing an interesting effect.

Detailed Editing with Programs Using the Amp section

Amp modulation

The basic volume level is set by the Amp Level parameter. You can then alter this using the modulation sources below:

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.

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 Int (Intensity), LFO2 Int (Intensity) value.

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 AMS (LFO1 or LFO2) is set to M.Wheel:#01, a tremolo effect will be produced when the modulation wheel is moved away from yourself or when CC#1 is received.

Keyboard Track

This lets you vary the volume relative to the note that you play.

For details, please see “Keyboard Track” on page 42.

Amp EG

The Amp EG lets you control how the volume changes over the course of the duration of a note.

Pan - DKIT-SET (Use DKit Setting)

Use DKit Setting applies when OSC (Oscillator Mode) is set to 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.

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.

Playing and editing Programs

Piano

Organ

Strings

Making controller assignments

Setting the functions of SW1 and SW2

These on/off buttons can perform a number of different functions, such as modulating sounds or effects, or locking the modulation values of the modulation wheel.

Also, each one may work either as a toggle, or as a momentary switch. In Toggle 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).

These settings are adjusted on the following CONTROLLERS pages.

Mode Page

Programs P-INPUT/CTRL> CONTROLLERS

Combinations C-INPUT/CTRL> CONTROLLERS

Sequencer S-INPUT/CTRL> 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. :#80 and SW2 Mod. :#81.

For a complete list of the possible assignments, please see page 302 of the Parameter Guide.

Note: If you want to keep these settings after the power is turned off, you must save them. (see page 122)

Arpeggiator settings

According to the note data that’s 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.

For more about the arpeggiator, please see page 73.

Drum Track settings

You can use the KROSS’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 83.

Using the step sequencer

The step sequencer is a function that plays a KROSS drum program using a drum pattern which you can create in an intuitive way by using pads 1–16. You can play a program while listening to the rhythm produced by the step sequencer.

For more about the step sequencer, please see page 89.

Effects

For details, please see “Using Effects” on page 67.

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 KROSS 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 60.

Playing and editing Combinations

Mode/Page title

Tabs Tempo Power supply

Category icon

(Bank USER icon)

Combination name

Timbre category/Status

Category type: Combination number (bank number)

About the KROSS’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.

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

Playing combinations

Selecting Combinations

1. Press the COMBI button. (LED lit)

You’ll enter Combination mode.

Access the COMBI> MAIN page. The upper line of the display shows the page that you’re on. If a different page is shown, press the EXIT button several times to access the COMBI> MAIN page.

2. Turn the CATEGORY dial to select the category of combination that you want to play.

The sound select list will appear.

Tip: The sound select list will also appear when you press the ENTER button.

You can use the cursor buttons ◄► to switch categories.

3. Turn the VALUE dial to select the combination that you want to play.

Play the keyboard to hear the sound.

Tip: You can also select programs by using the cursor buttons ▲▼ or the PAGE-(▲), PAGE+(▼) buttons.

4. To return to the MAIN page, press the MENU (OK) button or the ENTER button to close the menu.

If you press the FUNCTION button or the EXIT button, your selection will be discarded and you’ll return to the combination where you were before opening the list.

Other ways to select combinations

In addition to using the controls on the front panel of the KROSS, you can select combinations in the following ways.

• Using a connected foot switch (see page 24)

• Receiving a MIDI program change message (from an external MIDI sequencer or MIDI controller)

• Selecting a combination that you’ve registered in Favorites (see page 53)

Tip: In the COMBI> MAIN page, you can also select combinations by using the cursor buttons ▲▼or the VALUE dial.

3 3

Playing and editing Combinations

Combination categories and numbers

The sounds of the KROSS are organized by type into categories; within each category, an index number is assigned to each sound. All combinations are also assigned a bank and combination number that are used to recall that combination via MIDI.

Note: Depending on the bank, there are limitations on where a combination can be saved. For details, please see “Saving data” on page 121.

Category and index number

Category Index number (bank number)

PIANO 000 (A000)...036 (A036)

E.PIANO 000 (A037)...032 (A069)

ORGAN 000 (A070)...021 (A091)

BELL 000 (A092)...018 (A110)

STRINGS 000 (A111)...036 (B019)

BRASS 000 (B020)...019 (B039)

SYNTH LEAD 000 (B040)...061 (B101)

SYNTH PAD 000 (B102)...059 (C033)

GUITAR 000 (C034)...025 (C059)

BASS 000 (C060)...060 (C120)

DRUM/SFX 000 (C121)...006 (C127)

USER 000...511 (UA000...UD127)

Index number

With the factory settings, the 384 preload combinations of banks A, B and C are organized into the categories PIANO– DRUM/SFX. Within each category, the combinations are assigned an index number starting with 000.

The 512 initialized combinations of bank UA-UD (User) are assigned to the USER category.

Using controllers to modify the sound

In addition to using the keyboard, the KROSS lets you control the sound by using the pitch bend wheel, modulation wheel, SW1 and SW2 buttons, damper pedal, and foot switch or foot pedal.

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

• Pitch bend wheel, modulation wheel, SW1, SW2 buttons → p.1

• Damper pedal, foot switch/pedal → p.23

• REALTIME CONTROLS→ p.15

Performing with the arpeggiator, drum track or step sequencer

The Drum Track plays a variety of drum patterns using the drum program that you’ve assigned to the desired timbre. For more about the Drum Track, please see page 83.

The step sequencer is a function that lets you create and play drum patterns in a way that’s similar to the Drum Track. You can create and play drum patterns by turning on/off pads 1– 16 located on the right side of the front panel. For more about the step sequencer, please see page 89. The step sequencer is assigned to timbre 16.

You can play a combination along with an accompaniment provided by the Drum Track and the step sequencer.

Arpeggiated phrases, the Drum Track, and the step sequencer pattern can all be synchronized, and you can also play along with them.

Bank number

For details on combinations, please see the separate “Voice Name List.”

Timbre icon information

The lower line shows icons indicating the category of the timbre, the timbre used by the arpeggiator, and the timbre used by the step sequencer.

Editing a combination Summary of the edit pages

Parameters

Timbre2

Timbre3

Timbre16

Timbre4

Timbre1

Parameters

Program

OUTPUT L/MONO, R

Master Eects 1, 2

Insert Eects 1…5

Step Sequencer Arpeggiator

Timbre

Insert Eects Master Eects

FX Control Bus

Routing:

DrumTrack

Tone Adjust

Controllers

The structure of a combination, and the related pages

Editing a combination

You can edit any of the Combinations that were shipped with the KROSS. 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 where 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.

Note: If a program you edit in Combination mode is used in Program mode, that program will sound according to its edited state.

Summary of the edit pages

To perform detailed editing, you’ll need to access an edit page in the display.

For details on how to access each mode and page, please see “Basic operations” on page 12.

Page Ta bs Main content

MAIN Select and play a combination

Select a program for each timbre and set its status

SW1 and 2 function settings and tempo setting

COMBI

C-INPUT/ CTRL

C-TONE ADJ

C-TIMBRE

C-ZONE/ DELAY

PROG

MIXER Timbre volume, pan, and mute settings

ARP Arpeggiator easy editing

AUDIO IN External audio input settings

CONTROLLERS

TONE ADJUST Tone Adjust settings for each timbre

EG ADJUST EG (ADSR) settings for each timbre

MIDI MIDI channel settings for each timbre

OSC OSC settings for each timbre

PITCH Pitch settings for each timbre

SCALE Scale selection

KEY ZONE Key zone settings for each timbre

VEL ZONE Velocity zone settings for each timbre

DELAY Delay time settings for each timbre

Page Ta bs Main content

C-FILTER

MIDI transmit/receive filter settings for each timbre

Arpeggiator assignments to each timbre

Specifies the range in which the arpeggiator operates

Drum Track pattern selection and trigger region settings

Drum Track input/output MIDI channel settings

Step sequencer program selection and length settings

Step sequencer settings such as accent and swing

Bus assignments from each timbre to the insert effects

Send amounts from each timbre to the master effects

Insert effect type selection and chain settings

C-ARP

C-DRUM TRACK

C-STEP SEQ

C-FX ROUTING

ASSIGN

A Arpeggiator A settings

B Arpeggiator B settings

SCAN ZONE

PAT TE R N

CHANNEL

BASIC

EDIT Step on/off entry

INST Instrument settings

MOD

BUS

SEND

IFX

MIXER Post-insert effect routing settings

IFX1

IFX2

C-IFX

IFX3

Insert effect 1–5 settings

IFX4

IFX5

Master effect type selection and chain settings

Master effect 1 and 2 settings

C-MFX

SETUP

MFX1

MFX2

Playing and editing Combinations

A suggested approach for editing

First select the program that each timbre will use, and set each timbre’s MIDI channel to Gch (global MIDI channel) and its Status to INT so that it can be played from the keyboard.

Next, create any desired keyboard or velocity switch, layers, or crossfades between the different Timbres.

After this, adjust the volumes of the Timbres, and set up any other Timbre parameters as desired.

To add finishing touches to the sound, set up the Insert, and Master Effect as desired. 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 and controller settings to create the finished Combination.

Note: You can use a function to copy effect and arpeggiator settings from a program. (see page 96 of the Parameter Guide)

Soloing a timbre

You can use the COMBI> PROG page Solo Setting function to hear the sound of an individual timbre. (see page 32)

3. Use the cursor buttons ◄► to select the timbre whose

program you want to switch.

4. Turn the CATEGORY dial to select a category.

5. Turn the VALUE dial.

6. Press the MENU (OK) button or the ENTER button to confirm your choice.

You can also switch programs by receiving MIDI program changes from a connected external MIDI device. (see page 316 of the Parameter Guide) To select the timbre program via MIDI program change the timbre’s status must be set to “INT.”

Adjusting the mix

Adjusting the volume of each timbre

1. Access the COMBI> MIXER page.

Press the PAGE+ or PAGE– button to select the page.

In this page you can view and edit the pan and volume of timbres 1–16.

Comparing with the sound before you started editing

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/Undo function” on page 13.

Changing the program of each timbre

Changing the Programs that are assigned to timbres (1–16) is a quick way to dramatically alter the sound of the Combination.

1. Access the COMBI> PROG page.

Press the PAGE+ or PAGE- button to select the page.

Timbre number

Category/combination select

Category/timbre program select

Active timbre

2. Press the cursor button ▼ to choose category/timbre

program select (it will be highlighted).

STEP(Step sequencer on/o)

SMP(Pad sampler on/o)

2. Press the cursor button ▼ to choose Volume (it will be highlighted).

3. Use the cursor buttons ◄► to select the timbre whose volume you want to adjust

4. Use the VALUE dial etc. to adjust the setting.

Note: If you check Hold Balance function, 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> MIXER page.

2. Use the cursor buttons ▲▼ to choose Pan (it will be highlighted).

3. Use the cursor buttons ◄► to select the timbre whose pan you want to adjust

4. Use the VALUE dial etc. to adjust the setting.

Note: 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.

Editing a combination Using the Tone Adjust and EG Adjust functions

Using the Tone Adjust and EG Adjust functions

The Tone Adjust function is an easy way to adjust the sound of each timbre.

In the C-TONE ADJ> TONE ADJUST page you can adjust parameters such as the cutoff and resonance; in the C-TONE ADJ> EG ADJUST page you can adjust the attack time and release time.

These adjustments will not affect the original program or the sound of programs that are used by other combinations.

1. Access the C-TONE ADJ> TONE ADJUST page or the EG ADJUST page.

Press the MENU button to access the page menu. Use PAGE + ( ▼) and PAGE– (▲) to select “C-TONE ADJ,” and press the MENU (OK) button.

Press the PAGE+ or PAGE– button to select the page.

Using REALTIME CONTROLS to adjust the sound or effects

You can use the realtime controls to edit in a variety of ways.

For example, you can modify the cutoff or resonance.

You can also change the effect depth, or modify the phrase that's generated by the arpeggiator. (→ p.32)

Note: In Combination mode, the sound edited by the TONE 1, TONE 2, or EFFECT rows of parameters that you select using the realtime control section's SELECT button cannot be saved. If you want to save the sound, use the equivalent parameters of the Tone Adjust or EG Adjust functions.

Layers, Splits, and Velocity Switches

Within a Combination, you can use note range and the velocity level to define the “zone” where 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.

Tip: In Program mode it’s easy to make layer or split settings for two programs. (see “Quick Layer/Split function” on page 29)

2. Use the cursor buttons ◄► to select the timbre whose sound you want to adjust

3. Use the cursor buttons ▲▼ to select the sound parameter that you want to edit.

4. Use the VALUE dial etc. to edit the value.

For details on these parameters, please see page 31.

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 re-select the combination or turn off the power before saving, your edits will be lost.

For details, please see “Writing a Program or Combination” on page 122.

You can also save combinations on an SD card as PCG files.

For more details, please see “Saving to SD card” on page 125.

Layer

Layers cause two or more Programs to play simultaneously when a note is played.

Program A Program B

Layer: Two or more programs sound simultaneously.

Split

Splits cause different Programs to respond on different areas of the keyboard.

split point

Program B

Split: Dierent programs will sound in dierent areas of the keyboard.

