Korg TR User Manual

1 2 3

Boldface type

About this manual

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

This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TR. The explanations are organized by mode, page, and tab. Explanations and other information on the effects and their parameters are also provided for each effect. Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.

boldface type.

Procedure steps

Steps in a procedure are listed as

☞

■

☞

OG p.

...

■

☞■

■

–

■

From the left, these symbols indicate a reference page in the Parameter Guide, a reference page in the Operation Guide, and a parameter number.

Symbols , , , , ,

These symbols respectively indicate cautions, advice, MIDIrelated explanations, a parameter that can be selected as an

Conventions in this manual

Abbreviations for the manuals OG, PG, VNL

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

: Operation Guide

: Parameter Guide

VNL : Voice Name List

Switches and knobs [ ]

References to the keys, dials, and knobs on the TR’s panel are enclosed in square brackets [ ].

Parameters in the LCD display screen “ ”

(

included in the CD-ROM)

alternate modulation source, a parameter that can be selected as a dynamic modulation source, and a parameter that can use the BPM/MIDI Sync function.

Example screen displays

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

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

always indicate hexadecimal numbers.

numbers in square

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

How to read the “Parameter Guide”

(example)

Mode name

Page No.

Tab No.

Tab name

Parameter No.

Parameter name

Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter, and Amp of oscillators 1 and 2. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

5.3–1: OS1LFO1 (OSC1 LFO1)

Indicates settings for the “OSC1 LFO1,” which is the first LFO that can be used for oscillator 1.

5.3–1a

5.3–1b

5.3–1c

5.3–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vect.)]

PROG 5.3: Ed–LFOs

Page name

Range of possible parameter values

Utility menu command No.

5.3–1d

■ 5.3–1d: UTILITY

Utilty menu command name

☞“Write Program” (1.1–1c) For details on how to select the desired utility function,

refer to “PROG 1.1–1c: UTILITY.”

Swap LFO 1&2

This exchanges the settings of LFO 1 and 2. If LFO2 is selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of LFO1 Freq.Mod (5.3–1b), the settings will be invalid for LFO2 after LFO1 and 2 have been exchanged. If you select this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and LFO2 of OSC1 will be exchanged.

1 Select “Swap LFO 1&2” to access the dialog box. 2 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key.

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

PROG PAGE MENU.............................................. 1

PROG 1.1: Play.................................................... 1

1.1–1: Program ................................................................ 1

1.1–2: P.Edit (Performance Editor)..................................3

1.1–3: Arp (Arp. Play)....................................................... 4

PROG 2.1: Ed–Basic............................................. 5

2.1–1: Basic (Prog Basic)................................................. 5

2.1–2: OSC1 .................................................................... 6

2.1–3: OSC2 .................................................................... 8

2.1–4: V.Zone (Velocity Zone) ......................................... 8

2.1–5: Audit. (Audition)..................................................... 9

PROG 2.2: Ed–Ctrl................................................ 9

2.2–1: Ctrls (Controls)......................................................9

PROG 3.1: Ed–Pitch............................................ 10

3.1–1: OSC1 .................................................................. 10

3.1–2: OS1lfo (OSC1 LFO)............................................11

3.1–3: OSC2 .................................................................. 11

3.1–4: OS2lfo (OSC2 LFO)............................................12

3.1–5: EG (Pitch EG) .......................................12

PROG 4.1: Ed–Filter1 ......................................... 13

4.1–1: Basic ................................................................... 13

4.1–2: Mod.1 (Filter1 Modulation1)................................14

4.1–3: Mod.2 (Filter1 Modulation2)................................15

4.1–4: lfoMod (LFO Modulation) .................................... 16

4.1–5: EG (Filter1 EG) .....................................16

PROG 5.3: Ed–LFOs............................................ 22

5.3–1: OS1LFO1 (OSC1 LFO1) ......................22

5.3–2: 1LFO2 (OSC1 LFO2).......................................... 23

5.3–3: 2LFO1 (OSC2 LFO1).......................................... 23

5.3–4: 2LFO2 (OSC2 LFO2).......................................... 24

PROG 6.1: Ed–Arp. (Arpeggiator) ....................... 24

6.1–1: Setup (Arpeg. Setup)...........................................24

6.1–2: Zone (Scan Zone)...............................................25

PROG 7.1: Ed–InserFX........................................ 26

7.1–1: BUS.....................................................................26

7.1–2: Setup...................................................................27

7.1–3: IFX (Insert Effect)................................................ 27

PROG 7.2: Ed–MasterFX..................................... 28

7.2–1: Setup...................................................................28

7.2–2: MFX 1 (Master Effect1)....................................... 29

7.2–3: MFX 2 (Master Effect2)....................................... 29

7.2–4: MEQ (Master EQ)................................................29

2. Combination mode..........................31

COMBI PAGE MENU........................................... 31

COMBI 1.1: Play ................................................31

1.1–1: Combi (Combination)..........................................31

1.1–2: Prog (Timbre Program).......................................33

1.1–3: Mix (Mixer)...........................................................34

1.1–4: Arp. A (Arpeggio Play A)..................................... 35

1.1–5: Arp. B (Arpeggio Play B)..................................... 35

COMBI 2.1: Ed–Prog/Mixer................................ 35

2.1–1: Prog (Timbre Program).......................................35

2.1–2: Mix (Mixer)...........................................................35

PROG 4.2: Ed–Filter2 ......................................... 18

4.2–1: Basic ................................................................... 18

4.2–2: Mod.1 (Filter2 Modulation1)................................18

4.2–3: Mod.2 (Filter2 Modulation2)................................18

4.2–4: lfoMod (LFO Modulation) .................................... 18

4.2–5: EG (Filter2 EG) .....................................18

PROG 5.1: Ed–Amp1.......................................... 18

5.1–1: Lvl/Pan (Level/Pan).............................................18

5.1–2: Mod. (Amp1 Modulation).....................................19

5.1–3: EG (Amp1 EG) .....................................20

PROG 5.2: Ed–Amp2.......................................... 22

5.2–1: Lvl/Pan (Level/Pan).............................................22

5.2–2: Mod. (Amp2 Modulation).....................................22

5.2–3: EG (Amp2 EG) .....................................22

COMBI 2.2: Ed–Ctrl ............................................ 36

2.2–1: Ctrls (Controls).................................................... 36

COMBI 3.1: Ed–Param1...................................... 36

3.1–1: MIDI..................................................................... 36

3.1–2: OSC.....................................................................37

3.1–3: Pitch....................................................................37

COMBI 3.2: Ed–Param2...................................... 38

3.2–1: Other...................................................................38

COMBI 3.3: Ed–Key Zone ................................... 39

3.3–1: Key (Key Zone)...................................................39

3.3–2: Slope (Key Slope)...............................................39

3.3–3: Review.................................................................39

COMBI 3.4: Ed–Vel Zone (Velocity Zone)..............40

3.4–1: Vel (Velocity Zone)...............................................40

3.4–2: Slope (Velocity Slope)..........................................40

3.4–3: Review.................................................................40

COMBI 4.1: Ed–MIDI Filter1.................................41

4.1–1: MIDI 1–1 (MIDI Filter 1–1)....................................41

4.1–2: MIDI 1–2 (MIDI Filter 1–2)....................................41

COMBI 4.2: Ed–MIDI Filter2.................................41

4.2–1: MIDI 2–1 (MIDI Filter 2–1)....................................41

4.2–2: MIDI 2–2 (MIDI Filter 2–2)....................................42

COMBI 4.3: Ed–MIDI Filter3.................................42

4.3–1: MIDI 3–1 (MIDI Filter 3–1)....................................42

4.3–2: MIDI 3–2 (MIDI Filter 3–2)....................................42

COMBI 4.4: Ed–MIDI Filter4.................................42

4.4–1: MIDI 4–1 (MIDI Filter 4–1)....................................42

4.4–2: MIDI 4–2 (MIDI Filter 4–2)....................................43

COMBI 6.1: Ed–Arp.

6.1–1: Setup....................................................................43

6.1–2: Arp. A (Arpeggiator A)..........................................44

6.1–3: Arp. B (Arpeggiator B)..........................................44

6.1–4: Zone (Scan Zone)................................................45

COMBI 7.1: Ed–InsertFX......................................45

7.1–1: BUS......................................................................45

7.1–2: Setup....................................................................46

7.1–3: IFX (Insert Effect).................................................47

COMBI 7.2: Ed–MasterFX....................................47

7.2–1: Setup....................................................................47

7.2–2: MFX1 (Master Effect1).........................................48

7.2–3: MFX2 (Master Effect2).........................................48

7.2–4: MEQ (Master EQ)................................................48

(Arpeggiator)..................43

SEQ 2.1: Cue List ................................................58

2.1–1: Cue List............................................................... 58

SEQ 2.2: Controller.............................................62

2.2–1: Ctrls (Controls).................................................... 62

SEQ 3.1: Param1................................................62

3.1–1: MIDI..8 (MIDI T01...08)....................................... 62

3.1–2: MIDI..16 (MIDI T09...16)..................................... 62

3.1–3: OSC..8 (OSC T01...08)....................................... 63

3.1–4: OSC..16 (OSC T09...16)..................................... 63

3.1–5: Ptch..8 (Pitch T01...08)....................................... 63

3.1–6: Ptch..16 (Pitch T09...16)..................................... 63

SEQ 3.2: Param2................................................64

3.2–1: Othr..8 (Other T01...08)....................................... 64

3.2–2: Othr..16 (Other T09...16)..................................... 64

SEQ 3.3: Key Zone..............................................65

3.3–1: Key..8 (Key T01...08)..........................................65

3.3–2: Key..16 (Key T09...16)........................................65

3.3–3: Slp..8 (Slope T01...08)........................................65

3.3–4: Slp..16 (Slope T09...16)......................................65

3.3–5: Review................................................................ 65

SEQ 3.4: Vel Zone...............................................66

3.4–1: Vel..8 (Vel T01...08)............................................66

3.4–2: Vel..16 (Vel T09...16)..........................................66

3.4–3: Slp..8 (Slope T01...08)........................................66

3.4–4: Slp..16 (Slope T09...16)......................................66

3.4–5: Review................................................................ 66

SEQ 4.1: MIDI Filter1...........................................67

4.1–1: M1–1..8 (MIDI Filter1–1 T01...08)....................... 67

4.1–2: 1–1..16 (MIDI Filter1–1 T09...16)........................ 67

4.1–3: 1–2..8 (MIDI Filter1–2 T01...08).......................... 67

4.1–4: 1–2..16 (MIDI Filter1–2 T09...16)........................ 67

3. Sequencer mode .............................49

SEQ PAGE MENU................................................49

SEQ 1.1: Play/REC..............................................50

1.1–1: Play.REC (Play/REC)...........................................50

1.1–2: Prog...8 (Program T01...08).................................55

1.1–3: Prog...16 (Program T09...16)...............................55

1.1–4: Mix..8 (Mixer T01...08).........................................55

1.1–5: Mix..16 (Mixer T09...16).......................................55

1.1–6: Pref. (Preference).................................................56

SEQ 1.2: Loop ....................................................58

1.2–1: Loop...8 (Track Play Loop T01...08) ....................58

1.2–2: Loop...16 (Track Play Loop T09...16) ..................58

SEQ 4.2: MIDI Filter2...........................................68

4.2–1: M2–1..8 (MIDI Filter2–1 T01...08)....................... 68

4.2–2: 2–1..16 (MIDI Filter2–1 T09...16)........................ 68

4.2–3: 2–2..8 (MIDI Filter2–2 T01...08).......................... 68

4.2–4: 2–2..16 (MIDI Filter2–2 T09...16)........................ 68

SEQ 4.3: MIDI Filter3...........................................68

4.3–1: M3–1..8 (MIDI Filter3–1 T01...08)....................... 68

4.3–2: 3–1..16 (MIDI Filter3–1 T09...16)........................ 68

4.3–3: 3–2..8 (MIDI Filter3–2 T01...08).......................... 68

4.3–4: 3–2..16 (MIDI Filter3–2 T09...16)........................ 68

SEQ 4.4: MIDI Filter4...........................................69

4.4–1: M4–1..8 (MIDI Filter4–1 T01...08)....................... 69

4.4–2: 4–2..16 (MIDI Filter4–1 T09...16)........................ 69

4.4–3: 4–2..8 (MIDI Filter4–2 T01...08).......................... 69

4.4–4: 4–2..16 (MIDI Filter4–2 T09...16)........................ 69

SEQ 5.1: RPPR ................................................... 69

5.1–1: Pattern................................................................. 69

5.1–2: RPPR Setup........................................................72

SEQ 5.2: Track Edit ............................................ 74

5.2–1: Track Edit............................................................ 74

SEQ 6.1: Arp. (Arpeggiator) ............................... 82

6.1–1: Set..8 (Setup T01–08).........................................82

6.1–2: Set..16 (Setup T09–16).......................................82

6.1–3: Arp. A (Arpeggiator A).........................................83

6.1–4: Arp. B (Arpeggiator B).........................................83

6.1–5: Zone (Scan Zone)...............................................84

SEQ 7.1: Insert FX.............................................. 84

7.1–1: BUS..8 (BUS T01...08)........................................84

7.1–2: BUS..16 (BUS T09...16)......................................84

7.1–3: Setup...................................................................85

7.1–4: IFX (Insert Effect)................................................ 86

SEQ 7.2: Master FX............................................ 86

7.2–1: Setup...................................................................86

7.2–2: MFX1 (Master Effect1)........................................ 87

7.2–3: MFX2 (Master Effect2)........................................ 87

7.2–4: MEQ (Master EQ) ............................................... 87

SMPL 7.1: Insert Effect ...................................... 121

7.1–1: Setup.................................................................121

7.1–2: IFX..................................................................... 122

5. Global mode.................................123

GLOBAL PAGE MENU.......................................123

GLOBAL 1.1: System ........................................123

1.1–1: Basic..................................................................123

