Korg Kross-61 Parameter Guide

Parameter Guide

About this manual

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)

• Parameter Guide (PDF) (this document)

• Voice Name List (PDF)

You can also watch video manuals on the Korg website.

• Video manual

http://www.korg.co.jp/English/Distributors/ or 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.

Video Manual

This video illustrates the main functionality of the KROSS.

Operation Guide

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

It explains the names and functions of each part of the 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.”

Symbols , , Note, Tips

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

Example screen displays

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

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 Voic e N am e L ist 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.

What is REMs * ?

(Resonant structure and Electronic circuit

Modeling System) is Korg’s proprietary technology for

digitally recreating the numerous factors that produce and influence a sound, ranging from the 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 other product and company names are trademarks or reg-

istered trademarks of their respective holders.

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

Program mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

PROG Page Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

0: PROG (Program) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

0–1: MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

0–2: TONE (Play Tone Adjust) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

0–3: MIXER (Play Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

0–4: ARP (Arpeggiator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1: P–INPUT/CTRLS (Input/Controllers . . . . . . . . . . . . . . . . . . . . . .5

1–1: AUDIO IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

1–2: CONTROLLERS (Controllers Setup). . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2: P–BASIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2–1: VOICE (Voice Mode). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2–2: Note-On (Note-On Control) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

2–3: SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

3: P–OSC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

3–1: MS 1 (Multisample 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3–2: MS 2 (Multisample 2), 3–3: MS 3 (Multisample 3),

3–4: MS 4 (Multisample 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

3–5: VEL (Velocity Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4: P–PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

4–1: BASIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

4–2: MOD (Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

4–3: PORTA (Portamento). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

5: P–PITCH EG (Pitch Envelope) . . . . . . . . . . . . . . . . . . . . . . . . . .18

5–1: ENVELOPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

5–2: L-MOD (Level Modulation). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

5–3: T-MOD (Time Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

6: P–FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

6–1: BASIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

6–2: MOD (Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

6–3: EG-I (EG Intensity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

6–4: LFO-I (LFO Intensity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

6–5: KTRK (Keyboard Track) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

7: P–FILTER EG (Filter Envelope) . . . . . . . . . . . . . . . . . . . . . . . . .28

7–1: ENVELOPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

7–2: L-MOD (Level Modulation). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

7–3: T-MOD (Time Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

8: P–Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

8–1: BASIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

8–2: MOD (Amp Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

8–3: KEYTRK (Keyboard Track) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

9: P–AMP EG (Amp Envelope) . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

9–1: ENVELOPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

9–2: L-MOD (Level Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

9–3: T-MOD (Time Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

10: P–OSC LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

10–1: 1.WAV (LFO1 Waveform) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

10–2: 1. FRQ (LFO1 Frequency) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

10–3: 2. WAV (LFO2 Waveform) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

10–4: 2. FREQ (LFO2 Frequency) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

11: P–CMN LFO/KT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

11–1: LFO.W (Common LFO Waveform) . . . . . . . . . . . . . . . . . . . . . . . . .42

11–2: LFO.F (Common LFO Frequency) . . . . . . . . . . . . . . . . . . . . . . . . . . 43

11–3: KT.1(Common Keyboard Track 1). . . . . . . . . . . . . . . . . . . . . . . . . .44

11–4: KT.2 (Common Keyboard Track 2) . . . . . . . . . . . . . . . . . . . . . . . . .45

12: P–AMS MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

12–1: 1 (AMS Mixer1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

12–2: 2 (AMS Mixer2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

13: P–ARP (Arpeggiator). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

13–1: SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

13–2: SCAN ZONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

14: P–DRUM TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

14–1: PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

14–2: PROGRAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

15: P–STEP SEQ (Step Sequencer) . . . . . . . . . . . . . . . . . . . . . . . . 55

15–1: BASIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

15–2: EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

15–3: INST (Instrument) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

15–4: MOD (Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

15–5: MIX (Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

16: P–FX ROUTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

16–1: BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

16–2: SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

16–3: Insert FX Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

16–4: MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

17: P–IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

17–1: IFX1(Insert Effect1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

17–2: IFX2 (Insert Effect2), 17–3: IFX3 (Insert Effect3),

17–4: IFX4 (Insert Effect4), 17–5: IFX5 (Insert Effect5),. . . . . . . . . . . . . 61

18: P–MFX (Master Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

18–1: SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

18–2: MFX1 (Master Effect 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

18–3: MFX2 (Master Effect 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Program: Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Extended program functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

iii

Combination mode . . . . . . . . . . . . . . . . . . . . . . . . . . 69

COMBI Page Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

0: COMBI (Combination). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

0–1: MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

0–2: PROG (Program) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

0–3: MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

0–4: ARP (Arpeggiator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

1: C–INPUT/CTRL (INPUT/Controllers) . . . . . . . . . . . . . . . . . . . . 74

1–1: AUDIO IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

1–2: CONTROLLERS (Controllers Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . 74

2: C–TONE ADJ (Tone Adjust) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

2–1: TONE ADJUST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

2–2: EG ADJUST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

3: C–TIMBRE (Timbre Parameters) . . . . . . . . . . . . . . . . . . . . . . . 77

3–1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

3–2: OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

3–3: PITCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

3–4: SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

4: C–ZONE/DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

4–1: KEY ZONE (Keyboard Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

4–2: VEL ZONE (Velocity Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

4–3: DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

11: MFX (Master). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

11–1: SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

11–2: MFX1 (Master Effect1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

11–3: MFX2 (Master Effect2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Combination: FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Extended combination functions. . . . . . . . . . . . . . . . . . . . . . . . .97

5: C–MIDI FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

5–1: 1 (MIDI Filter1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

5–2: 2 (MIDI Filter2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

5–3: 3 (MIDI Filter3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

5–4: 4 (MIDI Filter4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

6: C–ARP (Arpeggiator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

6–1: ASSIGN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

6–2: A (Setup-A), 6–3: B (Setup-B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

6–4: SCAN ZONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

7: C–DRUM TRACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

7–1: PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

7–2: CHANNEL (MIDI Channel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

8: C–STEP SEQ (Step Sequencer) . . . . . . . . . . . . . . . . . . . . . . . . . 88

8–1: BASIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

8–2: EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

8–3: INST (Instruments) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

8–4: MOD (Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

9: C–FX ROUTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

9–1: BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

9–2: SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

9–3: IFX (Insert Effect Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

9–4: MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

10: C–IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

10–1: IFX1 (Insert Effect1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

10–2: IFX2 (Insert Effect2), 10–3: IFX3 (Insert Effect3),

10–4: IFX4 (Insert Effect4), 10–5: IFX5 (Insert Effect5) . . . . . . . . . . . . . 93

Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

An overview of Sequencer mode . . . . . . . . . . . . . . . . . . . . . . . . .99

SEQ Page Select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

0: SEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

0–1: MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

0–2: PROG (Track Program ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

0–3: MIX (Track Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

0–4: REC (Recording Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

0–5: ARP (Arpeggiator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

1: S–INPUT/CTRL (Input/Controllers). . . . . . . . . . . . . . . . . . . . 112

1–1: AUDIO IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

1–2: CONTROLLERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

2: S–LOOP/TONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

2–1: LOOP (Track Play Loop). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

2–2: TONE ADJ (Tone Adjust) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

2–3: EG ADJ (EG Adjust). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

3: S–TRACK (Track Parameters) . . . . . . . . . . . . . . . . . . . . . . . . 116

3–1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

3–2: OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

3–3: PITCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

3–4: SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

4: S–ZONE /DELAY (Zones/Delay) . . . . . . . . . . . . . . . . . . . . . . . 118

4–1: KEY ZONE (Keyboard Zones). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

4–2: VEL ZONE (Velocity Zones) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

4–3: DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

11: S–IFX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

11–1: IFX1 (Insert Effect1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134

11–2: IFX2 (Insert Effect2) , 11–3: IFX3 (Insert Effect3),

11–4: IFX4 (Insert Effect4), 11–5: IFX5 (Insert Effect5) . . . . . . . . . . . .134

12: S–MFX (Master Effect). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

12–1: SETUP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

12–2: MFX1 (Master Effect1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

12–3: MFX2 (Master Effect2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Sequencer: FUNCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137

System Exclusive events supported in Sequencer mode . . . .152

KROSS sequencer file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

5: S– MIDI FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

5–1: 1 (MIDI Filter1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

5–2: 2 (MIDI Filter2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

5–3: 3 (MIDI Filter3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

5–4: 4 (MIDI Filter4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6: S–TRACK EDIT (Track Edit) . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

6–1: SELECT MEASURE TO EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

7: S–ARP (Arpeggiator) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

7–1: ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

7–2: A (Arpeggiator–A),

7–3:B (Arpeggiator–B) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

7–4 : SCAN ZONE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

8: S–DRUM TARCK (Drum Track) . . . . . . . . . . . . . . . . . . . . . . . . 127

8–1: PATTERN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

8–2: CHANNEL (MIDI Channel) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

9: S–STEP SEQ (Step Sequencer) . . . . . . . . . . . . . . . . . . . . . . . . 130

9–1: BASIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

9–2: EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

9–3: INST (Instruments) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

9–4: MOD (Modulation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

10: S–FX ROUTING (Effect Routing) . . . . . . . . . . . . . . . . . . . . . 132

10–1: BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

10–2: SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

10–3: IFX (Insert FX Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

10–4: MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Global/Media mode . . . . . . . . . . . . . . . . . . . . . . . . . 155

Effect Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Global/Media Page Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

0: GLOBAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

0–1: BASIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

0–2: SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

0–3: PREF (System Preference) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

1: G–MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

1–1: BASIC (MIDI Basic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

1–2: OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

1–3 FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162

2: G–INPUT/CTRL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

2–1: AUDIO IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

2–2: FOOT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

2–3: CC (MIDI CC# Assign) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165

3: G–USER SCALE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

3–1: OCTAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

3–2: ALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

4: ARP PATTERN (Arpeggio Pattern). . . . . . . . . . . . . . . . . . . . . 166

4–1: SETUP (Pattern Setup) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

4–2: EDIT (Pattern Edit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167

4–3: MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

5: DRUM KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

5–1: DS 1 (Drumsample 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

5–2...4: DS2...DS4 (Drumsample2...4)) . . . . . . . . . . . . . . . . . . . . . . . . . 172

5–5: VOICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172

Media mode

6: MEDIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

6–1: FILE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

6–2: UTILITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

6–3: INFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175

Global, Media: FUNCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

About the Favorites function . . . . . . . . . . . . . . . . . . . . . . . . . . 187

FAVORITES-A, B, C, D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

0–1: 1–4, 5–8, 9–12, 13–16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188