Program A

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 KROSS, 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.

Program A

Program B

Program D Program C

Strong

Keyboard playing dynamics

Soft

Velocity Switch: Keyboard playing dynamics (velocity) switch between dierent programs.

Strong

Keyboard playing dynamics

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.

Playing and editing Combinations

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.

C–1 C4 G9B3

PianoTimbre 1

Brass

Timbre 2

Strings

Timbre 3

127

64 63

Strings

Velocity switch

Timbre 1

Timbre 2

Brass

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.

Creating 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> PROG page.

2. Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a string sound for Timbre 3.

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.

We’ll make some changes to the example shown above.

1. 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.

2. 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.

Creating Velocity Switches

Next, let’s create a simple velocity switched Combination, like the diagram below:

3. For timbres 1–3, set Status to INT.

4. Access the C-TIMBRE MIDI page.

5. For timbres 1–3, set the MIDI Channel to Gch (Global channel).

6. Access the C-ZONE/DELAY> KEY ZONE page.

7. For timbre 1, set “Top Key” to G9 and Bottom Key to C4.

You can also enter a note value by moving the cursor to the parameter in the display, then holding down the ENTER button and pressing a note on the keyboard.

8. For timbre 2 and timbre 3, set the Top Key to B3 and the Bottom Key to C-1.

1. Access the COMBI> PROG page.

2. Select a brass sound for Timbre 1, and a string sound for Timbre 2.

3. For timbres 1 and 2, set the Status to INT.

4. Access the C-TIMBRE MIDI page.

5. For timbres 1 and 2, set the MIDI Channel to Gch (Global MIDI channel).

6. Access the C-ZONE/DELAY> VEL ZONE page.

7. For timbre 1, set the Top Velocity to 127 and the Bottom Velocity to 64.

You can also enter a velocity value by moving the cursor to the parameter in the display, then holding down the ENTER button and playing a note on the keyboard.

8. For timbre 2, set the Top Velocity to 63 and Bottom Velocity to 1.

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these let you fade sounds in and out gradually over a velocity range, instead of a simple hard switch.

We’ll make some changes to the example shown above.

1. Set the velocity zones of the two timbres so that they partially overlap.

2. Set the Top Slope and Bottom Slope so that the sound changes gradually, rather than abruptly between velocity values 63 and 64.

Status settings

Adjust these settings in the COMBI> PROG page.

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 71 of the Parameter Guide.

MIDI settings

Editing a combination Status settings

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 KROSS 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 C–MIDI FILTER> 1 page.

2. Un-check the Damper (Enable Damper) box for Timbre 1.

3. Check the Damper (Enable Damper) box for Timbre 2.

MIDI Channel

Adjust these settings in the C-TIMBRE> MIDI page.

Timbres that you wish to play from the KROSS’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 “Apreggiator based” Combinations. For details, please see “Arpeggiator settings in Combination and Sequencer modes” on page 76. In particular, note the relationships between arpeggiator A/ B assignments and the MIDI Channel.

Bank Select (when status=EX2)

When the Sta tus (COMBI> PROG) is set to EX2, these parameters allow you to transmit MIDI Bank Select messages to external MIDI devices.

Changing the program settings to match the 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 77 of the Parameter Guide)

Timbre oscillator settings

Adjust these settings in the C-TIMBRE> OSC page.

Force OSC Mode

If you wish to force a polyphonic program to sound monophonically, set this either to Mono or 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 77 of the Parameter Guide.

MIDI filter settings

Adjust these settings in the C-MIDI FILTER> 1–4 pages.

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.

OSC Select

If the timbre is using a Program where the Oscillator Mode is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to onlyOSC1 (only OSC1 will sound) or

onlyOSC2 (only OSC2 will sound). Conversely, specify onlyOSC2 if you want only OSC2 to produce sound. If you

want to use the unchanged settings of the program so that the original sound is heard, set this to OSC1&2.

Playing and editing Combinations

Normally, this should be set to OSC1&2.

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.

Pitch settings

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. A combination lets you use two arpeggiators.

For more about the arpeggiator, please see page 73.

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre. Adjust these settings in the C-TIMBRE> PITCH page.

• 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.

Scale selection

Use a Program’s Scale, Scale Type (timbre scale and overall scale)

This specifies the scale for each timbre. Adjust these settings in the C-TIMBRE> SCALE page.

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.

Drum Track settings

While you perform using a combination, you can use the KROSS’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.

You can select the drum program that you want, and specify how it will start.

For more about the Drum Track function, please see page 83.

Using the step sequencer

In a combination, the step sequencer uses the drum program of timbre 16. You can use pads 1–16 to intuitively create drum loop patterns and play them.

For more about the step sequencer, please see page 89.

Effects

For details, please see “Using Effects” on page 67.

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. Adjust these settings in the C-ZONE/ DELAY> DELAY page.

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.

Automatically importing a combination into Sequence mode

You can use the Auto Song Setup feature, which automatically copies the settings of the program or combination and puts the KROSS in record-standby mode when you simply press the SEQUENCER (REC) button. Then you can press the SEQUENCER (start/stop) button to begin recording.

For details, please see “Auto Song Setup function” on page 60.

Favorites function

1 2

What is the Favorites function?

This function lets you register your favorite combinations or programs using the 16 front panel pads so that you can recall them instantly.

You can also register MIDI program changes to a favorite, as a way to easily recall sounds on an external MIDI device.

Using the Favorites function

Recalling a favorite sound

1. Press the FAVORITES ACTIVE button to turn on the Favorites function. (FAVORITES ACTIVE button lit up)

2. Press the BANK SELECT button to select a bank. (BANK LED lit up)

3. Press one of the 1–16 pads to select a favorite. The sound or settings you registered will be recalled. (Button lit up)

Note: You can use the VALUE dial or the cursor buttons

◄►▲▼ to recall favorites consecutively.

Note: You can use a foot switch or MIDI foot controller to recall favorites. (see page 23, and page 303 of the Parameter Guide)

Note: To turn off the Favorites function, press any one of the PROG, COMBI, or SEQ buttons.

Registering a sound in Favorites

If you want to keep the registrations and settings that you made for the Favorites function, you must save them before you turn off the power. To save these settings, execute the Write Favorites function. (see “Saving your Favorites” on page 54)

Directly registering a favorite sound

Here’s how the sound that you’ve selected in Program mode or Combination mode can be directly registered as a favorite.

1. In Program mode or Combination mode, select a sound. (see pages 27, 45)

2. Hold down the EXIT button and press the FAVORITES ACTIVE button to enter registration mode. The display indicates "Add to Favorite," and the bank LEDs and pads 1-16 blink.

Note: If you decide not to register the sound, press the EXIT button.

3. Use the BANK SELECT button to select a bank.

4. Press one of the 1–16 pads to register the sound to that button.

Add to Favorite function

You can also register a favorite by executing the Add to Favorite function in Program mode or Combination mode.

Instead of step 2 described above, press the FUNCTION button to access the function list, use the PAGE– (▲) and PAGE+ (▼) buttons to select Add to Favorite, and press the MENU (OK) button to execute. Use steps 3 and 4 described above to register the favorite.

Modifying an existing favorite registration

In this method, you specify the favorite number, and change the currently-registered sound to a different sound.

This method is convenient if you already know the sounds you want and the order that you want to register them (for example piano in A01 and organ in A02), so that you can step through the favorites and change them consecutively.

1. Select a favorite whose sound you want to change.

(See “Recalling a favorite sound”)

2. Press the ENTER button to access the EDIT FAVORITE dialog box. The bank LED and the 1–16 pads you’ve selected will start blinking.

There are two ways to register a sound as a favorite.

• Directly register a sound as a favorite

• Modify an existing favorite registration

The two procedures are described below.

Favorites function

Favorite Mode Select

External MIDI Setting

2a 2b

Favorite No.

Specifying a program change

1. Access the edit page as described in steps 1 and 2 of the “Modifying an existing favorite registration” section on page 53.

Sound Setting

Note: If you decide not to make the change, press the EXIT button.

3. Select a sound. In the same way as usual when selecting a sound, use the CATEGORY dial and the VALUE dial to select a sound. As when selecting a program or combination, you can also press the ENTER button and choose from the list that appears. Select a sound in the list, and press the ENTER button to confirm.

To switch between programs and combinations, use the PAGE– (PROG) and PAGE+ (COMBI) buttons.

4. When you’ve found the sound that you want to register, press the MENU (OK) button. The registration will be changed to the new sound.

Prog/Combi Select

Changing the order of favorites

If you want to change the order of the favorites you’ve registered, you can do so by using the Copy Favorite, Insert Favorite, and Delete Favorite functions.

For details on how to use these functions, please see page 14.

1. Use the Copy Favorite function to copy the selected favorite to the clipboard.

2. Select the favorite where you want to insert the copied favorite. Use the Insert Favorite function to insert the favorite from the clipboard.

Note:

All favorites existing after the position where you inserted will be moved back one space within that bank. The favorite at the last position in the bank (16) will disappear.

3. To delete the selected favorite, use the Delete Favorite function.

Note:

All favorites existing after the one you deleted will be moved forward one space within that bank. The last position in the bank (16) will become an initialized favorite.

Note: If you execute this function with the All Favorites check box selected, all favorites will be deleted.

2. In the edit screen, specify the parameters for each favorite.

If you want to recall a sound on an external MIDI device, adjust the appropriate Favorites Mode Select

settings.

Choose Internal if you want to play one of the KROSS internal sound generator’s sounds. When you register a sound from the front panel, that favorite is automatically specified as Internal. When you recall a favorite that’s specified as Internal, the program change that’s assigned to that favorite will be transmitted. (E.g., A-3=002, B1=016)

Choose the External MIDI setting if you want to recall a sound on an external MIDI device. The internal sound generator will be disabled, and will not produce sound.

Note: If you want to simultaneously switch and play sounds on the internal sound generator as well as an external MIDI sound module, use a combination with the EXT or EX2 settings. (see page 71 of the Parameter Guide)

Saving your Favorites

When you’ve finished registering sounds to buttons, save your Favorites settings. If you turn off the power without saving your settings, they will be lost.

1. Press the FAVORITES ACTIVE button to turn on the Favorites function.

Convenient ways to use favorites

Here are some ways to take advantage of favorites for even more convenience. For each favorite, you can adjust the following settings.

• Change the sound that’s registered (see “Modifying an

• Specify a program change and bank select that will be

You can adjust these settings by editing the favorite. To edit a favorite, proceed as follows.

existing favorite registration” on page 53)

transmitted via MIDI

2. Press the FUNCTION button, use the PAGE–(▲) button to select the Write Favorites function, and press the MENU (OK) button.

3. Press the MENU (OK) button. The settings will be saved.

Overview

OUTPUT L/MONO, R

Bus (Bus Select)

Track

Insert Eects Master Eects

FXCtrl Bus

Tempo Track

Tempo and time signature data

Insert Eect 1...5

Master Eect 1, 2

Song

MIDI Track 01..16

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Step Sequencer Arpeggiator

DrumTrack

Tone Adjust

Controllers

Sequencer

About the KROSS’s Sequencer

The sequencer brings together the KROSS’s numerous functions such as its arpeggiator, Drum Track, Step sequencer, high-performance 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 that were created in Sequencer mode as well as the song data 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.

If you wish to write the programs, track parameters, effects, and arpeggiator settings etc. that were used for a song as a template song, use the Save Template Song function.

Immediately after the power is turned on, the KROSS will not contain any song data, so if you wish to play a song on the sequencer, you must first load data from an SD card, or receive a MIDI data dump from a MIDI filer. For details, please see page 127, and page 178 of the Parameter Guide.

Sequencer mode structure

Sequencer mode is structured as follows.

A song consists of tracks 1–16, a tempo track, song parameters such as the song name, arpeggiator, Drum Track, Step sequencer function, and effect parameters.

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 tempo track consists of tempo and time signature data. (see “Setup parameters & Musical data” on page 100 of the Parameter Guide)

Song recording and editing

You can record in real time onto tracks 1–16. Realtime recording gives you a choice of six recording modes.

You can edit tracks 1–16 in units of tracks or measures, and you can also edit individual notes and other events. For example, you can use functions such as Create Control Data to insert a pitch bend, aftertouch, or control change data.

Sequencer

Location Tempo Mode TempoSong Select

Track Program Category

Track Select

Playing back

Playback methods

In order to play back song data in the sequencer, you must first, load song data into the KROSS.

First, let's load a demo song that contains preload data, and play it back.

Loading a song (demo song)

1. Execute “Loading the preloaded data” on page 131

This procedure will load program and combination data and demo song data into the KROSS. This means that any data you've edited or newly created will be overwritten and lost. If you want to keep this data, save it on an SD card (commercially available) before you continue.

Tip: To load song data that you saved on an SD card, see “Loading songs for use in Sequencer mode (.SNG)” on page 127.

Playing back a song

1. Press the SEQ button to enter Sequencer mode.

The SEQ> MAIN or SEQ> PROG page will appear. If this is not displayed, press the EXIT button three times.