1.1–2: Pref. (System Preference)................................. 126

1.1–3: Foot................................................................... 127

1.1–4: AudioIn (Audio In)..............................................128

GLOBAL 2.1: MIDI............................................ 129

2.1–1: MIDI................................................................... 129

GLOBAL 3.1: User Scale ...................................132

3.1–1: Octave...............................................................132

3.1–2: All Notes............................................................133

GLOBAL 4.1: Category Name ........................... 133

4.1–1: P.0..7 (Prog.00...07)..........................................133

4.1–2: P.8..15 (Prog.08...15)........................................133

4.1–3: C.0..7 (Comb.00...07)........................................ 133

4.1–4: C.8..15 (Comb.08...15)...................................... 133

4. Sampling mode.............................. 89

SMPL PAGE MENU ............................................. 90

SMPL 1.1: Recording.......................................... 90

1.1–1: Sample................................................................ 90

1.1–2: Rec. (Recording)................................................. 92

1.1–3: In/Pref (Input/Preference).................................... 95

SMPL 2.1: Sample Edit...................................... 100

2.1–1: Edit1.................................................................. 100

2.1–2: Edit2.................................................................. 100

SMPL 3.1: Loop Edit.......................................... 108

3.1–1: Edit1.................................................................. 108

3.1–2: Edit2.................................................................. 109

SMPL 4.1: Multisample..................................... 118

4.1–1: Edit1.................................................................. 118

4.1–2: Edit2.................................................................. 119

4.1–3: Pref. (Preference).............................................. 120

SMPL 5.1: Memory........................................... 120

5.1–1: Memory (Free Memory) .................................... 120

5.1–2: No. (Free Number)............................................ 120

GLOBAL 5.1: DKit (Drum Kit)............................. 134

5.1–1: High (High Sample)...........................................134

5.1–2: Low (Low Sample).............................................136

5.1–3: Voice (Voice/Mixer)........................................... 136

GLOBAL 6.1: Arp.Pattern.................................. 137

6.1–1: Setup.................................................................137

6.1–2: Edit.................................................................... 139

6. Media mode .................................141

Files, directories, and icons.......................................... 141

MEDIA PAGE MENU ......................................... 142

1.1–1: Load ..................................................... 142

1.1–2: Save ..................................................... 151

1.1–3: Utility.................................................... 155

1.1–4: Media Information................................. 157

SMPL 5.2: Controller ........................................ 121

5.2–1: Ctrls (Controls).................................................. 121

7. Effect Guide..................................159

Overview .........................................................159

1. Effects in each mode ................................................159

2. Dynamic modulation (Dmod).....................................159

3. Effect I/O...................................................................159

Insert Effect (IFX) ...............................................160

1. In/Out........................................................................160

2. Routing......................................................................160

3. Mixer.........................................................................162

4. Controlling the Insert Effects via MIDI.......................163

Master Effects (MFX1, 2)....................................163

1. In/Out........................................................................163

2. Routing......................................................................164

3. Mixer.........................................................................165

4. Controlling the Master Effects via MIDI.....................166

Master EQ........................................................166

Individual Outputs ............................................166

Filter/Dynamic..................................................168

00: No Effect.................................................................168

01: St.Amp Sim (Stereo Amp Simulation).....................168

02: St.Compressor (Stereo Compressor)......................168

03: St.Limiter (Stereo Limiter).......................................168

04: Mltband Limit (Multiband Limiter)............................169

05: St.Gate (Stereo Gate).............................................170

06: OD/HiGain Wah (Overdrive/Hi.Gain Wah)..............170

07: St.Para.4EQ (Stereo Parametric 4-Band EQ).........171

08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) .........172

09: St.Wah/AutoW (Stereo Wah/Auto Wah).................172

10: St.Rndm Filter (Stereo Random Filter)....................173

11: St.Exct/Enhcr (Stereo Exciter/Enhancer)................174

12: St.Sub OSC (Stereo Sub Oscillator).......................174

13: Talking Mod (Talking Modulator).............................175

14: St.Decimator (Stereo Decimator)............................176

15: St.AnalogRecd (Stereo Analog Record).................176

Pitch/Phase Mod. .............................................177

16: St.Chorus (Stereo Chorus)......................................177

17: St.HarmnicCho (Stereo Harmonic Chorus).............177

18: MltTap ChoDly (Multitap Chorus/Delay)..................178

19: Ensemble................................................................178

20: St.Flanger (Stereo Flanger)....................................179

21: St.Rndm Flang (Stereo Random Flanger)..............179

22: St.Env.Flanger (Stereo Envelope Flanger).............180

23: St.Phaser (Stereo Phaser)......................................180

24: St.Rndm Phasr (Stereo Random Phaser)...............181

25: St.Env.Phaser (Stereo Envelope Phaser)...............181

26: St.BiphaseMod (Stereo Biphase Modulation).........182

27: St.Vibrato (Stereo Vibrato)......................................182

28: St.AutoFd Mod (Stereo Auto Fade Modulation)..... 183

29: 2Voice Reso (2Voice Resonator)........................... 183

30: Doppler................................................................... 184

31: Scratch................................................................... 185

Mod./P.Shift.....................................................186

32: St.Tremolo (Stereo Tremolo)................................. 186

33: St.Env.Tremlo (Stereo Envelope Tremolo)............186

34: St.Auto Pan (Stereo Auto Pan)..............................187

35: St.Phasr+Trml (Stereo Phaser + Tremolo)............ 187

36: St.Ring Mod (Stereo Ring Modulator).................... 188

37: Detune.................................................................... 189

38: Pitch Shifter............................................................ 189

39: PitchShft Mod (Pitch Shift Modulation)................... 190

40: Rotary SP (Rotary Speaker).................................. 190

ER/Delay..........................................................191

41: Early Reflect (Early Reflections)............................ 191

42: Auto Reverse......................................................... 192

43: LCR Delay (L/C/R Delay)....................................... 192

44: St/Cross Dly (Stereo/Cross Delay)......................... 193

45: St.MltTap Dly (Stereo Multitap Delay).................... 193

46: St.Mod. Delay (Stereo Modulation Delay).............. 194

47: St.DynamicDly (Stereo Dynamic Delay)................ 194

48: St.AutoPanDly (Stereo Auto Panning Delay)......... 195

49: LCR BPM Delay (L/C/R BPM Delay)..................... 195

50: St.BPM Delay (Stereo BPM Delay)........................ 196

51: Sequence Dly (Sequence Delay)........................... 196

Reverb..............................................................197

52: Rev Hall (Reverb Hall)........................................... 197

53: Rev Smth. Hall (Reverb Smooth Hall).................... 197

54: Rev Wet Plate (Reverb Wet Plate)......................... 197

55: Rev Dry Plate (Reverb Dry Plate)..........................197

56: Rev Room (Reverb Room)..................................... 198

57: Rev Brt. Room (Reverb Bright Room).................... 198

Mono → Mono Chain........................................199

58: P4EQ–Exciter

(Parametric 4-Band EQ – Exciter).......................... 199

59: P4EQ–Wah

(Parametric 4-Band EQ – Wah/Auto Wah)............. 199

60: P4EQ–Cho/Fl

(Parametric 4-Band EQ – Chorus/Flanger)............200

61: P4EQ–Phaser

(Parametric 4-Band EQ – Phaser).......................... 200

62: P4EQ–M.Dly

(Parametric 4-Band EQ – Multitap Delay)..............201

63: Comp–Wah (Compressor – Wah/Auto Wah)......... 201

64: Comp–AmpSim (Compressor – Amp Simulation).. 202 65: Comp–OD/HG

(Compressor – Overdrive/Hi.Gain)......................... 202

66: Comp–P4EQ

(Compressor – Parametric 4-Band EQ) ................. 202

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67: Comp–Cho/Fl (Compressor – Chorus/Flanger).....203

68: Comp–Phaser (Compressor – Phaser)..................203

69: Comp–M.Dly (Compressor – Multitap Delay)......... 204

70: Limit–P4EQ (Limiter – Parametric 4-Band EQ)...... 204

71: Limit–Cho/Fl (Limiter – Chorus/Flanger)................ 205

72: Limit–Phaser (Limiter – Phaser)............................. 205

73: Limit–M.Dly (Limiter – Multitap Delay) ................... 206

74: Exct–Comp (Exciter – Compressor)....................... 206

75: Exct–Limiter (Exciter – Limiter)..............................206

76: Exct–Cho/Fl (Exciter – Chorus/Flanger) ................ 207

77: Exct–Phaser (Exciter – Phaser)............................. 207

78: Exct–M.Dly (Exciter – Multitap Delay)....................207

79: OD/HG–AmpSim

(Overdrive/Hi.Gain – Amp Simulation)....................208

80: OD/HG–Cho/Fl

(Overdrive/Hi.Gain – Chorus/Flanger).................... 208

81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser)....... 209

82: OD/HG–M.Dly

(Overdrive/Hi.Gain – Multitap Delay)...................... 209

83: Wah–AmpSim

(Wah/Auto Wah – Amp Simulation)........................ 210

84: Deci–AmpSim

(Decimator – Amp Simulation)................................ 210

85: Deci–Comp (Decimator – Compressor)................. 210

86: AmpSim–Trml (Amp Simulation – Tremolo)........... 211

87: Cho/Fl–M.Dly

(Chorus/Flanger – Multitap Delay).......................... 211

88: Phasr–Cho/Fl (Phaser – Chorus/Flanger).............. 212

89: Reverb–Gate..........................................................212

Master EQ ....................................................... 213

Master EQ.................................................................... 213

Foot Switch Assign ........................................... 226

Foot Switch Assign List................................................ 226

Foot Pedal Assign............................................. 227

Foot Pedal Assign List..................................................227

MIDI transmission when

the TR‘s controllers are operated....................... 228

TR operations when control changes are

transmitted/received ........................................ 230

MIDI applications .............................................233

■

About MIDI...............................................................233

■

Connecting MIDI devices/computers

(MIDI connectors)...................................................233

■

Messages transmitted and received by

this instrument........................................................234

Various messages ............................................245

Data compatibility............................................ 250

Compatibility with the TRITON Le................................250

Compatibility with the TRITON.....................................250

Compatibility with the KARMA Music Workstation....... 251

Bank/Number structure for programs, combinations, drum

kits, and arpeggio patterns.....................................252

Media mode information .................................. 254

Chunks that are supported...........................................254

About KORG format files.............................................. 255

Option EXB-SMPL............................................. 260

Memory that can be used with the option board..........260

Please note when installing an option board................ 261

Option board/memory installation procedure...............261

8. Appendices .................................. 215

Alternate Modulation Source (AMS) .................. 215

About Alternate Modulation..........................................215

About Alternate Modulation Sources............................ 215

AMS (Alternate Modulation Source) List...................... 216

Alternate Modulation settings.......................................218

The effect of alternate modulation on various parameters,

and example applications....................................... 218

Dynamic Modulation Source (Dmod) ................. 221

Dynamic Modulation Source List.................................. 221

About the BPM/MIDI SYNC function............................223

SW1/2 Assign................................................. 224

SW1, SW2 Assign List.................................................224

Knob 1...4 B Assign ......................................... 225

Realtime Control Knobs B Assign List ......................... 225

viii

USB-MIDI driver installation and settings ........... 265

Minimum requirements................................................. 265

Windows XP users....................................................... 265

Uninstalling the KORG USB-MIDI Driver.....................266

Mac OS X users........................................................... 267

About the TR and driver ports...................................... 267

Index............................................................... 268

* Company names, product names, and names of formats

etc. are the trademarks or registered trademarks of their respective owners.

1. Program mode

PROG PAGE MENU

PROG 1.1: Play

PROG

Use the following procedure to select the desired page from within the current mode.

1 Press the [MENU] key to access the “PAGE MENU.”

The “PAGE MENU” will show an abbreviated name for each page.

2 Use the [F1]–[F7] keys at the bottom of the page to select

the desired page. Pressing the same key repeatedly will scroll through the various sub-pages. You can also move by using the cursor keys [ ], [ ], [ ], [ ].

3 Press the [F8] (“Open”) key to access the page. 4 If the selected page contains two or more tab pages, press

the nearest [F1]–[F7] key below the tabs to select the desired page.

Other ways to select a page

• You can also move to the desired page by holding down the [MENU] key and using numeric keys [0]–[9] to enter a two-digit page number. For example if you wish to access the 5.3: Ed-LFOs page, hold down the [MENU] key and consecutively press numeric keys [5] and then [3].

• By holding down the [MENU] key and using the cursor keys [ ](–) or [ ](+), you can step through the pages forward or backward in the order of 1.1→2.1→2.2→3.1, etc.

Play 1.1: Play Select and play programs. Use the Per-

Basic 2.1: Ed-Basic Set basic program parameters such as

Ctrl 2.2: Ed-Ctrl Controller settings. (☞p.9) Pitch 3.1: Ed-Pitch Pitch settings. Pitch EG settings.

Flt1 4.1: Ed-Filter1 Filter 1 (tone) settings. Filter EG set-

Flt2 4.2: Ed-Filter2 Filter 2 (tone) settings. Filter EG set-

Amp1 5.1: Ed-Amp1 Amp 1 (volume) settings. Amp EG, pan

Amp2 5.2: Ed-Amp2 Amp 2 (volume) settings. Amp EG, pan

LFO 5.3: Ed-LFOs Type and speed settings etc. for the

Arp 6.1: Ed-Arp. Arpeggiator settings. (Shared with 1.1:

IFX 7.1: Ed-InsertFX Select the BUS and master effect send

MFX 7.2: Ed-MasterFX Master Effect selection and settings.

formance Editor for easy editing, and to do simple editing of arpeggio patterns. (☞p.1)

Oscillator and Multisample. (☞p.5)

(☞p.10)

tings. (☞p.13)

tings. (☞p.18)

(position) settings. (☞p.18)

(position) settings. (☞p.22)

two LFOs provided for each oscillator. (Make settings in the pitch, ﬁlter, and amp pages to specify the depth of the LFO settings you make here.) (☞p.22)

Play parameters. You may edit either.) (☞p.24)

level for the oscillator output. Insert Effect routing, selection and settings. (☞p.26)

Master EQ settings. (☞p.28)

In this display page you can select and play programs.

