Korg TRITON Le Electric Keyboard Parameter Manual

About this manual

This “Parameter Guide” contains explanations and other information regarding the operations of the parameters and settings on the TRITON Le. 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.

Conventions in this manual

Abbreviations for the manuals BG, PG, VNL

References to the manuals included with the TRITON Le are abbreviated as follows.

BG: Basic Guide PG: Parameter Guide VNL: Voice Name List

Switches and knobs [ ]

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

Parameters in the LCD display screen “ ”

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

Boldface type

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

Procedure steps 1 2 3 ...

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

☞p.■, ☞BG p.■, ☞■.■ – ■

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

Symbols , , , , ,

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

brackets [ ] always indicate hexadecimal numbers.

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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Table of Contents

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

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

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

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

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

SEQ 2.2: Controller.............................................61

2.2–1: Ctrls (Controls).................................................... 61

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)....................................... 62

3.1–4: OSC..16 (OSC T09...16)..................................... 62

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..............................................64

3.3–1: Key..8 (Key T01...08).......................................... 64

3.3–2: Key..16 (Key T09...16)........................................ 64

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...............................................65

3.4–1: Vel..8 (Vel T01...08)............................................ 65

3.4–2: Vel..16 (Vel T09...16).......................................... 65

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...........................................66

4.1–1: M1–1..8 (MIDI Filter1–1 T01...08)....................... 66

4.1–2: 1–1..16 (MIDI Filter1–1 T09...16)........................ 66

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).................................54

1.1–3: Prog...16 (Program T09...16)...............................54

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 ....................................................57

1.2–1: Loop...8 (Track Play Loop T01...08) ....................57

1.2–2: Loop...16 (Track Play Loop T09...16) ..................57

SEQ 4.2: MIDI Filter2...........................................67

4.2–1: M2–1..8 (MIDI Filter2–1 T01...08)....................... 67

4.2–2: 2–1..16 (MIDI Filter2–1 T09...16)........................ 67

4.2–3: 2–2..8 (MIDI Filter2–2 T01...08).......................... 67

4.2–4: 2–2..16 (MIDI Filter2–2 T09...16)........................ 67

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.......................................... 68

4.4–1: M4–1..8 (MIDI Filter4–1 T01...08)....................... 68

4.4–2: 4–2..16 (MIDI Filter4–1 T09...16)........................ 68

4.4–3: 4–2..8 (MIDI Filter4–2 T01...08).......................... 68

4.4–4: 4–2..16 (MIDI Filter4–2 T09...16)........................ 68

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

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

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

SEQ 5.2: Track Edit ............................................ 73

5.2–1: Track Edit............................................................ 73

SEQ 6.1: Arp. (Arpeggiator) ............................... 81

6.1–1: Set..8 (Setup T01–08)......................................... 81

6.1–2: Set..16 (Setup T09–16)....................................... 81

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

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

6.1–5: Zone (Scan Zone)...............................................83

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................................................................... 84

7.1–4: IFX (Insert Effect)................................................ 85

SEQ 7.2: Master FX............................................ 85

7.2–1: Setup................................................................... 85

7.2–2: MFX1 (Master Effect1)........................................ 86

7.2–3: MFX2 (Master Effect2)........................................ 86

7.2–4: MEQ (Master EQ) ............................................... 86

4. Sampling mode.............................. 87

SMPL PAGE MENU ............................................. 88

SMPL 1.1: Recording.......................................... 88

1.1–1: Sample................................................................ 88

1.1–2: Rec. (Recording)................................................. 90

1.1–3: In/Pref (Input/Preference).................................... 93

SMPL 2.1: Sample Edit........................................ 98

2.1–1: Edit1.................................................................... 98

2.1–2: Edit2.................................................................... 98

SMPL 3.1: Loop Edit.......................................... 106

3.1–1: Edit1.................................................................. 106

3.1–2: Edit2.................................................................. 107

SMPL 4.1: Multisample..................................... 116

4.1–1: Edit1.................................................................. 116

4.1–2: Edit2.................................................................. 116

4.1–3: Pref. (Preference).............................................. 117

SMPL 5.1: Memory........................................... 118

5.1–1: Memory (Free Memory).....................................118

5.1–2: No. (Free Number)............................................ 118

SMPL 5.2: Controller......................................... 118

5.2–1: Ctrls (Controls).................................................. 118

SMPL 7.1: Insert Effect ...................................... 119

7.1–1: Setup.................................................................119

7.1–2: IFX..................................................................... 119

5. Global mode.................................121

GLOBAL PAGE MENU.......................................121

GLOBAL 1.1: System ........................................121

1.1–1: Basic..................................................................121

1.1–2: Pref. (System Preference)................................. 124

1.1–3: Foot................................................................... 125

1.1–4: AudioIn (Audio In)..............................................126

GLOBAL 2.1: MIDI............................................ 127

2.1–1: MIDI................................................................... 127

GLOBAL 3.1: User Scale ...................................130

3.1–1: Octave...............................................................130

3.1–2: All Notes............................................................131

GLOBAL 4.1: Category Name ........................... 131

4.1–1: P.0..7 (Prog.00...07)..........................................131

4.1–2: P.8..15 (Prog.08...15)........................................131

4.1–3: C.0..7 (Comb.00...07)........................................ 131

4.1–4: C.8..15 (Comb.08...15)...................................... 131

GLOBAL 5.1: DKit (Drum Kit)............................. 132

5.1–1: High (High Sample)...........................................132

5.1–2: Low (Low Sample).............................................134

5.1–3: Voice (Voice/Mixer)........................................... 134

GLOBAL 6.1: Arp.Pattern.................................. 135

6.1–1: Setup.................................................................135

6.1–2: Edit.................................................................... 137

6. Media mode .................................139

Files, directories, and icons.......................................... 139

MEDIA PAGE MENU ......................................... 140

1.1–1: Load ..................................................... 140

1.1–2: Save ..................................................... 148

1.1–3: Utility.................................................... 151

1.1–4: Media Information................................. 153

7. Effect Guide..................................155

Overview .........................................................155

1. Effects in each mode ................................................155

2. Dynamic modulation (Dmod).....................................155

3. Effect I/O...................................................................155

Insert Effect (IFX) ...............................................156

1. In/Out........................................................................156

2. Routing......................................................................156

3. Mixer.........................................................................158

4. Controlling the Insert Effects via MIDI.......................159

Master Effects (MFX1, 2)....................................159

1. In/Out........................................................................159

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

3. Mixer.........................................................................161

4. Controlling the Master Effects via MIDI.....................162

Master EQ........................................................162

Individual Outputs ............................................162

Filter/Dynamic..................................................164

00: No Effect.................................................................164

01: St.Amp Sim (Stereo Amp Simulation).....................164

02: St.Compressor (Stereo Compressor)......................164

03: St.Limiter (Stereo Limiter).......................................164

04: Mltband Limit (Multiband Limiter)............................165

05: St.Gate (Stereo Gate).............................................166

06: OD/HiGain Wah (Overdrive/Hi.Gain Wah)..............166

07: St.Para.4EQ (Stereo Parametric 4-Band EQ).........167

08: St.Graphic7EQ (Stereo Graphic 7-Band EQ) .........168

09: St.Wah/AutoW (Stereo Wah/Auto Wah).................168

10: St.Rndm Filter (Stereo Random Filter)....................169

11: St.Exct/Enhcr (Stereo Exciter/Enhancer)................170

12: St.Sub OSC (Stereo Sub Oscillator).......................170

13: Talking Mod (Talking Modulator).............................171

14: St.Decimator (Stereo Decimator)............................172

15: St.AnalogRecd (Stereo Analog Record).................172

Pitch/Phase Mod. .............................................173

16: St.Chorus (Stereo Chorus)......................................173

17: St.HarmnicCho (Stereo Harmonic Chorus).............173

18: MltTap ChoDly (Multitap Chorus/Delay)..................174

19: Ensemble................................................................174

20: St.Flanger(Stereo Flanger).....................................175

21: St.Rndm Flang (Stereo Random Flanger)..............175

22: St.Env.Flanger (Stereo Envelope Flanger).............176

23: St.Phaser (Stereo Phaser)......................................176

24: St.Rndm Phasr (Stereo Random Phaser)...............177

25: St.Env.Phaser (Stereo Envelope Phaser)...............177

26: St.BiphaseMod (Stereo Biphase Modulation).........178

27: St.Vibrato (Stereo Vibrato)......................................178

28: St.AutoFd Mod (Stereo Auto Fade Modulation)..... 179

29: 2Voice Reso (2Voice Resonator)........................... 179

30: Doppler................................................................... 180