2. Use “Song Select” to select the song that you want to play back.

You can also select a song by using the ENTER button, the cursor buttons ▲▼, and the VALUE dial.

However if there is no song, you can’t make a selection using these controllers.

Specifying the playback start location

By pressing the EXIT button ( ) and the SEQUENCER (REC) button ( ), you can move (locate) to a specified location. By default, you’ll move to 001:01.000.

You can use the song command “Set Location” to change this location. (see page 142 of the Parameter Guide)

Loop playback

Looping all tracks simultaneously

By selecting the LOOP check box, you can make the song play or record in a loop. In this example, we’ll loop measures 10 through 13 of the demo song.

1. In Sequencer mode, access the SEQ> MAIN page.

2. Add a check mark to LOOP (Loop All Tracks).

Use the cursor buttons ◄►▲▼ to select the parameter, and press the ENTER button.

3. Set the measure from which you want to start looping (the Loop Start Measure) to 10, and the measure at which you want to stop looping (the Loop End Measure) to 13.

Use the cursor button ► to select each parameter, and use the VALUE dial to specify the value.

LOOP: On Loop Start: M010 End: M013Song Select: 000

4. Press the SEQUENCER (start/stop) button to play back the demo song.

Measures 10 through 13 will play repeatedly.

3. Press the SEQUENCER (start/stop) button.

4. During playback, you can press the SEQUENCER

Note: Track Select chooses the track that will be played by the keyboard.

Song playback will begin.

The location indicator towards the upper left of the display shows the currently playing measure and beat.

(start/stop) button to stop playback.

If you press the SEQUENCER (start/stop) button once again, playback will resume from where you stopped.

To fast-forward or rewind, hold down the SEQUENCER

(start/stop) button and press the cursor button 

(fast-forward) or  (rewind).

You can use the FF/REW Speed function to specify the fast-forward and rewind speed. (Please see page 142 of the Parameter Guide)

Individually looping a track

During song playback or recording, you can make a currently-playing track loop individually.

As an example, try the following settings.

Note: Turn LOOP (Loop All Tracks) off. For more about Solo settings, see page 57.

LOOP: OSong Select: 003

Solo: On Solo: On

1. In Sequencer mode, access the S-LOOP/TONE> LOOP page.

Press the MENU button, select S-LOOP/TONE from the menu, and press the MENU (OK) button.

2. Select track 1 as the track where you’re adjusting settings.

Press the cursor button ◄ to make the track number towards the upper left side of the display indicate TRACK 01.

3. Turn on Track Play Loop.

Track Play Loop: On Play Intro: OnTrack Select: 01

Loop Start: M005 Loop End: M008

Track Play Loop: On Play Intro: OTrack Select: 10

Loop Start: M009 Loop End: M010

Use the cursor button ▲ to select the parameter, and press the ENTER button to add a check mark.

If a check mark is shown, the specified region of measures will loop during playback or recording.

4. Turn on Play Intro.

Use the cursor button ▼ to select the parameter, and press the ENTER button to add a check mark.

If a check mark is shown, playback will start from the first measure of the intro, and then the specified region of measures will repeat.

5. Set the Loop Start to M005, and the Loop End to M008.

Use the cursor button ▼ to select each parameter, and use the VALUE dial to specify the value.

6. Using the procedure described above, adjust settings for track 10 as shown in the illustration below.

Playing back Playback methods

Muting a specific track/Monitoring a specific track (Mute/Solo functions)

The KROSS provides a Mute function that lets you silence specified tracks between 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. Press the SEQUENCER (start/stop) button.

2. Access the SEQ> MIX page. Press the PAGE+ or PAGE+ button to select the page.

3. Use the cursor ▲ button to select Sound.

4. Use the cursor buttons ◄► to select the track that you want to mute. Select track 1.

5. Press the ENTER button to switch between Play and Mute.

The display will change from P (Play) to M (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.

6. Press the cursor ► button to select track 2, and press the ENTER button to switch it to Mute.

The playback of track 2 will also be muted. To cancel muting, press the ENTER button again.

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

Trac k 10

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

Trac k 10

1234567856785

9109109109109109109

5678567856785

9109109109109109109

Changing the volume, and pan settings of each track

In the SEQ> MIX page you can change the volume, and pan settings of each track.

7. Turn on Solo for track 1.

Press the FUNCTION button, select Solo Setting from the menu, and press the OK button. The Solo Setting dialog box will appear.

Use the cursor button ▼ to select Solo, and use the cursor button ◄ to select Track 01. When you press the ENTER button to add a check mark, the screen will indicate (S); now you’ll hear only the playback of track 1. In this way, you can play only a specific track that you want to hear.

If both Mute and Solo are used, the Solo function will be given priority.

Use the cursor button ► and the ENTER button to turn Solo on for track 2. The indication will change, and you’ll hear the playback of tracks 1 and 2. MIDI tracks 3– 16 will not be heard.

8. To turn off the Solo feature, press the ENTER button once again. Turn off Solo for MIDI 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 Sound settings.

The Solo is not stored when you save the song.

Sequencer

Category/Track Program Select

Track Info. Track Select

Status

Exclusive Solo

Exclusive Solo is a function that limits the Solo function (described above) to a single track at a time. If Exclusive Mode has a check mark, only the track for which Solo was last turned on will play; all other tracks will be silent.

Recording

The sequencer of the KROSS can record your keyboard performance and use of controllers such as the modulation wheel and pitch bend wheel in real time.

Usually you will use Single Track Recording to record one track at a time.

Note: In addition to Single Track Recording, you can also use Multi-Track Recording. (see page 61)

Preparations for recording

Before you begin recording, make sure that the memory protect setting in Global/Media mode is turned off. For details, please see “Protecting the memory” on page 116.

Selecting a song

1. Press the SEQ button to enter Sequencer mode.

2. Choose “Song Select” (e.g., in the SEQ> MAIN page).

Use the cursor buttons ◄►▼▲ to choose Song Select, and use the VALUE dial to select a song.

Note: Immediately after the power is turned on, there will be a single initialized song. If there is only one song, you won’t be able to select other songs.

Song Select

Tempo Mode

TempoLocation

rack Select

Track settings

Assign a program to each track, and specify its volume.

Tip: Here we are explaining how to adjust these basic settings step by step, but in the section that follows we will tell you how these settings can be adjusted automatically.

• “Using template songs” on page 59

• You can also use “Copying the settings of a combination or program” on page 60.

1. Assign a program to each track.

Press the PAGE+ button to access the SEQ> PROG page.

Use the cursor button ▼ to choose Program Select.

Recording Preparations for recording

Use the cursor buttons ◄► to select the track whose program you want to specify. Use the CATEGORY dial and VALUE dial to choose a program. The procedure is the same as when assigning a program to each timbre of a combination. (see page 48)

Tip: You can copy various settings from Programs or Combinations. (see pages 138, 139 of the Parameter Guide)

2. Use Status to specify whether each track will play the internal and/or external sound generator.

Normally when using the KROSS, you will select INT or BTH.

INT: During playback, the KROSS’s internal tone generator will play the MIDI data recorded on that track. When you use the KROSS’s keyboard or controllers, you will be playing and controlling the track selected by

Tra c k S elec t .

EXT, EX2, BTH: During playback, the MIDI data

recorded on that track will be transmitted from the MIDI OUT to play an external sound module. When you use the KROSS’s keyboard or controllers, MIDI data will be transmitted to play and control the external sound module selected by Track Select. The MIDI channel of the external tone generator must be set to match the MIDI Channel (S-TRACK> MIDI page) of KROSS tracks that are set to EXT, EX2 or BTH.

If Statu s is set to BTH, both the external tone generator and internal tone generator will be played and controlled.

3. Set the pan and volume of each track.

Press the PAGE+ button to access the SEQ> MIX page. Use the cursor button ▼ to choose Pan or Volume.

Use the cursor buttons ◄► to select the track whose settings you want to edit.

Pan sets the pan position of each track, and Vo l um e sets the volume level of each track.

6. Set the tempo and time signature.

• To set the tempo, select TEMPO in REALTIME CONTROLS. To set the tempo, either turn KNOB 1 (TEMPO) or press the SWITCH (TAP) button at the desired interval.Alternatively, you can select  (Tempo) in the SEQ> MAIN page (or similar page), and use the VALUE dial to set the tempo. Set Tempo Mode to Manual.

ext you will set the time signature. In this example,

• N we’ll explain how to set the time signature using the “Time Sig (Time Signature)” field. Normally, you specify the time signature before recording the first track, and then begin recording.

a) Access the SEQ> REC page.

b) Press the

Sig (Time Signature)” to **/**.

c) Press **/** to highlight it, and use the VALUE controllers to

set the time signature.

d) Press the SEQUENCER (start/stop) button. to begin

recording. When the pre-count has ended and Locate reaches 001:01.000, press the SEQUENCER (start/stop) button to stop recording. The time signature you specified has now been recorded on the Tempo track. If you press the SEQUENCER (start/stop) button during the pre-count, the time signature won’t be recorded.

7. Adjust other settings as needed.

Adjust settings for the arpeggiator (S-ARP page) and the MIDI filter (S-MIDI FILTER page). (see page 76)

If you want, you can make adjustments to the sound by using the Tone Adjust function (S-LOOP/TONE> TONE ADJ, EQ ADG pages).

When you’ve finished the above settings, basic setup is complete.

SEQUENCER (REC) button, and set “Time

Saving your song parameter settings

The song parameter settings that 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 140 of the Parameter Guide.

4. Specify the MIDI channel that each MIDI track will play.

Access the S-TRACK> MIDI page. Press the MENU button to select S-TRACK. Move to the appropriate page.

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.

Use the S-FX ROUTING, S-IFX, and S-MFX pages to adjust settings in each page.

(see “Effect settings for a combination or song” on page 70)

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 SEQ> MAIN page, press the FUNCTION button, choose Load Template Song from the menu, and press the MENU (OK) button. 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 drum track 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.

Sequencer

4. Press the MENU (OK) button to load the template song, or press the FUNCTION (CANCEL) button if you decide to cancel.

When you perform this operation, song settings other than Track Play Loop will be copied.

5. In the “From” field, select the pattern that you want to copy.

To actually hear the currently selected pattern, press the

SEQUENCER (start/stop) button.

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 700 preset patterns, the musical style and the name of the most suitable Drum category program are partially displayed.

By loading a drum 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 MENU (COPY) 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 FUNCTION (EXIT) button.

4. To execute the Auto Song Setup function, press the SEQUENCER (REC) button or the MENU (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 step sequencer’s RUN on/off setting and the Drum Track’s on/off setting when Trigger Mode is set to “Start Immediately” will not be copied. If you want to use these settings, press the appropriate buttons to turn them on.

The first unused song will be the copy-destination song.

5. The KROSS will automatically enter record-ready mode, and the metronome will sound according to the Metronome setting. (see page 110 of the Parameter Guide)

6. Press the SEQUENCER (start/stop) button to begin realtime recording. To stop recording, press the SEQUENCER (start/stop) button once again.

Copy From Combination and Copy From Program functions

In Sequencer mode, you can use these functions to copy combination or program settings to a song.

If you select all of the check boxes in the dialog box, the same settings will be copied.

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.

• Copy From Combination or Copy From Program functions. (see pages 138, 139 of the Parameter Guide) In Sequencer mode, you can use these functions to copy the desired settings.

Auto Song Setup function

1. Enter Combination mode.

2. In COMBI> MAIN 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 functions.

3. Press the SEQUENCER (REC) button. Alternatively, select the “Auto Song Setup” function.

The Setup to Record dialog box will appear.

Creating a new song

1. Press the SEQ button. You’ll enter Sequencer mode.

2. Press the FUNCTION button, choose the Create New Song function from the menu, and press the MENU (OK) button (SEQ> MAIN page, etc.). A dialog box will appear.

3. Enter the number of measures in Set Length.

You can change the number of measures later if necessary. (see “Set Song Length” on page 142 of the Parameter Guide)

4. If you add a check mark to “Select the number,” you’ll be able to specify the number of the new song. If there is no check mark, the song will be numbered consecutively.

5. Press the MENU (OK) button to create the song.

Recording MIDI in real time

Track Select

LOOP (Loop All Tracks)

Multi REC

Recording Setup



 

      

When you’ve finished with the “Preparations for recording” section 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 Step sequencer 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 KROSS’s sequencer in real time.

Recording Recording MIDI in real time

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 re-record 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 (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”.

Recording setup

In SEQ> REC page Recording Setup, select the realtime recording method that 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.

Play the keyboard; you’ll hear the selected track.

2. Set the Recording Setup to Overwrite.

Multi Rec (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 Step sequencer functions, or when recording from an external multi-track sequencer.

Recording resolution

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.

Adjust these settings in the SEQ> REC page.

For example if REC Resolution is set to , the timing of your realtime-recorded notes will be automatically adjusted as shown in section “2” of the following illustration whenever it varies from 8th note intervals.

If REC Resolution is set to Hi, the notes will be recorded with the timing at which you play them.

3. Press the SEQUENCER (REC) button, and then press the SEQUENCER (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 Modulation wheel to record your performance.

4. When you finish playing, press the SEQUENCER

(start/stop) button.