All MIDI data in PROG 1.1: Play is transmitted and received on the Global MIDI Channel (☞GLOBAL 2.1– 1a).

1.1–1: Program

1.1–1a

1.1–1b

1.1–1c

1.1–1a: Bank, Program Select, Category, Cat. Hold,

10’s Hold,  (Tempo)

Bank [Bank A...D, G, g(d)]

This is the program bank display. Use the BANK [A]–[GM] keys to select the bank. Bank G will toggle between the GM and g(d) banks each time you press the BANK [GM] key.

G→g(d)→ G→ g(d)→ G…

The TR provides rewritable banks A, B, C, and D, each con- taining 128 programs (total 512). As for non-rewritable program areas, it provides banks G (capital programs for GM), and bank g(d) (drums). ( grams, refer to the separate VNL included on the CD-ROM.)

Bank A Bank B Bank C Bank D Bank G GM capital program Bank g(d) GM drums program

☞For a list of the factory-set pro-

for preloaded programs

1.1

2.12.23.14.14.25.15.25.36.17.17.2

Program Select [(A…D)0…127: name, (G, g(d))1…128: name]

Selects a program. Choose this parameter, and use the [INC], [DEC] keys, numeric keys [0]–[9], or the [VALUE] dial to select a program. You can select programs by category, or by using “10’s Hold.” (

☞“Category,” “Cat. HOLD,” “10’s HOLD”)

You can receive MIDI program changes from a con-

nected external MIDI device, or use a foot switch to select programs. (☞p.127 “Foot SW Assign” (GLOBAL

1.1–3a), p.226 “Foot Switch Assign List”)

Categor y [00...15: name]

Selects the program category. All programs are classiﬁed into one of sixteen categories. You can select the desired category, and then choose programs from that category. For the procedure of selecting programs from a category, refer to “Cat. HOLD” and “Select by Category.”

To assign a category to each program, use the “Write Program” (1.1–1c) dialog box. To change the name of a category, use “Category Name Prog. 00–07, 08–15” (

☞GLOBAL 4.1–1/2).

Cat. HOLD (Category Hold)

1 Press the [./HOLD] key to display . The cate-

gory will be held (ﬁxed).

2 Use “Category” to select the desired category. 3 Choose “Program Select,” and use the [INC], [DEC] keys

or the [VALUE] dial to select programs sequentially within the speciﬁed category.

4 To cancel, press the [./HOLD] key twice to turn off the

display.

If you press the [./HOLD] key in PROG 1.1: Play, the selection will cycle in the order of →

→ Cancel.

Select by Category

1 Press the [F8] (“UTILITY”) key to access the Utility

menu.

2 Press the [F7] key or use the cursor [ ]/[ ] keys to

select “Select by Category ,” and pr ess the [F8] (“OK”) key. The Select Program by Category dialog box will appear.

You can directly access the Category dialog box by pressing the [CATEGORY] key. (☞OG p.22)

3 Press the [F1] (“ ”), [F2] (“ ”), [F3] (“ ”),

or [F4] (“ ”) keys to select the category that includes the program.

Alternatively, you can use the cursor [ ]/[ ] keys to select “Cat:,” and use the [INC]/[DEC] keys or the [VALUE] dial to select the category.

4 Use the cursor [ ]/[ ] keys to select a program in the

list. Alternatively, use the cursor [ ]/[ ] keys to select “Idx:” and then use the [INC]/[DEC] keys or the [VALUE] dial to select the program.

5 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key.

10’s HOLD

1 Press the [./HOLD] key twice to display .

The ﬁrst digit of the program number will be held (ﬁxed).

2 When you press a numeric key [0]–[9], the second digit of

the program number will be input with a single action.

3 You can use the [INC], [DEC] keys to change the ﬁrst

digit.

4 To cancel, press the [./HOLD] key to turn off the

display.

 (Tempo) [040...240, EXT]

This sets the tempo of the arpeggiator. The tempo can also be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob. A display of EXT indicates that the “MIDI Clock” (GLOBAL

2.1–1a) setting has been set to External or Ext-USB, and that the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device. This parameter can also be set from 6.1: Ed-Arp.

1.1–1b: Program Information

This display shows the functions that are assigned to the [SW1] key, [SW2] key, and REALTIME CONTROLS B-mode [ASSIGNABLE 1]–[ASSIGNABLE 4] knobs for the selected program.

■ 1.1–1c: UTILITY

Use the following procedure to select the desired utility.

1 Press the [F8] (“UTILITY”) key to access the Utility

menu.

2 Press the [F7] key or the cursor keys [ ], [ ], [ ], [ ]

to select the desired utility.

3 Press the [F8] (“OK”) key to access the dialog box.

Utilities up to number 10 can also be selected by holding down the [ENTER] key and pressing the corresponding numeric key [0]–[9] to access the dialog box.

Write Program

If you wish to save a program, be sure to write it into the memory of the TR. An edited program cannot be recovered if you do not write it to memory before turning off the power or selecting another program.

1 Select “Write Program” to access the dialog box.

2 The upper line shows the bank, program number and

program name.

3 In “Category,” specify the category of the program that

you are writing. With the factory settings, the program categories have been given the names of instruments etc., but you can use “Category Name Prog.00–07, 08–15” (GLOBAL 4.1–1/2) to modify these category names. The category selected here can be used to ﬁnd this program when selecting a program in Program, Combination, Sequencer.

4 Press “To” to specify the writing destination.

You can also use the Bank [A]–[D] keys to select a bank. It is not possible to write to banks G, g(d). If you have

edited a program from banks G, g(d) and wish to write it, you must write to banks A–D.

5 If you wish to change the program name, press the [F5]

(“Name”) key to move to the text dialog box, and input the name. (☞OG p.44)

6 To write the program, press the [F8] (“OK”) key. To can-

cel without writing, press the [F7] (“Cancel”) key.

When you press the [REC/WRITE] key, the Update Program dialog box will appear. Here too, you can write to the currently selected program.

Select by Category

Here you can select a program by category. (☞p.2)

1.1–2: P.Edit (Performance Editor)

1.1–2a

1.1–2b

If the MIDI Filter “Exclusive” (GLOBAL 2.1–1b) setting is checked, MIDI exclusive parameter changes will be transmitted whenever you operate the Performance Editor. If these messages are received by an instrument whose “Exclusive” setting is checked, the Performance Editor on that instrument corresponding to the received message will be modiﬁed.

Octave [–03...+00...+03]

An adjustment of +01 will raise the pitch one octave. An adjustment of –01 will lower the pitch one octave. This setting cannot adjust the pitch higher than 4' (feet) or lower than 32' (feet).

Stretch (Pitch Stretch) [–12...+00...+12]

This simultaneously adjusts the Transpose and Tune of the oscillator. This lets you produce a variety of tonal changes and variations without loosing the character of the original sound. At the +00 setting, the value of the program parameters will be unchanged. An adjustment of +01 will lower the Transpose value by 1, and simultaneously raise the Tune value by 100. An adjustment of –01 will raise the Transpose value by 1, and simultaneously lower the Tune value by 100. However, it is not possible for the Transpose value to exceed the range of ±12, nor the Tune value to exceed the range of ±1200.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

1.1–2c

1.1–2a: Bank, Program Select, (Tempo)

Select a program. The bank, number, and name of the program will be displayed (☞p.1). “ ” sets the tempo.

1.1–2b: Performance Editor

The Performance Editor lets you edit major program parameters without moving to the PROG 2.1–7.2 Ed (Edit) pages. This edits multiple program parameters within the currently selected program, allowing you to make broad adjustments easily. You can use the Performance Editor when you wish to adjust the depth of effects etc. while you are playing, or to make the initial rough settings to begin the process of creating a new sound. Editing that you do here will affect the values of the program parameters in the edit buffer. If you wish to keep the results of your editing, you must write (save) the program (☞OG p.43).

Editing done using the Performance Editor will occur within the range of the corresponding parameter. If after using the Performance Editor to modify a value, you move to another page or mode and then return, the sound will remain in its edited state but the value shown in the LCD screen by the Performance Editor will be +00. You may do further editing from this state if you wish. Since editing done using the Performance Editor is not as detailed as conventional editing, the balance between parameters may be lost. If this occurs, use 2.1: Ed-Basic–7.2: Ed-MasterFx to make ﬁne adjustments.

OSC Bal (OSC Balance) [–10…+00…+10]

This adjusts the level balance between oscillators 1 and 2. At the +00 setting, the value of the program parameters will be unchanged. Positive (+), settings will lower the oscillator 2 level. With an adjustment of +10, the oscillator 2 level will be 0. The oscillator 1 level will not change. Negative (–) settings will lower the oscillator 1 level. With an adjustment of –10, the oscillator 1 level will be 0. The oscillator 2 level will not change.

For programs whose “Mode (Oscillator Mode)” (2.1–1a) setting is Single, oscillator 2 will not sound. Only the level of oscillator 1 will change. For a Drums program, this performance editor will have no effect.

Level (Amp Level) [–10…+00…+10]

This adjusts the amp level. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will increase the amp level above the value that was set. With an adjustment of +10, the amp level will be 127 (maximum). Negative (–) settings will lower the amp level below the value that was set. With an adjustment of –10, the amp level will be 0.

Attack (Attack Time) [–10…+00…+10]

This adjusts the attack times of the ﬁlter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the attack times beyond the values that were set. With an adjustment of +10, the attack times will be 90. Negative (–) settings will shorten the attack times. With an adjustment of –10, the attack times will be 0.

When you modify “Attack Time,” the EG Start Level, Attack Level, Start Level Modulation, and Attack Time Modulation of the amp EG will also be adjusted simultaneously, to allow the maximum effect to be obtained.

Decay (Decay Time) [–10…+00…+10]

This adjusts the Decay Time and Slope Time of the ﬁlter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the Decay T ime and Slope Time beyond the values that wer e set. With an adjustment of

+10, the times will be 99. Negative (–) settings will shorten the Decay T ime and Slope Time. With an adjustment of –10, the times will be 0.

IFX Bal (IFX Balance) [–10…+00…+10]

This adjusts the “W/D(Wet/Dry)” setting of the insertion effect. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will raise the Wet level above the program setting, and lower the Dry level. W ith an adjustment of

+10, the setting will be “Wet” - the effected signal only. Negative (–) settings will lower the Wet level below the pro-

gram setting, and raise the Dry level. With an adjustment of –10, the setting will be “Dry” - the signal is unaffected.

MFX Bal (MFX Balance) [–10…+00…+10]

This adjusts the master effect “Rtn1 (Return1)” and “Rtn2 (Return2)” (7.2–1a) settings as a whole. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will raise the return levels above the program setting. With an adjustment of +10, the setting will be 127 (maximum). Negative (–) settings will lower the return levels below the program setting. With an adjustment of –10, the setting will be 0.

Octave Octave of OSC 1 and 2 Stretch Transpose and Tune of OSC 1 and 2 OSC Bal High Level and Low Level of OSC1 and 2 Level Amp1 Level, Amp2 Level Attack Amp EG Attack Time, Start Level, Attack Level,

Level Modulation S, Time Modulation A of Amp 1 and 2, and Filter EG Attack Time of Filter 1 and 2

Decay AmpEG Decay Time, Slope Time of Amp 1 and 2,

Filter EG Decay Time and Slope Time of Filter 1

and 2 IFX Bal W/D (Wet/Dry) balance of the IFX effect MFX Bal Master Effect RTN1, 2 (Return1, 2)

1.1–3: Arp (Arp. Play)

While arpeggiator parameters are for the most part edited in PROG 6.1: Ed-Arp., Some major parameters can be edited here as well. When you are playing in PROG 1.1: Play, you can edit the arpeggiator in realtime, such as changing the arpeggio pattern etc. You can also use the REALTIME CONTROLS C-mode [TEMPO], [ARP-GATE], and [ARP-VELOCITY] knobs to edit the arpeggio in realtime (☞OG p.28).

1.1–3a

1.1–3b

1.1–3a: Arpeggiator

Pattern [P000...P004, U000(INT)...U215(User)] Reso (Resolution) [  ,  ,   ,  ,   ,  ] Octave [1, 2, 3, 4] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

Make settings for the program arpeggiator (☞“PROG: EdArp.”). These parameters can also be set from 6.1: Ed-Arp. setup page (

■ 1.1–3b: UTILITY

☞ “Write Program,” “Select by Category” (1.1–1c)

☞6.1–1a).

■ 1.1–2c: UTILITY

☞ “Write Program,” “Select by Category” (1.1–1c)

PROG 2.1: Ed–Basic

Here you can make basic settings for the oscillator(s).

2.1–1: Basic (Prog Basic)

2.1–1a

2.1–1b

2.1–1c

2.1–1d

2.1–1a: Oscillator

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

Speciﬁes the basic program type; 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 have a

maximum of 62-note polyphony. Double: The program will use two oscillators (Oscillator 1/

2, Filter 1/2, Ampliﬁer 1/2). Allowing you to create more complex sounds. In this case the program will have a maxi-

mum of 31-note polyphony. Drums: The program will use one oscillator (as when Sin-

gle is selected), but Oscillator 1 will be assigned a drum kit

instead of a multisample. In this case the program will have a maximum of 62-note polyphony.

2.1–1b: Voice Assign

Mode (Voice Assign Mode) [Poly, Mono]

Poly: The program will play polyphonically, allowing you play chords. Mono: The program will play monophonically, producing only one note at a time.