31: Scratch................................................................... 181

Mod./P.Shift.....................................................182

32: St.Tremolo (Stereo Tremolo)................................. 182

33: St.Env.Tremlo (Stereo Envelope Tremolo)............ 182

34: St.Auto Pan (Stereo Auto Pan).............................. 183

35: St.Phasr+Trml (Stereo Phaser + Tremolo)............ 183

36: St.Ring Mod (Stereo Ring Modulator).................... 184

37: Detune.................................................................... 185

38: Pitch Shifter............................................................ 185

39: PitchShft Mod (Pitch Shift Modulation)................... 186

40: Rotary SP (Rotary Speaker).................................. 186

ER/Delay..........................................................187

41: Early Reflect (Early Reflections)............................ 187

42: Auto Reverse......................................................... 188

43: LCR Delay (L/C/R Delay)....................................... 188

44: St/Cross Dly (Stereo/Cross Delay)......................... 189

45: St.MltTap Dly (Stereo Multitap Delay).................... 189

46: St.Mod. Delay (Stereo Modulation Delay).............. 190

47: St.DynamicDly (Stereo Dynamic Delay)................ 190

48: St.AutoPanDly (Stereo Auto Panning Delay)......... 191

49: LCR BPM Delay (L/C/R BPM Delay)..................... 191

50: St.BPM Delay (Stereo BPM Delay)........................ 192

51: Sequence Dly (Sequence Delay)........................... 192

Reverb..............................................................193

52: Rev Hall (Reverb Hall)........................................... 193

53: Rev Smth. Hall (Reverb Smooth Hall).................... 193

54: Rev Wet Plate (Reverb Wet Plate)......................... 193

55: Rev Dry Plate (Reverb Dry Plate)..........................193

56: Rev Room (Reverb Room)..................................... 194

57: Rev Brt. Room (Reverb Bright Room).................... 194

Mono → Mono Chain........................................195

58: P4EQ–Exciter

(Parametric 4-Band EQ – Exciter).......................... 195

59: P4EQ–Wah

(Parametric 4-Band EQ – Wah/Auto Wah)............. 195

60: P4EQ–Cho/Fl

(Parametric 4-Band EQ – Chorus/Flanger)............196

61: P4EQ–Phaser

(Parametric 4-Band EQ – Phaser).......................... 196

62: P4EQ–M.Dly

(Parametric 4-Band EQ – Multitap Delay)..............197

63: Comp–Wah (Compressor – Wah/Auto Wah)......... 197

64: Comp–AmpSim (Compressor – Amp Simulation).. 198 65: Comp–OD/HG

(Compressor – Overdrive/Hi.Gain)......................... 198

66: Comp–P4EQ

(Compressor – Parametric 4-Band EQ) ................. 198

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67: Comp–Cho/Fl

(Compressor – Chorus/Flanger)............................. 199

68: Comp–Phaser (Compressor – Phaser)..................199

69: Comp–M.Dly (Compressor – Multitap Delay)......... 200

70: Limit–P4EQ

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

71: Limit–Cho/Fl (Limiter – Chorus/Flanger)................ 201

72: Limit–Phaser (Limiter – Phaser..............................201

73: Limit–M.Dly (Limiter – Multitap Delay) ................... 202

74: Exct–Comp (Exciter – Compressor)....................... 202

75: Exct–Limiter (Exciter – Limiter)..............................202

76: Exct–Cho/Fl (Exciter – Chorus/Flanger) ................ 203

77: Exct–Phaser (Exciter – Phaser)............................. 203

78: Exct–M.Dly (Exciter – Multitap Delay)....................203

79: OD/HG–AmpSim

(Overdrive/Hi.Gain – Amp Simulation)....................204

80: OD/HG–Cho/Fl

(Overdrive/Hi.Gain – Chorus/Flanger).................... 204

81: OD/HG–Phaser (Overdrive/Hi.Gain – Phaser)....... 205

82: OD/HG–M.Dly

(Overdrive/Hi.Gain – Multitap Delay)...................... 205

83: Wah–AmpSim

(Wah/Auto Wah – Amp Simulation)........................ 206

84: Deci–AmpSim (Decimator – Amp Simulation) ....... 206

85: Deci–Comp (Decimator – Compressor)................. 206

86: AmpSim–Trml

(Amp Simulation – Tremolo)................................... 207

87: Cho/Fl–M.Dly

(Chorus/Flanger – Multitap Delay).......................... 207

88: Phasr–Cho/Fl (Phaser – Chorus/Flanger).............. 208

89: Reverb–Gate..........................................................208

Master EQ ....................................................... 209

Master EQ.................................................................... 209

Knob 1...4 B Assign.......................................... 221

Realtime Control Knobs B Assign List..........................221

Foot Switch Assign ........................................... 222

Foot Switch Assign List................................................ 222

Foot Pedal Assign............................................. 223

Foot Pedal Assign List..................................................223

MIDI transmission when the TRITON Le‘s controllers

are operated.................................................... 224

TRITON Le operations when control changes are

transmitted/received ........................................ 226

MIDI applications ............................................. 229

■ About MIDI............................................................... 229

■ Connecting MIDI devices/computers

(MIDI connectors)...................................................229

■ Messages transmitted and received by

this instrument........................................................230

Various messages ............................................ 240

Data compatibility............................................ 245

Media mode information .................................. 247

Chunks that are supported...........................................247

About KORG format files.............................................. 248

Option EXB-SMPL............................................. 253

Memory that can be used with the option board..........253

Please note when installing an option board................ 254

Option board/memory installation procedure...............254

Index............................................................... 258

8. Appendices .................................. 211

Alternate Modulation Source (AMS) .................. 211

About Alternate Modulation.......................................... 211

About Alternate Modulation Sources............................ 211

AMS (Alternate Modulation Source) List...................... 212

Alternate Modulation settings.......................................214

The effect of alternate modulation on various parameters,

and example applications....................................... 214

Dynamic Modulation Source (Dmod) ................. 217

Dynamic Modulation Source List.................................. 217

About the BPM/MIDI SYNC function............................219

SW1/2 Assign................................................. 220

SW1, SW2 Assign List.................................................220

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* SmartMedia™ is a registered trademark of Toshiba Corpo-

ration

* 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

PROG 1.1: Play

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.10)

(

tings. (

☞p.13) ☞p.18)

tings. (

(position) settings. (

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.) (

Play parameters. You may edit either.)

☞p.24)

(

level for the oscillator output. Insert Effect routing, selection and set-

☞p.26)

tings. (

Master EQ settings. (

☞p.5)

☞p.18) ☞p.22)

☞p.22)

☞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.

The TRITON Le provides rewritable banks A, B, C, and D, each containing 128 programs (total 512). As for non-rewritable program areas, it provides banks G (capital programs for GM), and bank g(d) (drums). ( set programs, refer to the separate VNL.)