Favorites: Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Audio Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Overview of the audio recorder function . . . . . . . . . . . . . . . . 191

Recording control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Audio Recorder Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Audio Recorder: Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Dynamic modulation (Dmod) and Tempo Synchronization . . . . . . . . 198

FX Control Bus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Insert Effects (IFX1–IFX5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

In/Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Controlling the Insert Effects via MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Master Effects (MFX1, 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

In/Out. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Controlling the Master Effects via MIDI . . . . . . . . . . . . . . . . . . . . . . . . . 205

Effect/Mixer Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Single size effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

000: No Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

001: Stereo Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

002: Red Comp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

003: Stereo Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

004: Multiband Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

005: St.MasteringLimiter (Stereo Mastering Limiter) . . . . . . . . . . . . . 209

006: Stereo Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

007: St.Parametric 4EQ (Stereo Parametric 4EQ) . . . . . . . . . . . . . . . . . 210

008: St.Graphic 7EQ (Stereo Graphic 7 Band EQ) . . . . . . . . . . . . . . . . . 211

009: Stereo Exciter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

010: Stereo Isolator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

011: St. Wah/Auto Wah (Stereo Wah/Auto Wah) . . . . . . . . . . . . . . . . 213

012: St.Vintage Wah (Stereo Vintage Wah) . . . . . . . . . . . . . . . . . . . . . 214

013: VOX Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

014: St. Random Filter (Stereo Random Filter). . . . . . . . . . . . . . . . . . . 215

015: St.MultiModeFltr (Stereo Multi Mode Filter) . . . . . . . . . . . . . . . . 216

016: St. Sub Oscillator (Stereo Sub Oscillator) . . . . . . . . . . . . . . . . . . . 217

017: Talking Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

018: St. Decimator (Stereo Decimator) . . . . . . . . . . . . . . . . . . . . . . . . . 218

019: St. Analog Record (Stereo Analog Record) . . . . . . . . . . . . . . . . . . 219

020: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) . . . . . . . . . . . . . . . . . . 220

021: St. Guitar Cabinet (Stereo Guitar Cabinet) . . . . . . . . . . . . . . . . . . 221

022: St. Bass Cabinet (Stereo Bass Cabinet) . . . . . . . . . . . . . . . . . . . . . 221

023: Bass Amp Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

024: Bass Amp+Cabine (Bass Amp Model+Cabinet). . . . . . . . . . . . . 222

025: Treble Booster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

026: Tube PreAmp Model (Tube PreAmp Modeling). . . . . . . . . . . . . . 223

027: St.TubePreAmp (Stereo Tube PreAmp Modeling) . . . . . . . . . . . 224

028: Mic Model+PreAmp (Mic Modeling + PreAmp) . . . . . . . . . . . . . 224

029: Stereo Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

030: SmallPHASE (Small Phaser) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

031: Orange PHASE (Orange Phaser) . . . . . . . . . . . . . . . . . . . . . . . . . . 225

032: Black PHASE (Black Phaser) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

033: U-VIBE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

034: St. Random Phaser (Stereo Random Phaser) . . . . . . . . . . . . . . . 226

035: St. Env Phaser (Stereo Envelope Phaser) . . . . . . . . . . . . . . . . . . . 226

036: 2Voice Resonator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

037: Stereo Tremolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

038: TEXTREM (TEX Tremolo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

039: St. Env. Tremolo (Stereo Envelope Tremolo) . . . . . . . . . . . . . . . . 228

040: Stereo Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

041: St. Phaser+Trml (Stereo Phaser + Tremolo) . . . . . . . . . . . . . . . . 230

042: St. Ring Modulator (Stereo Ring Modulator) . . . . . . . . . . . . . . . . 231

043: P4EQ - Exciter (Parametric 4-Band EQ - Exciter) . . . . . . . . . . . . . 231

044: P4EQ - Wah (Parametric 4-Band EQ - Wah/Auto Wah). . . . . . . . 232

045: P4EQ - Phaser (Parametric 4-Band EQ - Phaser) . . . . . . . . . . . . . 233

046: Comp - Wah (Compressor - Wah/Auto Wah) . . . . . . . . . . . . . . . . 233

047: Comp - Amp Sim (Compressor - Amp Simulation) . . . . . . . . . . . 234

048: Comp - OD/HiGain (Compressor - Overdrive/Hi.Gain) . . . . . . . . . 234

049: Comp - P4EQ (Compressor - Parametric 4-Band EQ) . . . . . . . . . . 235

050: Comp - Phaser (Compressor - Phaser). . . . . . . . . . . . . . . . . . . . . . 235

051: Limiter - P4EQ (Limiter - Parametric 4-Band EQ). . . . . . . . . . . . . 236

052: Limiter - Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

053: Exciter - Comp (Exciter - Compressor) . . . . . . . . . . . . . . . . . . . . . . 237

054: Exciter - Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

055: Exciter - Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

056: OD/HG - Amp Sim (Overdrive/Hi.Gain - Amp Simulation) . . . . . 238

057: OD/HG - Phaser (Overdrive/Hi.Gain - Phaser). . . . . . . . . . . . . . . . 239

058: Wah - Amp Sim (Wah - Amp Simulation). . . . . . . . . . . . . . . . . . . 239

059: Decimator - Amp (Decimator - Amp Simulation) . . . . . . . . . . . . 240

060: Decimator - Comp (Decimator - Compressor) . . . . . . . . . . . . . . . 240

061: AmpSim - Tremolo (Amp Simulation- Tremolo) . . . . . . . . . . . . . 240

062: Organ Vib/Chorus (Organ Vibrato/Chorus) . . . . . . . . . . . . . . . . . . 241

063: Rotary Speaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

064: Stereo Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

065: Vintage Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

066: Black Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

067: St.HarmonicChorus (Stereo Harmonic Chorus) . . . . . . . . . . . . . . 244

068: St. Biphase Mod. (Stereo Biphase Modulation) . . . . . . . . . . . . . . 244

069: Multitap Cho/Delay (Multitap Chorus/Delay). . . . . . . . . . . . . . . . 245

070: Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

071: Polysix Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

072: Stereo Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

073: Vintage Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

074: St. Random Flanger (Stereo Random Flanger). . . . . . . . . . . . . . . 247

075: St. Env. Flanger (Stereo Envelope Flanger). . . . . . . . . . . . . . . . . . 247

076: Stereo Vibrato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

077: St. Auto Fade Mod. (Stereo Auto Fade Modulation) . . . . . . . . . . 249

078: Doppler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

079: Detune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

080: Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

081: Pitch Shift Mod. (Pitch Shift Modulation) . . . . . . . . . . . . . . . . . . . 251

082: P4EQ - Cho/Flng (Parametric 4-Band EQ - Chorus/Flanger) . . . . 252

083: Comp - Cho/Flng (Compressor - Chorus/Flanger) . . . . . . . . . . . . 252

084: Limiter - Cho/Flng (Limiter - Chorus/Flanger) . . . . . . . . . . . . . . . 253

085: Exciter - Cho/Flng (Exciter - Chorus/Flanger) . . . . . . . . . . . . . . . .253

086: OD/HG - Cho/Flng (Overdrive/Hi.Gain - Chorus/Flanger). . . . . . .254

087: Phaser - Cho/Flng (Phaser - Chorus/Flanger) . . . . . . . . . . . . . . . .254

088: GrainSftr (Grain Shifter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

089: L/C/R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255

090: Stereo/CrossDelay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256

091: St. Multitap Delay (Stereo Multitap Delay) . . . . . . . . . . . . . . . . . .256

092: St. Mod Delay (Stereo Modulation Delay) . . . . . . . . . . . . . . . . . . .257

093: St. Dynamic Delay (Stereo Dynamic Delay) . . . . . . . . . . . . . . . . . .258

094: St. Auto PanningDly (Stereo Auto Panning Delay) . . . . . . . . . . . .258

095: Tape Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .259

096: Echo Plus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260

097: Auto Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260

098: Sequence BPM Dly (Sequence BPM Delay) . . . . . . . . . . . . . . . . . .261

099: L/C/R BPM Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261

100: Stereo BPM Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262

101: St.BPM Mtap Delay (Stereo BPM Multitap Delay). . . . . . . . . . . . .263

102: St. BPM Mod. Delay (Stereo BPM Modulation Delay). . . . . . . . . .264

103: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) . . . . . . . .264

104: Tape Echo BPM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .265

105: Reverb Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

106: Reverb Plate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .266

107: Reverb Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

108: ReverbBrightRoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

109: Reverb2 Spring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

110: Reverb2 Hall

111: Reverb2 Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

112: Reverb2 Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

113: Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268

114: P4EQ - Mt.Delay (Parametric 4-Band EQ - Multitap Delay) . . . . .268

115: Comp - Mt.Delay (Compressor - Multitap Delay) . . . . . . . . . . . . .269

116: Limiter - Mt.Delay (Limiter - Multitap Delay) . . . . . . . . . . . . . . . .269

117: Exciter - Mt.Delay (Exciter - Multitap Delay) . . . . . . . . . . . . . . . . .270

118: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay) . . . . . . .270

119: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) . . . . . . . . .271

120: Reverb - Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271

Double Size effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .273

D00: St.Multiband Limiter (Stereo Multiband Limiter) . . . . . . . . . . . . 273

D01: OD/HyperGain Wah (Overdrive/Hyper Gain Wah) . . . . . . . . . . . .273

D02: GuitarAmp + P4EQ

(Guitar Amp Model + Parametric 4-Band EQ). . . . . . . . . . . . . . . . . . . .274

D03: G.Amp Clean Combo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

D04: G.Amp California. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

D05: G.AmpTweed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

D06: G.Amp Modded OD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .275

D07: Bass.TubeAmp + Cab (Bass Tube Amp Model + Cabinet) . . . . .275

D08: St. Mic + PreAmp (Stereo Mic Modeling + PreAmp) . . . . . . . . .276

D09: Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

D10: Rotary SpeakerOD (Rotary Speaker Overdrive) . . . . . . . . . . . . . . .277

D11: Multitap Cho/Delay (Multitap Chorus/Delay) . . . . . . . . . . . . . . . .278

D12: St. Pitch Shifter (Stereo Pitch Shifter) . . . . . . . . . . . . . . . . . . . . . .279

D13: Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267

vii

Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Alternate Modulation Sources (AMS) . . . . . . . . . . . . . . . . . . . . 281

Alternate Modulation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281

AMS (Alternate Modulation Source) List . . . . . . . . . . . . . . . . . . . . . . . . 282

Alternate Modulation settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284

Dynamic Modulation Sources (Dmod) . . . . . . . . . . . . . . . . . . . 288

Dynamic Modulation Source List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288

SW1/2 Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Foot Switch Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Foot Pedal Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

MIDI transmission when the KROSS’s controllers are used. . 293

KROSS and MIDI CCs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Responses to standard MIDI controllers . . . . . . . . . . . . . . . . . . . . . . . . .295

Parameters controlled by MIDI CCs #70-79 . . . . . . . . . . . . . . . . . . . . . . 297

MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Settings when connected to a MIDI device or computer . . . . . . . . . . .298

Messages transmitted and received by the KROSS . . . . . . . . . . . . . . . . 299

File compatibility with the microSTATION . . . . . . . . . . . . . . . 308

MIDI Implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

viii

Program mode

PROG Page Select

Here's how you can select each page.