Hold [Off, On]

On (checked): Hold is On. Even when you take your ﬁnger off of the key, the note will continue sounding as if it continued to be held. Unless the “Amp1 EG”, “Amp2 EG” (5.1–3a,

5.2–3) “S (Sustain Level)” is set to 0, the sound will continue playing. This is ideal for playing drum sounds, If you set “Mode (Oscillator Mode)” (2.1–1a) to Drums, you should normally- turn Hold On. Off (unchecked): Hold is Off. Except for drum programs, you should normally set Hold Off.

If you turn “Hold” On for a drum program, keys of the selected drum kit whose “Enable Note Off” parameter (GLOBAL 5.1–3a) is unchecked will be set to Hold On. Keys that are checked will be set to Hold Off. If you select Hold Off, the keys will be set to Hold Off regardless of their “Enable Note Off” setting.

Single Trigger [Off, On]

This is available when the “Mode (Voice Assign Mode)” setting is set to Poly.

On (checked): When the same note is played r epeatedly, the previous note will be silenced before the next note is sounded, so that the notes do not overlap.

Legato [Off, On]

This is available when the “Mode (Voice Assign Mode)” setting is set to Mono.

On (checked): Legato is on. When multiple note-on messages occur, the ﬁrst note-on will retrigger the sound, and the second and subsequent note-ons will not retrigger. When legato is on, multiple note-on message will not retrigger the voice. If one note is already on and another note is turned on, the oscillator sound, envelope, and LFO will not be reset, and only the pitch of the oscillator will be updated. This setting is effective for wind instrument sounds and analog synth-type sounds. Off (unchecked): Legato is off. Notes will always be retriggered when note-on occurs. When legato is off, multiple note-on’s will retrigger the voice at each note-on. The oscillator sound, envelope, and LFO will be reset (and retriggered) according to the settings of the program.

If “Legato” is checked, certain multisamples or keyboard locations may produce an incorrect pitch.

Priority [Low, High, Last]

This parameter is valid when “Mode (Voice Assign Mode)” is set to Mono. It speciﬁes which note will be given priority to play when two or more notes are played simultaneously.

Low: Lowest note will take priority. High: Highest note will take priority. Last: Last note will take priority.

2.1–1c: Scale

Type (Scale Type)

[Equal Temperament…User Octave 15]

Indicates the basic scale for the internal tone generator. Equal Temperament: This is the most widely used scale,

where each semitone step is spaced at equal pitch intervals. Pure Major: In this temperament, major chords of the

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

selected tonic will be perfectly in tune. Arabic: This scale includes the quarter-tone scale used in

Arabic music. Pythagoras: This scale is based on ancient Greek musical

theory, and is especially effective for playing melodies. Werkmeister (Werkmeister III): This is an equal tempered

scale that was used since the later Baroque period. Kirnberger (Kirnberger III): This scale was created in the

18th century, and is used mainly to tune harpsichords. Slendro: This is an Indonesian gamelan scale in which an

octave consists of ﬁve notes. When “Key” is set to C, use the C, D, F, G and A notes. (Other keys will sound equal-tempered pitches.)

Pelog: This is an Indonesian gamelan scale in which an octave consists of seven notes. When “Key” is set to C, use the white keys. (The black keys will sound the equal tempered pitches.)

Stretch: This tuning is used for acoustic pianos. User All Notes: This is the full-range scale (C–1 – G9) that is

speciﬁed in “User All Notes Scale” (GLOBAL 3.1–2a). User Octave 00–15: These are the single-octave scales that

are speciﬁed in “User Octave Scale” (GLOBAL 3.1–1a).

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

Key [C…B]

Indicates the tonic note of the speciﬁed scale. This setting is not valid for Equal Temperament, Stretch, and User All Notes Scale.

Random [0…7]

As this value is increased, a greater variance will be applied to the pitch when each note is sounded. Normally you will set this to 0. This parameter is used when simulating instruments that have natural instability in pitch, such as tapemechanism organs or acoustic instruments.

If a scale other than Equal Temperament is selected, the combination of the selected scale and the “Key” setting may skew the tuning of the base key (for example A=440 Hz). If this occurs, use “Master Tune” (GLOBAL

1.1–1a) to correct the pitch.

■ 2.1–1d: UTILITY

2.1–2: OSC1

The multisample(s) (waveform) or drum kit on which the program will be based can be selected here for oscillator 1 and/or oscillator 2. The internal memory contains 470 different multisamples (preset multisamples) and 33 drum kits. RAM multisamples can be created in Sampling mode if the EXB-SMPL option (sold separately) is installed, or you can use multisamples that were loaded in using the Media mode.

The following illustration shows a LCD screen where “Mode (Oscillator Mode)” (2.1–1a) has been set to Double. If this is set to Single, the OSC2 page parameter will not appear and cannot be set.

2.1–2a

2.1–2b

☞ “Write Program” (1.1–1c) For details on how to select the desired utility function, refer

to “PROG 1.1–1c: UTILITY.”

Copy Oscillator

This function copies oscillator settings to the currently selected program.

1 Select “Copy Oscillator” to access the dialog box.

2 In “From,” select the oscillator that you wish to copy and

the copy source program. You can use the Bank [A]– [GM] keys to select the bank.

3 In “To,” select the copy destination oscillator. 4 To execute the Copy Oscillator operation, press [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Swap Oscillator

This command exchanges the settings of oscillators 1 and 2.

1 Select “Swap Oscillator” to access the dialog box.

2.1–2c

The following illustration shows the display when “Mode (Oscillator Mode)” (2.1–1a) has been set to Drums.

2.1–2d

2.1–2e

2.1–2a: OSC1 Multisample

Velocity SW L→H [001...127]

The oscillator 1 High and Low multisamples that you specify in “High, Low” (2.1–2b) will be switched at the velocity value that you specify here. Notes played with a velocity stronger than this value will be sounded by the High multisample.

2.1–2b: High, Low

Here you can select a multisample. You can select different multisamples for High and Low, and use velocity to switch between the two multisamples. Start Offset, Reverse, and Level can be adjusted independently for the High and Low multisamples.

High:

2 To execute the Swap Oscillator operation, press [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key.

This can be selected only if “Mode (Oscillator Mode)” (2.1–1a) is Double.

High MS Bank [ROM, RAM, EX] High Multisample [000...424, 000...999, 000…044]

Speciﬁes the bank and multisample number of the High multisample. The multisample you select here will sounded by velocities greater than the value of the “Velocity SW L→H” (2.1–2a) parameter . If you do not wish to use velocity switching, set the value to 001, and select only the High multisample. ROM, EX: Select a preset multisample. Use “High Multisample” to select from ROM: 000–424, EX:

000–044. RAM: You can use multisamples that you created in Sam-

pling mode, or multisamples that you loaded in the Media mode. (Requires the separately sold EXB-SMPL option and/ or the installation of RAM sample data memory.) Select the “High Multisample” from a range of 000–999.

If sample data RAM is not installed, the program will not sound if you select RAM.

Each multisample has an upper limit, and may not produce sound when played above that limit.

S.Ofs (High Start Offset) [Off, On]

This speciﬁes the point at which the multisample will begin sounding. For some multisamples this parameter will have no effect.

On (checked): The sound will start from the start offset location that is pre-determined for each multisample. However when a RAM bank is selected, this will depend on the selected multisample. If you select a multisample that includes one of the following types of sample, checking this item will cause playback to start from the Loop Start Address.

•A sample that was recorded (sampled) in Sampling mode (if the separately sold EXB-SMPL option is installed)

•A sample whose Loop Start Address was edited in Sampling mode (if the EXB-SMPL option is installed) after the sample was loaded in Media mode

•A sample whose Loop Start Address was specified automatically when it was loaded as an AKAI, AIFF, or WAVE file in Media mode

Off (unchecked): The sound will start from the beginning of the multisample waveform.

Rev (High Reverse) [Off, On]

The multisample will be played in reverse. In the case of ROM or EX multisamples that were originally speciﬁed to loop, or in the case of RAM multisamples that were set to loop in Sampling mode (if the EXB-SMPL option is installed), the multisample will be played back in “oneshot” reverse mode. If the multisample was originally set to reverse, it will playback without change.

On (checked): The multisample will playback in reverse. Off (unchecked): The multisample will playback normally.

Level (High Level) [000...127]

Speciﬁes the level of the multisample.

Depending on the multisample, high settings of this parameter may cause the sound to distort when a chord is played. If this occurs, lower the level.

Low:

Speciﬁes the OSC1 Low multisample. The Low multisample will sound when the velocity is less than the “Velocity SW L→H” (2.1–2a) setting.

Low MS Bank [ROM, RAM, EX] Low Multisample [000...424, 000...999, 000…044] S.Ofs (Low Start Offset) [Off, On] Rev (Low Reverse) [Off, On] Level (Low Level) [000...127]

☞ Refer to the corresponding item in “High.”

2.1–2c: Octave, Transpose, Tune, Delay

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

Adjusts the pitch in octave units. The normal octave of the multisample is 8' (feet).

Transpose [–12…+12]

Adjusts the pitch in semitone steps over a range of ±1 octave.

Tune [–1200…+1200]

Adjusts the pitch of the sample in one-cent steps (a semitone is 100 cents) over a range of ±1 octave.

Delay [0000ms…5000ms, KeyOff]

Speciﬁes a delay time from note-on until the note will sound. With a setting of KeyOff, the sound will begin when note- off occurs. This is used to create sounds such as the “click” that is heard when a harpsichord note is released. In this case, set the “Amp1 EG”, “Amp2 EG” (5.1–3a, 5.2–3) “S (Sustain Level)” parameter to 0.

2.1–2d: OSC1 Drum Kit

Drum Kit

[00(INT)...15(INT), 16(User)...23(User), 24(GM)...32(GM)]

Select a drum kit.

00 (INT)–15 (INT) Preload drum kits. 16 (User)–23 (User) for user drum kits 24 (GM)–32 (GM) ROM preset drum kits compatible with GM2.

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

Adjusts the pitch in octave units. When using a drum kit, set the Octave to 8'.

When editing a drum program, you must set this parameter to 8'. With other settings, the sounds of the drum kit will be assigned to the wrong notes of the keyboard.

Transpose [–12…+12]

This adjusts the location of the instruments in the selected drum kit. Unless you need to change this, leave it at 0.

Tune [–1200…+1200]

This adjusts the pitch in one-cent units. The pitch of each drum kit can be adjusted in GLOBAL 5.1: DKit.

Delay [0000ms…5000ms, KeyOff]

This speciﬁes a delay time from note-on until the sound will begin. With a setting of KeyOff, the sound will begin when note- off occurs. In this case, set the “Amp1 EG” parameter “S (Sustain Level)” (5.1–3a) to 0.

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■ 2.1–2e. UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”

Select by Category

Selects multisamples by category. For the procedure, refer to “Select by Category” (☞p.2).

This command is valid when the 2.1–2b: High, Low parameters are selected under the following conditions.

• “Mode (Oscillator Mode)” (2.1–1a) is set to either

Single or Double

• “High MS Bank” and “Low MS Bank” (2.1–2b) are

set to ROM or EX

Sample Parameters

This is displayed and can be edited if the EXB-SMPL option is installed. This command lets you adjust the sample playback level, cutoff, resonance, pitch, attack, and decay for each index of a RAM multisample.

This command is valid if “Mode (Oscillator Mode)” (2.1–1a) is set to Single or Double, and you have selected the 2.1–2b: High or Low parameters of OSC1 or OSC2 for which RAM has been speciﬁed as the “High MS Bank” or “Low MS Bank.”

The setting will apply to the selected multisample. The setting will also be used when that multisample is selected by another oscillator or program.

1 Select “Sample Parameters” to access the dialog box.

Cutoff: Adjusts the ﬁlter cutoff. This adjustment will be added to the value speciﬁed for “Frequency” (4.1–1b/1c,

4.2–1) of Filter 1 and 2. Resonance: Adjusts the resonance level of the ﬁlter. This adjustment will be added to the value speciﬁed for “Resonance” (4.1–1b, 4.2–1) of Filter 1 and 2. Pitch: Adjusts the playback pitch in one-cent steps. A setting of +12.00 raises the pitch one octave, and a setting of –12.00 will lower the pitch one octave. This parameter is linked with the parameter “Pitch” (SMPL 4.1–2a). The value that was speciﬁed in Sampling mode will be displayed here. Attack: Adjust sthe attack times of the ﬁlter EG and amp EG. This adjustment will be added to the “A (Attack Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG” (4.1–5a, 4.2–5, 5.1–3a, 5.2–3). Decay: Adjusts the decay times of the ﬁlter EG and amp EG. This adjustment will be added to the “D (Decay Time)” of “Filter 1 EG,” “Filter 2 EG,” “Amp 1 EG,” and “Amp 2 EG.”

4 Press the [F8] (“Done”) key to execute, and close the dia-

log box.

Please be aware that the Compare function is not available for this command.

2.1–3: OSC2

This will appear when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. For details on the settings and function of the parameter, refer to “2.1–2: OSC1.”

2.1–4: V.Zone (Velocity Zone)

Speciﬁes the range of velocities that will sound oscillator 1 and 2. By using these settings in conjunction with the “Velocity SW L→H” (2.1–2a) setting of each oscillator, you can specify the velocity ranges for the High and Low multisamples or drum kits.

2.1–4a

2 Index: Speciﬁes the index for which you wish to make

settings. The number following “/” is the total number of indexes in the selected multisample. SMPL: Indicates the sample number and name for the index.

3 For each index, you can make the following settings.

Level: Adjusts the volume. Relative to the settings of “Level (High, Low Level)” (2.1–2b) and “Level (Amp1, 2 Level)” (5.1–1a, 5.2–1), negative (–) values will decrease the levels, and positive (+) values will increase the levels. A setting of +99 will double the volume, and at a setting of –99 there will be no sound. This parameter is linked to the “Level” (SMPL 4.1–2a). The value that was speciﬁed in Sampling mode will be displayed here.