Recording will end, and the location will return to the point where you started 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.

Tip: To correct already-recorded data, use the Quantize function.

First, access the S-TRACK EDIT >SELECT MEASURE TO EDIT page. Then specify the target of quantization and the range of measures, and select the Quantize function. Specify the steps that will be corrected and the strength of correction, and then apply quantization. If you want to return to the state prior to quantizing, use the Undo function from the function list.

Sequencer

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.

Hi-Hat: F#3 Snare: E3 Bass Drum: C3

1. Create a new song, and specify a drum program for track 01.

Use Track S e l e c t to select track 01, and verify that you hear a drum program. (see page 58)

2. Access the SEQ> REC page. In Recording Setup, specify “Loop (Loop All Tracks)” and set it to M001M001.

With this setting, measure 1 will be recorded repeatedly. The newly recorded data will be added at each pass.

3. Set “REC Resolution” to .

4. Press the SEQUENCER (REC) button, and then the SEQUENCER (start/stop) button.

The metronome will sound a two-measure count-down, 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.

Tip: Pressing the SEQUENCER (REC) button (lit) while recording will pause recording. At this time, the REC button blinks. When you press the SEQUENCER

(REC) button once again, recording resumes.

7. Press the SEQUENCER (start/stop) button to stop recording.

8. Play back the result, and listen to the drum performance that you recorded.

Press the SEQUENCER (start/stop) button When you’ve finished listening, press the SEQUENCER (start/stop) button once again to stop playback.

9. If you’re not satisfied with your performance, you can select the Undo function to return to the state prior to recording. Record again from step 4.

Note: When you’ve finished recording, clear the LOOP (Loop All Tracks) check box, and set Recording Setup to the Overwrite setting that you normally use.

In addition, access the S-LOOP/TONE> LOOP 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.

Performing with the arpeggiator drum track or step sequencer

Based on the 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. You can use two arpeggiators simultaneously. For more about the arpeggiator, please see page 73.

The Drum Track plays a variety of drum patterns using the drum program that you’ve assigned to the desired track. For more about the Drum Track, please see page 83.

You can select the drum program that you want, and specify how it will start.

The step sequencer uses the drum program of track 16. You can use pads 1–16 to intuitively create drum loop patterns and play them. For more about the step sequencer, please see page 89.

Recording your pad sampler performance

By assigning a MIDI channel to the pad sampler, you can record your pad performance as note data on a track.

Select a song, and in the MAIN page, turn “SMP” on; the timbre that's assigned to track 15 is disabled (does not sound), and instead the on/off events of the pad sampler are recorded as note-on/off events of the MIDI channel that's assigned to track 15.

If “SMP” is off, the track 15 timbre can be used as usual.

Note: It is not possible to change the track used for the pad sampler to any setting other than 15.

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.

GM, XG, and GS exclusive messages can be recorded on a track, but the KROSS’s tone generator will not respond to these messages.

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 G-MIDI> FILTER Enable Control Change and Enable Exclusive settings must be checked. Go to Global/Media mode and verify that these items are checked.

Note: Use Param. MIDI Out in G-MIDI> OUT 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.

Recording Recording System Exclusive events

Recording internal parameter changes

You can use SysEx for automation of internal KROSS 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 G-MIDI> FILTER setting Enable Exclusive is checked. Go to Global/Media mode and verify that this is checked.

1. Select the desired program for MIDI track 1, and route it to IFX1. Then record a phrase of about sixteen measures.

• In the SEQ> PROG page, use “Program Select” to select the desired program for MIDI Track 01.

• In the S-FX ROUTING> BUS page, route the Track 01 Bus to IFX1. Then in the S-FX ROUTING> IFX page, select the desired effect for IFX1.

• Select Track 01 in Track Select. Then press the the SEQUENCER (REC) button, and then the SEQUENCER (start/stop) button, and record a phrase of about sixteen measures.

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 SEC> REC page Recording Setup to “Overdub.”

• Select Track 09 in Track Select. Then pressthe SEQUENCER (REC) button, and then the SEQUENCER (start/stop) button, and begin recording.

• At the appropriate time while recording, adjust the parameter(s) that you want to realtime-record.

In the S-FX ROUTING> IFX page, select another effect for IFX1, and modify the effect parameter values.

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 152 of the Parameter Guide.

3. Stop recording.

Note: Exclusive messages are always recorded on the current track selected by Track S e l e c t . In this example, they are recorded on MIDI track 9.

Note: In the 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 S-TRACK EDIT page, and select the MIDI Event Edit function. 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., S-FX ROUTING> IFX) that shows the parameters you’ve adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Exclusive messages that will be recorded during realtime recording

The following exclusive messages will be recorded. (see page 152 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.

Sequencer

Song editing

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 59)

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 settings 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.

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.

Copies

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.

Create/Erase Control: The Create Control command creates control change, aftertouch, pitch bend, or tempo data in the specified region of a MIDI track or the tempo track. The Erase Control 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.

Rename Track: This command renames the selected track. You can enter up to 24 characters.

Tracks

Event Edit: Here you can edit individual events of MIDI data.

Erase Track: This command erases the data from the specified track.

Copy/Bounce Track: The Copy Track command copies musical data from the copy source track to the specified track. The Bounce Track 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 E n d of Measure, and musical data following the inserted data will be moved backward.

Saving your MIDI song

In order to ensure that the data you create is reproduced faithfully, we recommend that you save your data by using the Save All command 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 songrelated data (.SNG) will minimize the size of the data.

When you turn off the power, the Sequencer mode settings and the recorded songs 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. Hold down the EXIT button ( ) and press the SEQ button ( ) to enter Global/Media mode.

3. Press the MENU button and select the MEDIA tab; the MEDIA>FILE page appears.

Tip: When the Global/Media mode GLOBAL tab is displayed, you can once again hold down the EXIT button ( ) and press the SEQ button ( ) to jump to the MEDIA tab.

4. Press the FUNCTION button. Press the PAGE– or PAGE+ buttons to choose Save All.

5. Press the MENU (OK) button.

The Save All (PCG and SNG) dialog box will appear. If you want to change the name, you can do so. (see page 124)

6. Press the MENU (OK) button to save (write) the data.

If data of the same name already exists, a message will ask whether you want to overwrite the existing data. If you want to overwrite the existing data, press the MENU (OK) button.

Saving your MIDI song Tracks

Saving a template song

If there are sounds or settings that you use frequently for songs, it’s convenient to save them as a template song.

Use the Save Template Song function to do this.

Note: The saved data will contain settings for the programs that are selected for the song, as well as the track parameters, effect settings, and arpeggiator settings.

Sequencer

Using Effects

Stereo In - Stereo Out

Mono In - Mono Out

Mono In - Stereo Out

Eect

Wet

Stereo In - Stereo Out

Mono In - Mono Out

Mono In - Stereo Out

Eect Eect

Eect

Wet

Oscillator1 Filter1 Amplier1

Oscillator2 Filter2 Amplier2

Insert

Eect 1–5

Drum Track

Step Seq

Return

OUTPUT L/MONO, R

Send

Master

Eect 1, 2

An overview of the KROSS’s effects

You can choose from 134 different types of high-quality digital effects. The KROSS provides five insert effects, and two master effects, 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 KROSS’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.

Master effect 1 can use the effects S01: Stereo Compressor– S87: Phaser- Cho/Flng and D00: St.Mltband Limiter–D13: Early Reflections.

Master effect 2 can use the effects S01: Stereo Compressor– S120: Reverb- Gate.

Note: The Parameter Guide includes block diagrams for each individual effect, which include the effect’s input/ output structure. (see page 219 of the Parameter Guide)

Effect I/O

Insert Effects

Insert Effects (IFX 1–5) are stereo-in/stereo-out. If you select Dry (unprocessed) for the “Wet /Dry” 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:

Insert effect 1 can use the effects S01: Stereo Compressor– S63: Rotary Speaker and D00: St.Mltband Limiter–D10: Rotary SpeakerOD.

Insert effects 2–4 can use the effects S01: Stereo Compressor–S61: AmpSim - Tremolo and D00: St.Mltband Limiter–D09: Vocoder.

Insert effect 5 can use the effects S01: Stereo Compressor– S61: AmpSim - Tremolo.

Master Effects

Master Effects MFX1 and MFX2 are stereo-in/stereo-out. “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 outputs are mixed with the L/R output bus (in each mode, FX ROUTING> BUS page or MIXER page).

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.

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 and Amplifier to process the sound from the oscillators (OSC 1 & 2). Then use the master effects to add spatial processing such as reverb to create the final sound. You can also use the same effects on the audio output of the Drum Track and the step sequencer program. These settings are made individually for each program.

Combination and Sequencer modes

In Combination and Sequencer modes, you can 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.

Master

Send

Eect 1, 2

Timbre 1 /MIDI Track 1

Timbre 16 /MIDI Track 16

Insert

Eect 1–5

External input (or audio in)

You can apply effects to an external audio input in any mode: Program, Combination, or Sequencer mode. To specify the effects that you want to use, set the common

Return

OUTPUT L/MONO, R

Using Effects

input settings of the KROSS in G-SET (Use Global Settings), or use the individual parameters of each mode to specify the BUS or Send settings. (see “Effect settings for audio input” on page 71)

Depending on the type of effects that you’re using on the external audio input, and on their settings, it is possible for feedback to occur. If this occurs, adjust the input/output levels and the effect settings. Take special care when using high-gain effects.

Audio recorder

The audio recorder can record the sound as it is processed by the effects specified in Program, Combination, or Sequencer mode.

You can’t apply effects to the playback of the audio recorder.

Pad Sampler, USB Audio

Effects cannot be applied to the playback of the pad sampler, nor to the USB audio input.

Audio Recorder

Oscillator1 Filter1 Amplier1

Oscillator2

Line In (stereo)

Mic In (mono)

USB Audio

REC

PLAY

Filter2 Amplier2

Input

Output

Insert

Eect 1–5

Send

Master

Eect 1, 2

Return

OUTPUT L/MONO, R

Routing and effect settings

Routing lets you specify how each sound will be connected to the various effects. In each mode, you can adjust settings for the program’s oscillators, the combination’s timbres, and the song’s tracks.

Here we’ll explain how to adjust routing settings in each mode, and how to edit the effect settings.

Effect settings for a program

Routing

1. Access the P-FX ROUTING> BUS page.

2. “Bus (Bus Select)” specifies the bus where the output from the oscillators will be sent. Here we’ll choose IFX1 so that the output of the oscillators will be sent to insert effect 1.

L/R: The oscillator output will not be sent to an insert

effect. It will pass through the total effect, and then be sent to OUTPUT L/MONO and R.

IFX1–IFX5: The oscillator output will be sent to insert effect 1–5.

Off: The oscillator output will not be sent to OUTPUT L/ MONO or R, or to insert effects 1–5. Choose this if you want to send the sound directly to the master effects at the send levels specified by Send1 (to MFX1) or Send2 (to MFX2) (P-FX ROUTING> SEND page).

3. If you selected L/R or Off in step 2, you can use each oscillator’s Send1 (to MFX1) and Send2 (to MFX2) parameters to set the send levels to the master effects.

Adjust these settings in the P-FX ROUTING> SEND page.

If Bus (Bus Select) is set to IFX1–5, the send levels from the output of each insert effect to the master effects are specified by the S1 (Send1) and S2 (Send2) parameters (P-Fx Routing Mixer page). (see step 6 of the next section, “Insert effects”)

4. “FX Control Bus” sends the output of oscillators 1 and 2 to the FX control bus.

Use this when you want to use a different sound to control the sound that’s being input to an effect. You can use two FX control buses to freely control the sound. (see “FX Control Bus” on page 211 of the Parameter Guide)

Routing and effect settings Effect settings for a program

Eect On/O Eect Chain Chain To

Pan:#8 Bus Send1 Send2 FX Control Bus

Eect ParametersEect On/O

Wet/Dry

Insert effects

1. Access the P-FX ROUTING> IFX page.

2. In the Effect area, select each insert effect that you want to use.

You can press the ENTER button and choose from a list.

Tip: You can use the “Copy Insert Effect” function to copy the effect settings from another effect. The “Swap Insert Effect” function lets you exchange (for example) insert effects 1 and 5.

3. In the Effect On/Off area, turn the insert effect on.

Each time you press the ENTER button, the insert effect will turn on or off. If this is Off, the result will be the same as if 000: No Effect is selected; the input sound will be output without change.

4. Specify the chain setting.

If the Chain check box is selected, the insert effect will be chained in series. Set the Chain To parameter to “→2.”

If →2 is selected, the insert effects will be connected in series in the order of IFX1 → IFX2.

5. Access the P-FX ROUTING> MIXER page.

7. In the P-FX ROUTING> IFX page, edit the parameters of the insert effect you selected.

Edit the parameters in the P-IFX> IFX 1–5 pages.

Effect On/Off: Turns the insert effect on/off. This is linked with the on/off setting of the P-FX ROUTING> IFX page.

For details on the parameters of each effect, please see page 219 and following of the Parameter Guide.

Double-size effects

Double-size effects (D00: St.Mltband Limiter–D13: Early Reflections) use twice as much processing area as other effects.