• Use the PAGE+/- buttons.

• Press the MENU button to access the page menu, use the PAGE+/- buttons to select a page, and press the MENU (OK) button or the ENTER button.

• While the above page menu is displayed, press the FUNCTION (TABS) button, then use the PAGE+/- buttons to select a page by its tab, and then press the MENU (OK) button or the ENTER button.

• Hold down the MENU button and press the PAGE- or PAGE+ buttons.

For details, see “Selecting pages and tabs” on page 11 of the Operation Guide.

Page Tabs Main content

MAIN Select and play programs (see page 2)

TONE Easy sound editing (see page 3)

PROG

P–INPUT/ CTRL

P–BASIC

P–OSC

P–PITCH

P–PITCH EG

P–FILTER

P–FILTER EG

P–AMP

P–AMP E G

MIXER

ARP Simple arpeggiator editing (see page 4)

AUDIO IN External audio input settings (see page 5)

CONTROLLERS SW1 and 2 function assignments (see page 6)

VOICE

NOTE-ON

SCALE Scale settings (see page 10)

MS1...MS4 Multisample and drum kit settings (see page 11)

VEL Oscillator velocity zone settings (see page 13)

BASIC Oscillator 1 and 2 pitch settings (see page 14)

MOD Pitch modulation settings (see page 15)

PORTA Portamento settings (see page 17)

ENVELOPE Pitch EG settings (see page 18)

L-MOD Pitch EG level modulation settings (see page 19)

T-MOD Pitch EG time modulation settings (see page 20)

BASIC Oscillator 1 and 2 filter settings (see page 21)

MOD Filter modulation settings (see page 23)

EG-I Filter EG intensity settings (see page 24)

LFO-I Filter LFO intensity settings (see page 25)

KTRK Filter keyboard tracking settings (see page 26)

ENVELOPE Oscillator 1 and 2 filter EG settings (see page 28)

L-MOD Filter EG level modulation settings (see page 29)

T-MOD Filter EG time modulation settings (see page 30)

BASIC

MOD Amp modulation settings (see page 33)

KEYTRK Amp keyboard tracking settings (see page 34)

ENVELOPE Oscillator 1 and 2 amp EG settings (see page 36)

L-MOD Amp EG level modulation settings (see page 37)

T-MOD Amp EG time modulation settings (see page 38)

OSC1, 2, Drum Track, and step sequencer volume adjustment and mute settings (see page 4)

Basic program settings, such as Oscillator mode (see page 7)

Key zone, and timing setting s following note-on (see page 8)

Oscillator 1 and 2 amp (volume) and pan settings (see page 32)

Page Tabs Main content

1. WAV

1. FRQ

P–OSC LFO

2. WAV

2. FRQ

LFO.W Common LFO waveform settings (see page 42)

P–CMN LFO/ KT

P–AMS MIXER

P–ARP

P–DRUM TRACK

P–STEP SEQ

P–FX ROUTING

P–IFX IFX1, 2, 3, 4, 5 Insert effect 1–5 settings (see page 61)

P–MFX

LFO.F

KT.1 Common keyboard tracking 1 settings (see page 44)

KT.2 Common keyboard tracking 2 settings (see page 45)

1 Oscillator 1 and 2 AMS mixer 1 settings (see page 45)

2 Oscillator 1 and 2 AMS mixer 2 settings (see page 50)

SETUP Arpeggiator settings (see page 50)

SCAN ZONE Arpeggiator trigger region settings (see page 50)

PATTERN

PROGRAM Drum Track program selection (see page 50)

BASIC

EDIT Step on/off entry (see page 56)

INST Instrument settings (see page 57)

MOD

MIX Drum program selection (see page 58)

BUS

SEND

IFX

MIXER Post-insert effect routing settings (see page 61)

SETUP

MFX1, 2 Master effect 1 and 2 settings (see page 62)

Oscillator 1 and 2 LFO1 waveform settings (see page 39)

LFO1 frequency and modulation settings (see page 41)

Oscillator 1 and 2 LFO2 waveform settings (see page 42)

LFO2 frequency and modulation settings (see page 42)

Common LFO frequency and modulation settings (see page 43)

Drum Track pattern selection and trigger region settings (see page 50)

Step sequencer program selection and length settings (see page 55)

Step sequencer effects such as accent and swing (see page 57)

Oscillator 1 and 2 insert effect bus settings (see page 59)

Oscillator 1 and 2 master effect send level settings (see page 59)

Insert effect type selection and chain setti ngs (see page 60)

Master effect type selection and chain settings (see page 62)

Program mode

0: PROG (Program)

This is the main Program mode page. Here you can:

In the PROG page, MIDI data is transmitted and received on the global MIDI channel that's specified by MIDI Channel (G–MIDI> BASIC). However, MIDI data for the Drum Track and the step sequencer is transmitted and received on the Drum Track Prog MIDI Ch and the Step Seq Prog MIDI Ch (G–MIDI> OUT) respectively.

0–1: MAIN

Category: Index No. Category Icon

Mode (Bank No.)

SW Info.

Category Select Icon

Program Select

Category Icon [USE/GM, PIANO...DRUM/SFX]

This shows the program's category icon. For the USER category and the GM bank, the icon is shown at the left of the PIANO– DRUM/SFX icon.

Category [PIANO...USER]

This is the program category name.

All programs are organized into 11 preset categories and 1 user category.

PIANO, E.PIANO, ORGAN, BELL, STRINGS, BRASS, SYNTH LEAD, SYNTH PAD, GUITAR, BASS, DRUM/SFX, USER

Index No. (Bank No.)

[000... (A…D, U: 0...127, G, g1...g9, gd: 1...128)]

The index number sorts the programs of the A–D, U, and GM banks, starting from number 000.

The index number is the number that is used to transmit or receive MIDI program changes; it ranges from 0–127 for banks A–D and U, and from 1–128 for the GM banks. Of the GM banks g1–g9, programs that have no variation sound are indicated by *, and GM basic sounds will be recalled for these.

Note: Each bank has limitations on saving. (see page 63)

Category Select Icon

Where this icon appears, you can use the sound selector (CATEGORY dial, SELECT dial) to select a program.

Program Select

This is the name of the selected program.

Sound select list

This lists the programs in each category. Select a program and play it. Here's how to access this list and play a program.

1. In the PROG> MAIN page, the list will appear when you turn the CATEGORY dial or SELECT dial, or press the ENTER button.

Tempo

2. If you want to switch to a different category, use the CATE-

GORY dial or the cursor buttons  .

3. To select sounds, use the SELECT dial, the value dial, or

the cursor buttons  .

4. If you return to the PROG> MAIN page by pressing the OK (MENU) button, the sound you selected in step 3 will be selected. If you press the Cancel (FUNCTION) button, your selection will be cancelled, and the sound that had been selected before you opened the list will be selected.

Note: To change the category assignment of each program, use the Write Program dialog box.

To s witc h prog rams

• Turn the value dial, or use the cursor buttons  .

• Use the sound selector list (see “Sound select list”)

• You can use a foot switch to select programs.

(See “Foot Switch Assign” on page 164 and “Foot Switch Assign List” on page 291)

• You can select programs by transmitting a MIDI Program

Change from a connected external MIDI device.

Note: MIDI program changes are transmitted using the Bank No. shown in the screen.

 (Tempo) [40.00... 300.00, EXT]

This is the tempo for the current Program, which applies to the arpeggiator, drum track, step sequencer, tempo-synced LFOs, and tempo-synced effects.

040.00...300.00: Indicates the tempo

In this page, you can adjust the tempo by turning the TEMPO knob or by pressing the TAP button at the desired interval. In the P– INPUT/CTRL> Controllers page you can enter a numeric value.

EXT is displayed if the MIDI Clock (G–MIDI> BASIC) is set to External MIDI or External USB. This is also shown if the MIDI Clock setting is Auto and MIDI clock data is being received from

an external device. If the tempo source is EXT, the arpeggiator etc. will synchronize to MIDI clock data from an external MIDI device.

Battery/AC Icon [ , , ]

: Indicates that the AC adapter is being used.

, : Indicates that batteries are being used. The approximate

amount remaining is shown.

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.

SW Info.

SW1, SW2: Indicates the functions that are assigned to the SW1 and SW2 buttons.

0–2: TONE (Play Tone Adjust)

The Tone Adjust function lets you make simple changes to the sound by adjusting the program's main parameters, such as the filter or the filter and amp EG.

Tip: In Combination and Sequencer modes, Tone Adjust also lets you edit Program parameters without the need to save a different version of the original Program. For more information on Tone Adjust in these modes, please see page 75 and 114.

Using and saving the Tone Adjust settings

Your editing will affect the sound immediately, but the values of the original program parameters will not change until you save the program. When you save the program, the result of your Tone Adjust settings will be saved in the program parameters. At that point, all of the Tone Adjust parameter values will be reset to 0.

How parameters and MIDI control changes (CC) affect each other

Most parameters will also affect the parameters that are controlled via MIDI control changes.

Tone Adjust and control changes work independently. For example, you can use the Tone Adjust function to reduce the value of a parameter, and then use a control change to increase it.

The MIDI control change numbers (CC#) corresponding to each Tone Adjust parameter are shown below.

Cutoff: CC#74

Resonance: CC#71

EG Intensity: CC#79

Vel. Intensity: Not supported

Attack: CC#75

Decay: CC#75

Sustain: CC#70

Release: CC#72

See page 297, 303

0: PROG (Program) 0–2: TONE (Play Tone Adjust)

Vel. Intensity (Amp Velocity Intensity) [–99...+99]

This scales the effect of velocity on the Amp level.

–99 removes the velocity modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.

Attack (Filter/Amp EG Attack Time) [–99...+99]

This adjusts the attack time and other related parameters of all filter EGs and amp EGs in a single action.

When the value is +1 or more, this also affects the Amp EG’s Start and Attack Levels, Start Level AMS, and Attack Time AMS, as described below:

Between values of +1 and +25, the Start Level, Start Level AMS, and Attack Time AMS will change from their programmed values to 0. Over the same range, the Attack Level will change from its programmed value to 99.