2.1–4b

2.1–4a: OSC 1/2 Velocity Zone

OSC1 Bottom [001...127]

Sets the minimum velocity value that will sound oscillator 1.

OSC1 Top [001...127]

Sets the maximum velocity value that will sound oscillator

OSC2 Bottom [001...127]

Sets the minimum velocity value that will sound oscillator 2.

OSC2 Top [001...127]

Sets the maximum velocity value that will sound oscillator

2. It is not possible to set the Bottom Velocity greater than

the Top Velocity, nor the Top Velocity less than the Bottom Velocity.

You can also input a value by playing a note on the keyboard while you hold down the [ENTER] key.

■ 2.1–4b: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

2.1–5: Audit. (Audition)

When selecting preloaded programs, you can play back a pre-speciﬁed riff (phrase) that is suitable for the sound of that program. This is called the Audition function. When you press the [AUDITION] key to turn it on, the audition riff will play back repeatedly.

Here you can select the audition riff and specify the transposition.

2.1–5a

2.1–5b

2.1–5a: Audition Riff, Transpose

Audition Riff [000: Off...383: Name]

Selects the audition riff. The TR contains 383 audition riffs suitable for a variety of instruments and musical genres. (

☞“VNL”)

With a setting of 000: Off, no riff will be played.

Transpose [–24...+24]

Adjusts the pitch of the audition riff in semitone steps.

It is not possible to change the playback tempo of the audition riff. Nor is it possible to set the arpeggiator tempo while the audition riff is playing.

The arpeggiator will be turned off while the audition riff is playing.

■ 2.1–5b: UTILITY

☞ “Write Program” (1.1–1c)

PROG 2.2: Ed–Ctrl

These settings specify the B-mode functions of the REALTIME CONTROLS knobs [1]–[4] in Program mode, and the functions of the [SW1] key, the [SW2] key.

2.2–1: Ctrls (Controls)

2.2–1a

2.2–1c2.2–1b

2.2–1a: Knob B Assign

Here you can assign functions (mainly various types of control change) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] (☞p.225 “Realtime Control Knobs B Assign List”). The functions you set here will take effect when you operate the REALTIME CONTROLS knobs [1]–[4] in B-mode.

Knob1–B (Knob1–B Assign) [Off...MIDI CC#95] Knob2–B (Knob2–B Assign) [Off...MIDI CC#95] Knob3–B (Knob3–B Assign) [Off...MIDI CC#95] Knob4–B (Knob4–B Assign) [Off...MIDI CC#95]

2.2–1b: SW1/2 Assign

These settings assign functions to [SW1] and [SW2] keys (☞p.224 “SW1, SW2 Assign List”).

SW1 Assign [Off...AfterT Lock]

Here you can assign a function to the [SW1] key. The on/off status of the switch is saved when the program is written. When you change the function, it will be reset to the “off” state.

SW1 Mode [Toggle, Momentary]

Speciﬁes the on/off state that will occur when you press the [SW1] key. Toggle: The key will alternate on/off each time you press [SW1] key. Momentary: The key will be on only while you continue holding [SW1] key.

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SW2 Assign [Off...AfterT Lock] SW2 Mode [Toggle, Momentary]

Here you can assign a function to [SW2] key. The functions that can be assigned to [SW2] key are the same as for [SW1] key, with the exception of SW2 Mod. (CC#81) instead of SW1 Mod. (CC#80).

Although the following values can be selected for “SW1 Assign” and “SW2 Assign,” they will have no effect in actuality. Data is compatible between this instrument and the TRITON/TRITONpro/TRITONproX/TRITON-Rack/ TRITON Le/TRITON STUDIO and the TRITON Extreme. Programs created on the TRITON series can be used by this instrument.

In order to maintain compatibility, you are able to set these “invalid” parameters on this instrument.

N/A indicates Not Available. Ribbon Lock : N/A

JS X&Rbn Lock : N/A JS+Y&Rbn Lock : N/A JS-Y&Rbn Lock : N/A

■ 2.2–1c: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

PROG 3.1: Ed–Pitch

Here you can make pitch modulation settings for oscillators 1 and 2.

3.1–1: OSC1

Speciﬁes how the key position (on the keyboard) will affect the pitch of oscillator 1, and selects the controller that will modify the pitch and the depth of this effect. Here you can also specify the amount of pitch change caused by the pitch EG, and set the portamento mode and on/off status.

3.1–1a

3.1–1b

3.1–1c

3.1–1d

Ribbon (#16) [–12…+12]

Speciﬁes in semitone units how the pitch will change when CC#16 is received (or when the ribbon controller is pressed on an instrument, such as the TRITON Extreme, connected via the MIDI IN connector).

12 half-steps equal one octave. With positive (+) values, the pitch will rise when you press the right half of a ribbon controller. With negative (–) values, the pitch will fall.

For example, with a setting of +12, pressing the far right edge of the ribbon controller will raise the pitch one octave. With a setting of –12, pressing the far right edge of the ribbon controller will lower the pitch one octave. At the center of the ribbon controller, the original pitch will remain, so you can use this in conjunction with pressing the ribbon at its right edge to simulate the “hammering-on” techniques used by guitarists.

JS (+X) [–60…+12]

Speciﬁes how the pitch will change when the joystick is moved all the way to the right. A setting of 12 produces 1 octave of change.

For example, if you set this to +12 and move the joystick all the way to the right, the pitch will rise one octave above the original pitch.

JS (–X) [–60…+12]

Speciﬁes how the pitch will change when the joystick is moved all the way to the left. A setting of 12 produces 1 octave of change.

For example, if you set this to –60 and move the joystick all the way to the left, the pitch will fall ﬁve octaves below the original pitch. This can be used to simulate the downward swoops that a guitarist produces using the tremolo arm.

AMS (Pitch AMS) [Off, (FEG, AEG, EXT)]

Selects the source that will modulate the pitch of oscillator 1 (☞p.216 “AMS List”).

3.1–1a: Pitch

Pitch Slope [–1.0…+2.0]

Normally you will leave this at +1.0. Positive (+) values will cause the pitch to rise as you play

higher on the keyboard, and negative (–) values will cause the pitch to fall as you play higher on the keyboard. With a value of 0, there will be no change in pitch, and the C4 pitch will sound regardless of the keyboard location you play.

How the Pitch Slope and pitch are related

2oct

1oct 1oct

Pitch

C4 C5

–1

Key

Intensity (AMS Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect produced by “AMS (Pitch AMS).” With a setting of 0, no modulation will be applied. With a setting of 12.00, the pitch will change up to one octave.

For example if you set “AMS” to AfterT and apply pressure to the keyboard, the pitch will rise if this parameter is set to a positive (+) value, or fall if this parameter is set to a nega- tive (–) value. The range is a maximum of one octave. (☞p.218)

3.1–1b: Pitch EG

Intensity [–12.00…+12.00]

Speciﬁes the depth and direction of the modulation that the pitch EG speciﬁed in “EG (Pitch EG)” (3.1–5) page will apply to the pitch. With a setting of 12.00, the pitch will change a maximum of ±1 octave.

AMS (Pitch EG AMS) [Off, (KT, EXT)]

Selects the source that will control the pitch modulation applied by the pitch EG (☞p.216 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect that “AMS (Pitch EG AMS)” will have. For example, if you set “AMS (Pitch EG AMS)” to Velocity and set this value to +12.00, the velocity will control the

range of pitch change produced by the pitch EG in a range of ±1 octave (☞p.218). As you play more softly, the pitch change will draw closer to the pitch EG levels.

Pitch change (level)

Note-on

Note-off

Softly played (Intensity (Pitch EG) setting)

Note-on

Note-off

Strongly played with a positive (+) value

Note-on

Note-off

Strongly played with a negative (–) value

3.1–2a: Pitch LFO1/2 Modulation

LFO1:

Intensity (LFO1 Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the pitch modulation applied by the OSC 1 LFO1 settings you made in “OS1LFO1” page (5.3–1). With a setting of 12.00, a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

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“Intensity” and “AMS (Pitch EG AMS)” will be summed to determine the depth and direction of the pitch modulation applied by the pitch EG.

3.1–1c: Portamento

This turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be applied. If [SW 1] or [SW2] are set to Porta.SW(CC#65), turning SW1 or SW2 on/off will apply portamento (☞p.216 “AMS List,” p.224 “SW1, SW2 Assign List,” Prta.SWCC#65).

Portamento will also be switched when CC#65 (Portamento SW) is received.

Enable (Porta. Enable) [Off, On]

On (checked): Portamento will be applied. Off (unchecked): Portamento will not be applied.

Fingered (Porta. Fingered) [Off, On]

This parameter is available when “Enable (Porta. Enable)” is checked.

On (checked): Portamento will be applied when you continue holding the previous note as you press the next note (legato playing). Off (unchecked): Portamento will always be applied, regardless of how you play.

Time (Porta. Time) [000...127]

This parameter is available when “Enable (Porta. Enable)” is checked. This sets the portamento time. Increasing the value will produce a slower change in pitch.

■ 3.1–1d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

JS+Y Int. (LFO1 JS+Y Int.) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect that joystick movement in the +Y direction (away from yourself) will have on the pitch modulation applied by the OSC1 LFO1. As this value is increased, moving the joystick in the +Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave of pitch modulation will be applied. Negative (–) values will invert the LFO waveform.

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Indicates the source that will control the depth of pitch modulation produced by the OSC1 LFO1 (☞p.216 “AMS List”).

Intensity (AMS Intensity) [–12.00…+12.00]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have. 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. Negative (–) settings will invert the LFO waveform. For example if “AMS” is set to AfterT and you apply pressure to the keyboard, a positive (+) setting of this parameter will cause the pitch modulation created by OSC1 LFO1 to be applied with the normal phase, and a negative (–) setting will cause the LFO to be applied with inverted phase. The “Intensity (LFO1 Intensity),” “JS+Y Int. (LFO1 JS+Y Int.)” and “AMS (LFO1 AMS)” settings will be added to determine the depth and direction of the pitch modulation applied by OSC1 LFO1 (☞p.218).

LFO2:

Intensity (LFO2 Intensity) [–12.00…+12.00] JS+Y Int. (LFO2 JS+Y Int.) [–12.00…+12.00] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Intensity (AMS Intensity) [–12.00…+12.00]

Refer to the preceding section “LFO1.”

3.1–2: OS1lfo (OSC1 LFO)

Speciﬁes the amount of pitch change produced by LFO1 and LFO2 for oscillator 1.

3.1–2a

3.1–2b

■ 3.1–2b: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

3.1–3: OSC2

Speciﬁes how the key position (on the keyboard) will affectthe pitch of oscillator 2, and selects the controller that will affect the pitch and specify the depth of control. Here you can also specify the amount of pitch change produced by the pitch EG, and set the portamento mode and on/off status. For details on each parameter, refer to the preceding “3.1–1: OSC1.”

3.1–4: OS2lfo (OSC2 LFO)

Speciﬁes the amount of pitch change produced by LFO1 and LFO2 for oscillator 1. For an explanation of each parameter, refer to the preceding “3.1–2: OS1lfo.”

3.1–5: EG (Pitch EG)

Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2. The depth of pitch change produced by these EG settings on oscillator 1 (2) is adjusted by “Pitch EG” (3.1–1b, 3.1–3).

3.1–5a

3.1–5b

3.1–5c

3.1–5a: Pitch EG

These settings specify how the pitch will change over time.

L (Level):

These parameters specify the amount of pitch change. The actual amount of pitch change will depend on the “Pitch EG” (3.1–1b, 3.1–3) parameter “Intensity.” For example with an “Intensity” setting of +12.00, a “Level” setting of +99 would raise the pitch one octave, and a “Level” setting of –99 would lower the pitch one octave.

S (Start Level) [–99…+99]

Speciﬁes the amount of pitch change at note-on.

A (Attack Level) [–99…+99]

Speciﬁes the amount of pitch change when the attack time has elapsed.

R (Release Level) [–99…+99]

Speciﬁes the amount of pitch change when the release time has elapsed.

3.1–5d

Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave

0 = pitch when key is held (sustained)

Start Level

–99 = approximately 1 octave

Note-on

Attack Time

Attack Level

Decay Time

Note-off

Release Time

Time

Release Level

3.1–5b: Level Mod. (Level Modulation)

These settings allow the pitch EG “L (Level)” parameters to be controlled by alternate modulation.

AMS1 (Level Mod. AMS1) [Off, (KT, EXT)]

Selects the source that will control the pitch EG “L (Level)” parameters (☞p.216 “AMS List”).

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect applied by “AMS1 (Level Mod. AMS1).” With a setting of 0, the levels speciﬁed by “Pitch EG” (3.1– 5a) will be used. For example, if “AMS1 (Level Mod. AMS1)” is SW1 #80, pressing the [SW1] key to turn it on will change the “Level” parameters of the Pitch EG. (“SW1/2 Assign”: 2.2–1b) to SW1 Mod. (CC#80). As the absolute value of “I (AMS1 Intensity)” is increased, the pitch EG levels will change more greatly when the [SW1] key is turned on. The direction of the change is speciﬁed by “S (AMS1 SW Start)” and “A (AMS1 SW Attack).” When the [SW1] key is turned off, the pitch EG levels will return to their own settings. If “AMS1” is set to Velocity, increasing the absolute value of “Intensity” will produce increasingly wider change in pitch EG levels for strongly-played notes. The direction of the change is speciﬁed by “S (AMS1 SW Start)” and “A (AMS1 SW Attack).” As you play more softly, the pitch change will draw closer to the pitch EG levels.

Pitch EG change (level) (AMS=SW1/Velocity, Intensity= positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

T (Time):

These parameters specify the length of time over which the pitch change will occur.