D00: St.Mltband Limiter–D10: Rotary SpeakerOD can be used with insert effect 1, D00: St.Mltband Limiter–D09: Vocoder can be used with insert effects 2–4, and D00: St.Mltband Limiter–D13: Early Reflections can be used with master effect 1.

When you use a double-size effect, the next-numbered effect will be unavailable. For example if you’ve selected a doublesize effect for IFX1, you won’t be able to use IFX2.

Example of when a double-size effect is selected for IFX1

6. Set the “Pan:#8,” “Bus (Bus Select),” “FX Control Bus,” “Send1,” and “Send2” parameters to specify the pan and routing of the signal following the insert effect.

If Chain is On, the settings that follow the last insert effect will be used. (FX Control Bus is an exception.)

Pan: #8: Specifies the pan.

Bus (Bus Select): Specifies the output destination.

Normally you’ll set this to L/R.

Send1, Send2: Specify the send levels to the master effects. For this example, set them to 127.

FX Control Bus: The sound that has passed through the insert effect is then sent to the FX control bus. This allows you to use a different sound to control the input to an effect. You can use two FX control buses, giving you a wide range of possibilities for controlling the effects. (see “FX Control Bus” on page 211 of the Parameter Guide)

Master effects

1. “Send1” and “Send2” settings (P-FX ROUTING> SEND page or P-FX ROUTUNG> MIXER page) determine the input level to the master effects. If “Send1” and “Send2” are set to 0, nothing will be input to the master effects. “Send1” corresponds to MFX1, and “Send2” corresponds to MFX2.

2. Access the P-MFX> SETUP page.

Using Effects

3. For MFX1 and MFX2, select a master effect for each.

The procedure is the same as when selecting an insert effect. (see “Insert effects”)

Note: Double-size effects can be selected only for MFX1. (see “Double-size effects”)

4. Press the On/Off button to turn the master effect on.

The master effect will alternate on/off each time you press the button. If it is Off, the output of the master effect will be muted.

5. Use Return1 and Return2 to adjust the output level of the master effects.

Note: For each effect’s Wet/D ry setting, the Wet value is the output level of that effect. The Dry sound will not be output. This value is multiplied by the return setting (with Return= 127 as ×1.0) to determine the actual output level of the master effect.

6. Select the MFX1 or MFX2 page, and edit the effect parameters in each page. (Please see step 7 of “Insert effects”)

Effect settings for a combination or song

In Combination and Sequencer modes, you can specify how each timbre or track is routed to the insert effects, master effects, and total effects. The procedure for adjusting settings is similar in each mode. Here, we’ll explain the procedure for Combination mode.

Routing

1. Access the C-FX ROUTING> BUS page.

2. Use Bus (Bus Select) to specify the bus where the output of each timbre will be sent. If you want the output of the timbre to be sent to insert effect 1, choose IFX1.

The display shows the routing, the insert effects, and the chain settings. In this example, T01 (timbre 1) is using IFX1 and 2. T02 is using IFX3, T03 is using IFX4, and T11, T12, T13, and T15 are using IFX5.

3. Access the C-FX ROUTING> SEND page.

Use Send1 and Send2 to specify the send levels from each timbre to the master effects.

This setting is valid only if Bus (Bus Select) is set to L/R or Off.

Note: The actual send level is determined by multiplying this setting with the Send1 or Send2 value of oscillators 1 and 2 in the program selected by the timbre. If the program’s S1 (Send1) or S2 (Send2) setting is 0, the actual level will be 0 even if you raise the send level setting here.

If Bus (Bus Select) is set to IFX1–IFX5, the S1 (Send1) and S2 (Send2) (C-FX1 ROUTING> MIXER) settings following the insert effect will determine the send levels to the master effects.

4. Access the C-FX ROUTING> MIXER page.

FX Control Bus sends the timbre’s output to the FX

control bus. Use this when you want to use a different sound to control the input to an effect.

You can use the two FX control buses to control effects with a great deal of flexibility. (see “FX Control Bus” on page 211 of the Parameter Guide)

Routing and effect settings Effect settings for audio input

Insert effects

1. Access the C-FX ROUTING> IFX page.

2. Select an insert effect for each IFX1–5, and edit its settings.

3. Access the C-IFX page. Select the IFX1–5 pages, and edit the effect parameters in each page.

You can adjust these settings in the same way as a program. (see page 69)

You can use MIDI to control each effect’s dynamic modulation (Dmod) and the “Pan (CC#8),” “Send1,” and “Send2” following the insert effect. These settings are controlled on the MIDI channel specified by “Ctrl Ch.” For timbres that are routed to an insert effect, a “*” symbol is shown to the right of the channel number Ch01–16. If multiple timbres with differing MIDI channel settings are routed, you can specify here the channel where control will occur.

Master effects

You can adjust these settings in the same way as a program. (see page 69)

Dynamic modulation (Dmod) for the master effects and total effect can be controlled on the MIDI channel specified by “Ctrl Ch.”

Effect settings for audio input

You can apply the KROSS's effects to an external audio input from the LINE IN jack or MIC IN jack, and record it on the audio recorder or pad sampler; you can also apply an effect to the mic input or line input along with the program or combination that you're playing. In addition, you can use a vocoder effect (D09: Vocoder) that uses the external mic input to control an internal sound.

Normally, the settings of the Global/Media mode G-INPUT> AUDIO IN page are shared. For special cases, such as when you want to have specific settings for a vocal mic, you can adjust individual settings for a program, combination, or MIDI sequencer song.

Routing

1. In REALTIME CONTROLS, select AUDIO IN 2 and use the SWITCH button (MIC/LINE) to specify the input jack that you want to enable, either Mic (LED lit) or Line (LED unlit).

If you want to save the edited settings, press "WRITE" (MENU button) in the popup screen that appears when you operate a switch or knob.

2. In REALTIME CONTROLS, select AUDIO IN 1 and use the KNOB 1 knob (GAIN) to adjust the input gain to an appropriate setting.

3. In REALTIME CONTROLS, select AUDIO IN 1 and use the KNOB 2 knob (MFX2/REVERB) to specify the send level to master effect 2.

For preload sounds, either a reverb-type or a delay-type effect is assigned to master effect 2.

4. If you want to access more detailed settings, press the FUNCTION ("QUICK SETTING" ) button in the popup screen that appears when you operate a button or knob in steps 1, 2, or 3.

5. Use Bus (Bus Select) to specify the bus where the audio input will be sent. For example if you want the output of the device that’s connected to LINE IN to be input to insert effect 1, specify IFX1 as the Bus (Bus Select) setting when selecting the routing.

6. Use Send1 and Send2 to specify the send levels from the input to the master effects.

These settings are available only if Bus Select is set to L/ R or Off.

If Bus Select is set to IFX1–5, the send levels to the master effects are specified by the Send1 and Send2 parameters (in each FX ROUTING> SEND page) for the signal that has passed through the insert effects.

Using Effects

7. The Level parameter specifies the level of the external audio signal that’s being input. Normally you’ll leave this at 127.

8. The FX Control Bus sends the audio input to the FX Control bus. Use this when you want to use another sound to control the effect input. You can use two separate FX Control buses to control the effects with a great deal of flexibility. (see “FX Control Bus” on page 211 of the Parameter Guide)

If you want the edited settings to be saved in the KROSS, be sure to execute the Write function. Do this using the PAGE+ (WRITE G-SET) button in the AUDIO IN -QUICK SETTING- dialog box.

The input gain (Gain) setting will be saved in Global/ Media mode. Although you can edit this in the AUDIO IN page or the QUICK SETTING dialog box of each mode, you can’t save it individually for a program, etc.

9. If you want the Input settings of Global/Media mode to be used in the other modes, check G-SET in the "AUDIO IN" page of each mode. If you want to use individual input settings in Program, Combination, and Song modes, clear this check mark.

Dynamic modulation (Dmod)

Dynamic modulation (Dmod) lets you use MIDI messages or the KROSS’s controllers for realtime control of specific effect parameters.

Another way to control effect parameters is to use MIDI/ Tempo Sync, which allows the LFO speed of a modulation effect or the delay time of a delay effect to be synchronized to the tempo of the arpeggiator or sequencer.

(see “Dynamic modulation (Dmod) and Tempo Synchronization” on page 210 of the Parameter Guide)

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 KROSS’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 subtly-moving pads, synth-sounds, or sound effects.

The KROSS’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 KROSS 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 78)

Using the arpeggiator in Program mode

Turning the arpeggiator on/off

1. Press the PROG button to enter Program mode, and select a program. For details, please see “Selecting Programs” on page 27.

2. Press ARP button (the LED will light up) to turn on the arpeggiator.

3. When you play the keyboard, the selected arpeggio pattern will start playing.

4. Press the ARP button once again to turn off the arpeggiator (the button will be unlit).

If it had been playing, it will stop.

Note: The on/off status is saved when you write the program.

Changing the tempo

• In REALTIME CONTROLS, select TEMPO and use the KNOB 1 knob (TEMPO) or the SWITCH button (TAP) to adjust the tempo.

The tempo can be adjusted in the range 040.00-300.00. The SWITCH button LED blinks at quarter-note () intervals.

Note: The tempo setting is also saved when you write a program.

Note: The arpeggio playback speed is affected by the Resolution (PROG> ARP page or P-ARP> SETUP page).

Note: In the P-INPUT/CTRL> CONTROLLERS page you can use the VALUE dial or the cursor buttons to edit the setting.

Tip: You can synchronize the tempo with an external MIDI device. (see page 117)

If the KROSS is set to synchronize with an external device, you can’t adjust the tempo on the KROSS itself.

Arpeggiator control (MOD)

You can control the duration, strength, and rhythmic feel of the arpeggiated notes.

1. Access the PROG> ARP page.

Use the PAGE+ button (or PAGE− button) to select the page.

2. Use the cursor buttons ◄►▲▼ to select the

following parameters to edit.

3. Use the VALUE dial etc. to edit the value.

Arpeggiator function

DOWN

ALT2

RANDOM

Arpeggiator control: [GATE], [VEL], [SWING]

Operation settings

Arpeggio Pattern Select

Changing the length of the arpeggiated notes

• By selecting the arpeggiator control [GATE] and adjusting the value, you can change the duration of the arpeggiated notes.

Negative “–” values make the notes shorter, and positive “+” values lengthen them. If this is 00, the note length will be as specified by the program parameter Gate (PARP> SETUP page).

Note: It is effective to adjust the Release on the PROG> TONE page.

Note: You can also change the duration of the arpeggiated notes by adjusting ARP-GATE (the KNOB 2 knob) in the TEMPO row of REALTIME CONTROLS. (Please see page 308 of the Parameter Guide)

Changing the strength of the arpeggiated notes

• By selecting the arpeggiator control [VEL] (Velocity) and adjusting the value, you can change the strength of the arpeggiated notes.

Negative “–” values make the notes weaker, and positive “+” values strengthen them. If this is 00, the strength of the notes will be as specified by the program parameter Velocity (P-ARP> SETUP page).

Note: It is effective to adjust Cutoff, Resonance, and EG Intensity in the PROG> TONE page.

Preset: UP–Preset: Choose an arpeggio pattern from RANDOM or 0000–1023.

With the factory settings, a variety of arpeggio patterns are provided in the range 0000–1023.

Preset: UP

Preset: DOWN

Preset: ALT1

ALT1

Preset: ALT2

Giving a shuffle feel to the arpeggio pattern

• By selecting the arpeggiator control [SWING] and adjusting the value, you can shift the timing of the evennumbered arpeggiated notes forward or backward.

Negative “–” settings will make the even-numbered notes earlier; positive “+” settings will make them later. If this is at the center position (12 o’clock), the setting will be as specified by the program parameter Swing (P-ARP> SETUP page).

Note: Swing has no effect on the preset patterns.

Arpeggio pattern selection and operation settings

In the PROG> ARP page you can select an arpeggio pattern and specify how the arpeggiator will function.

1. Access the PROG> ARP page.

2. Use the cursor buttons ◄►▲▼ to select the

following parameters to edit.

3. Use the VALUE dial etc. to edit the value. Press the ENTER button to switch the setting of the check box.

Selecting an arpeggio pattern

•In the Arpeggio Pattern Select area, select an arpeggio pattern.

Preset: RANDOM

Playing arpeggios across multiple octaves

•Use the Octave setting to specify the range of 1–4 octaves in which the arpeggio will be generated.

Octave: 4

Using the arpeggiator while you play Using the arpeggiator in Combination mode

ON, UP

Sort

OFF, UP

Sort

1324

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 –  .

Sounding an arpeggio in the order of the pitches in the chord you played

• The Sort parameter lets you 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 that you played the notes.

Checked: the arpeggio will play each note in the order of its pitch, regardless of the order that you actually played the notes.

Unchecked: the arpeggio will trigger each note in the order that you actually played the notes.

Setting the arpeggio to continue playing even after you have taken your hand off the keyboard

• The Latch parameter lets you select whether the arpeggio will continue playing when you take your hand off the keyboard, or whether the arpeggio will stop.

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

• The Key Sync. parameter lets you 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.