Decay (Filter/Amp EG Decay Time) [–99...+99]

This scales the decay and slope times of the Filter and Amp EGs. It interacts with CC# 75.

Sustain (Filter/Amp EG Sustain Level) [–99...+99]

This scales the sustain levels of the Filter and Amp EGs.

Release (Filter/Amp EG Release Time) [–99...+99]

This scales the release times of the Filter and Amp EGs.

The compare function is not available for any editing that uses the Tone Adjust parameters.

Category: Index No. , Category Select Icon, Program Select

Select the program.

TONE ADJUST

Cutoff (Filter Cut Off) [–99...+99]

This scales the cutoff frequency of all of the filters at once. It affects both Filters A and B.

Resonance (Filter Resonance) [–99...+99, CC#71]

This scales the resonance of all of the filters at once. It affects both Filters A and B.

EG Intensity (Filter EG Intensity) [–99...+99, CC#79]

This scales the effect of the Filter EG on the cutoff frequency. It affects Filters A and B simultaneously.

If this is set to -99, the filter EG will have no effect. +99 means maximum. Modulation is in the same direction, positive or negative, as the original Program. For instance, if the original Program’s EG Intensity was set to –25, then setting the Tone Adjust to +99 moves the EG Intensity to –99.

Program mode

Pattern

0–3: MIXER (Play Mixer)

Here is where you can adjust the volume of oscillators 1 and 2, the Drum Track and the step sequencer, and mute or solo them. Use the Solo Setting function to turn solo on/off. (see page 63)

Tip: You can use the Hold Balance function to adjust these four volume settings simultaneously. This function is a convenient way to make adjustments while preserving the volume balance.

Category: Index No. , Program Select

Select the program.

OSC1

Play/Mute [Play, Mute]

Play: Oscillator 1 will sound.

Mute: Oscillator 1 will be muted (silent).

Vol (Volume) [000...127]

Adjusts the volume of Oscillator 1.

OSC2

Play/Mute [Play, Mute]

Play: Oscillator 2 will sound.

Mute: Oscillator 2 will be muted (silent).

Note: OSC2 Play/Mute cannot be set for a program whose

Oscillator Mode is Single or Drums.

Vol (Volume) [000...127]

Adjusts the volume of Oscillator 2.

DRUM TRACK

Play/Mute 1 [Play, Mute]

Play: The drum track will sound.

Mute: The drum track will be muted (silent).

Vol (Volume) [000...127]

Adjusts the volume of the drum track.

STEP SEQ

Play/Mute [Play, Mute]

Play: Step sequencer will sound.

Mute: Step sequencer will be muted (silent).

Vol (Volume) [000...127]

Adjusts the volume of step sequencer.

0–4: ARP (Arpeggiator)

This is the easy edit page for the arpeggiator. For more detailed editing, use the P–ARP page.

Category: Index No. , Program Select

Select the program.

MOD (Modulation)

[GATE] [–64...+00...+63]

Specifies the length (gate time) of each note in the arpeggio(see page 51).

[VEL} (VELOCITY) [–64...+00...+63]

Specifies the velocity of the notes in the arpeggio (see page 51).

{SWING} [–64...+00...+63]

This parameter shifts the timing of the odd-numbered notes of the arpeggio (see page 52).

When each MOD parameter is at +00, the effect will be as specified by the Gate, Velocity, and Swing parameters of the PARP> SETUP page.

Pattern [Preset: UP...RANDOM, 0000…1027]

Octave [1oct, 2oct, 3oct, 4oct]

Resolution [

Sort [Off, On]

Latch [Off, On]

Key Sync. [Off, On]

Keyboard [Off, On]

Note: These parameters can also be set from P13: P–ARP (see page 51).

0–1...4: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

•5: Hold Balance see page 64 (only MIXER page)

•6: Copy Arpeggiator see page 65 (only ARP page)

For more information, please see the “Program: Function” section on page 63.

 ,  ,   ,  ,   ,  ,   ,  ]

1: P–INPUT/CTRLS (Input/Controllers 1–1: AUDIO IN

Input Level Meter

1: P–INPUT/CTRLS (Input/Controllers

1–1: AUDIO IN

About the AUDIO IN button

Settings found in this page are active when the front panel AUDIO IN button is on, allowing an external audio signal to be input.

G-SET (Use Global Setting) [Off, On]

On (checked): The general settings in the GLOBAL mode G– INPUT/CTRL page will be used as the external audio input settings. If you want to use the same external input for multiple programs, it is convenient to turn this On (checked) for each program, and make adjustments in GLOBAL mode.

Off (unchecked): The Line or Mic settings you make in this page will be used.

Since this allows you to save external audio input settings that are appropriate for a specific program, it is convenient to use this setting in conjunction with the appropriate audio input settings, for example when you're saving a program as a vocoder effect program. (“Example: Vocoder (Program)” on page 199)

Select [Line, Mic]

Selects the external input jack that will be used.

Line: LINE IN jack (line level, stereo)

Mic: MIC IN jack (mic level, monaural)

You can adjust the following parameters individually for LINE and MIC.

You can't use the Line input and Mic input simultaneously.

Pan [L000...L063, C064, R065...R127]

If the Select parameter is set to Mic, this lets you adjust the pan settings of the external audio signal that's being input from the MIC IN jack. C064 pans the sound to the center.

You can't specify this for the Line input. Its stereo panning is fixed.

Input Level Meter

Indicates the level of the external audio that's being input to the KROSS.

If the input is overloaded, the [LINE] or [MIC] indicators in the middle of the level meter will be highlighted. Adjust the Gain of the input stage or the Level parameter that follows the AD converter.

Solving distortion caused by input overload

If the audio input is too loud, the sound may be distorted.

If the [LINE] or [mic] indication in the Input Level Meter is highlighted, distortion is occurring in the input stage. Adjust the Gain parameter or the volume of your connected device so that this indication is not highlighted.

If there is distortion even though this indication is not highlighted, it may be that an effect of the KROSS is causing the distortion. Adjust the Level parameter to lower the signal level, or adjust the effect settings (such as the Input Trim parameter).

Mute/Play [Mute, Play]

This specifies whether the external audio input signal will be silenced (muted) or audible.

Mute: The audio input will be silenced (muted).

Play: The audio input will be heard.

Note: Even if this is set to Play, the audio input will not be heard if the AUDIO IN button is off (unlit).

Gain [00...82, MAX]

This adjusts the level of the external audio input signal at the input stage. See “Solving distortion caused by input overload.”

The input gain setting (Gain) is shared by the global setting (G-SET on) and the individual setting (G-SET off). To save the setting, select the setting in Global mode and then use the Write Global Setting function to save it. 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 (G-SET off) for a program, combination, or song.

Bus (Bus Select) [L/R, IFX1...5, Off]

Specifies the output bus for the external audio signal.

L/R: The external audio input signal is output to the L/R bus.

IFX1...5: The external audio input signal is output to the IFX1–5

bus. Use this setting if you want to apply insert effects to the input signal.

Off: The external audio signal is not output to any bus.

Send1 [000...127]

Send2 [000...127]

Specify the send levels where the external audio input signal is sent to the master effects. Use these when you want to apply chorus or delay/reverb to the Mic input sound.

Send1 sends the signal to master effect 1.

Send2 sends the signal to master effect 2.

If Bus (Bus Select) is set to IFX1–5, the send levels to the master effects are set by the Send1 and Send2 parameters (see page 58) after the signal passes through IFX1–5. (see page 61)

FX Control Bus [Off, FC1, FC2]

This outputs the external audio input signal to the FX Control bus (stereo two-channel FX Ctrl1, 2). (see page 199)

Level [000...127]

This specifies the level of the external audio signal that's being input. Normally you'll leave this at 127.

The analog audio signal from the LINE IN or MIC IN jack is converted into a digital signal by the AD converter. This Level parameter adjusts the amount of signal immediately after it is converted into digital; if the audio input is distorted, see “Solving distortion caused by input overload.”

Program mode

AUDIO IN – QUICK SETTING

If you hold down the EXIT button and press the AUDIO IN button, the current audio in setting will appear. This is referred to as the audio in quick setting. When a different page is open, this provides a convenient way to quickly access the settings without having to open the AUDIO IN page.

The following illustration shows the case when G-SET is Off.

If G-SET is ON, the GLOBAL setting AUDIO IN is shown and can be edited. When you press the WRITE G-SET (PAGE+) button, the WRITE GLOBAL SETTING dialog box will appear, allowing you to save the setting.

1–2: CONTROLLERS (Controllers Setup)

Here you can specify the functions of the front panel SW1 and SW2 buttons, and set the tempo.

SW1

Assign [Off, ..., Pitch Bend Lock]

Selects the function that's used by SW1. This assigns the function of SW1 (see “SW1, SW2 Assign List” on page 290).

Note: If you change the function setting, the status is reset to off.

Note: The on/off status of the SW1, SW2 switches is memorized

when you save the program.

Mode [Toggle, Momentary]

This specifies the on/off function when you press the SW1 switch.

Toggle: The state will alternate between On and Off each time you press the SW1 switch.

Momentary: The state will remain On only while you continue holding down the SW1 switch.

SW2

Assign [Off, ..., Pitch Bend Lock]

Mode (SW2 Mode) [Toggle, Momentary]

This assigns the function of SW2. The functions that can be assigned to SW2 are the same as for SW1, with the substitution of SW2 Mod. (CC#81) instead of the SW1’s SW1 Mod. (CC#80).

TEMPO

 (Tempo) [40.00... 300.00, EXT]

This is the tempo for the current Program, which applies to the arpeggiator, drum track, step sequencer, tempo-synced LFOs, and tempo-synced effects (see “ (Tempo)” on page 2).

1–1, 2: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

For more information, please see the “Program: Function” section on page 63.

2: P–BASIC 2–1: VOICE (Voice Mode)

Input Level Meter

2: P–BASIC

2–1: VOICE (Voice Mode)

This page contains all of the basic settings for the Program. Among other things, you can:

• Set up the Program to be a Single, a Double, or a Drum Kit.

• Set the Program to play polyphonically or monophonically.

OSC (Oscillator Mode) [Single, Double, Drums]

Specifies the Program’s oscillator assignment; whether it will use one or two oscillators, or a drum kit.

Single: The program will use one oscillator (Oscillator 1, Filter 1, Amplifier 1). In this case, the program will normally have a

maximum of 80-note polyphony.

Double: The program will use two oscillators (Oscillator 1/2,

Filter 1/2, Amplifier 1/2). In this case the program will normally have a maximum of 40-note polyphony.