Bank A Bank B Bank C Bank D000~063 Bank D064~127 For user programs (programs that use multisam-

Bank G GM capital program Bank g(d) GM drums program

G→g(d)→G→g(d)→G…

☞For a list of the factory-

for preloaded programs

ples created in Sampling mode (when the separately sold EXB-SMPL option is installed))

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. (

1.1–3a), p.222 “Foot Switch Assign List”)

☞p.125 “Foot SW Assign” (GLOBAL

Category [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

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

display.

→

→ 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 press 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. (

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

or [F4] (“ 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 [ “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.

”) keys to select the category that

☞BG p.21)

]/[ ] keys to select

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, 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 TRITON Le. 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. (

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.

☞BG p.43)

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

1.1–2c

1.1–2a: Bank, Program Select, (Tempo)

Select a program. The bank, number, and name of the program will be displayed (

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 (

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.

☞p.1). “ ” sets the tempo.

☞BG p.42).

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.

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.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

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 Time and Slope Time beyond the values that were set. With an adjustment of

+10, the times will be 99. Negative (–) settings will shorten the Decay Time 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. With 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,

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

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

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

Filter EG Decay Time and Slope Time of Filter 1 and 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 (

1.1–3a

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).

☞BG p.27).

1.1–3b

■ 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 regard- less 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 T emperament 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 T une” (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 ROM contains 425 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.

The following illustration shows the display when “Mode

2.1–2c

(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] High Multisample [000...424, 000...999]

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: Select a preset multisample. Use “High Multisample” to select from 000–424. RAM: You can use multisamples that you created in Sampling 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 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 “one-shot” 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] Low Multisample [000...424, 000...999] 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 [0ms…5000ms, KeyOff]

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

■ 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.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

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

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.

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

2.1–4b

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. 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).

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

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

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

2.1–5b

2.1–5a: Audition Riff, Transpose

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

Selects the audition riff. The TRITON Le 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)

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] ( List”). The functions you set here will take effect when you operate the REALTIME CONTROLS knobs [1]–[4] in B-mode.

☞p.221 “Realtime Control Knobs B Assign

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.220 “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.

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 and the TRITONRack. 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

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

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, 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.212 “AMS List”).

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.214)

(

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.212 “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 ( change will draw closer to the pitch EG levels.

Pitch change (level)

Note-on

Softly played (Intensity (Pitch EG) setting)

☞p.214). As you play more softly, the pitch

Note-on

Note-off

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

Note-off

Strongly played with a positive (+) value

Note-on

Note-off

Strongly played with a negative (–) value

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 ( “AMS List,” p.220 “SW1, SW2 Assign List,” Prta.SWCC#65).

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

☞p.212

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)

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.

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.212 “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.214).

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.”

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

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.

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.

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.212 “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

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

Note-off

Note-on

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

Note-off

Note-on

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

Note-off

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. With 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.

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

Indicates the source that will control the “T (Time)” parameters of the pitch EG (

☞p.212 “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

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.

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.

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

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 (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)

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

4.1–1b: A (Filter A)

This ﬁlter cuts the high-frequency range above the cutoff frequency. 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.212 “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 decr ease 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 . W ith negative (–) values, playing mor e 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

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

■ 4.1–2c: AMS, Into to A, Int to B

Note-off

Note-on

Strongly played Setting to +

Note-off

Note-on

Strongly played Setting to –

Note-off

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

Indicates the source that will control the depth and direction 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.212 “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).”

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.

■ 4.1–2d: UTILITY ☞“Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

☞“Int. to A (Inten-

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 (

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).

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 (

■ 4.1–3c: UTILITY ☞“Write Program” (1.1–1c), “Copy Oscillator,” “Swap

Oscillator” (2.1–1d)

☞p.212 “AMS List”).

☞“Filter-A Modulation”).

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

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.

4.1–4a

4.1–4b

4.1–4c

4.1–4a: Filter LFO1 Modulation

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).

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]

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 (toward 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 (toward 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 ( “AMS List”).

☞p.212

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

■ 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.212 “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

Note-off

Softly played note with “S,” “A,” and “B” set to + (setting of 4.1–5a: Filter 1 EG)

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.212 “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. W ith 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

Note-off

Softly played note with “A,” “D,” “S” and “R” set to + (setting of 4.1–5a: Filter 1 EG)

Note-on

Note-off

Strongly played note with “A,” “D,” “S” and “R” set to +

Note-on

Note-off

Strongly played note with “A,” “D,” “S” and “R” set to –

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) [0…127]

Sets the volume of oscillator 1.

The volume of a program can be controlled by CC#7 (volume) and CC#11 (expression). The r esulting 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

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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.212 “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.

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

Note-off

Note-on

Note-off

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.212 “AMS List”).

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)

Softly played

Strongly played

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).”

5.1–2c: AMS, Int.

AMS (Amp AMS) [Off, (PEG, FEG, EXT)]

Indicates the source that will control the volume of amp 1 (

☞p.212 “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 increase 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.212 “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.

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.

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.

5.1–3d

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.212 “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 “T ime” parameters of Amp 1 EG. (

☞p.212 “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

Note-off

Strongly played note when “S”=0 and “A” and “B” are set to –

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 )

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”)

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.

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.

5.3–1b: Freq.Mod (Frequency Modulation)

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

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 ( modulated by OSC1 LFO2.

☞p.212 “AMS List”). OSC1 LFO1 can be

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. W ith 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. ( 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.

☞“5.3–1:

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)”).

5.3–4: 2LFO2 (OSC2 LFO2)

This can be used when “Mode (Oscillator Mode)” (2.1–1a) is set to Double. Here you can make settings for the OSC2 LFO2, which is the second LFO that can be applied to oscillator 2 (

☞“5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2:

OS1LFO2 (OSC1 LFO2)”).

PROG 6.1: Ed–Arp. (Arpeggiator)

Here you can make settings for the arpeggiator used in the program. These arpeggiator settings can be linked when you switch programs. To link, check the Program item in “Auto Arp. “Program” (GLOBAL 1.1–1c): On.

The arpeggiator can be switched on/off by the [ARP ON/ OFF] key. When on, the key LED will light. The settings of the REALTIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, [ARP-VELOCITY] knob, and [ARP ON/OFF] key can be saved for each program.

These settings will be valid when Auto Arp. “Pr ogram” is On.

You can control the arpeggiator from an external sequencer, or record arpeggio note data on an external sequencer. (

“Pattern,” “Resolution,” “Octave,” “Sort,” “Latch,” “Key Sync.,” “Keyboard,” and “ (Tempo)” can also be set in the Arp. Play page of 1.1:Play.

6.1–1: Setup (Arpeg. Setup)

6.1–1a

6.1–1a: Arpeggiator Setup

☞Refer to BG p.99.

Pattern* [P000...P004, U000(INT)...U215(User)]

Selects the arpeggio pattern.

P000: UP Preset Arpeggio Pattern P001: DOWN Preset Arpeggio Pattern P002: ALT1 Preset Arpeggio Pattern P003: ALT2 Preset Arpeggio Pattern P004: RANDOM Preset Arpeggio Pattern U000(INT)...U199(INT) for Preloaded User Arpeggio Pattern U200(User)…U215(User) for User Arpeggio Pattern

P000–P004 are preset arpeggio patterns, U000 (INT)– U215(User) are user arpeggio patterns. User arpeggio pat-

terns can be created in GLOBAL 6.1.

Arpeggio patterns U000 (INT)–U215(User) can be selected using the numeric keys [0]–[9] and the

☞p.239)

6.1–1b

6.1–1c

[ENTER] key.

Octave* [1, 2, 3, 4]

Speciﬁes the number of octaves in which the arpeggio will be played.

If a user arpeggio pattern is selected, the range of the arpeggio will depend on the “Octave Motion” (GLOBAL 6.1–1c) setting.