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

• The Keyboard parameter lets you specify whether the notes that you play on the keyboard will be sounded along with the arpeggiated notes.

Checked: The notes you play on the keyboard and the notes played by the arpeggiator will both be heard.

Unchecked: Only the arpeggiated notes will sound.

Specifying the zone where the arpeggiator will function

In P-ARP> SCAN ZONE page you can specify the range of notes (keys) and velocities where the arpeggiator will function.

Using the arpeggiator in Combination mode

In Combination mode the KROSS provides dual arpeggiators, allowing you to run two arpeggio patterns simultaneously.

1. In Combination mode, select a combination. (see “Selecting Combinations” on page 45)

2. Each time you press the ARP button, the arpeggiator will turn on or off.

Tip: 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 77)

3. If the arpeggiator is on, an arpeggio will start playing when you play the keyboard.

In some combinations or songs, depending on the arpeggiator A and B settings, the arpeggiator might not start even if you turn on the ARP and play the keyboard. (see page 77)

4. In REALTIME CONTROLS, select TEMPO and use the KNOB 1 knob (TEMPO) or the SWITCH button (TAP) to adjust the tempo.

The ARP button and the KNOB 1 (TEMPO) knob and SWITCH (TAP) button in the TEMPO row of REALTIME CONTROLS apply to both arpeggiators A and B. Their state is saved when the combination is written.

Selecting an arpeggio pattern and adjusting settings

You can select an arpeggio pattern and specify how the arpeggiator will function.

1. Access the COMBI> ARP page.

Arpeggiator control: [GATE], [VEL], [SWING]

Arpeggio Pattern Select

Timbre Assign A

Adjusting settings

2. Notice how the arpeggio changes as described in “Arpeggiator control (MOD)” on page 73, and “Arpeggio pattern selection and operation settings” on page 74.

Timbre Assign BArpeggiator Run B

Arpeggiator function

Select the arpeggiator(s) that will run

Use the Arpeggiator Run setting to enable the arpeggiator(s) that you want to use. The arpeggiator(s) that this is on 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 C-ARP> ASSIGN page Arpeggiator Assign. (see page 76)

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 74)

Arpeggiator settings in Combination and Sequencer modes

In Combination and Sequencer modes, you can use two arpeggio patterns simultaneously, thanks to the KROSS’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 run. →step 6

• Select an arpeggio pattern and set parameters independently for A and B. →step 7

• Select Scan Zone page settings so that you can use the keyboard range or playing velocity to switch between normal playing and arpeggiated playing, or to switch between arpeggiators A and B. →step 8

• Adjust settings for timbres that will be silent when the arpeggiator is Off, and will sound only when the arpeggiator is On. →step 10

3. Access the C-ARP> ASSIGN 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. Adjust “ARP 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. In the C-ARP> A, B pages, set the Run (Arpeggiator Run) parameter.

Turn this on for the arpeggiator(s) that you want to use. 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 timbre 1, and arpeggiator B to run for timbres 2 and 3. When the ARP button is turned off, timbres 1–4 will sound as a layer.

If all timbres ARP Assign status are set to Off, or if Run (Arpeggiator Run) is unchecked, the arpeggiator will not function.

Arpeggiator settings

1. Select COMBI> PROG page.

Select programs for the timbres that you wish to use. For this example, select any desired program for timbres 1–4.

For the timbres that you want to use, set their Status to INT. For this example, set Status to INT for timbres 1–4, and Off for timbres 5–16.

2. Access the C-TIMBRE> MIDI page.

Set the MIDI Channel to match the Gch or global MIDI channel (set in G-MIDI> BASIC page MIDI Channel).

For timbres 1–4, set MIDI Channel to Gch.

7. On the C-ARP> A, 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 74)

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 C-ZONE/DELAY> KEY ZONE, and VEL ZONE 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/

Using the arpeggiator while you play Linking the arpeggiator to programs or combinations

Media mode, and write the combination. (see pages 116, 122)

10.The “Status,” “MIDI Channel” and “Arp Assign” settings shown in the display of steps 1 to 3 can be adjusted so that certain timbres will sound only when the arpeggiator is On, and will be silent when the arpeggiator is Off.

Combination PIANO: 032 Piano Trio

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 (GMIDI> BASIC MIDI Channel) is set to 01.

Select combination PIANO: 032 Piano Trio, turn the ARP button on, and play. To make the arpeggiator performance more clearly audible, turn off the DRUM TRACK button.

• Arpeggiator A is assigned to timbres 2, 3 and 14 (COMBI> ARP page). When you play the keyboard, the bass riff arpeggio pattern will sound timbres 2 and 3.

•The A Bottom Key and Top K e y (C-ARP> SCAN ZONE page) are set so that arpeggiator A will function only for notes C4 and lower.

• Arpeggiator A is also assigned to timbre 14, but this is so that the timbres 2 and 3 program will sound only when the arpeggiator is on.

Notice the timbre settings for timbres 2, 3 and 14.

Timbre Status MIDI Channel Assign

2, 3 INT 02 A

14 Off Gch A

• If the arpeggiator is off, playing the keyboard will sound the timbre(s) that are set to Gch or to the global MIDI channel (in this case, 01). Since the MIDI Channel of timbres 2 and 3 is set to 02, it will not sound. Timbre 14 is set to Gch, but since the “Status” is Off it will not sound.

• Notes from any MIDI channels that are 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 14 (Gch). Timbres 2 and 3 will be sounded by arpeggiator A. Since the Status of timbre 14 is Off, it will not sound.

• Since the Status of timbre 14 is Off, it will not sound, regardless of whether the arpeggiator is on or off. It is a dummy timbre that causes timbres 2 and 3 to sound only when the arpeggiator is on.

Combination BASS: 035 Jazzy Guitar

Before you play, make sure that the global MIDI channel (GMIDI> BASIC MIDI Channel) is set to 01.

Select combination BASS: 035 Jazzy Guitar, turn the ARP button on, and play.

• Arpeggiator A is assigned to timbres 6, 7, 8, and 14, and arpeggiator B is assigned to timbres 4, 5, and 9. When you press any note of the entire keyboard, the drum programs of timbres 6–8 will be sounded by the arpeggio pattern of arpeggiator A. When you play the keyboard below B3, you’ll hear a bass line arpeggio play bass programs sounded by timbres 4, 5, and 9.

• The arpeggiator A parameters “Bottom Key” and “Top Key” (C-ARP> SCAN ZONE page) are set so that arpeggiator A will run for the entire keyboard.

•The B Bottom Key and Top Ke y (C-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 14 as well, but this setting is so that timbres 6 to 8 will sound only when the arpeggiator is on. Please see the preceding section “Combination PIANO: 032 Piano Trio.”

Linking the arpeggiator to programs or combinations

You can specify whether the arpeggiator settings that are 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> SYSTM page). (see page 116)

Arpeggiator function

Pattern Length

Octave

Resolution

Creating a user arpeggio pattern

About user arpeggio patterns

The patterns that can be selected on the KROSS’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 1280 patterns - 0000–1279 - 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 ARP 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 0000–1279. (see page 124)

In Media mode, you can also save user arpeggio patterns to media.

If a blank pattern is selected, playing the keyboard will not start an arpeggio. Although preset arpeggio patterns 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.

5. 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.

Note: For the preload arpeggio patterns 0000–1023, simply changing the “Length” can significantly change the character of the pattern. Try changing the length and listening to the result.

6. Adjust settings for the “Resolution,” “Octave,” “Sort,” “Latch,” “(Key) Sync.,” and “Kbd (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, select the settings shown in step 3.

7. In ARP PATTERN> MODE page, specify how the arpeggio will be developed.

8. Access the ARP PATTERN> EDIT page.

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 116)

If you enter this mode from the Program mode, your editing will apply to the arpeggio pattern that’s specified for the selected program.

1. In Program mode, select a program which uses the arpeggio pattern that 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).

Tip: Even if you entered Global/Media 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 ARP PATTERN> SETUP page.

Note: If you move from Program mode, arpeggiator “A” will be automatically selected.

4. In “Pattern,” select the arpeggio pattern that you wish to edit.

A pattern consists of Steps and Tones.

• Step: Each user arpeggio pattern has up to 64 steps. Starting with the first step, the arpeggiator will play notes at intervals of the note value specified by the Resolution. The vertical lines of the grid indicate the steps.

• To ne : Each step can sound a chord of up to 12 tones (Tone N o . 00–11).

Tone No.

9. Enter one or more Tones at each Step. Use the cursor

buttons ◄►▲▼ to select the Step, and press the ENTER button. The tone will alternate on/off each time you press the button. In the illustration above, Tone No.:04 and Step No.:05 are indicated.

10.Use Step to select the step; then specify the Pitch (Pitch Offset), Gate, Vel (Velocity) and Flam for each step. (Please see step 3 of “An example of creating a pattern”)

Length: 8

Step No.

An example of creating a pattern

1. Access the ARP PATTERN> EDIT page.

2. Enter the tones shown in the following illustration.

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 the 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, adjust settings for “Pitch (Pitch Offset),” “Gate,” “Vel (Velocity),” and “Flam.”

Pitch (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 LGT (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.

Vel (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 Ve lo ci t y settings you select here will be valid if the Gate and Ve lo ci ty parameters (P-ARP> SETUP page) of the program that was selected in Program mode are set to Step. If these parameters have a setting other than Step, the Gate and Vel oc it y settings that were specified for each individual step will be ignored, and all notes of the arpeggio will sound according to the settings in P-ARP> SETUP page. Be sure to verify the settings of the program.

Creating a user arpeggio pattern Editing a user arpeggio pattern

5. To rename the user arpeggio pattern, use the Rename Arpeggio Pattern function. (“Rename Arpeggio Pattern” on page 179 of the Parameter Guide)

6. Be sure to execute the Write operation if you want the edited user arpeggio pattern to be saved in internal memory. (→ p.124)

If you turn off the power without writing, the edited content is lost.

7. If you want to save the state of the program at the same time, return to program mode and write the program. (→ p.122)

Melody pattern

1. Access the ARP PATTERN> EDIT page.

2. Specify tone 0 for Step 01, 02, 03, 04, 05, 07, 08 (all other than 06).

3. Specify the pitch. Set the “Step” 02 “Pitch” to +10, “Step” 05 “Pitch” to +12, and the “Step” 08 “Pitch” to –2.

4. Play a single key; the arpeggio will begin playing.

Chordal pattern

When specifying Gate, Velocity, and Swing, set the PROG> ARP page parameters [GATE], [VEL], and [SWING] to +00.

1. Access the ARP PATTERN> EDIT page.

2. In Step 01, set tone 01.

3. In “Step” 03, 04, 06, and 08, set tones 00–04.

4. Select “Step” 01, and set “Gate” to LGT (Legato).

Arpeggiator function

5. Select “Step” 06, and set “Gate” to LGT (Legato).

Tip: 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 P-ARP> SETUP page, set Gate to Step.

Then return to the ARP PATTERN> EDIT page. For oddnumbered steps, set Flam to a positive (+) value. For evennumbered 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 DRUMS/ SFX: 000 Basic Kit 1.

2. In ARP PATTERN, select the MODE page, and parameter settings.

(Arpeggio) Tone Mode: Set this to Fixed Note. This will

cause the tone to always sound at the specified pitch.

Mode (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 Trigger As Played, the tones will be sounded according to the notes that you play on the keyboard. (see page 169 of the Parameter Guide)

3. For each “Tone,” specify “Fixed Note No.”

Access the FIXED Setup 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 N o . and Fixed Note No. as follows.

Ton e No. Fixed Note No.

0B2 (kick)

1D3 (snare)

4 F#3 (closed hi-hat)

5 A#3 (open hi-hat)

ENTER button once again and then press the EXIT button.

4. Access the ARP PATTERN> EDIT page.

Let’s input the following rhythm pattern.

5. Enter the kick (Tone00).

Set tone 00 (B2) of Step 01 and 09.

6. Enter the snare (Tone01).

Set tone 01 (D3) of Step 05 and 13.

7. Enter the closed hi-hat (Tone04).

Set tone 04 (F#3) of Step 01, 03, 05, 09, 11, and 13.

8. Enter the open hi-hat (Tone05).

Set tone 05 (A#3) for Step 07 and 15.

9. If “Mode (Fixed Note Mode)” is set to Trigger All Tones, playing a single note on the keyboard will cause the rhythm pattern to play.

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.

10.Set the parameters for each step.

Use Ve l (Ve lo c it y ) etc. to add accents to the rhythm pattern.

The Gate and Ve l (Ve lo c it y) settings you select here will be valid if the Gate and Ve lo c it y parameters (PARP> 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 Vel oc it y 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 P-ARP> SETUP page. Check the

settings of the program.

When specifying Gate, Velocity, and Swing, set the PROG> ARP page parameters [GATE], [VEL], and [SWING] to +00.

The drumsample corresponding to each note number will differ depending on the drum kit. It’s convenient to use the keyboard to audition the drum sounds, select Fixed Note No. and press the ENTER button, and then press a key to enter the note number. To confirm, press the

Regarding arpeggiator synchronization “Key Sync.” parameter

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 that 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 ARP PATTERN> SETUP page.