Drums: The program will use one oscillator (as when Single is selected), but Oscillator 1 will be assigned a drum kit instead of a multisample. In this case the program will normally have a maximum of 80-note polyphony.

Voice Assign Mode [Poly, Mono]

Select the basic voice allocation mode. Depending on which one you select, various other options will appear, such as Poly Legato (Poly mode only) and Unison (Mono mode only).

Poly: The program will play polyphonically, allowing you play chords.

Mono: The program will play monophonically, producing only one note at a time.

Poly

These parameters are available when the Voice Assign Mode is set to Poly.

Legato (Poly Legato) [Off, On]

Legato means to play notes in a smooth and connected manner; the next note is played before the last note is released. This is the opposite of playing detached.

On (checked): When you play a legato phrase, only the first note of that phrase (and within approximately the first 30 msec) will use the normal multisample start point specified by Start Offset (P–OSC); all subsequent notes will use the legato start point specified for each multisample.

Note: This is a useful way to simulate the percussive attack of a tonewheel-type organ.

Off (unchecked): Notes will always use the setting of the Sta rt Offset, regardless of whether you play legato or detached.

With some Multisamples, Poly Legato may not have any effect.

Single Trigger [Off, On]

Single Trigger is available when the Voice Assign Mode is set to Poly.

On (checked): When you play the same note repeatedly, the

previous note will be silenced before the next note is sounded, so that the two do not overlap.

Off (unchecked): When you play the same note repeatedly, the notes will overlap.

MONO

These parameters are available when the Voice Assign Mode is set to Mono.

Number of Voices

Legato (Mono Legato) [Off, On]

Legato means to play notes in a smooth and connected manner; the next note is played before the last note is released. This is the opposite of playing detached.

When Mono Legato is On, the first note in a legato phrase will sound normally, and then subsequent notes will have a smoother sound, for more gentle transitions between the notes.

The Mode parameter, below, switches between two different Mono Legato effects, each of which achieves this smoothness in a different way. See the description of that parameter for more details.

On (checked): When you play with legato phrasing, the notes within a legato phrase will sound smoother, according to the setting of the Mode parameter, below.

Off (unchecked): Legato phrasing will produce the same sound as detached playing.

Mode [Normal, Use Legato Offset]

Normal: When you play legato, the multisample, envelopes, and LFOs will not be reset; only the pitch of the oscillator will change. This setting is particularly effective for wind instruments and analog synth sounds.

With this option, the pitch may occasionally be incorrect, depending on which multisample you play, and where on the keyboard you play.

Use Legato Offset: When you play legato, the second and subsequent notes will use the legato start point specified for each multisample, rather than the Start Offset (P–OSC) setting.

This is effective when used with a multisample where you’ve assigned a specific legato offset point. For example, you might use it to control the attack of a breathy, slow-attack sax sound. On some multisamples, this will have no effect.

Envelopes and LFOs will still be reset, as they are with detached playing.

Priority [Low, High, Last]

This parameter determines what happens when more than one note is being held down.

Low: The lowest note will sound. Many vintage, monophonic analog synths work this way

High: The highest note will sound.

Last: The most recently played note will sound.

Program mode

Unison [On, Off]

On (checked): When Unison is on, the Program uses two or more stacked, detuned voices to create a thick sound.

Use the Number of Voices and Detune parameters to set the number of voices and amount of detuning, and the Thickness parameter to control the character of the detuning.

Off (unchecked): The Program plays normally.

Number of Voices [2...6]

Number of Voices is available when Unison is On.

This controls the number of detuned voices that will be played for each note when using Unison. It applies only when Unison is On.

Detune [00...99 cents]

Detune is available when Unison is On.

This parameter sets the tuning spread for the Unison voices, in cents (1/100 of a semitone). The Thickness parameter, below, controls how the voices are distributed across the detune amount. When Thickness is Off, the voices are distributed evenly, centered around the basic pitch.

For instance, let’s say that the Number of voices parameter is set to 3, Detune is set to 24, and Thickness is Off:

Voice one will be detuned down by 12 cents, voice two will not be detuned, and voice three will be detuned up by 12 cents.

Voic e Detune

3+12

As another example, let’s say that Detune is still set to 24 and Thickness is still Off, but the Number of voices is set to 4:

Voice one will still be detuned down by 12 cents, voice two will be detuned down by 4 cents, voice three will be detuned up by 4 cents, and voice 4 will be detuned up by 12 cents.

Voic e Detune

3+4

4+12

–12

–4

Thickness [Off, 01...09]

Thickness is available when Unison is On.

This parameter controls the character of the detuning for the unison voices.

Off: Unison voices will be evenly distributed across the Detune range, as shown above.

01–09: Unison voices will be detuned in an asymmetric way, increasing the complexity of the detune amount, and changing the way that the different pitches beat against one another. This creates an effect similar to vintage analog synthesizers, where oscillators would frequently drift slightly out of tune. Higher numbers increase the effect.

2–2: Note-On (Note-On Control)

Here you can adjust the following settings.

• Make keyboard split settings for OSC1, OSC2, and Hold.

• Enable/disable the half-damper function.

• Specify the timing of the notes played from the keyboard.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

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

Key Zone – Bottom/Top

You can create keyboard splits by setting top and bottom key limits for Oscillators 1 and 2. Also, you can control the keyboard range where the Hold parameter takes effect.

Note values and velocity values can also be entered using the keyboard. (see page 12 of the Operation Guide)

Key Zone Bottom [C–1...G9]

This sets the lowest key where the Oscillator will play.

Key Zone Top [C–1...G9]

This sets the highest key where the Oscillator will play.

Zone Graphic

Note-On Control

Delay [0000ms...5000ms, KeyOff]

This specifies the amount of time from when you press a key until the oscillator actually begins to sound.

This is most useful in Double Programs, for delaying one oscillator in relation to the other.

KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key.

You can use this to produce the “click” sound that is heard each time you release a key of a harpsichord.

In general, when you use the KeyOff setting, it’s also best to set the oscillator’s Amp EG Sustain Level to 0.

Mode [Key, Key + Damper]

Normally, you play notes simply by pressing keys on the keyboard. In special cases, however, you can set this parameter so that you must first be holding down the damper pedal, and then press a key, in order to play a note. For instance, this can be useful when modeling the behavior of a piano soundboard.

Key is the normal mode.

When you select Key + Damper, notes will only sound if the damper pedal is being held down. When the damper pedal is released, all notes will be stopped even if they are still being held down.

2: P–BASIC 2–2: Note-On (Note-On Control)

Hold

Hold [On, Off ]

Hold is like permanently pressing down on the sustain pedal. In other words, notes continue to sound as if you were holding down the key - even after you lift your fingers from the keyboard.

Unless the Sustain Level is set to 0 in Amp EG 1 (and Amp EG 2 in a Double Program), the sound will play for the entire length of the multisample(s).

On (checked): The Hold function is enabled for the range set by the Hold Bottom and Hold Top parameters, below.

Off (unchecked): Notes will play normally. This is the default setting.

Using Hold with Drum Kits

Hold can be especially useful for drum programs, since it lets the drum samples ring out naturally. In general, when you set the Oscillator Mode to Drums, it’s good to set Hold to On.

Once you’ve turned on Hold for a drum program, the function is controlled on a note-by-note basis according to settings within the selected Drum Kit.

If a key’s Enable Note Off Receive parameter (see page 172) is unchecked, the note will be held.

If the key’s Enable Note Off Receive parameter is checked, it will not be held.

If you turn off Hold in the Program, no keys will be held regardless of their Enable Note Off Receive setting.

Half-Damper Pedal and Release Time

The amount of modulation depends on whether the Amp EG Sustain Level is set to 0 (as is the case with most acoustic piano sounds), or set to 1 or more. The modulation is continuous, from 1x (no change) to 55 times longer; the table below shows a selection of representative points.

Half-Damper modulation of Amp EG Release Time

CC#64 Value

01x 1x

32 2.1x 2.1x

64 3.2x

80 5.9x

96 22.3x

127 55x

Multiply Amp EG Release Time by…

If Sustain = 0 If Sustain = 1 or more

3.2x

Using Hold with Acoustic Pianos

Hold is also useful for simulating the top octaves of an acoustic piano, in where notes always sustain until they fade out naturally, regardless of how long you hold the key.

The Hold Bottom and Hold Top parameters are designed for exactly this purpose. They let you limit the effect of the Hold parameter to a specific range of the keyboard.

Hold Bottom [C–1...G9]

This sets the lowest key affected by the Hold function.

Hold Top [C–1...G9]

This sets the highest key affected by the Hold function.

Enable Half-Damper [On, Off ]

When this is On (checked), Half-Damper pedals, normal sustain pedals, and MIDI CC# 64 will all modulate the Amp EG, as described below.

When this is Off (un-checked), the pedals and MIDI CC#64 will still hold notes as usual, but will not modulate the Amp EG.

A half-damper pedal is a special type of continuous foot pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.

The KROSS will automatically sense when a half-damper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Half Damper Calibration function in the Global menu.

The off and full-on positions of the half-damper work just like a standard footswitch. In conjunction with the Enable Half- Damper parameter, below, intermediate positions allow a graduated control of sustain, similar to the damper pedal of an acoustic piano.

Program mode

2–3: SCALE

Selects the basic scale for the Program.

Scale Type [

Selects the basic scale.

Note that for many of the scales, the setting of the Key parameter, below, is very important.

Equal Temperament: This is the most widely used scale by far, in which each semitone step is spaced at equal pitch intervals.

Equal Temperament allows easy modulation, so that a chord progression played in the key of C sounds roughly the same as the same progression played in F#. Sacrificed, however, is some of the purity of individual intervals offered by the scales below.

Pure Major: In this temperament, major chords of the selected key will be perfectly in tune.

Pure Minor: In this temperament, minor chords of the selected key will be perfectly in tune.

Arabic: This scale includes the quarter-tone intervals used in Arabic music.

Pythagoras: This scale is based on ancient Greek music theory, and is especially effective for playing melodies. It produces completely pure fifths, with one exception, at the expense of detuning other intervals– thirds in particular.

As much as Pythagoras might have liked to do so, it’s not possible to make all the fifths pure while also keeping the octave in tune. For the sake of the octave, one of the fifths, the interval from the sharp fourth degree to the sharp first degree is made quite flat.

Werkm eiste r (Werkmeister III): This scale was one of the many temperament systems developed towards the end of the Baroque period. These “Well-Tempered” tunings were aimed at allowing relatively free transposition although you’ll still notice that the different keys maintain their own distinct characteristics, unlike Equal Temperament.