Reso (Resolution)* [   ,  ,   ,  ,   ,  ]

Speciﬁes the timing resolution of the arpeggio. The notes of the arpeggio will be played at the interval you specify:   ,  ,  ,  ,   , or  . The speed of the arpeggio pattern is determined by the “ (Tempo)” and the “Resolution.”

Gate [000...100(%), Step]

Speciﬁes the length (gate time) of each note in the arpeggio. 000–100(%): Each note will be played with the speciﬁed gate

time.

Step: This is available when an user arpeggio pattern U000 (INT)–U215(User) is selected for “Pattern.” When this is

selected, the gate time speciﬁed for each step will be used. The gate time can also be controlled by the REALTIME

CONTROLS C-mode [ARP-GATE] knob. Rotating the knob toward the left will shorten the gate time, and rotating it toward the right will lengthen the gate time. When the knob is at the 12 o’clock position, the gate time will be as speciﬁed here.

Velocity [001...127, Key, Step]

Speciﬁes the velocity of the notes in the arpeggio. 001–127: Each note will sound with the speciﬁed velocity

value. Key: Each note will sound with the velocity value at which it was actually played.

Step: This is available when an user arpeggio pattern U000 (INT)–U215(User) is selected for “Pattern.” When this is

selected, the velocity speciﬁed for each step will be used. The velocity can also be controlled by the REALTIME CON-

TROLS C-mode [ARP-VELOCITY] knob. Rotating the knob toward the left will decrease the velocity, and rotating it toward the right will increase the velocity. When the knob is at the 12 o’clock position, the velocity will be as speciﬁed here.

Swing [–100...+100(%)]

This parameter shifts the timing of the odd-numbered notes of the arpeggio.

When Resolution = Step

123456789

–50 –25 +25 +25

Swing

Sort* [Off, On]

This speciﬁes the order in which the notes you press will be arpeggiated.

On (checked): Notes will be arpeggiated in the order of their pitch, regardless of the order in which you pressed them. Off (unchecked): Notes will be arpeggiated in the order in which you pressed them.

Latch* [Off, On]

Speciﬁes whether or not the arpeggio will continue playing after you take your hand off the keyboard. On (checked): The arpeggio will continue playing after you remove your hand from the keyboard. Off (unchecked): The arpeggio will stop when you remove your hand from the keyboard.

Key Sync.* [Off, On]

Speciﬁes whether the arpeggio pattern will begin when you press a key, or whether it will always follow the “ (Tempo)” setting. On (checked): The arpeggio pattern will start playing from the beginning when a note-on occurs from a condition where no keys are pressed. This setting is suitable when you are playing in realtime and want the arpeggio to play from the beginning of the measure. Off (unchecked): The arpeggio pattern will always play according to the “  (Tempo) .”

Keyboard* [Off, On]

This speciﬁes whether the notes you play on the keyboard will be sounded as usual in addition to being sounded as part of the arpeggio. On (checked): The notes you play will be sounded on their own, in addition to being sounded as part of the arpeggio. For example if you simultaneously press two or more notes, they will be sounded as usual in addition to being played as arpeggiated notes. Off (unchecked): Only the arpeggiated notes will be heard.

* These parameters can also be set in “1.1–3: Arp.”

6.1–1b: Arpeggiator Tempo

 (Tempo) [040...240, EXT]

Sets the tempo. This can also be set by the REALTIME CONTROLS C-mode [TEMPO] knob. When “MIDI Clock” (GLOBAL 2.1–1a) is either External, this will indicate EXT, and the arpeggiator will synchronize to MIDI Clock messages received from an external MIDI device.

■ 6.1–1c: UTILITY

☞“Write Program” (1.1–1c)

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

Copy Arpeggiator

This command copies arpeggio settings.

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

2 In “From” specify the copy source arpeggio settings

(mode, bank, number).

3 If you are copying from Combination or Song, specify

whether you wish to copy from A or B.

4 To execute the Copy Arpeggio operation, press the [F8]

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

6.1–2: Zone (Scan Zone)

6.1–2a

6.1–2b

6.1–2a: Scan Zone

Zone Map

This shows the “Scan Zone” setting.

Key:

Btm (Bottom Key) [C–1...G9] Top (Top Key) [C–1...G9]

These parameters specify the range of notes (keys) for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

Vel:

Btm (Bottom Velocity) [001...127] Top (Top Velocity) [001...127]

Speciﬁes the range of velocities for which the arpeggiator will function. “Top” is the upper limit, and “Btm” is the lower limit.

The note number and velocity can also be speciﬁed by holding down the [ENTER] key and pressing a note on the keyboard.

■ 6.1–2b: UTILITY

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

☞“Write Program” (1.1–1c), “Copy Arpeggiator” (6.1–1c)

PROG 7.1: Ed–InserFX

☞For details on insertion effect, refer to p.155 “7. Effect

Guide.”

CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). The actual send level is determined by summing these values with the send level setting of each oscillator.

7.1–1: BUS

These settings specify the bus on which the output of the oscillator will be sent, and adjust the send levels to the master effects.

The following diagram shows the LCD screen when “Mode (Oscillator Mode)” (2.1–1a) is set to Single or Double.

7.1–1a

7.1–1c

7.1–1a: BUS

BUS Select:

BUS Select (All OSCs) [L/R, IFX, 1, 2, 1/2, Off]

Speciﬁes the bus to which oscillators 1 and 2 will be sent.

If this is set to 1/2, the oscillator pan settings (5.1–1b,

5.2–1) will be used to output the sound in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2. When the oscillator pan is controlled by CC#10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at note-on. Unlike the case when this is set to L/R to output the sound from (MAIN) L/MONO and R, the pan of a sounding note will not change in real-time. If you wish to adjust the pan in real-time while playing a note and output the sound from AUDIO OUTPUT (INDIVIDUAL) 1/2, set “BUS Select” to IFX, set “IFX” to 00: No Effect, and set the “BUS Select” (7.1–2a) after passing through IFX to 1/2.

MFX Send:

OSC1 Send1 [000...127]

Sets the volume (send level) at which the output of OSC1 will be sent to master effect 1. This is valid when “BUS Select” is set to L/R or Off. If “BUS Select” is set to IFX, the send levels to master effect 1 and 2 are set by “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (7.1–2a) after passing through IFX of the Setup page.

OSC1 Send2 [000...127]

Sets the volume (send level) at which the output of OSC1 will be sent to master effect 2 (

OSC2 Send1 [000...127] OSC2 Send2 [000...127]

Sets the volume (send level) at which the output of OSC2 will be sent to master effects 1 and 2. These parameters will be valid when “Mode (Oscillator Mode)” (2.1–1a) is set to Double and “BUS Select” is set to L/R or Off ( Send1”).

☞“OSC1 Send1”).

☞“OSC1

7.1–1b: Use DKit Setting

The LCD screen shown below is for when “Mode (Oscillator Mode)” (2.1–1a) is set to Drums.

7.1–1b

7.1–1c

Use DKit Setting [Off, On]

This will be available when “Mode (Oscillator Mode)” is set to Drums.

On (checked): The “BUS (BUS Select)” (GLOBAL 5.1–3a) setting for each key of the selected drum kit will be used. Check this when you want to apply an insert effect to an individual drum instrument, or to output an individual drum instrument to one of the AUDIO OUTPUT (INDIVIDUAL) jacks. If the “Mode (Oscillator Mode)” is Single or Double, this setting has no effect. Off (unchecked): The setting of the “BUS Select,” “MFX Send” (7.1–1a) parameter described below will be used. All drum instruments will be sent to the speciﬁed bus.