4. Press the ENTER button at Arpeggio Select A or B to specify the arpeggiator that you want 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 want to stop one of the arpeggiators, return to Combination mode, access the COMBI> ARP page and turn Arpeggiator Run off.

6. To modify the name of a user arpeggio pattern, use the “Rename Arpeggio Pattern” function. (see page 179 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.

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 122)

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.

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.

Note: 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> PATTERN page of each mode).

Synchronizing with the step sequencer

If you want the arpeggiator to synchronize with the loop pattern being played by the step sequencer, clear the Key Sync check box. In this case, the arpeggiator will synchronize with the beat based on the loop pattern that’s currently playing.

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.

While playing back or recording a song

• The arpeggiator will synchronize to the beat based on the timing of the song.

Arpeggiator function

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 message 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 G-MIDI> BASIC 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 the MIDI Clock is set to Auto and MIDI timing 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).

Drum Track function

Performing with the Drum Track function

The Drum Track function makes it easy to play the KROSS’s high-quality drum programs using a wide variety of Drum Track patterns.

It provides a convenient way for you to hear Drum Track patterns while you try out various phrases on a program or combination, or work out the outline of your song. Then, when you’ve come up with some ideas, you can use the Auto Song Setup function to immediately start recording in Sequencer mode.

You can use preset drum patterns that cover a wide range of musical styles.

Preset 001...772 Preset Drum Track patterns

The Drum Track pattern will start immediately when you press the DRUM TRACK button, or when you play the keyboard after pressing the DRUM TRACK button. If you’re starting the pattern by playing the keyboard, you have the option of starting it by using a specific range of notes or velocities.

The Drum Track can also play in synchronization with the arpeggiator.

In Program mode, the drum track has a dedicated mixer channel and effect routing, allowing you to control the drum track independently from the sound of the program itself. In Combination and Sequencer modes, the drum track is handled as a conventional timbre or track, allowing you to select programs, and specify the effect routing in the same way as for conventional timbres or tracks.

If blinking: The Drum Track pattern will be ready to start. It will start when you play the keyboard or when a MIDI note-on message is received. (This will occur if the

Trigger Mode parameter is set to Wait KBD Trigger.)

3. Press the DRUM TRACK button once again to stop the Drum Track (the button will be unlit).

Changing the tempo

• Use the TEMPO controls of REALTIME CONTROLS to adjust the tempo of the KROSS. (→ p.15)

Selecting the Drum Track pattern and Drum Track program

1. In the Program mode page P-DRUM TRACK>PATTERN, use Pattern No. to select a drum track pattern.

2. In the P-DRUM TRACK> PROGRAM page, the Drum Track Program parameter selects the program that will play the Drum Track patterns.

Using the Drum Track function in Program mode

Playing and stopping the Drum Track

1. In Program mode, select a program. (see “Selecting Programs” on page 27)

2. Press the DRUM TRACK button to turn the Drum Track on.

The DRUM TRACK button will light up or blink, depending on the setting (Trigger Mode) of the program.

If lit: The Drum Track pattern will start according to the Sync setting. When you turn it off, the pattern will stop. (This will occur if the Trigger Mode parameter is set to Start Immediately.)

Note: You can only select programs from the DRUM/ SFX category.

Note: If you’ve selected an empty pattern, the DRUM TRACK button will not function.

Setting the volume, mute, and solo for the drum track pattern

In the PROG> MIXER page you can edit the volume, mute, and solo settings. (see page 32)

Drum Track function

Using the Drum Track function in Combination mode

Selecting a combination and turning the Drum Track function on/off

1. Press the COMBI button to enter Combination mode, and select the desired combination. (see “Selecting Combinations” on page 45)

2. Press the DRUM TRACK button to turn the Drum Track on/off. For details, please see the Program mode sections “Playing and stopping the Drum Track”, and “Changing the tempo”.

Selecting a Drum Track pattern and Drum Track program

Unlike its functionality in Program mode, the Drum Track function in Combination mode does not have its own dedicated track (timbre). The program that plays the Drum Track pattern will use the timbre that you specify.

1. In the COMBI> PROG page, select the timbre that you want to use for the drum track, and then select the Drum Track program.

In the following illustration, we’ve selected timbre 5 for use by the drum track.

5. Press the DRUM TRACK button to verify that the pattern plays correctly.

The method of triggering will depend on the Trigger settings.

2. In the C-TIMBRE>MIDI page, specify the MIDI channel of the timbre used by the drum track.

Be aware that if another timbre uses the same MIDI channel, that timbre will also be played.

3. In the C-DRUM TRACK>CHANNEL page, use Output to specify the output MIDI channel for the drum track.

Specify the drum track’s MIDI channel Output. Set this to match the MIDI Channel of the timbre that you specified in step 2.

4. Access the C-DRUM TRACK> PATTERN page.

Use Pattern No. to select the Drum Track pattern.

Note: 000: If you select Off, it will not be possible to turn the DRUM TRACK button on.

Drum Track function settings Drum Track function settings in Program mode

Drum Track function settings

Drum Track function settings in Program mode

Starting/stopping the drum track

1. Access the Program Mode P-DRUM TRACK>PATTERN page.

2. “Trigger Mode” specifies how the Drum Track pattern will be triggered.

Start Immediately: When you press the DRUM TRACK

button to turn it on, the LED will light up and the Drum Track pattern will start according to the Sync setting. It will stop when you press the DRUM TRACK button to turn it off.

Wait KBD Trigger: When you press the DRUM TRACK button to turn it on, the LED will blink and the Drum Track pattern will wait to start. When you play the keyboard or receive a MIDI note-on, the Drum Track pattern will start according to the Sync setting.

3. Specify the Sync setting.

Off (unchecked): The Drum Track pattern will not

synchronize to the arpeggiator that’s currently running, but will start immediately.

On (checked): The Drum Track pattern will synchronize to the arpeggiator that’s currently running.

4. If “Trigger Mode” is set to Wait KBD Trigger, specify the “Latch” setting. “Latch” specifies whether the Drum Track pattern will continue playing even after you take your hand off the keyboard.

Off (unchecked): If the DRUM TRACK button is on

(the LED will blink), the pattern will start when you play the keyboard (note-on). The pattern will stop when you release the keyboard (note-off).

On (checked): If the DRUM TRACK button is on (the LED will blink), the pattern will start when you play the keyboard (note-on). The pattern will continue when you release the keyboard (note-off). The pattern will stop when you turn the DRUM TRACK button off (the LED will go dark).

5. If “Trigger Mode” is set to Wait KBD Trigger, specify the Keyboard Zone and Velocity Zone.

These settings specify the range of keys and velocities that will trigger the Drum Track pattern when you play the keyboard (or receive a note-on).

MIDI transmission and reception for the drum track

In Program mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive: If you’re controlling the triggering by playing the keyboard, the drum track will receive on the global MIDI channel.

Transmit: The drum track will transmit on the MIDI channel that’s specified by the Drum Track Prog MIDI Ch (default: channel 10) which can be found on the G-MIDI> OUT page. (Note data etc. of the Drum Track program will be transmitted.)

Note: MIDI transmission of the pattern data is enabled if Drum Track Prog MIDI Out is selected. The default setting is off (unselected).

The Drum Track program does not transmit or receive program changes.

Drum Track function settings in Combination mode

MIDI transmission and reception for the drum track

In Combination mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive: If you’re controlling the triggering by playing the keyboard, the drum track will receive on the global MIDI channel.

Transmit: The drum track will transmit on the MIDI channel that’s specified by the Output (C-DRUM TRACK> CHANNEL) setting of each combination.

Set this to match the MIDI channel of the timbre you’ve specified for the drum program.

If the timbre’s Statu s (COMBI> PROG) is EXT or EX2, the note data etc. of the Drum Track pattern will be transmitted.

Saving the on/off status

If “Trigger Mode” is set to Wait KBD Trigger, the drum track’s on/off status can be saved in the program.

If “Trigger Mode” is set to Start Immediately, the drum track’s on/off status will always be saved as “off,” regardless of the state of the DRUM TRACK button.

Drum Track function

Drum Track function settings in Sequencer mode

The structure of parameters related to the drum track function is the same in Sequencer mode as in Combination mode. Assign the Drum Track program to the desired track 1–16.

However, while a combination triggers the Drum Track pattern on the global MIDI channel, a song triggers the Drum Track pattern on the MIDI channel specified by the Input (S-DRUM TRACK> CHANNEL). Normally you’ll set this to Tch. With the Tch setting, the MIDI channel of the track selected by Tr a ck Select will automatically be used as the trigger channel.

For details, please see “Selecting a Drum Track pattern and Drum Track program” on page 84.

In Sequencer mode you can use the Drum Track function while realtime-recording a song track or pattern.

The note-on/off data transmitted by the Drum Track pattern can be recorded as events in a track or pattern.

You can’t use note data from the internal sequencer as a trigger to start patterns for the Drum Track function.

When you’ve used the Drum Track function with a program or combination to come up with an idea for a song, you can then use the Auto Song Setup function to immediately start realtime-recording. (see page 60)

MIDI transmission and reception for the drum track

In Sequencer mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive: The drum track will receive on the MIDI channel specified by the Input (S-DRUM TRACK> CHANNEL) setting of each song. Normally you’ll set this to Tch and use the KROSS’s keyboard to control the triggering.

Tran sm it: The drum track will transmit on the MIDI channel specified by the Output (S-DRUM TRACK> CHANNEL) setting of each song. Set this to match the MIDI channel of the MIDI track where you’ve assigned the drum program.

If the track’s Status (SEQ> PROG) is BTH, EXT, or EX2, note data etc. of the Drum Track pattern will be transmitted.

Synchronizing the Drum Track function

The Trigger “Sync” parameter

The trigger timing of a drum track will depend on the setting of its Trigger Sync parameter. (Please see page 53, page 86 of the Parameter Guide)

On (checked): The trigger timing will be quantized to the nearest beat relative to the base tempo.

Off (unchecked): If Trigger Mode is set to Start Immediately, triggering will occur at the moment you press the DRUM TRACK button. If this is set to Wait KBD Trigger, triggering will occur at the moment you play the keyboard.

Synchronization with the arpeggiator, step sequencer, and Sequencer mode songs

Turn the Sync setting On if you want the Drum Track patterns to play or record in synchronization with the arpeggiator that’s currently running, the step sequencer, or the song that’s currently playing.

Sync is off: If the Trigger Mode setting is set to Start Immediately, the Drum Track pattern will be triggered the moment you press the DRUM TRACK button. If this is set to Wait KBD Trigger, the Drum Track pattern will be triggered the moment you play the keyboard. The Drum Track will not synchronize with the arpeggiator that’s currently running, the step sequencer, or the song that’s currently running.

Sync is on: The Drum Track will be triggered at onemeasure intervals in synchronization with the song that’s currently running. The Drum Track will be triggered at onebeat intervals in synchronization with the arpeggiator that’s currently running or the step sequencer (in Sequencer mode if the song is stopped).

Note: If you want to synchronize the arpeggiator to the Drum Track function that’s currently running, adjust settings for Key Sync (P-ARP> SETUP, C-ARP> A, B, S-ARP> A, B).

Synchronization with song stop

Synchronization with a song in Sequencer mode

• When you press the SEQUENCER (START/ STOP) button, the Drum Track function will stop as well as the sequencer.

• If you want the Drum Track function to start simultaneously with the start of recording, press the DRUM TRACK button during the pre-count before recording (if Trigger Mode is set to Start Immediately) or play the keyboard (if Trigger Mode is Wait KBD Trigger). The Drum Tracks will not be triggered immediately, but will be triggered in synchronization with the sequencer the moment recording starts.

Slave operation

Connect the KROSS’s MIDI IN to your external MIDI device’s MIDI OUT, or connect the KROSS’s USB B connector to your computer’s USB port.

Set MIDI Clock (see page 117) to External MIDI or External USB.

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

Synchronization to MIDI clock

The arpeggiator function will synchronize to a tempo based on the external MIDI clock timing.

Synchronization with MIDI realtime commands

In Sequencer mode, Song Start, Continue, and Stop messages that the KROSS receives will control song playback and recording just as when you use the front panel SEQUENCER (START/STOP) button. The Drum Track function also will be controlled in the same way as when you use the front panel SEQUENCER (START/STOP) button. (see “Synchronization with song stop”)

Synchronizing the Drum Track function Slave operation

Master operation

If you want an external MIDI device or computer to synchronize to the KROSS’s MIDI timing clock and realtime commands, connect the KROSS’s MIDI OUT to your external MIDI device’s MIDI IN, or connect the KROSS’s USB port to your computer’s USB port.

Set MIDI Clock to Internal.

Note: The same applies if MIDI Clock=Auto and MIDI realtime clock messages are being transmitted. (see page 117)

Synchronization via MIDI clock

The connected external MIDI device will synchronize to the MIDI clock of the KROSS.