A (Attack Time) [0…99]

Speciﬁes the time over which the pitch will change from note-on until it reaches the pitch speciﬁed as the attack level.

D (Decay Time) [0…99]

Speciﬁes the time over which the pitch will change after reaching the attack level until it reaches the normal pitch.

R (Release Time) [0…99]

Speciﬁes the time over which the pitch will change from note-off until it reaches the pitch speciﬁed as the release level.

A note played softly with “S” set at 0, “A” set to +, and SW1 turned on (the settings of 3.1–5a: Pitch EG)

A note played strongly with “S” set to 0, “A” set to +, and SW1 turned on

A note played strongly with “S” set to 0, “A” set to –, and SW1 turned on

S (AMS1 SW Start) [–, 0, +]

Speciﬁes the direction of change in “S (Start Level)” caused by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. W ith a setting of 0 there will be no change.

A (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of change in “A (Attack Level)” caused by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. With a setting of 0 there will be no change.

AMS2 (Level Mod. AMS2) [Off, (KT, EXT)] I (AMS2 Intensity) [–99…+99] S (AMS2 SW Start) [–, 0, +] A (AMS2 SW Attack) [–, 0, +]

Refer to the preceding paragraphs “AMS1 (Level Mod. AMS1)”–“A (AMS1 SW Attack).”

3.1–5c: Time Mod. (Time Modulation)

These parameters let you use alternate modulation to control the “T (Time)” parameters of the pitch EG.

PROG 4.1: Ed–Filter1

Indicates settings for ﬁlter 1, which controls the tone of oscillator 1. You can select either a 24 dB/oct low pass ﬁlter with resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high pass ﬁlter connected in series. When “Mode (Oscillator Mode)” (2.1–1a) is Single, Drums you can use ﬁlter 1. When it is Double, you can use ﬁlters 1 and 2. In the case of Single and Drums, the ﬁlter 2 pages cannot be selected.

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AMS (Time Mod. AMS) [Off, (KT, EXT)]

Indicates the source that will control the “T (Time)” parameters of the pitch EG (☞p.216 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Time Mod. AMS)” will have. With a setting of 0, the pitch EG times will be just as speciﬁed by the “Pitch EG” (3.1–5a) settings. The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next. For example, the decay time will be determined by the alternate modulation value at the moment that the attack level is reached. When this parameter is set to values of 16, 33, 49, 66, 82, or 99, the speciﬁed EG times will speed up as much as 2, 4, 8, 16, 32, or 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 of the original time). For example if “AMS (Time Mod. AMS)” is set to Velocity, increasing the absolute value of “I (AMS Intensity)” will allow strongly-played notes to increase the changes in pitch EG “T (Time)” values. The direction of the change is speciﬁed by “A (AMS SW Attack)” and “D (AMS SW Decay).” As you play more softly, the pitch EG times will more closely approach the actual settings of the pitch EG.

Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

4.1–1: Basic

Here you can specify the basic ﬁlter type used by oscillator 1, and set the cutoff frequency and resonance.

4.1–1a

4.1–1b

4.1–1c

4.1–1d

4.1–1a: Filter1

Type (Filter1 Type)

[Low Pass Resonance, Low Pass & High Pass]

Indicates the type of ﬁlter 1.

Low Pass Resonance: 24 dB/octave low pass filter with resonance

Low Pass & High Pass: 12 dB/octave low pass filter and 12 dB/octave high pass filter in series

Trim [00…99]

Adjusts the level at which the audio signal output from OSC1 is input to ﬁlter 1A.

If the trim value is set too high, the sound may be distorted if the Resonance is set to a high value or when you play a chord.

A note played softly with “A” set to + and “D” set to + (settings of 3.1–5a: Pitch EG)

A note played strongly with “A” set to + and “D” set to +

A note played strongly with “A” set to – and “D” set to –

A (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)” will affect the “A (Attack Time).” With positive (+) values of “I (AMS Intensity),” a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.

D (AMS SW Decay) [–, 0, +]

Speciﬁes the direction in which “AMS (Time Mod. AMS)” will affect the “D (Decay Time).” With positive (+) values of “I (AMS Intensity),” a setting of + will cause the time to be lengthened, and a setting of – will cause the time to be shortened. With a setting of 0 there will be no change.

■ 3.1–5d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–1b: A (Filter A)

This ﬁlter cuts the high-frequency range above the cutoff fr equency. This is the most common type of ﬁlter, which cuts the overtone structure to make a bright (sharp) tone darker (mellow). When “Type (Filter1 Type)” is Low Pass Resonance, the cut will have a steeper curve.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

Frequency (A Frequency) [00…99]

Speciﬁes the cutoff frequency of ﬁlter 1A.

Resonance (A Resonance) [00…99]

This emphasizes the overtone components that lie in the region of the cutoff frequency speciﬁed by “Frequency (A Frequency),” producing a more distinctive sound. Increasing this value will produce a stronger effect.

Reso.AMS (Resonance AMS)

[Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Indicates the source that will control the “Resonance (A Resonance)” level (☞p.216 “AMS List”).

Intensity (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “Reso. AMS (Resonance AMS)” will have on the resonance level speciﬁed by “Resonance (A Resonance).” For example, if Velocity has been selected, changes in key- board velocity will affect the resonance. With positive (+) values, the resonance will increase as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance (A Resonance)” setting. With negative (–) values, the r esonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance (A Resonance)” setting. The resonance level is determined by adding the “Resonance (A Resonance)” and “Intensity (AMS Intensity)” values together.

The effect of resonance

Low Pass

Level

Low resonance value High resonance value

4.1–1c: B (Filter B)

This will be displayed if “Type (Filter1 Type)” (4.1–1a) is Low Pass & High Pass. This ﬁlter cuts the low-frequency range that lies below the cutoff frequency. By cutting the lower overtones, it lightens the tone.

High Pass

Level

12dB/oct

Frequency

Frequency (B Frequency) [00…99]

Speciﬁes the cutoff frequency of ﬁlter 1B.

■ 4.1–1d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–2: Mod.1 (Filter1 Modulation1)

Indicates settings for keyboard tracking which modiﬁes the tone by modulating the ﬁlter 1 cutoff frequency “Frequency (A/B Frequency),” and intensity settings for the ﬁlter 1 EG, etc.

4.1–2a

4.1–2b

4.1–2a: Keyboard Track

These settings specify keyboard tracking for the cutoff frequency of ﬁlter 1. The way in which the cutoff frequency is affected by the position of the key (on the keyboard) that you play can be speciﬁed by the Key: “Low” and “High,” Ramp: “Low” and “High” parameters.

Key:

Speciﬁes the note numbers at which keyboard tracking will begin to be applied, and set the “Int. to A” and “(Int. to) B” parameters to specify the depth and direction of the change applied to ﬁlter 1 A and B. For the range of notes between “Low (KBDTrk Key Low)” and “High (KBDTrk Key High),” the cutoff frequency will change according to the key location (pitch).

You can also input a value by playing a note on the keyboard while you hold down the [ENTER] key.

Low (KBDTrk Key Low) [C–1…G9]

Keyboard tracking will apply to the range below the speciﬁed note number.

High (KBDTrk Key High) [C–1…G9]

Keyboard tracking will apply to the range above the speciﬁed note number.

Ramp (Ramp Setting):

Speciﬁes the angle of keyboard tracking.

Low (KBDTrk Ramp Low) [–99…+99] High (KBDTrk Ramp High) [–99…+99]

If “Int. to A (KBDTrk Int. to A)” and “Int. to B (KBDTrk Int. to B)” are set to +50, “Low (KBDTrk Ramp Low)” is set to –62 and “High (KBDTrk Ramp High)” is set to +62, the angle of the change in cutoff frequency will correspond to the key location (pitch). This means that the oscillation that occurs when you increase the “Resonance (A Resonance)” (4.1–1b) will correspond to the keyboard location. If you set “Low (KBDTrk Ramp Low)” to +43 and “High (KBDTrk Ramp High)” to –43, the cutoff frequency will not be affected by keyboard location. Use this setting when you do not want the cutoff frequency to change for each note.

How cutoff frequency is affected by keyboard location and the Ramp setting (“Int. to A,” “Int. to B”=+50)

Cutoff frequency

Low Ramp=+99 Low Ramp=+43 Low Ramp=0 Low Ramp=–62

Low Ramp=–99

Low Key

High Key

High Ramp=+99

High Ramp=+62

High Ramp=0

High Ramp=–43

High Ramp=–99

Key

Int. to A (KBDTrk Int. to A) [–99...+99]

Speciﬁes the depth and direction of the effect on ﬁlter 1A produced by keyboard tracking settings “Low (KBDTrk Key Low),” “High (KBDTrk Key High),” “Low (KBDTrk Ramp Low),” and “High (KBDTrk Ramp High).” With positive (+) settings, the effect will be in the same direction as the keyboard tracking settings. With negative (–) settings, the effect will be in the opposite direction.

4.1–2c

4.1–2d

Int. to B (KBDTrk Int. to B) [–99...+99]

Speciﬁes the depth and direction of the effect on ﬁlter 1B produced by keyboard tracking. ( to A)”)

☞“Int. to A (KBDTrk Int.

4.1–2b: Filter EG

Int. to A (Intensity to A) [–99…+99]

Speciﬁes the depth and direction of the effect that the timevarying changes created by the ﬁlter 1 EG will have on the ﬁlter 1A cutoff frequency. With positive (+) settings, the sound will become brighter when the EG levels set by Filter 1 EG “L (Level)” and “T (Time)” parameters (4.1–5a) are in the “+” area, and darker when they are in the “–” area. With negative (–) settings, the sound will become darker when the EG levels set by Filter 1 EG “L (Level)” and “T (Time)” parameters are in the “+” area, and brighter when they are in the “–” area.

Int. to B (Intensity to B) [–99…+99]

Speciﬁes the depth and direction of the effect that the timevarying changes created by the ﬁlter 1 EG will have on the ﬁlter 1B cutoff frequency. (

☞“Int. to A (Intensity to A)”)

Vel to A (Velocity to A) [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG (as set by “Filter 1 EG” 4.1–5) to control the ﬁlter 1A cutoff frequency. With positive (+) values, playing more strongly will cause the ﬁlter 1 EG to produce greater changes in cutoff frequency . With negative (–) values, playing more strongly will also cause the ﬁlter 1 EG to produce greater changes in cutoff frequency, but with the polarity of the EG inverted.

Vel to B (Velocity to B) [–99…+99]

This parameter speciﬁes the depth and direction of the effect that velocity will have on the time-varying changes created by the ﬁlter 1 EG to control the ﬁlter 1B cutoff frequency. (

☞“Vel to A (Velocity to A)”)

Changes in cutoff frequency

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Int. to B (AMS Int. to B) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Filter EG AMS)” will have on ﬁlter 1B. ( sity to A).”)

The sum of the settings for “Int. to A (B),” “Vel to A (B),” and “Int. to A (B) (AMS Int. to A/B)” will determine the depth and direction of the effect produced by the ﬁlter EG.

☞“Int. to A (Inten-

■ 4.1–2d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–3: Mod.2 (Filter1 Modulation2)

Indicates settings for the controller that will modify the tone by applying modulation to the ﬁlter 1 cutoff frequency “Frequency (A/B Frequency).” If “Type (Filter Type)” (4.1–1a) is Low Pass Resonance, the ﬁlter B parameters will not be displayed.

4.1–3a

4.1–3b

4.1–3c

4.1–3a: Filter-A Modulation

AMS1 (Filter A AMS1) [Off, (PEG, AEG, EXT)]

Indicates the source that will control modulation of the ﬁlter 1A cutoff frequency (☞p.216 “AMS List”).

Intensity (A AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Filter A AMS1)” will have. When “AMS1 (Filter A AMS1)” is JS X, a positive (+) value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right, and fall when the joystick is moved toward the left. With a negative (–) value for this parameter, the opposite will occur. This value is added to the setting of the Filter A “Frequency (A Frequency)”(4.1–1b).

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

Softly played (The setting of Intensity to A (4.1–2b))

Strongly played Setting to +

Strongly played Setting to –

4.1–2c: AMS, Into to A, Int to B

AMS (Filter EG AMS) [Off, (EXT)]

Indicates the source that will control the depth and dir ection of the effect that the time-varying changes produced by the ﬁlter 1 EG will have on the cutoff frequency of ﬁlters 1A and 1B (☞p.216 “AMS List”).

Int. to A (AMS Int. to A) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Filter EG AMS)” will have on ﬁlter 1A. For details on how this will apply, refer to “Int. to A (Intensity to A).”

AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)] Intensity (A AMS2 Intensity) [–99…+99]

Selects “AMS2 (Filter A AMS2),” and specify the depth and direction of the effect that the selected source will have (

☞“AMS1,” “Intensity”).

4.1–3b: Filter-B Modulation

This will be displayed when “Type (Filter Type)” (4.1–1a) is Low Pass & High Pass. Two alternate modulation sources can be used to modulate the cutoff frequency of ﬁlter 1B (

☞“Filter-A Modulation”).

■ 4.1–3c: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–4: lfoMod (LFO Modulation)

Here you can use the ﬁlter 1 LFO to apply cyclic modulation to the cutoff frequency of ﬁlter 1 (for oscillator 1) to create cyclical changes in tone.

4.1–4b: Filter LFO2 Modulation

Adjusts the depth of the cyclic modulation applied by OSC1 LFO2 (set by “OSC1 LFO 2” 5.3–2) to the cutoff frequency of ﬁlters 1A and 1B (

☞“Filter LFO 1 Modulation” 4.1–4a).

4.1–4a

4.1–4b

4.1–4c

4.1–4a: Filter LFO1 Modulation

Intensity to A (LFO1 Int. to A) [–99…+99]

Speciﬁes the depth and direction of the modulation that OSC1 LFO1 (set by “OSC1 LFO1” 5.3–1a) will have on the cutoff frequency of ﬁlter 1A. Negative (–) settings will invert the phase.