■ 7.1–1c: UTILITY

☞“Write Program” (1.1–1c)

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

Copy Insert Effect

This command copies effect settings from Program, Combination, Song, or Sampling mode (if the EXB-SMPL option is installed).

1 Select “Copy Insert Effect” to access the dialog box.

2 In “From” select the copy source mode, bank, and num-

ber.

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

3 Select the effect that you wish to copy. You can also copy

from a master effect.

If you are copying from a master effect, the result may not be identical, due to differences in the routing and level settings of a master effect.

4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),”

“BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the copy source insert effect will also be copied. If you do not check this, only the effect type and its parameters will be copied.

5 To execute the Copy Insert Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

control change CC#91 will control the Send 2 level. These messages are received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 2.1–1a).

7.1–2b: Routing

This displays the status of the insert effect.

PROG

1.1

7.1–2: Setup

Here you can select the type of insert effect, turn it on/off, pan etc. The direct sound (Dry) of an insert effect is always stereo input and output. The input/output of the effect sound (Wet) will depend on the effect type (

7.1–2a

7.1–2b

7.1–2a: InsertFX Setup

IFX On/Off [Off, ON]

Selects the insert effect on/off. When this is Off, the input will be output without change. (For 00: No Effect, on/off will produce the same result.)

Separately from this setting, you can use control change #92 to turn off insert effect. A value of 0 will be off, and a value of 1–127 will be the original setting. This message is received on the global MIDI channel speciﬁed by “MIDI Channel” (GLOBAL 2.1–1a).

Insert Effect [00...89: name]

Indicates the type of insert effect. For “Insert Effect” you can select from 89 types of effect: 01: St.Amp Sim – 89: Reverb-Gate.

These effects can also be selected by category in Utility “Select by Category” (7.1–2c).

Pan(CC#8) (Post IFX Pan CC#8) [L000...C064...R127]

Sets the pan after the sound has passed through the insert effect. This setting is valid only when the “BUS Select” from the IFX output is set to L/R (

CC#8 will control the pan amount.

☞p.158).

BUS Select [L/R, 1, 2, 1/2, Off]

Speciﬁes the bus to which the sound will be sent after passing through the insert effect. Normally you will set this to L/ R. If you wish to output to AUDIO OUTPUT (INDIVIDUAL), set this to 1, 2 or 1/2. The Off setting is used when you wish to use “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” and in addition connect to the master effects in series.

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

Sets the send levels to the master effects 1 and 2 for the sound that has passed through the insert effect. These settings are valid when “BUS Select” (7.1–1a) has been set to L/ R or Off.

Control change CC#93 will control the Send 1 level, and

☞p.156).

7.1–2c

This displays the routing of the insert effect, the speciﬁed effect name, and the on/off status. You can select (All OSCs) and use the VALUE controller to specify “BUS Select” (

■ 7.1–2c: UTILITY

☞“Write Program” (1.1–1c), “Copy Insert Effect” (7.1–1c)

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

☞7.1–1a).

Select by Category

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

This command is valid when the 7.1–2a parameters are selected.

7.1–3: IFX (Insert Effect)

Here you can set the effect parameters for the IFX that was selected in the Setup page (

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1– 1a). (

☞p.217 “Dynamic Modulation Source (Dmod)” )

■ 7.1–3a: UTILITY

☞“Write Program” (1.1–1c)

☞p.164–).

7.1–3a

2.12.23.14.14.25.15.25.36.17.17.2

PROG 7.2: Ed–MasterFX

☞For details on master effects, refer to p.155 “7. Effect

Guide.”

7.2–1: Setup

Here you can select the master effect types, switch them on/ off, specify chain order, and set the master EQ.

7.2–1a

7.2–1b

7.2–1d7.2–1c

7.2–1a: Master Effect Setup

The master effects do not output the direct sound (Dry). The return level (“Rtn 1, 2”) sends the effect sound (Wet) to the L and R bus, and this is mixed with the direct sound (“BUS Select” L/R: 7.1–1a, 7.1–2a). The master effects are monaural input. The sound that is panned to L and R after passing through the oscillator and insert effect is mixed to a monaural signal as adjusted by the “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” levels, and input to the master effects.

The master effects are mono-in stereo-out. Even when a stereo-input type effect is selected, the input will be monaural.

MFX1 On/Off, MFX2 On/Off [Off, ON]

Switches master effect 1, 2 on/off. When off, the output will be muted.

Separately from this setting, you can use CC#94 to switch master effect 1 on/off, CC#95 to switch master effect 2 on/off. A value of 0 will be off, and a value of 1–127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

Master Effect 1, 2 [00...89: name]

Indicates the effect type for master effect 1, 2. You can select from 89 types of effect: 01: St.Amp Sim–89: Reverb-Gate. If 00: No Effect is selected, the output from the master effect will be muted.

Rtn 1, 2 (Return 1, 2) [000...127]

Adjusts the return levels from the master effects to the L/R bus (main output L/MONO, R).

7.2–1b: Chain

MFX Chain [Off, On]

On (checked): Chain (series connection) will be turned on for MFX1 and MFX2. ( Off (unchecked): MFX 1 and MFX2 are operating in parallel.

Direction (Chain Direction)

Speciﬁes the direction of the connection when MFX1 and MFX2 are chained.

MFX1→MFX2: Connect from MFX1 to MFX2. MFX2→MFX1: Connect from MFX2 to MFX1.

☞p.161)

[MFX1→MFX2, MFX2→MFX1]

Signal (Chain Signal) [L/R Mix, L Only, R Only]

When chain is On, this parameter speciﬁes how the stereo output signal of the ﬁrst master effect will be connected to the input (mono) of the next master effect.

L/R Mix: The stereo output L/R of the ﬁrst master effect will be mixed before being input to the next master effect. L Only, R Only: Only the left or right channel of the output will be input to the next master effect.

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

Sets the send level from the ﬁrst master effect to the next master effect when chain is turned on.

7.2–1c: Master EQ Gain [dB]

Sets the amount of cut and boost for the three-band EQ located immediately before the AUDIO OUTPUT (MAIN OUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (7.2–4).

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

The cutoff frequency for “Low,” “Mid” and “High” and the “Q” of “Mid” can be adjusted in the MEQ page. These settings are in “dB” units.

■ 7.2–1d: UTILITY

☞“Write Program” (1.1–1c)

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

Copy Master Effect

This command lets you copy any desired effect settings from Program, Combination, Song.

1 Select “Copy Master Effect” to access the dialog box.

2 In “From,” select the copy source mode, bank, and num-

ber. You can use the Bank [A]–[GM] keys to select the bank.

3 Select the effect that you wish to copy. If you select MFX

1 or 2, “Rtn (Return)” (return level) will be copied at the

same time. If you select Master EQ, only the master EQ settings will be copied. You can also copy from an insert effect. If you check “All,” all settings of the master effects and master EQ will be copied.

If you copy from an insert effect the result may not be identical, due to differences in routing and level settings.

4 In “To,” select the copy destination master effect. 5 To execute the Copy Master Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Swap Master Effect

This command swaps (exchanges) the settings of MFX1 and MFX2.

1 Select “Swap Master Effect” to access the dialog box.

2 To execute the Swap Master Effect command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

Select by Category

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

This command is valid when the 7.2–1a parameters are on.

7.2–2: MFX 1 (Master Effect1)

7.2–3: MFX 2 (Master Effect2)

Indicates effect parameter settings for the MFX1 and 2 effects that were selected in the Setup page (

☞p.164–).