Drum Track function

Step sequencer

Tone 1

Tone 2

Step 1

Step 2

Step 3

Step 16

Tone 3

: Step On

Tone 12

ACCENT Tone (13)

Zone A Zone B

3 5

Performing with the step sequencer

The step sequencer is a function that lets you use the front panel pads 1–16 to easily create drum loop patterns. By turning steps on/off you can create patterns in an intuitive way, and modify a pattern while it plays back.

The step sequencer can be used in Program, Combination, or Sequencer mode; the loop patterns that you create can be saved together with the sound and song data.

A loop pattern consists of up to 64 steps, and you can add volume accents and a sense of swing to the steps. A pattern can use up to 12 different tones, such as kick or snare. You can edit the number of steps in a pattern, and specify the instrumental sounds (Inst) that will actually be sounded by the tones.

Playback and settings in Program mode

Playing and stopping the step sequencer

1. Select the program that you’ll use when playing the step sequencer or when entering the pattern. (see “Selecting Programs” on page 27)

2. Press the RUN button to start playback (the button will be lit).

Press the button once again to stop (the button will be unlit).

The drum loop pattern that’s saved together with the program sound will play.

Note: The on/off state of the RUN button is not saved when you write the program.

Changing the tempo

• In REALTIME CONTROLS, select TEMPO and use the KNOB 1 knob (TEMPO) or the SWITCH button (TAP) to adjust the tempo.(see page 73)

The sounds used by each tone can be selected from the variations of the currently selected drum set. You can also exchange the drum set itself.

Entering a pattern

Use pads 1–16 to enter a pattern.

1. Make sure that the STEP SEQ ACTIVE button is lit.

Pads 1–16 will turn each of the step sequencer’s steps on/ off.

2. Press the RUN button (it will light up) to start playback.

3. Press pads 1–16 to enter steps. Each time you press a pad 1-16, it alternates between on (lit) and off (unlit); a pad that is on will sound.

4. To enter a different tone, switch tones. Hold down the EXIT button ( ) and press the STEP SEQ ACTIVE button ( ) to access the P-STEP SEQ>EDIT page.

The P-STEP SEQ> EDIT page will appear. On this page, you can use the cursor buttons ▲▼ to select the tone that you want to enter. Hold down the STEP SEQ ACTIVE button and press pads 1-13 to switch tones. You can also use the cursor buttons ◄► to select a step, and press the ENTER button to turn it on/off.

Step sequencer

Tone No. Inst variation

Step sequencer settings in Combination mode

In Combination mode, timbre 16 is used by the step sequencer. It will be used if the COMBI> PROG page STEP parameter is selected. If the STEP parameter is not selected, timbre 16 can be used as a conventional timbre.

MIDI transmission from the step sequencer

In Combination mode, the step sequencer function transmits the step sequencer's note data on the MIDI Channel (CTIMBRE>MIDI) if timbre 16's Status (COMBI>PROG) is set to EXT or EX2.

Step sequencer settings in Sequencer mode

MIDI transmission from the step sequencer

In Program mode, the step sequencer function transmits note data on the following MIDI channel.

Data is transmitted on the MIDI channel specified by the Global/Media mode G-MIDI>OUT page setting Step Seq Prog MIDI Ch (default setting: ch.16).

Note: MIDI data transmission is enabled if the Step Seq

In Sequencer mode, track 16 is used by the step sequencer. It will be used if the SEQ> PROG page STEP parameter is selected. If the STEP parameter is not selected, timbre 16 can be used as a conventional track.

Note: If you press the RUN button during the recording precount, the step sequencer will start in synchronization with the beginning of song recording.

Step sequencer

MIDI transmission from the step sequencer

In Sequencer mode, the step sequencer function transmits the step sequencer's note data on the MIDI Channel (STRACK>MIDI) if track 16's Status (SEQ>PROG) is set to BTH, EXT, or EX2.

Using the step sequencer with Favorites

When using the Favorites function, the settings of each registered program or combination can make the step sequencer play.

You’ll be able to turn steps on/off, but the settings cannot be saved. Nor can you enter the various STEP SEQ pages. You’ll need to use Program mode or Combination mode to edit the step sequencer settings.

Playing and stopping the step sequencer

1. Select a favorite program or combination. (see page 53)

2. Press the STEP SEQ RUN button to start playback (the button will be lit).

Press the button once again to stop (the button will be unlit).

The drum loop pattern that’s saved together with the program or combination sound will play.

Note: The on/off state of the RUN button is not saved when you write the program.

Entering a pattern

1. Press the STEP SEQ ACTIVE button to make the button lit.

Pads 1–16 will turn each of the step sequencer’s steps on/ off.

2. Use the BANK SELECT button and pads 1–16 to enter steps. Each time you press a pad, it will turn on (lit) or off (unlit); if it is on, sound will be produced.

3. To enter other tones, hold down the STEP SEQ ACTIVE button and press pads 1–12 to switch tones. Then press pads 1–16 to turn them on/off.

4. To add accents, hold down the STEP SEQ ACTIVE button and press pad 13 to select it; then use the BANK SELECT button and pads 1–16 to turn the accent on/off for each step.

Synchronizing the step sequencer

The step sequencer will play in synchronization with the internal/external MIDI clock.

Synchronization with the arpeggiator

The step sequencer will synchronize to the timing of the currently playing arpeggiator.

Note: If you want to synchronize the arpeggiator playback to the step sequencer that’s currently running, turn Key Sync (P-ARP> SETUP, C-ARP> A, B, S-ARP> A, B) off.

Synchronization with the Drum Track

In Sequencer mode, the step sequencer will synchronize to the Drum Track pattern that's currently playing.

Note: If you want to synchronize the Drum Track pattern playback to the step sequencer that’s currently running, select the Sync check box (in each mode, DRUM TRACK> PATTERN page Drum Track setting).

Synchronization between the step sequencer and the sequencer in Sequencer mode

When playing or recording a song

• The step sequencer will synchronize to the song in units of one beat.

Synchronization with song start

• If the step sequencer is on (i.e., the RUN button is on) and running, it will reset to the beginning of the pattern when it receives a song start message.

Synchronization with the playback of an external sequencer

If “ (Tempo)” is EXT (i.e., if the G-MIDI> BASIC page MIDI Clock parameter is set to Ext-MIDI or Ext-USB) in Program, Combination, or Sequencer modes, the step sequencer will synchronize to MIDI timing clock and start messages from an external MIDI sequencer etc. connected via a MIDI cable.

Note: The step sequencer will also synchronize in the same way if MIDI Clock is set to Auto and MIDI timing clock messages are being received from a connected MIDI device.

Synchronization with external MIDI timing clock

The step sequencer will synchronize to “ (Tempo)” based on the external MIDI timing clock.

Synchronization with the MIDI realtime command Start message

If the step sequencer is on and running, it will be reset to the beginning of the pattern when it receives the Start command.

Pad Sampler

Performing with the pad sampler

The pad sampler function lets you use the 16 pads on the front panel to easily sample (record) your KROSS performance or an external input, and perform by playing back these samples. The maximum recording time is 14 seconds per pad, and you can play back the samples of up to four pads simultaneously. To record a sample, select one of the pads 1–16, and record the KROSS's performance or an external input. When you record a sample, it is written into the KROSS's RAM; then the data (16-bit, 48 kHz, stereo) is automatically saved to the SD card as a Korg Format Sample file.

A set consisting of the eight banks A–H is called a "session." For each session, you can load the sample data for 16 pads, and switch between banks while you perform.

Note: The KROSS's effects cannot be applied to the playback of the pad sampler.

Note: We recommend that you use an SD card. If a card is not inserted, demo samples are loaded into bank A; you will be able to perform.

Sampling the sound of the KROSS

Here's how to sample the sound of your performance in Program mode or Combination mode, a sequencer song, or audio processed by the vocoder.

1. In Program mode etc., select the sound that you want

to sample.(→ p.27, → p.45)

2. Press the EXIT button ( ) and the SAMPLER ACTIVE button ( ) to access the SAMPLER SETUP window.

3. Either press the pad to which you want to assign the sample, or use the cursor buttons to select pad.

4. Press the MENU (REC) button located below the display to access the SAMPLE RECORDING window.

Recording samples (sampling)

Getting ready to record samples

Before you record, insert an SD card formatted by the KROSS into the SD card slot. If an SD card is not inserted; you will be able to record, but the recorded content is lost when you turn off the power.

Note: When you use an SD card with the KROSS for the first time, the folder KORG/KROSS2/SAMPLER is created automatically, and settings are made to prepare the card for use.

Note: If you insert an SD card that was previously used with the KROSS, the sample set of Session 001 bank A saved on the SD card is automatically loaded into the KROSS.

If you select a pad to which a sample is already assigned, and press the MENU (REC) button, a dialog box appears, asking whether you want to overwrite the sample.

Note: If you don't want to delete the sample, press the FUNCTION (CANCEL) button below the display to cancel the operation; then select a different pad.

Note: If you want to record a sample in a different bank than the currently selected bank, press the BANK SELECT button to select a bank.

3,4

3,5

3,7

Pad Sampler

5. Move the cursor to Auto Rec Start:, and use the ENTER key or the VALUE dial to select the auto trigger method.

Off: Press the MENU (Rec Control) button to start

sampling.

Note-On: Sampling will start when you play the keyboard.

SEQ START: Sampling will start when you press the SEQUENCER (start/stop) button.

Input Low: Sampling will start when the audio input level exceeds approximately –18 dB.

Input High: Sampling will start when the audio input level exceeds approximately –6 dB.

6. Press the MENU (Rec Control) button to enter sample-standby.

Sampling the sound from external audio input

If you want to sample an external audio input, proceed through step 3 of “Sampling the sound of the KROSS” on page 93 and then press the PAGE- (A-IN) button to access the AUDIO IN-QUICK SETTING dialog box and change audio input settings. (→ p.22)

When you finish making settings, press the MENU (DONE) button to return to the SAMPLE RECORDING window.

Importing from a WAVE file

WAVE files saved on an SD card can be imported as samples and played from the pad sampler.

The following file formats can be imported.

• File format: WAVE format uncompressed linear PCM

• Sampling bit depth: 16-bit

• Sampling frequency: 44.1 kHz or 48 kHz, stereo files

Note: The first 8 characters of the file name are shown.

1. Using your computer, copy the WAVE file that you want to import into the KORG/KROSS2/DATA folder of an SD card that was formatted by the KROSS.

2. Insert the SD card, and in the SAMPLER SETUP window, select the import-destination pad.

3. Press the FUNCTION (FUNC) button to access the function list; then select Import WAV, and press the ENTER button to access the dialog box.(Please see “Import WAV” on page 206 of the Parameter Guide)

7. Sample the sound of your performance. Sampling starts according to the method you specified Auto Rec Start.

8. When you press the PAGE+ (Stop) button, sampling stops. Sampling automatically stops if the maximum recordable time elapses.

Note: During sampling, you can use the AUDIO REC

(play/pause) button to play back an audio song, or play back samples of other pads to sample them. (You can't play back an audio song from a pad.)

9. When you stop sampling, the EDIT SAMPLE window appears. In the EDIT SAMPLE window, You can specify the playback region and playback method of the sample. ( “Editing a sample” on page 95)

10.When you press the pad that you recorded, the sample

plays back. (“Playing samples” on page 96)

4. In the file list, select the WAVE file that you want to import.

5. Verify the import-destination pad number, and press the MENU (OK) button to execute the import.

Note: Up to the first 14 seconds of the WAVE file can be imported. Using your computer beforehand, make sure that the audio you wish to import is within this limit.

Note: Importing might take a certain amount of time.

Note: From the SAMPLE RECORDING screen as well,

you can use the FUNCTION (FUNC) button to select Import WAV and execute the procedure in the same way.

Korg Kross Operation Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of Contents

Introduction to the KROSS

Front and rear panels

Front panel

Rear panel

Items in the display

Basic Information

About the KROSS’s modes

Basic operations

Setup

Turning the power on/off

Connecting the AC adapter

Turning the power on

Turning the power off

Using batteries

Connections

Audio connections

Connecting foot controllers

Using an SD card

Connecting the KROSS to a computer

Connecting MIDI devices

Playing and editing Programs

Playing Programs

Selecting Programs

Program categories and numbers

Using Controllers

Performing with the arpeggiator, drum track or step sequencer

Quick Layer/Split function

Quick Layer

Quick Split

Combination settings made by Quick Layer/Split

Easy program editing

Using the Tone Adjust and EG Adjust functions

Adjusting the volume balance

Using REALTIME CONTROLS to adjust the sound or effects

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

Using the step sequencer

Effects

Automatically importing a Program into Sequence mode

Playing and editing Combinations

Playing combinations

Selecting Combinations

Combination categories and numbers

Using controllers to modify the sound

Performing with the arpeggiator, drum track or step sequencer

Editing a combination

Summary of the edit pages

A suggested approach for editing

Adjusting the mix

Comparing with the sound before you started editing

Changing the program of each timbre

Using the Tone Adjust and EG Adjust functions

Using REALTIME CONTROLS to adjust the sound or effects

Layers, Splits, and Velocity Switches

Saving a Combination you’ve edited

Status settings

MIDI settings

Changing the program settings to match the combination

Arpeggiator settings

Drum Track settings

Using the step sequencer

Effects