Intensity to B (LFO1 Int. to B) [–99…+99]

Speciﬁes the depth and direction of the modulation that OSC1 LFO1 will have on the cutoff frequency of ﬁlter 1B (

☞“Intensity to A (LFO1 Int. to A)”).

Change in cutoff

Low setting High setting

JS–Y Int. to A (LFO1 JS–Y Int. to A) [–99…+99]

By moving the joystick in the –Y direction (towar d yourself), you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of ﬁlter 1A. This parameter speciﬁes the depth and direction of the control.

For example, as this value is raised, OSC1 LFO1 will have a correspondingly greater effect on ﬁlter 1 when the joystick is moved in the –Y direction.

JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99]

By moving the joystick in the –Y direction (towar d yourself), you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of ﬁlter 1B. This parameter speciﬁes the depth and direction of the control. ( JS–Y Int. to A)”)

☞“JS –Y Int. to A (LFO1

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Selects a source that will control the depth and direction of cutoff frequency change for both ﬁlters 1A and 1B (☞p.216 “AMS List”).

Int. to A (LFO1 AMS Int. to A) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have on ﬁlter 1A. For example, if “AMS” is AfterT, higher settings of this parameter will allow greater change to be applied to OSC1 LFO1 when you apply pressure to the keyboard.

Int. to B (LFO1 AMS Int. to B) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (LFO1 AMS)” will have on ﬁlter 1B ( Int. to A)”).

☞“Int. to A (LFO1 AMS

Intensity to A (LFO2 Int. to A) [–99…+99] Intensity to B (LFO2 Int. to B) [–99…+99] JS–Y Int. to A (LFO2 JS–Y Int. to A) [–99…+99] JS–Y Int. to B (LFO2 JS–Y Int. to B) [–99…+99] AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] Int. to A (LFO2 AMS Int. to A) [–99…+99] Int. to B (LFO2 AMS Int. to B) [–99…+99]

■ 4.1–4c: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

4.1–5: EG (Filter1 EG)

Here you can make settings for the EG that will produce time-varying changes in the cutoff frequency of ﬁlters 1A and 1B. The depth of the effect that these settings will have on the ﬁlter 1 cutoff frequency is determined by “Filter EG” (4.1– 2b).

4.1–5a

4.1–5b

4.1–5c

4.1–5a: Filter1 EG

Speciﬁes the time-varying change produced by the ﬁlter 1 EG.

L (Level):

The result will depend on the ﬁlter that was selected in “Type (Filter Type)” (4.1–1a). For example with the Low Pass Resonance ﬁlter, positive (+) values of “Int. to A” (4.1– 2b) will cause the tone to be brightened by positive (+) lev- els, and darkened by negative (–) levels.

S (Start Level) [–99…+99]

Speciﬁes the change in cutoff frequency at the time of noteon.

A (Attack Level) [–99…+99]

Speciﬁes the change in cutoff frequency after the attack time has elapsed.

B (Break Point Level) [–99…+99]

Speciﬁes the change in cutoff frequency after the decay time has elapsed.

S (Sustain Level) [–99…+99]

Speciﬁes the change in cutoff frequency that will be maintained from after the slope time has elapsed until note-off occurs.

4.1–5d

R (Release Level) [–99…+99]

Speciﬁes the change in cutoff frequency that will occur when the release time has elapsed.

T (Time):

These parameters specify the time over which each change will occur.

A (Attack Time) [00…99]

Speciﬁes the time over which the level will change from note-on until the attack level is reached.

D (Decay Time) [00…99]

Speciﬁes the time over which the level will change from the attack level to the break point level.

S (Slope Time) [00…99]

Speciﬁes the time over which the level will change after the decay time has elapsed until the sustain level is reached.

R (Release Time) [00…99]

Speciﬁes the time over which the level will change after note-on occurs until the release level is reached.

Note-off

Break Point Level

Decay Time

Sustain Level

Slope Time

Release Time

Release Level

Time

The specified cutoff frequency

Start Level

Note-on

Attack Level

Attack Time

4.1–5b: Level Mod. (Level Modulation)

These settings let you use alternate modulation to control the “L (Level)” parameters of the ﬁlter 1 EG.

AMS (Level Mod. AMS) [Off, (KT, EXT)]

Indicates the source that will control the “L (Level)” parameters of the ﬁlter 1 EG (☞p.216 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Level Mod. AMS)” will have. For example, if “AMS (Level Mod. AMS)” is Velocity, and you set “S (AMS SW Start),” “A (AMS SW Attack)” and “B (AMS SW Break)” to + and set “I (AMS Intensity)” to a posi- tive (+) value, the EG levels will rise as you play more strongly. If “Intensity” is set to a negative (–) values, the EG levels will fall as you play more strongly. With a setting of 0, the levels speciﬁed by “Filter 1 EG” (4.1– 5a) will be used, no additional effect is produced.

S (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “S (Start Level).” When “I (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

A (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “A(Attack Level).” When “I (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

B (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “B (Break Point Level).” When “I (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Softly played note with “S,” “A,” and “B” set to + (setting of 4.1–5a: Filter 1 EG)

Note-off

Note-on

Strongly played note with “S,” “A,” and “B” set to +

Note-off

Note-on

Strongly played note with “S,” “A,” and “B” set to –

Note-off

4.1–5c: Time Mod. (Time Modulation)

These settings let you use alternate modulation to control the “T (Time)” parameters of the ﬁlter 1 EG.

AMS1 (Time Mod. AMS1) [Off, (KT, EXT)]

Indicates the source that will control the “T (Time)” parameters of the ﬁlter 1 EG (☞p.216 “AMS List”).

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example, if “AMS1 (Time Mod. AMS1)” is set to Flt KTr +/+, the EG “T (Time)” parameters will be controlled by the Keyboard T rack (4.1–2a) settings. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting)” (4.1–2a) will lengthen the EG times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. The direction of change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” With a setting of 0, the times speciﬁed by “Filter1 EG” (4.1– 5a) will be used. If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the times speciﬁed by “Filter1 EG” will be used.

A (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the attack time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

D (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the decay time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

S (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the slope time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

R (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

Softly played note with “A,” “D,” “S” and “R” set to + (setting of 4.1–5a: Filter 1 EG)

Note-off

Note-on

Strongly played note with “A,” “D,” “S” and “R” set to +

Note-off

Note-on

Strongly played note with “A,” “D,” “S” and “R” set to –

Note-off

AMS2 (Time Mod. AMS2) [Off, (KT, EXT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +]

These parameters are the settings for “AMS2” to control the “Time” parameters of the ﬁlter 1 EG ( AMS1)”–“R (AMS1 SW Release)”).

☞“AMS1 (Time Moc.

PROG 4.2: Ed–Filter2

4.2–1: Basic

4.2–2: Mod.1

(Filter2 Modulation1)

4.2–3: Mod.2 (Filter2 Modulation2)

4.2–4: lfoMod (LFO Modulation)

4.2–5: EG (Filter2 EG)

Indicates settings for ﬁlter 2, which controls the tone of oscillator 2. You can select either a 24 dB/oct low pass ﬁlter with resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high pass ﬁlter connected in series. Filter 2 can be used when “Mode (Oscillator Mode)” (2.1–1a) is Double. ( Ed-Filter 1”)

☞“PROG 4.1:

PROG 5.1: Ed–Amp1

Indicates settings for amp 1 which controls the volume of oscillator 1. Pan settings are also made here.

■ 4.1–5d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”

Sync Both EGs

If you select “Sync Both EGs” from the Utility menu and press the [F8] key, a check mark will appear at the left of “Sync Both EGs.” In this state, the ﬁlter 1 EG and the ﬁlter 2 EG can be edited simultaneously. (Editing either one will cause the other to change.)

“Sync Both EGs” cannot sync the ﬁlter EG and amp EG independently . For example if you sync in 5.1–3d, it will be synced here as well.

This can be selected only if “Mode (Oscillator Mode)” (2.1–1a) is Double.

5.1–1: Lvl/Pan (Level/Pan)

These parameters control the volume and pan of oscillator 1.

5.1–1a

5.1–1b

5.1–1c

5.1–1a: Amp1 Level

Level (Amp1 Level) [000…127]

Sets the volume of oscillator 1.

The volume of a program can be controlled by CC#7 (volume) and CC#11 (expression). The resulting level is determined by summing the values of CC#7 and CC#11. The Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a) is used for control.

5.1–1b: Pan

Pan (Amp1 Pan) [Random, L001…C064…R127]

Sets the pan (stereo location) of oscillator 1. A setting of L001 places the sound at far left, C064 in the center, and R127 to far right.

Random: The sound will be heard from a different location at each note-on.

This can be controlled by CC#10 (panpot). A CC#10 value of 0 or 1 will place the sound at the far left, a value of 64 will place the sound at the location speciﬁed by the “Pan” setting for each oscillator, and a value of 127 will place the sound at the far right. This is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

5.1–1d

Use DKit Setting [Off, On]

This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums.

On (checked): The sound will be output at the “Pan” setting that has been made for each key of the drum kit (GLOBAL 5.1–3a). When “Mode (Oscillator Mode)” is Drums, you will normally use this setting. Off (unchecked): All notes will be output as speciﬁed by the “Pan (Amp1 Pan)” setting.

5.1–1c: AMS, Intensity

5.1–2: Mod. (Amp1 Modulation)

These settings allow you to apply modulation to amp 1 (for oscillator 1) to modulate the volume.

5.1–2a

5.1–2b

5.1–2c

5.1–2d

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

AMS (Pan AMS) [Off, (PEG, FEG, AEG, LFO, KT, EXT)]

Indicates the source that will modify pan (☞p.216 “AMS List”). This change will be relative to the “Pan (Amp1 Pan)” setting.

Intensity [–99…+99]

Speciﬁes the depth of the effect produced by “AMS (Pan AMS).” For example, if “Pan (Amp1 Pan)” is set to C064 and “AMS (Pan AMS)” is Note Number, positive (+) values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note (i.e., as you play higher), and toward the left as the note numbers decrease (i.e., as you play lower). Negative (–) values of this parameter will have the opposite effect.

■ 5.1–1d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

5.1–2a: Keyboard Track

These parameters let you use keyboard tracking to adjust the volume of oscillator 1. Use the “Key” and “Ramp” parameters to specify how the volume will be affected by the position on the keyboard of the note that you play.

Key (Keyboard Track Key):

Speciﬁes the note number at which keyboard tracking will begin to apply. The volume will not change between “Low (KBDTrk Key Low)” and “High (KBDTrk Key High).”

You can also input a value by playing a note on the keyboard while you hold down the [ENTER] key.

Low (KBDTrk Key Low) [C–1…G9]

Keyboard tracking will apply to the range of notes below the note number you specify here.

High (KBDTrk Key High) [C–1…G9]

Keyboard tracking will apply to the range of notes above the note number you specify here.

Ramp (Ramp Setting):

Speciﬁes the angle of the keyboard tracking.

Low (KBDTrk Ramp Low) [–99…+99]

With positive (+) values of this parameter, the volume will increase as you play notes below the “Low (KBDTrk Key Low)” note number. With negative (–) values, the volume will decrease.

High (KBDTrk Ramp High) [–99…+99]

With positive (+) values of this parameter, the volume will increase as you play notes above the “High (KBDTrk Key High)” note number. With negative (–) values, the volume will decrease.

Volume change produced by key position and Ramp settings

Volume

Ramp Low=+99

Ramp Low=0

Ramp Low=–99

KBDTrk Low KBDTrk High

Ramp High=+99

Ramp High=0

Ramp High=–99

Key

5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod.

Indicates settings to specify how the volume of oscillator 1 will be controlled by velocity, OSC1 LFO1, and OSC1 LFO2.

AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Indicates the source that will control the depth by which “OSC1 LFO2” (5.3–2) will modulate the volume of oscillator 1 (☞p.216 “AMS List”).

Amp Mod. (Amp Modulation):

Velocity Int. (Amp Velocity Int.) [–99…+99]

With positive (+) values, the volume will increase as you play more strongly. With negative (–) values, the volume will decrease as you play more strongly.

Volume change (with positive (+) values of this parameter)

Note-on

Softly played

Note-off

Note-on

Strongly played

Note-off

LFO1 Mod. (LFO1 Modulation):

Intensity (LFO1 Intensity) [–99…+99]

These parameters let you use “OSC1 LFO1” (5.3–1) to control the oscillator 1 volume. Negative (–) values will invert the LFO waveform.

LFO2 Mod. (LFO2 Modulation):

Intensity (LFO2 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO2”(5.3–2) will have on the volume of oscillator 1. Refer to the preceding sections “LFO1 Mod. (LFO1 Modulation).”

Int. (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO2” will have on the volume of oscillator 1. Negative (–) values will invert the LFO waveform.

■ 5.1–2d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

5.1–3: EG (Amp1 EG)

Indicates settings to specify how Amp 1 will cause the volume of oscillator 1 to change over time.

5.1–3a

5.1–3b

5.1–3c

5.1–3a: Amp1 EG

These parameters specify how the amp 1 EG will change over time.

5.1–3d

5.1–2c: AMS, Int.

AMS (Amp AMS) [Off, (PEG, FEG, EXT)]

Indicates the source that will control the volume of amp 1 (☞p.216 “AMS List”) (EXT) Velocity cannot be selected.

Int. (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Amp AMS)” will have. The actual volume will be determined by summing the value of the changes produced by the amp EG with the values of Alternate Modulation etc., and if the levels of the amp EG are low, the modulation applied by Alternate Modulation will also be less. For example, if you set “AMS (Amp AMS)” to AfterT and press down on the keyboard, the volume will incr ease if you have set this parameter to a positive (+) value. However if the volume is already at maximum due to the EG settings etc., it will not be possible to increase the volume any further. If you have set this parameter to a negative (–) value, pressing down on the keyboard will decrease the volume.