■ 7.2–4a: UTILITY

☞“Write Program” (1.1–1c)

PROG

1.1

2.12.23.14.14.25.15.25.36.17.17.2

7.2–2a

Effect dynamic modulation (Dmod) is controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1– 1a). (

☞p.217 “Dynamic Modulation Source (Dmod)”)

■ 7.2–2(3)a: UTILITY ☞“Write Program” (1.1–1c)

7.2–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is used to adjust the overall tonality of the sound immediately before the L/R bus is output to the AUDIO OUTPUT (MAIN OUT) L/ MONO and R jacks ( MEQ Low Gain can be controlled by assigning a modualtion source to the “Low Gain Mod-Src.” and “High Gain Modsrc.” functions on this page.

☞p.209). The MEQ High Gain and the

7.2–4a

2. Combination mode

COMBI PAGE MENU

For details on how to select pages in Combination mode, refer to p.1.

Play 1.1: Play Select and play combinations. Select a

P/M 2.1: Ed-Prog/Mix Select a program for each timbre, and

Ctrl 2.2: Ed-Ctrl Controller settings. (☞p.36) Prm1 3.1: Ed-Param1 MIDI, OSC, and Pitch settings for each

Prm2 3.2: Ed-Param2 Delay and scale settings for each tim-

KeyZ 3.3: Ed-Key Zone Key zone settings for each timbre.

VelZ 3.4: Ed-Vel Zone Velocity zone settings for each timbre.

MIDI1 4.1: Ed-MIDI Filter1 MIDI message transmission/reception

MIDI2 4.2: Ed-MIDI Filter 2 Filter settings such as JS and Ribbon

MIDI3 4.3: Ed-MIDI Filter 3 Filter settings; REALTIME CONTROL

MIDI4 4.4: Ed-MIDI Filter 4 Filter settings; SW, Other Ctrl Change

Arp 6.1: Ed-Arp. Arpeggiator settings. (Same as the 1.1:

IFX 7.1: Ed-InsertFX Bus and master effect send level set-

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

program for each timbre, and set status, pan, and level. Select an arpeggio pattern and make settings. (

set pan and level. (Same as the 1.1: Play parameters; can be edited from either page.) (

timbre. (

bre. (

☞p.39)

(

☞p.40)

(

ﬁlter settings for each timbre, such as Prog Change and After Touch. (

Ctrl. (

Knob (

☞p.42)

(

Play parameters; can be edited from either page.) (

tings for each timbre. Insert effect routing, selection, and settings. (

Master EQ settings. (

☞p.35)

☞p.36)

☞p.38)

☞p.41)

☞p.42)

☞p.43)

☞p.45)

☞p.31)

☞p.41)

☞p.47)

COMBI 1.1: Play

In this display page you can select and play Combinations. A Combi allows you to use up to 8 programs at one time from the keyboard.

1.1–1: Combi (Combination)

1.1–1a

1.1–1b

1.1–1c

1.1–1a: Bank, Combi Select, Category, Cat.Hold, 10’s Hold,  (Tempo)

Bank (Bank Select) [Bank A…C]

This is the Combination bank display. Use the front panel BANK [A]–[C] keys to select the bank.

On this instrument, there are a total of 384 combination programs in three rewritable banks (A, B, C), each containing 128 combinations. ( tions, refer to the separate VNL.)

Bank A

Bank C

If you have selected the “Program Select” (1.1–2c) edit cell for one of the timbres 1–8 in the Prog page, Bank [A]–[GM] will switch the program banks for timbres 1–

Combi Select (Combination Select) [0...127: name]

Here you can select a combination. Select this parameter, and use the [INC], [DEC] keys, numeric keys [0]–[9], or the [VALUE] dial to select a combination. You can also select combinations by category, or using “10’s Hold.” ( “Cat.HOLD,” ”Select by Category,” “10’s HOLD”)

You can select Combis by receiving MIDI program changes via a connected external MIDI device, or by using a foot switch. ( BAL 1.1–3a), p.222 “Foot Switch Assign List”)

☞For a list of the factory-set combina-

Preloaded combinationsBank B

☞p.2

☞p.125 “Foot SW Assign” (GLO-

COMBI

1.1

2.12.23.13.23.33.44.14.24.34.46.17.17.2

Category [00...15: name]

This is the combination category display. All combinations are organized into sixteen categories. You can select a category , and then select fr om combinations that belong to that category. To select combinations by category, use “Cat.HOLD” and Utility “Select by Category.” (

To specify the category for a combination, use Utility “Write Combination” (1.1–1c). To modify a category name, use “Category Name Comb. 00–07, 08–15” (GLOBAL 4.1–3/4).

☞PROG 1.1–1a)

Cat.HOLD

Press the [./HOLD] key and the display will indicate

1a) To cancel, press the [./HOLD] key twice to turn off the

. The category will be held (ﬁxed). (☞PROG 1.1–

display.

10’s HOLD

When you press the [./HOLD] key a second time, the display will indicate nation number will be ﬁxed. ( To cancel, press the [./HOLD] key to turn off the display.

, and the ﬁrst digit of the combi-

☞PROG 1.1–1a)

 (Tempo) [040...240, EXT]

Sets the tempo of the arpeggiator. This can be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob. EXT will be displayed if “MIDI Clock” (GLOBAL 2.1–1a) is set to External, and the arpeggiator will synchronize to the MIDI clock received from an external MIDI device. This parameter can also be set from 6.1: Ed-Arp.

1.1–1b: Combination Information

When you press the [REC/WRITE] key, the “Update Combination” dialog box will appear. Here also you can write to the currently selected combination.

Solo Selected Timbre

The Solo function will alternately be switched on/off each time you select “Solo Selected Timbre.”

1 From the utility menu, choose “Solo Selected Timbre,”

and press the [F8] (“OK”) key to execute the command. When you execute this, a check mark will appear at the left of the “Solo Selected Timbre” menu item, and the Solo function will be on.

2 In pages that show parameters for an individual timbre,

you can select a timbre to Solo (in 1.1: Play, Prog page “Program Select,” etc.) so that only that timbre will sound and the other timbres will be muted. The “Selected Timbre Information” (1.1–2d) in each page will indicate “Solo.” To solo a different timbre, select a parameter of the timbre that you wish to solo.

You can move to timbres “T1”–“T8” by holding down the [TIMBRE/TRACK] key and pressing one of the [F1](T1/T9)–[F8](T8/T16) keys.

3 To defeat the Solo function, choose “Solo Selected Tim-

bre” from the utility menu once again, and press the [F8] (“OK”) key to cancel it.

If a timbre that is muted by the Solo function has been set to a “Status” (3.1–1a) of EXT or EX2, MIDI note-on/ off messages will not be transmitted by that timbre.

Select by Category

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

This displays information for the selected combination. The functions assigned to [SW1], [SW2], and REALTIME CONTROLS B-mode [ASSIGNABLE 1–4] knobs will be displayed.

■ 1.1–1c: UTILITY

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

Write Combination

This command writes an edited combination into this instrument’s internal memory. Be sure to write any combination that you wish to keep. If the power is turned off or a different combination selected before you write an edited combination, your edits cannot be recovered.

For the procedure, refer to “Write Program” (PROG 1.1–1c).

If you use “Category” to specify a category for the combination that you are writing, you will be able to select it by category when selecting combinations in COMBI 1.1: Play.

1.1–2: Prog (Timbre Program)

Indicates the program that will be used by each timbre.

1.1–2a

1.1–2b

1.1–2c

1.1–2d

1.1–2e

1.1–2a: Bank, Combi Select, Cat.Hold, 10’s Hold, (Tempo)

Bank [Bank A…C] Combi Select (Combination Select) [0…127: name] Cat. (Cat. HOLD) 10’s (10’s HOLD)  (Tempo) [040...240, EXT]

In the same way as in the Combi page, select a combination and set the tempo of the arpeggiator. (

1.1–2b: Timbre Number & Category

Timbre Number & Category 1...8

This displays the timbre number and an abbreviated category name.