J.S. Bach was referring to these new scales in his title, “The WellTempered Clavier.” As such, this group are particularly appropriate for late baroque organ and harpsichord music.

Kirnberger (Kirnberger III): This is a second “Well-Tempered” tuning, dating from the early 18th century.

Slendro: This is an Indonesian gamelan scale, with five notes per octave.

When Key is set to C, use the C, D, F, G and A notes. Other keys will play the normal equal-tempered pitches.

Pelog: This is another Indonesian gamelan scale, with seven notes per octave.

When Key is set to C, use the white keys. The black keys will play the equal tempered pitches.

Stretch: This tuning is used for acoustic pianos.

User All Notes Scale: This is a user-programmed scale with

different settings for all 128 MIDI notes. You can set up this scale in Global mode (G–USER SCALE> ALL).

User Octave Scale 00–15: These are user-programmed scales with settings for each of the 12 notes in an octave. You can set them up in Global mode (G–USER SCALE> OCTAVE).

Equal Temperament…User Octave 15

Key (Scale Key) [C…B]

Selects the key of the specified scale.

This setting does not apply to the Equal Temperament, Stret ch, and User All Notes scales.

If you’re using a scale other than Equal Temperament, the combination of the selected scale and the Key setting may skew the tuning of the note. For example, A above middle C might become 442 Hz, instead of the normal 440 Hz. You can use the Global Mode’s Master Tune (GLOBAL> BASIC) parameter to correct this, if necessary.

Random [0…7]

]

This parameter creates random variations in pitch for each note. At the default value of 0, pitch will be completely stable; higher values create more randomization.

This parameter is handy for simulating instruments that have natural pitch instabilities, such as analog synths, tape-mechanism organs or acoustic instruments.

2–1: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

•5: Copy Oscillator see page 64

•6: Swap Oscillator see page 64

For more information, please see the “Program: Function” section on page 63.

3: P–OSC 3–1: MS 1 (Multisample 1)

Bank

Multisample SelectMultisample On/O

3: P–OSC

These pages control the first and most basic elements of sounds: the Multisamples that the oscillators play, and the pitch where it plays them. For instance, you can:

• Select Multisamples for Single and Double Programs, or Drum Kits for Drum Program.

• Set up velocity splits, crossfades, and layers for Single and Double Programs.

• Set the basic pitch of the sound, including the octave, transpose, and so on.

Note that when the Oscillator Mode is set to Single or Drums, only Oscillator 1’s filters are active; the pages for Oscillator 2’s filters will be grayed out.

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. For instance, a very simple guitar Multisample might have six samples one for each string.

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

Velocity splits, crossfades, and layers

Each oscillator has eight velocity zones that allow different keyboard velocities to switch the multisample or drum sample that is actually sounded.

For each zone, you can specify the threshold (boundary value) and crossfade (how velocity will smoothly fade between the samples of adjacent zones). This allows you to create velocity-switched or layered sounds, such as the following examples.

• Velocity splits where the zones are cleanly separated at their threshold

• Velocity crossfades where the zones will smoothly crossfade beyond their threshold.

• Velocity layers where additional sounds are added for a velocity region above a specified threshold.

Note: If the Oscillator Mode is Drums, the velocity zone settings already specified for the drum kit will be applied, and will not be shown on the screen. The velocity zones for a drum kit can be edited in Global Drum Kit (see page 169).

3–1: MS 1 (Multisample 1)

Program’s sounds are based on multisamples, and this page lets you set up all of the basic multisample-related settings. Among other things, you can:

• Select Multisamples for the Oscillator (in a Single or Double Program), or select the Drum Kit for a Drum Program

• Set the Oscillator’s basic pitch

• Set up velocity switching, crossfades, and layers for maltisamples.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

Octave [–2[32'], –1[16'], +0[8'], +1[4']]

This sets the basic pitch of the Oscillator, in octaves. The default is +0[8']. The standard octave of a multisample is +0 [8'].

Transpose [–12...+12]

This adjusts the pitch in semitones, over a range of ±1 octave.

MULTISAMPLE-1

If you want to create a simple setup with only a single Multisample, just set up Multisample1 as desired, and then set the Threshold Velocity to 1 and the Crossfade (Crossfade Range) to Off.

Multisample On/Off [Off, On]

Specifies whether multisample 1 will sound.

It will sound if this is On.

Bank [Mono, Stereo]

This is displayed if Multisample On/Off is On.

You can choose between looking at mono and stereo Multisamples.

Mono, Stereo: Conventional monaural or stereo multisamples.

Note that stereo Multisamples will require twice as many voices as mono Multisamples.

Multisample select [List of Multisample]

This specifies a multisample.

Some multisamples have an upper limit; notes played above that limit will not sound.

Use the Multisample Select popup button to open the multisample list. You can choose a multisample from the list.

Use the cursor buttons   to select a category, use the cursor buttons  to select a multisample within that category, and press the ENTER button to confirm your choice. If you press cursor buttons   simultaneously, the first multisample in the selected category will be selected. An “ ” symbol is shown to the left of the first multisample.

Program mode

Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade. Sometimes, this may create a bump in the volume level, in which case you might try selecting Linear instead.

Layer means that the two Multisamples will be layered together, both at full volume, for the entire range of the crossfade.

Reverse [Off, On]

This plays the selected multisample in reverse without looping it.

Note: If an individual sample within the multisample is already set to reverse, it will play in reverse without this setting.

On (checked): The multisample will play in reverse.

Off (unchecked): The multisample will play normally.

For some multisamples, this setting is not available.

Offset (Start Offset) [Off, 1st...4th]

In addition to simply starting playback from the beginning, Multisamples can have up to 4 different pre-programmed alternate starting points.

The Start Of fset option specifies whether to use the normal start point (Off), or to use one of the alternate start points (1st–4th).

Some Multisamples may have fewer than 4 pre-programmed points, in which case only the available points can be selected.

Level [000...127]

This sets the basic volume level of the multisample. The Amp section can modify this basic level extensively with envelopes, LFOs, keyboard tracking, and other modulation; for more information, please see “8: P–Amp” on page 32.

Depending on the multisample, high Level settings may cause distortion when playing many notes at a time. If this occurs, lower the Level.

Bottom Vel. (Bottom Velocity) [001...127]

This sets the lowest velocity where the Multisample will sound. Multisample1’s Bottom Vel. can be equal to, but not lower than, that of Multisample2.

Xfade (Crossfade Range) [Off, 001...127]

This sets the range of velocities where Multisample1 will fade into Multisample2, going up from the Bottom Vel..

For instance, if the Bottom Vel. is set to 64, and the Xade is set to 20, MS2 will start to fade in at velocities of 84 and below.

When velocities are within the Xfade, the Oscillator will use twice as much polyphony as it would normally.

Note: You can only fade between two zones at once.

This shows the velocity zone.

Crossfade Curves

Linear

Volume

Power

Volume

Layer

Volume

MS2

MS1

Xfade

Velocity

MS2

MS1

Xfade

Velocity

MS2

MS1

Xfade

Velocity

Velocity Split

This shows the velocity zones for the oscillator’s four multisamples and for each oscillator.

The meter on the left indicates the note-on velocity. This allows you to verify the multisamples that will sound at each velocity.

Oscillator Mode Drums

This parameter appears when the Oscillator Mode is set to Drums or Double Drums.

Xfade Range = 20

Curve = Linear

Bottom Velocity = 64

Curve [Linear, Power, Layer]

This controls the volume curve of the crossfade. Linear and Power (short for Equal Power) let you fine-tune the way that the

two Multisamples mix together; one or the other may be more appropriate for a given pair of Multisamples. Layer, true to its name, lets you layer the two Multisamples together without any crossfading.

Linear means that the two samples will each be at 50% of their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead.

Drum Kit [000...031 (INT), 032...047 (USER), 048…056 (GM)]

This selects a drum kit.

3: P–OSC 3–2: MS 2 (Multisample 2) 3–3: MS 3 (Multisample 3) 3–4: MS 4 (Multisample 4)

3–2: MS 2 (Multisample 2) 3–3: MS 3 (Multisample 3) 3–4: MS 4 (Multisample 4)

These are the multisample settings for Multisamples 2–4. The parameters for Multisample 2 and 3 are exactly the same as those for Multisample 1.

The parameters for Multisample 4 are also similar to those for Multisample 1, except that Multisample 4 has no settings for Bottom Vel. (Bottom Velocity) (which is always fixed at 1) and Xfade (Crossfade Range).

3–5: VEL (Velocity Zone)

Here you can adjust the velocity zone for oscillators.

OSC1

Velocity can be used to switch between sounding oscillators 1 and

2. Here you can specify the velocity zone for oscillator 1.

This velocity zone setting takes priority over the velocity settings of multisamples 1–8. The status of the settings is indicated by the graph on the right side of the screen. This lets you adjust settings while comparing them with the velocity split graph.

Top [001...127]

This sets the highest velocity where the Oscillator 1 will sound.

Note: The OSC1 Top velocity must be greater than the OSC1 Bottom velocity.

Bottom [001...127]

This sets the lowest velocity where the Oscillator 1 will sound.

Tips: You can also set the note value and velocity value by the keyboard (see page 12 of the Operation Guide).

OSC2

Top [001...127]

This sets the highest velocity where the Oscillator 1 will sound.

Note: The OSC1 Top velocity must be greater than the OSC1 Bottom velocity.

Bottom [001...127]

This sets the lowest velocity where the Oscillator 1 will sound.

Tips: You can also set the note value and velocity value by the keyboard (see page 12 of the Operation Guide).

Oscillator Mode Drums

Here you can specify the velocity zone for oscillator 1.

Top [001...127]

This sets the highest velocity where the Oscillator 1 will sound.

Note: The Top velocity must be greater than the Bottom velocity.

Tips: You can also set the note value and velocity value by the

keyboard (see page 12 of the Operation Guide).

Bottom [001...127]

This sets the lowest velocity where the Oscillator 1 will sound.

Program mode

AMS Intensity

3–1...5: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

•5: Copy Oscillator see page 64

•6: Swap Oscillator see page 64

For more information, please see the “Program: Function” section on page 63.

4: P–PITCH

This page contains all of the settings for Oscillator 1’s pitch modulation.

4–1: BASIC

Here, you can:

• Specify pitch bend being controlled by the pitch bend wheel (or an incoming pitch bend message) set to independent Bend Up and Bend Down, or controlled by an incoming message CC#16 (the ribbon control message etc).

• Use Pitch Slope to control how the pitch changes when you play up and down the keyboard.

• Assign AMS modulation for pitch.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

Octave [–2[32'], –1[16'], +0[8'], +1[4']]

This sets the basic pitch of the Oscillator, in octaves. The default is +0[8']. The standard octave of a multisample is +0 [8'].