AMS (LFO1 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Indicates the source that will control the depth by which “OSC1 LFO1” (5.3–1) will modulate the volume of oscillator 1 (☞p.216 “AMS List”).

Int. (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “OSC1 LFO1” will have on the volume of oscillator 1. Negative (–) values will invert the LFO waveform.

L (Level):

S (Start Level) [00…99]

Speciﬁes the volume level at note-on. If you want the note to begin at a loud level, set this to a high value.

A (Attack Level) [00…99]

Speciﬁes the volume level that will be reached after the attack time has elapsed.

B (Break Point Level) [00…99]

Speciﬁes the volume level that will be reached after the decay time has elapsed.

S (Sustain Level) [00…99]

Speciﬁes the volume level that will be maintained from after the slope time has elapsed until note-off occurs.

Time:

A (Attack Time) [00…99]

Speciﬁes the time over which the volume will change after note-on until it reaches the attack level. If the start level is 0, this will be the rise time of the sound.

D (Decay Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the attack level until it reaches the break point level.

S (Slope Time) [00…99]

Speciﬁes the time over which the volume will change from when it reaches the break point level until it reaches the sustain level.

R (Release Time) [00…99]

Speciﬁes the time over which the volume will change after note-off until it reaches 0.

Volume

Amplifier EG

Note-on

Attack Level

Start Level

Attack Time

Break Point

Decay Time

Slope Time

Sustain Level

Note-off

Time

Release Time

5.1–3b: Level Mod. (Level Modulation)

These parameters let you use AMS to modulate the amp 1 EG levels that were speciﬁed in “Amp 1 EG” (5.1–3a).

AMS (Level Mod. AMS) [Off, (KT, EXT)]

Selects the source that will control the “Level” parameters of the amp 1 EG (☞p.216 “AMS List”).

I (AMS Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS (Level Mod. AMS)” will have. For example, if “AMS (Level Mod. AMS)” is Velocity, setting “S (AMS SW Start),” “A (AMS SW Attack),” and “B (AMS SW Break)” to + and setting “Intensity” to a positive (+) value will cause the amp 1 EG volume levels to increase as you play more strongly. Setting “Intensity” to a negative (–) values will cause the amp 1 EG volume levels to decrease as you play more strongly. With a setting of 0, the levels will be as speciﬁed in “Amp 1 EG” (5.1–3a).

S (AMS SW Start) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “S (Start Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

A (AMS SW Attack) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “A (Attack Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

B (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will change “B (Break Point Level).” If “I (AMS Intensity)” is set to a positive (+) value, setting this parameter to + will allow AMS to increase the EG level, and setting this parameter to – will allow AMS to decrease the EG level. With a setting of 0, no change will occur.

5.1–3c: Time Mod. (Time Modulation)

You can use two AMS sources to control the Amp 1 EG times that were speciﬁed in “Amp 1 EG” (5.1–3a).

AMS1 (Time Mod. AMS1) [Off, (EXT, KT)]

Selects the source that will control the “Time” parameters of Amp 1 EG. (☞p.216 “AMS List”)

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. For example, if “AMS1 (Time Mod. AMS1)” is Amp KT +/+, the (Amp) “Keyboard Track” settings (5.1–2a) will control the EG “Time” parameters. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting)” will cause EG times to be lengthened, and negative (–) val- ues of “Ramp (Ramp Setting)” will cause EG times to be shortened. The direction of the change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” When “AMS1 (Time Mod. AMS1)” is Velocity, positive (+) values will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the EG times will be as speciﬁed in “Amp1 EG” (5.1–3a).

A (AMS1 SW Attack) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “A (Attack Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

D (AMS1 SW Decay) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “D (Decay Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

S (AMS1 SW Slope) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “S (Slope Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

R (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction of the effect that “AMS1 (Time Mod. AMS1)” will have on “R (Release Time).” With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting it to – will allow AMS1 to shorten the time. With a setting of 0 there will be no effect.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value)

Note-on

Note-off

Softly played note when “S”=0 and “A” and “B” are set to + (settings of 5.1–3a: Amp 1 EG)

Note-on

Note-off

Strongly played note when “S”=0 and “A” and “B” are set to +

Note-on

Strongly played note when “S”=0 and “A” and “B” are set to –

Note-off

Amp 1 EG changes (Time)

(AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value)

Note-on

Note-off

Settings of 5.1–3a: Amp 1EGLow-pitched note played

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on

Note-off

Note-on

Note-off

with “A,” “D,” “S”, and “R” at +

Note-on

Note-off

Note-on

Note-off

High-pitched note played with “A,” “D,” “S”, and “R” at –

Note-on

Note-off

PROG 5.3: Ed–LFOs

Here you can make settings for the LFO that can be used to cyclically modulate the Pitch, Filter , and Amp of oscillators 1 and 2. There are two LFO units for each oscillator. By setting the LFO1 or LFO2 Intensity to a negative (–) value for Pitch, Filter, or Amp, you can invert the LFO waveform.

5.3–1: OS1LFO1 (OSC1 LFO1)

Indicates settings for the “OSC1 LFO1,” which is the ﬁrst LFO that can be used for oscillator 1.

Softly played note with “A,” “D,” “S” and “R” at + (settings of 5.1–3a: Amp 1 EG)

Strongly played note with “A,” “D,” “S” and “R” at +

Strongly played note with “A,” “D,” “S” and “R” at –

AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +]

These parameters specify how “AMS2 (Time Mod. AMS2)” will control the amp 1 EG “Time” parameters (

☞“AMS1

(Time Mod. AMS1)”–“R(AMS1 SW Release)”).

■ 5.1–3d: UTILITY

☞ “Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”

Sync Both EGs

If you select “Sync Both EGs” from the Utility menu and press the [F8] key, a check mark will appear at the left of “Sync Both EGs.” In this state, the amp 1 EG and the amp 2 EG can be edited simultaneously. (Editing either one will cause the other to change.) (

☞4.1–5d )

5.3–1a

5.3–1b

5.3–1c

5.3–1d

5.3–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vect.)]

Selects the LFO waveform. The numbers that appear at the right of some of the LFO

waveforms indicate the phase at which the waveform will begin.

Triangle 0

Triangle 90

Triangle Random

Saw 0

Saw 180

Square

Sine

Guitar

Exp.Triangle

Exp.Saw Down

Exp.Saw Up

Triangle wave

Phase will change randomly at each key-in

Sawtooth down ↓

Square wave

Sine wave

Guitar vibrato

Step Triangle – 4

Step Triangle – 6

Step Saw – 4

Step Saw – 6

Random1 (S/H):

Conventional sample & hold (S/H) in which the level changes randomly at fixed intervals of time

Random2 (S/H):

Both the levels and the time intervals will change randomly.

Random3 (S/H):

The maximum level and minimum level will alternate at random intervals of time (i.e., a square wave with random period).

Random4 (Vect.) Random5 (Vect.) Random6 (Vect.)

These types cause Random 1–3 to change smoothly. They can be used to simulate the instability of acoustic instruments etc.

Frequency [00…99]

Sets the LFO frequency. A setting of 99 is the fastest.

PROG 5.2: Ed–Amp2

Indicates settings for amp 2 which controls the volume of oscillator 2. Pan settings are also made here.

5.2–1: Lvl/Pan (Level/Pan)

5.2–2: Mod. (Amp2 Modulation)

5.2–3: EG (Amp2 EG)

These will appear when “Mode (Oscillator Mode)” (2.1–1a) is Double. (

☞“5.1: Ed–Amp1”)

Ofs (Offset) [–99…+99]

Speciﬁes the central value of the LFO waveform. For example, with a setting of 0 as shown in the following diagram, the vibrato that is applied will be centered on the note-on pitch. With a setting of +99, the vibrato will only raise the pitch above the note-on pitch, in the way in which vibrato is applied on a guitar. When “Waveform” is set to Guitar, the modulation will occur only in the positive (+) direction even if you set “Offset” to 0.

Offset settings and pitch change produced by vibrato

offset = –99 offset = 0 offset = +99Pitch

Pitch at note-on

Key Sync. [Off, On]

On (checked): Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will operate for each note. Off (unchecked): Key Sync. will be Off, and the LFO effect that was started by the ﬁrst-played note will continue to be applied to each newly-played note. (In this case, “Delay” and “Fade” will be applied only to the LFO when it is ﬁrst started.)

Fade [00…99]

Speciﬁes the time from when the LFO begins to apply until it reaches the maximum amplitude. When “Key Sync.” is Off, the fade will apply only when the LFO is ﬁrst started.

How “Fade” affects the LFO (when “Key Sync.” is On)

Note-on Note-off

“Fade”

“Delay”

Dly (Delay) [00…99]

Speciﬁes the time from note-on until the LFO effect begins to apply. When “Key Sync.” is Off, the delay will apply only when the LFO is ﬁrst started.

5.3–1c: MIDI/Tempo Sync. (Frequency MIDI/Tempo Sync.)

Sync. (MIDI/Tempo Sync.) [Off, On]

On (checked): The LFO frequency will synchronize to the tempo (MIDI Clock). In this case, the values you speciﬁed for “Frequency” (5.3–1a) and “Freq.Mod” (5.3–1b) will be ignored.

Base Note (Sync. Base Note)

[  ,   ,  ,   ,  ,   ,  ,  ]

Times (Sync. Times) [01...16]

When “Sync. (MIDI/T empo Sync.).” is checked, these When “Sync. (MIDI/Tempo Sync.)” is checked, these parameters specify a note length “Base Note (Sync. Base Note)” relative to “ (Tempo)” and the multiple “Times (Sync. Times)” that will be applied to it. These parameters will determine the frequency of the OSC1 LFO1. For example if “Base Note (Sync. Base Note)” is  (quarter note) and “Times (Sync. Times)” is 04, the LFO will perform one cycle every four beats. Even if you change the “ (Tempo)” setting of the arpeggiator or sequencer, the LFO will always perform one cycle every four beats.

■ 5.3–1d: UTILITY

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

5.3–1b: Freq.Mod (Frequency Modulation)

You can use two alternate modulation sources to adjust the speed of the OSC1 LFO1.

AMS1 (Freq. AMS1)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Indicates the source that will adjust the frequency of the oscillator 1 LFO1 (☞p.216 “AMS List”). OSC1 LFO1 can be modulated by OSC1 LFO2.

Int (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Freq. AMS1)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example, if “AMS1 (Freq. AMS1)” is Note No., positive (+) values of this parameter will cause the oscillator 1 LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator 1 LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1 (Freq. AMS1)” is set to JS +Y #01, raising the value of this parameter will cause the oscillator 1 LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

AMS2 (Freq. AMS2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Int (AMS2 Intensity) [–99…+99]

Indicates settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1.

☞ “AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)”

☞ “Write Program” (1.1–1c)

For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”

Swap LFO 1&2

This exchanges the settings of LFO 1 and 2. If LFO2 is selected in AMS1 (Freq. AMS1) or AMS2 (Freq. AMS2) of LFO1 Freq.Mod (5.3–1b), then these settings will be invalid for LFO2 after LFO1 and 2 have been exchanged. If you select this from the OSC1 LFO1 or OSC1 LFO2 page, LFO1 and LFO2 of OSC1 will be exchanged.

1 Select “Swap LFO 1&2” to access the dialog box.

2 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key.

5.3–2: 1LFO2 (OSC1 LFO2)

Here you can make settings for the OSC1 LFO2, which is the second LFO that can be applied to oscillator 1. (☞“5.3–1: OS1LFO1 (OSC1 LFO1)”) However, it is not possible to use the LFO to apply modulation in “AMS1 (Freq. AMS1)” or “AMS2 (Freq. AMS2)” of Freq. Mod.

5.3–3: 2LFO1 (OSC2 LFO1)

This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 LFO1, which is the ﬁrst LFO that can be applied to oscillator 2 (

☞“5.3–1: OS1LFO1 (OSC1 LFO1)”).

+ 251 hidden pages

Korg TR User Manual

Table of Contents

1. Program mode

PROG PAGE MENU

PROG 1.1: Play

1.1–1: Program

1.1–2: P.Edit (Performance Editor)

1.1–3: Arp (Arp. Play)

PROG 2.1: Ed–Basic

2.1–1: Basic (Prog Basic)

2.1–2: OSC1

2.1–3: OSC2

2.1–4: V.Zone (Velocity Zone)

2.1–5: Audit. (Audition)

PROG 2.2: Ed–Ctrl

2.2–1: Ctrls (Controls)

PROG 3.1: Ed–Pitch

3.1–1: OSC1

3.1–2: OS1lfo (OSC1 LFO)

3.1–3: OSC2

3.1–4: OS2lfo (OSC2 LFO)

3.1–5: EG (Pitch EG)

PROG 4.1: Ed–Filter1

4.1–1: Basic

4.1–2: Mod.1 (Filter1 Modulation1)

4.1–3: Mod.2 (Filter1 Modulation2)

4.1–4: lfoMod (LFO Modulation)

4.1–5: EG (Filter1 EG)

PROG 4.2: Ed–Filter2

4.2–1: Basic

4.2–3: Mod.2 (Filter2 Modulation2)

4.2–4: lfoMod (LFO Modulation)

4.2–5: EG (Filter2 EG)

PROG 5.1: Ed–Amp1

5.1–1: Lvl/Pan (Level/Pan)

5.1–2: Mod. (Amp1 Modulation)

5.1–3: EG (Amp1 EG)

PROG 5.3: Ed–LFOs

5.3–1: OS1LFO1 (OSC1 LFO1)

PROG 5.2: Ed–Amp2

5.2–1: Lvl/Pan (Level/Pan)

5.2–2: Mod. (Amp2 Modulation)

5.2–3: EG (Amp2 EG)

5.3–2: 1LFO2 (OSC1 LFO2)

5.3–3: 2LFO1 (OSC2 LFO1)