1.1–2c: Program Select, Program Name

Program Select [A000...g128]

Indicates the program that will be used by each timbre. When “Program Select” is selected, you can use the Bank

[A]–[GM] key, VALUE controller to select a program. “Program Select” settings can also be made in the Prog page of 2.1: Ed-Prog/Mix.

You can also use Utility “Select by Category” to select programs by category.

You can move to timbres “T1”–“T8” by holding down the [TIMBRE/TRACK] key and pressing one of the [F1](T1/T9)–[F8](T8/T16) keys.

When you select a combination on this instrument, a MIDI program change for the selected combination number will be transmitted on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). At the same time, bank select, program change, and volume (CC#7) messages will be transmitted on the MIDI channel speciﬁed for each timbre that is set to “Status” (3.1–1a) of EXT or EX2. However, these messages will not be transmitted for timbres that are set to the same MIDI channel as the global MIDI channel. In this case, EX2 timbres will show the “Program Select” Bank as “–”, and will transmit the bank number that was speciﬁed in “Bank (EX2) MSB”and “Bank (EX2) LSB” (3.1–1a).

MIDI messages transmitted when you operate this instrument are transmitted on the global MIDI channel. At the same time, timbres whose “Status” is EXT or EX2 will transmit the same messages on their own MIDI channel.

☞1.1–1a)

If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose “Status” (3.1–1a) is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change.

If you do not want the combination to change, you can either change the global MIDI channel so that it does not match the channel on which the program change messages are being received, or you can uncheck “Combi (Combi Change)” (GLOBAL 2.1–1b). Alternately, you can uncheck “Bank (Bank Change)” (GLOBAL 2.1–1b) so that only the program number will change and the bank will remain the same.

If you wish to change a program without changing the combination, you can also set “Program Change” (4.1– 1a) so that the program will change on certain timbres but not on others.

Program Name

This displays part of the program name selected for the timbre. In the case of the the GM drums bank, drums bank (d) will be indicated.

1.1–2d: Selected Timbre Information

This shows information on the timbre (1–8) that is currently selected for editing.

Timbre No.: Bank No., Prog No.: and name

This shows the timbre number , and the pr ogram bank, number and name selected for that timbre.

Status (INT, Off, EXT, EX2)

This shows the MIDI and internal tone generator status for each track.

Ch (01...16, Gch)

This shows the MIDI channel number speciﬁed for the timbre.

■ 1.1–2e: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

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

Select by Category (Category/Combi, Category/Prog T1...T8)

Combinations or the programs used by each timbre can be selected by category.

If you have selected “Combi Select,” selecting Utility “Select by Category” will access the Category/Combi dialog box, allowing you to select a combination by category. (

☞p.32)

COMBI

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2.12.23.13.23.33.44.14.24.34.46.17.17.2

If you have selected “Program Select,” selecting Utility “Select by Category” will access the Category/Prog T1…T8 dialog box, allowing you to select a program for each timbre by category.

For the procedure of selecting by category, refer to p.2.

1.1–3: Mix (Mixer)

Here you can set the pan and volume for each timbre 1–8.

1.1–3a

Volume [000...127]

Adjusts the volume of each timbre 1–8. (This parameter can also be set from the Mixer page of 2.1: Ed-Prog/Mix.)

The volume of each timbre is determined by summing this volume value with the MIDI volume (CC#7) and expression (CC#11). If “Status” (3.1–1a) has been set to INT, incoming MIDI CC#7 or CC#11 messages will control the volume of a timbre. (However these messages will not affect the setting of this parameter.) If “Status” is EXT or EX2, the value of this parameter will be transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the “MIDI Channel” (3.1–1a) speciﬁed for each timbre.

1.1–3b

1.1–3a: Pan, Volume

Pan [RND, L001...C064...R127]

Sets the pan for each timbre 1–8. (This parameter can also be set from the Mixer page of 2.1: Ed-Prog/Mix.) L001...C064...R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting that was made for the oscillator in Program mode.

OSC1

Left

OSC1

Left

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

■ 1.1–3b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Select by Category” (1.1–1c, PROG 1.1–1a)

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

Hold Balance

Adjusts the volume of the Combi while preserving the volume balance between timbres 1–8. Selects the “Volume” of any timbre, select “Hold Balance” from the Utility menu, and press the [F8] (“OK”) key. A check mark will appear at the left of “Hold Balance.” (The upper right of the LCD screen will indicate [Hold Bal.]) In this state, adjusting any “Volume” value will simultaneously change the volume of the other timbres as well, while preserving the volume balance between timbres 1–8.

If a mono-type insertion effect is inserted, the setting you make here will be ignored. In this case, the “Pan (CC#8)” parameter in 7.1: Ed–InsertFX, Setup page will adjust the panning of the sound after the insertion effect ( Mixer”).

RND: The oscillator pan will change randomly at each noteon.

If “Status” (3.1–1a) has been set to INT, MIDI control change #10 (panpot) messages can be received to control the setting. CC#10 values of 0 or 1 will place the sound at far left, 64 at center, and 127 at far right. Pan can be controlled by messages received on the “MIDI Channel” (3.1–1a).

☞p.158 “3.

1.1–4: Arp. A (Arpeggio Play A)

1.1–5: Arp. B (Arpeggio Play B)

Here you can select the arpeggiator settings for the combination. A combination can run two arpeggiators simultaneously. Arpeggiator parameters can be edited in 6.1: EditArp., but certain major parameters can be edited in these pages as well. You can edit these parameters in realtime, for example by changing the arpeggio pattern while playing in COMBI 1.1: Play.

To save the edits you make, use “Write Combination.” The arpeggiator can also be edited in realtime by the REAL TIME CONTROLS C-mode [TEMPO] knob, [ARP-GATE] knob, and [ARP-VELOCITY] knob. (

☞BG p.27)

COMBI 2.1: Ed–Prog/Mixer

2.1–1: Prog (Timbre Program)

Indicates the bank and program for each timbre 1–8. These parameters can also be set from the 1.1: Play, Prog page.

2.1–1a

2.1–1b

COMBI

1.1

1.1–4a

1.1–4b

1.1–4c

1.1–4(5)a: Arpeggiator Run, Timbre assign

Arpeggiator Run A, B (Run A, B) [Off, On]

When the [ARP ON/OFF] key is on, any arpeggiator that is checked here will run if it is assigned to a timbre in “Assign” (6.1–1b). Even if the arpeggiator is on, you can turn A and B on/off independently. This parameter can also be set from the 6.1: Ed-Arp. Setup page.

Timbre assign

This displays the timbres 1–8 to which arpeggiators A and B are assigned. This can be set in “Assign” (6.1–1b).

1.1–4(5)b: Arpeggiator A(B)

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]

Sets the various parameters of the combination arpeggiator (

☞“PROG: Ed–Arp.”). These parameters can also be set in

COMBI 6.1: Ed-Arp.

■ 1.1–4(5)c: UTILITY

2.1–1a: Program Select, Program Name

Program Select

Indicates the program that will be used by each timbre. (

☞1.1–2c)

Program Name

This displays part of the program name selected for each timbre. (

☞1.1–2c)

■ 2.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Select by Category (Category/Combi, Category/Prog T1...T8)” (1.1–2e)

2.1–2: Mix (Mixer)

Speciﬁes the pan and volume for each timbre 1–8. These parameters can also be set from the 1.1: Play, Mixer page.

2.1–2a

2.1–2b

2.1–2a: Pan, Volume

Pan

Sets the pan of each timbre 1–8. (☞1.1–3a)

Volume

Sets the volume of each timbre 1–8. (☞1.1–3a)

2.12.23.13.23.33.44.14.24.34.46.17.17.2

☞“Write Combination,” “Solo Selected Timbre,” “Select by

Category” (1.1–1c)

■ 2.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 2.2: Ed–Ctrl

Here you can set the Combination mode functions of the Bmode functions of REALTIME CONTROLS knobs [1]–[4], and [SW1] key, [SW2] key.