Transpose [–12...+12]

This adjusts the pitch in semitones, over a range of ±1 octave.

Tune [–1200...+1200]

This adjusts the pitch in cents, over a range of ±1 octave. A cent is 1/100 of a semitone.

Offset (Frequency Offset) [–10.0Hz ... +10Hz]

This adjusts the pitch by increments of 0.1 Hz. Frequency Offset is different from Tun e in that, when used to detune the two oscillators, it can create a constant beat frequency across the range of the keyboard.

CONTROLLERS

Bend (+) [–60...+12]

Specifies the amount of pitch change in semitone units that occurs when you move the pitch bend wheel away from yourself (or when a pitch bend message with a value of 1 or higher is received). For normal pitch bend, set this to a positive value.

For example with a setting of +12, moving the pitch bend wheel away from yourself will raise the pitch of the notes you've played, by up to one octave.

Bend (–) [–60...+12]

Pitch

Note on keyboard

2oct

1oct

C4 C5

–1

Specifies the amount of pitch change in semitone units that occurs when you move the pitch bend wheel toward yourself (or when a pitch bend message with a value of -1 or lower is received). For normal pitch bend, set this to a negative value.

For example with a setting of –60, moving the pitch bend wheel toward yourself will lower the pitch of the notes you've played, by up to five octaves.

4: P–PITCH 4–2: MOD (Modulation)

4–2: MOD (Modulation)

EG Intensity

Pitch Slope [–1.0...+2.0]

Normally, this should be set to the default of +1.0.

Pitch Slope, pitch, and note

Positive (+) values cause the pitch to rise as you play higher on the keyboard, and negative (–) values cause the pitch to fall as you play higher on the keyboard.

When this is set to 0, playing different notes on the keyboard won’t change the pitch at all; it will be as if you’re always playing C4. This can be useful for special effects sounds, for instance.

Ribbon (#16) [–12...+12]

Specify in semitones how the pitch will change when CC#16 is received.

With a positive (+) setting, the pitch will rise when the value of CC#16 is higher than the center value of 64. With a negative (–) setting, the pitch will fall.

AMS (Pitch) [List of AMS Sources]

This selects an AMS source to control the pitch. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

Intensity [–12.00...+12.00]

This controls the depth and direction of the pitch modulation, in semitones.

For example if you set AMS (Pitch) to M.Wheel #01 and then move the modulation wheel away from yourself, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a negative (–) value.

AMS Intensity

You can set up initial amounts of pitch modulation from the Pitch EG and LFO1/2, as well as AMS modulation of LFO and EG amounts.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

EG Intensity [–12.00...+12.00]

This controls the initial effect of the Pitch EG on Oscillator 1’s frequency, in half-steps, before any AMS modulation.

The Pitch EG’s shape can swing all the way from +99 to –99. When the Intensity is set to a positive (+) value, positive values from the EG raise the pitch, and negative values lower the pitch.

When the Intensity is set to a negative (–) value, the effect of the EG is reversed; positive EG values mean lower pitches, and negative EG values mean higher pitches.

AMS (Pitch EG) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the Pitch EG.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

AMS Intensity [–12.00...+12.00]

This controls the depth and direction of the pitch EG AMS modulation. The AMS modulation and the initial Intensity are added together to determine the Pitch EG’s final effect.

With positive (+) values, greater modulation will increase the effect of the Pitch EG, as shown in example B below.

With negative (–) values, greater modulation will introduce the opposite effect of the Pitch EG–like inverting the polarity of the envelope. You can use this in several different ways:

• You can set an initial positive amount with the Intensity parameter, and then reduce this amount with AMS. In this case, the final effect of the EG is simply diminished, and not actually inverted, as shown in example C.

• You can also set the AMS Intensity amount to be greater than the initial Intensity. In this case, the EG will have a positive effect with low modulation amounts, and an inverted effect at higher modulation amounts as shown in example D.

Program mode

Pitch EG AMS

A. Original EG B. Intensity = +6.00

Change

to Pitch

C. Intensity = –3.00

Change

to Pitch

D. Intensity = –24.00

LFO1

LFO1 and LFO2 can both control the pitch. You can control the strength of each LFO’s modulation in three different ways:

• Set an initial amount of LFO modulation, using the LFO1 Int., LFO2 Int. parameters.

•Use M.Whl-Int to adjust the amount of LFO that is applied when you use the modulation wheel.

• Use any AMS source to scale the amount of the LFO.

The results are added together to produce the total LFO effect.

LFO1 Intensity [–12.00...+12.00]

This controls the initial effect of the LFO on the pitch, in semitones, before any M.Whl-Int or AMS modulation.

Negative (–) settings will invert the phase of the LFO.

LFO1 Int., M.Whl-Int, and AMS (LFO1) settings are summed to

determine the depth and direction of pitch modulation produced by OSC1 LFO1.

LFO2

The parameters for LFO2 are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

M.Whl-Int (Modulation Wheel Intensity) [–12.00...+12.00]

Specify the depth of pitch modulation produced by OSC1 LFO1 when the modulation wheel is moved away from yourself (or when CC#1 is received).

This parameter sets the maximum amount of LFO modulation added by M.Whl-Int, in semitones.

As this value is increased, moving the modulation wheel away from yourself will cause the OSC1 LFO1 to produce deeper pitch modulation.

Negative (–) settings will invert the phase of the LFO. You can also use this to reduce the initial amount of the LFO, as set by LFO1 Int., above.

For example:

1. Set LFO1 Int. to +7.00.

The LFO will now have a fairly strong effect on the pitch, bending it by a perfect 5th.

2. Set M.Whl-Int to –7.00.

Moving the modulation wheel away from yourself will decrease the effect of the LFO. If you move the wheel all the way, the LFO will be cancelled, and no modulation will be applied.

AMS (LFO1) [List of AMS Sources]

This selects any AMS modulation source to scale the amount of the LFO applied to pitch.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

AMS Intensity [–12.00...+12.00]

This controls the depth and direction of the AMS (LFO1) modulation for pitch.

With a setting of 0, modulation will not be applied. With a setting of 12.00, the OSC1 LFO1 will apply a maximum of +/–1 octave of pitch modulation.

For example if you play the keyboard with AMS (LFO1) set to Filter EG, pitch modulation will be stronger when the Filter envelope value is higher. If this has a positive (“+”) value, pitch modulation via OSC1 LFO1 is applied at normal phase; if it has a negative (“-”) value, the phase is inverted.

4: P–PITCH 4–3: PORTA (Portamento)

4–3: PORTA (Portamento)

Here you can set up Portamento.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

PORTAMENTO

Portamento lets the pitch glide smoothly between notes, instead of changing abruptly.

Enable [Off, On]

On (checked): Turns on Portamento, so that pitch glides smoothly between notes.

Off (unchecked): Turns off Portamento. This is the default state.

Fingered [Off, On]

This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again.

This option is only available when Portamento Enable is turned on.

On (checked): Turns on Fingered Portamento.

Off (unchecked): Turns off Fingered Portamento.

4–1...3: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

•5: Copy Oscillator see page 64

•6: Swap Oscillator see page 64

For more information, please see the “Program: Function” section on page 63.

Mode [Rate, Time]

Rate means that Portamento will always take the same amount of time to glide a given distance in pitch - for instance, one second per octave. Put another way, gliding several octaves will take much longer than gliding a half-step.

Time means that Portamento will always take the same amount of time to glide from one note to another, regardless of the difference in pitch. This is especially useful when playing chords, since it ensures that each note in the chord will end its glide at the same time.

Time [000...127]

This controls the portamento time. Higher values mean longer times, for slower changes in pitch.

This option is only available when Portamento Enable is turned on.

Assigning SW1 or SW2 to Portamento On/Off

You can turn portamento on/off by using the two assignable switches SW1 and SW2.

To do so:

1. Go to the P–INPUT/CTRL>CONTROLLERS page.

2. Under Panel Switch Assign, set either SW1 or SW2 to Porta.SW (CC#65).

Now, the selected switch will enable and disable Portamento.

If you assign portamento to SW1/2, MIDI portamento controller #65 will be transmitted each time you use the switch. You can also turn portamento on/off by receiving MIDI controller #65.

Program mode

Threshold

5: P–PITCH EG (Pitch Envelope)

The Pitch EG, or Envelope Generator, lets you create complex, time-varying changes to the pitch of Oscillators 1 and 2. The parameters on this page control the shape of the EG. For instance, you can:

• Create the basic EG shape by setting the levels and times of each segment.

• Control the curvature of each EG segment, for subtle control over the modulation time of the EG.

• Set up complex modulation of EG levels and times.

• Set up an AMS source, such as an LFO, to restart the EG.

To control how much effect the EG has on the pitch, use the Pitch EG parameters on the P–PITCH>MOD page, as described under “4–2: MOD (Modulation)” on page 15.

Differences from the other EGs

The Pitch EG is different from the Filter and Amp EGs in several ways:

• The single Pitch EG is shared by both Oscillator 1 and Oscillator 2.

• The Sustain level is always 0.

• The Level modulation has two AMS sources instead of one, and the Time modulation has one AMS source instead of three.

Pitch EG is also an AMS source

You can use the Pitch EG as an AMS source to modulate other parameters, just like the keyboard tracking and LFOs. Simply select the Pitch EG in the AMS list for the desired parameter.

5–1: ENVELOPE

TIME/CURVE/LEVEL

Pitch EG

Change to

Pitch

Attack

Level

Start Level

Attack

Time

Note-on or reset

Break

Level

Decay

Time

Sustain Level

(Always 0)

Slope

Time

Release

Time

Release

Level

Time

The envelope moves to a specified level over the specified time, and then moves to the next specified level over the specified time. It produces a modulation signal corresponding to this movement.

The parameters below let you set four levels, the amount of time it takes to go from each of the levels to the next, and the shape (from linear to curved) of each transition.

Time

Higher values mean longer times, as shown below:

EG Value Actual Time

10 10 ms

20 44 ms

30 104 ms

40 224 ms

50 464 ms

60 944 ms

70 1.8 seconds

80 3.8 seconds

90 10.9 seconds

99 87.3 seconds

Reset AMS (EG Reset AMS) [List of AMS Sources]

This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

Threshold [–99...+99]

This sets the AMS level which will trigger the EG reset. Among other things, you can use this to adjust the exact point in an LFO’s phase where the EG will be reset, effectively controlling its “groove” against other rhythmic effects.

When the threshold is positive, the EG triggers when passing through the threshold moving upwards. When the threshold is negative, the EG triggers when passing through the threshold moving downwards.

Note: For several LFO waveform types, or if the LFO cycle is fast, the LFO output may not always keep up with high values such as +99 or –99.

Attack [00...99]

This sets how long the EG takes to move from the Start level to the Attack level.

For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.

Dcy/Brk (Decay) [00...99]

This sets the time it takes to move from the Attack level to the Break level.

Slope [00...99]

This sets how long the EG takes to move from the Break level to the Sustain level (which for the Pitch EG is always 0). Once it reaches the Sustain level, the EG will stay there until note-off, unless it is reset via AMS.

Release [00...99]

This sets how long it takes the EG to move from the Sustain level to the Release level.

Curve

For the sake of simplicity, most of the diagrams in this manual show envelopes as being made out of straight lines. In actuality, though, envelopes are more likely to be made out of curves.

In other words, each segment’s level will change quickly at first, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments.

Classic analog synth envelopes made these curved shapes naturally. The KROSS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments.

5: P–PITCH EG (Pitch Envelope) 5–2: L-MOD (Level Modulation)

Curve = 0 (Linear)

Curve = 10 (Exp/Log)

Original Shape

Positive AMS on Start and Break, Negative AMS on Attack

Negative AMS on Start, Attack, and Break

Positive AMS on Start, Attack, and Break

Pitch EG Curve

When you change the curvature, the EG times remain the same. However, greater curvature will tend to sound faster, because the value changes more quickly at the beginning.

Different curve settings for up and down

You may find that different amounts of curvature are suitable for segments which go up and segments which go down.

For instance, a curve of 3 is a good default setting for upward segments, such as Attack. On the other hand, a curve of 6 or more is good for downward segments, such as Decay and Release.

Attack [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.

5–2: L-MOD (Level Modulation)

These settings let you use two different AMS sources to control the Level parameters of the EG. For each of the two AMS sources, the Start, Attack, Decay, and Break levels each have their own modulation intensities.

By using different settings for each of the three levels, you can cause both subtle and dramatic changes to the EG shape, as shown below.

Note: Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment.

For instance, if the EG is in the middle of the Decay time, you can no longer modulate either the Decay time or the Break level.

This also means that modulating the Start level, Attack level, or Attack time will not affect notes that are already sounding, unless the EG is then re-started via EG Reset.

Pitch EG Level Modulation

Dcy/Brk (Decay) [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Decay segment - the transition from the Attack level to the Break level.

Slope [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Slope segment - the transition from the Break level to the Sustain level (which for the Pitch EG is always 0).

Release [0L (Linear), 1...9, 10E (Exp/Log)]

This sets the curvature of the Release segment - the transition from the Sustain level to the Release level.

Level

Each of the four levels can be either positive or negative.

Positive levels will make the pitch (or other AMS destination) go up from its programmed value; negative levels will make it go down.

Note that, unlike the Filter and Amp EGs, the Pitch EG’s Sustain Level is always 0.

Start [–99...+99]

This sets the initial level at note-on.

Attack [–99...+99]

This sets the level at the end of the Attack time.

Dcy/Brk (Break) [–99...+99]

Break, short for Break Point, sets the level at the end of the Decay time.

Release [–99...+99]

This sets the level at the end of the Release time.

AMS1

AMS1 [List of AMS Sources]

This selects the first AMS source to control the EG’s Level parameters.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

Start [–99...+99]

This controls the depth and direction of the AMS modulation for the Start level.

For example, if you set the AMS1 source to Velocity and set St to +99, the Start level will increase as you play harder. If you instead set St to –99, the Start level will decrease as you play harder.

Attack [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack level.

Break [–99...+99]

This controls the depth and direction of the AMS modulation for the Break level.

Program mode

AMS=Velocity, Intensity = a positive (+) value

“Attack”= + “Decay”= + “Slope”= +

“Attack”= – “Decay”= – “Slope”= –

Softly played note.

Original Shape.

Strongly played note. Times are longer.

Reaches Sustain more slowly.

Strongly played note. Times are shorter.

Reaches Sustain more quickly.

Note-on Note-on Note-on

AMS2

This selects the second AMS source for controlling the EG’s Level parameters. The parameters ofAMS2 are identical to those of AMS1, above.

5–3: T-MOD (Time Modulation)

These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, and Slope times share this AMS source, but each has its own modulation intensity.

Pitch EG Time Modulation

AMS1

AMS [List of AMS Sources]

This selects the AMS source to control the EG’s Time parameters. Velocity and Keyboard Track can both be useful here for instance.

For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 282.

Attack [–99...+99]

This controls the depth and direction of the AMS modulation for the Attack time.

For example, if you set the AMS source to Velocity and set Attack to +99, the Attack time will get much longer at higher velocities. If you instead set Attack to –99, the Attack time will get much shorter at higher velocities.

When the AMS source is at its maximum value for instance, when Ve lo ci ty is at 127 a setting of +8 will make the Attack time almost twice as long, and a setting of –8 will cut the Attack time almost in half.

Decay [–99...+99]

This controls the depth and direction of the AMS modulation for the Decay time.

Slope [–99...+99]

This controls the depth and direction of the AMS modulation for the Slope time.

5–1...3: FUNCTION

•0: Write Program, Write/Initialize Program see page 63

•1: Solo Setting see page 63

•2: Compare see page 64

•3: Auto Song Setup see page 64

•4: Add to Favorite see page 64

•5: Copy Oscillator see page 64

•6: Swap Oscillator see page 64

For more information, please see the “Program: Function” section on page 63.

6: P–FILTER 6–1: BASIC

Filter A (Low Pass)Oscillator Filter B (High Pass)

Oscillator

Filter A (Low Pass)

Filter B (High Pass)

6: P–FILTER

Filtering can make subtle or dramatic changes to the oscillator’s timbre. Each oscillator has two multimode resonant filters, A and B, as well as a dedicated filter envelope and keyboard tracking generator.

These pages let you control all aspects of the filters. Among other things, you can:

• Adjust basic settings for each oscillator’s filters, including routing, modes, cutoff, resonance, etc.

• Set up filter modulation, including keyboard tracking, the filter envelope, LFO modulation, and AMS control.

Note that when the Oscillator Mode is set to Single, only Oscillator 1’s filters are active; the pages for Oscillator 2’s filters will be grayed out.

6–1: BASIC

Serial and Parallel Routing

12db/oct / 24db/oct

This page contains all of the basic settings for Oscillator 1’s Filter A and Filter B. For example, you can:

• Set up the filters to produce a single 12 dB/oct filter, dual 12 dB/oct filters in either serial or parallel routing, or a single 24 dB/oct filter.

• Set each of the two filters to Low Pass, High Pass, Band Pass, or Band Reject modes.

• Set the cutoff, resonance, and input and output levels of each filter, including modulation of resonance and output level.

OSC (Oscillator Select) [1, 2]

Select the oscillator (1 or 2) that you want to edit.

Note: Oscillator 2 can be selected if Oscillator Mode is set to Double.

Filter Routing [Single, Serial, Parallel, 24dB(4Pole)]

Each oscillator has two filters, Filter A and Filter B. This 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.

Single. This uses only Filter A as a single 2-pole, 12 dB/octave filter (6 dB/oct for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out.

Serial. This uses both Filter A and Filter B. The oscillator first goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel. This also uses both Filter A and Filter B. The oscillator feeds both filters directly, and the outputs of the two filters are then summed together.

24dB/oct. This merges both filters to create a single 4-pole, 24 dB/ octave filter (12 dB/oct for Band Pass and Band Reject). In comparison to Single, this option produces a sharper roll-off beyond the cutoff frequency, as well as a slightly more delicate resonance. Many classic analog synths used this general type of filter.

When 24 dB/oct is selected, only the controls for Filter A are active; the controls for Filter B will be grayed out.

Low Pass: 12dB/oct

Low Pass: 24dB/oct

A (Filter A)

Type (Filter Type) [Low Pass (12dB/oct), High Pass (12dB/oct),

Band Pass (6dB/oct), Band Reject (6dB/oct)]

The filter will produce very different results depending on the selected filter type. The selections will change slightly according to the selected Filter Routing, to show the correct cutoff slope in dB per octave.

Low Pass (12dB/oct). This cuts out the parts of the sound which 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 (12dB/oct). This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy.

Band Pass (6dB/oct). 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.

Program mode

Low Pass

High Pass

Band Pass

Band Reject

Resonance

Band Reject (6dB/oct). 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

To make the resonance track the keyboard pitch, please see “Key Follow” on page 27.

Out (Output) [00...99]

This controls the output level of Filter A. You can use this to balance the volumes of Filters A and B when the Routing is set to Parallel, or to turn down the volume to avoid clipping later in the signal chain.

B (Filter B)

Filter B is available when the Filter Routing is set to Serial or Parallel. Otherwise, the parameters in this section will be grayed

out.

The parameters for Filter B are identical to those for Filter A. For more information, please see the descriptions under Filter A, above.

Bypass [Off, On]

This lets you bypass Filter A completely.

If Bypass is Off, Filter A functions normally.

When Bypass is On, Filter A will have no effect.

Trim (Input Trim) [00...99]

This adjusts the volume level at the input to the filter. If you notice that the sound is distorting, especially with high Resonance settings, you can turn the level down here or at the Output.

Freq (Cutoff Frequency) [00...99]

This controls the cutoff frequency of Filter A, in increments of 1/ 10 of an octave. The specific effect of the cutoff frequency will change depending on the selected Filter Type.

Resonance [00...99]

Resonance emphasizes the frequencies around the cutoff frequency.

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.

Low resonance value High resonance value

+ 291 hidden pages

Korg Kross-61 Parameter Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of contents

Program mode

PROG Page Select

0: PROG (Program)

0–1: MAIN

0–2: TONE (Play Tone Adjust)

0–3: MIXER (Play Mixer)

0–4: ARP (Arpeggiator)

1: P–INPUT/CTRLS (Input/Controllers 1–1: AUDIO IN

1–1: AUDIO IN

1–2: CONTROLLERS (Controllers Setup)

2: P–BASIC

2–1: VOICE (Voice Mode)

2–2: Note-On (Note-On Control)

2–3: SCALE

3: P–OSC

3–1: MS 1 (Multisample 1)

3–2: MS 2 (Multisample 2) 3–3: MS 3 (Multisample 3) 3–4: MS 4 (Multisample 4)

3–5: VEL (Velocity Zone)

4: P–PITCH

4–1: BASIC

4–2: MOD (Modulation)

4–3: PORTA (Portamento)

5: P–PITCH EG (Pitch Envelope)

5–1: ENVELOPE

5–2: L-MOD (Level Modulation)

5–3: T-MOD (Time Modulation)

6: P–FILTER

6–1: BASIC