2.2–1: Ctrls (Controls)

2.2–1a

COMBI 3.1: Ed–Param1

3.1–1: MIDI

Here you can make MIDI settings for each timbre.

3.1–1a

3.1–1b

2.2–1b

2.2–1c

2.2–1a: Knob B Assign

These settings assign functions (mainly various control changes) to the B-mode of the REALTIME CONTROLS knobs [1]–[4] ( List”). The functions you specify here will be controlled when you operate the REALTIME CONTROLS knobs [1]–[4] in Bmode.

Since the REALTIME CONTROLS knob [1]–[4] function of the B-mode assignments made for the programs assigned to each timbre are not valid for the combination, new functions must be set by these parameters.

☞p.221 “Realtime Control Knobs B Assign

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 the function of the [SW1] key and [SW2] key (

Since the function assignments of the [SW1] key and [SW2] key made for the programs assigned to each timbre are not valid for the combination, new functions must be set by these parameters.

☞p.220 “SW1, SW2 Assign List”).

SW1 (SW1 Assign) [Off...AfterT Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off...AfterT Lock] SW2 Mode [Toggle, Momentary]

(☞PROG 2.2–1b)

■ 2.2–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.1–1a: Status, MIDI Channel, Bank(EX2) MSB/LSB

Status [INT, Off, EXT, EX2]

Speciﬁes the status of MIDI and the internal tone generator for each timbre. INT: When you play this instrument, the internal tone generator will sound, and will also sound in respond to MIDI messages received from an external MIDI device. Off: The program will not sound. Nor will MIDI data be transmitted. EXT: Playing this instrument will not cause it to sound, but it will transmit data via MIDI to control external MIDI devices. EX2: “Bank (EX2) MSB” and “Bank (EX2) LSB” (3.1–1a) will be enabled. Instead of the bank numbers for A–G(d) that can be selected on this instrument, the bank numbers you specify here will be transmitted via MIDI. In other respects this is the same as EXT.

INT

EXT, EX2

MIDI IN

Tone

generator

MIDI OUT

MIDI Channel [01...16, Gch]

Set the MIDI transmit/receive channel for each timbre 1–8. Gch: The timbre will use the channel that has been selected

as the global MIDI channel “MIDI Channel” (GLOBAL 2.1– 1a).

When “Status” is INT, MIDI messages will be received on the channel you specify here. If this setting is the same as the global MIDI channel, the internal tone generator will sound according to the internal settings. If this is set to EXT or EX2, playing this instrument will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

Bank(EX2) MSB [000:000...127:127] Bank(EX2) LSB [000:000...127:127]

Speciﬁes the bank number that will be transmitted when “Status” is set to EX2. If “Status” is not set to EX2, this setting has no effect.

■ 3.1–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.1–2: OSC

These settings specify how each timbre will be sounded.

3.1–3: Pitch

Here you can make pitch-related settings for each timbre.

3.1–2a

3.1–2b

3.1–2a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, Mono, LGT]

Speciﬁes the “Mode (V oice Assign Mode)” (PROG 2.1–1b) of the program selected for each timbre 1–8.

PRG: The settings of the program will be used. Poly: The timbre will play polyphonically, regardless of the

settings of the program. Mono: The timbre will play monophonically, regardless of the settings of the program. LGT (Legato): The timbre will play monophonically, with single triggering (legato).

With settings of Mono or LGT, the note priority will be according to the “Priority” (PROG 2.1–1b) setting of the program.

OSC Select [Both, OSC1, OSC2]

Speciﬁes the “Mode (Oscillator Mode)” (PROG 2.1–1a) of the program selected for each timbre 1–8. If the “Mode (Oscillator Mode)” is Double, you can specify that either or both oscillators sound.

Both: OSC1 and 2 will sound as speciﬁed by the settings of the program.

OSC1: Only OSC1 will sound. OSC2: Only OSC2 will sound. If “Mode (Oscillator Mode)” is Single or Drums, there will be no sound.

Portamento [PRG, Off, 001...127]

Indicates portamento settings for each timbre 1–8. PRG: Portamento will be applied as speciﬁed by the pro-

gram settings. Off: Portamento will be off, even if the original program settings speciﬁed for it to be on.

001...127: Portamento will be applied with the portamento

time you specify here, even if it is turned off by the program settings.

If the “Status” (3.1–1a) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received to control and change this setting. (If the setting is PRG, CC#05 portamento time will not be received.) These messages will be received on the MIDI channel speciﬁed for each timbre by “MIDI Channel” (3.1–1a).

■ 3.1–2b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.1–3a

3.1–3b

3.1–3a: Transpose, Detune, Bend Range

Transpose [–24…+24]

Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave.

When “Status” (3.1–1a) is INT, this parameter will affect the pitches sounded by the TRITON Le. When “Status” is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted. For example if you make settings of +04 and +07 respectively for two timbres that are set to EXT, playing the C key will transmit a C note number on the global MIDI channel, and at the same time will also transmit E and G note numbers on the MIDI channels of those timbres.

Detune (BPM Adj.) [–1200...+1200]

Adjusts the pitch of each timbre in one-cent units. 0: Normal pitch.

You can also use the Utility “Detune BPM Adj.” (3.1–3b) page menu command to automatically make a detune setting from a calculation in BPM units.

“Transpose” and “Detune” can be controlled via MIDI RPN messages. Depending on the “Mode (Oscillator Mode)” (PROG 2.1–1a) settings of the programs used by timbres 1–8, they can be controlled as follows. When “Mode (Oscillator Mode)” is Single or Double MIDI RPN Coarse Tune can be received to control and change the setting of “Transpose,” and RPN Fine Tune can be received to control and change the setting of “Detune.” When “Mode (Oscillator Mode)” is Drums, MIDI RPN Coarse Tune and Fine Tune can be received to control and change the setting of “Detune.” The controllable range is ±1 octave for coarse tune and ﬁne tune together.

Bend Range [PRG, –24...+24]

Speciﬁes the amount of pitch change that will occur when the pitch bender is operated, in semitone units.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: This setting will be used regardless of the setting in

the program.

The MIDI RPN Pitch Bend Change message can be received to control this and change the setting. (However it will not be received if this parameter is set to PRG.) This message is received on the MIDI channel for each timbre set by “MIDI Channel” (3.1–1a).

COMBI

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2.12.23.13.23.33.44.14.24.34.46.17.17.2

■ 3.1–3b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

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

Detune BPM Adjust

If the program of a timbre uses a phrase or rhythm loop multisample or sample that was created in the Sampling mode (using the EXB-SMPL option) is matched to a speciﬁc BPM (or was loaded in Media mode), you can use this Utility to modify its BPM value. “Detune BPM Adjust” changes the BPM of a phrase or rhythm by modifying its pitch. This is valid for a track when timbre “Detune” is selected. When this Utility is executed, the selected “Detune” value will be set automatically. (

5.1–1b, 5.1–2)

1 Select “Detune BPM Adjust” to access the dialog box.

2 In “From” specify the original BPM value. In “To” spec-

ify the desired BPM value. The appropriate “Detune” value will be calculated automatically from these two values. For example if you set “From” to 60bpm and “To” to 120bpm, the “Detune” parameter will be set to +1200 (one octave up).

3 To execute the Detune BPM Adjust command, press the

[F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key.

The detune value that is calculated when you execute this command will be added to “Detune” +0000. Y ou must set the “From” BPM value when “Detune” is

+0000. For example if you execute “From” 60bpm “To” 120bpm, and then execute “From” 120bpm “To” 60bpm, this will not return the original result. (Rather,

this will set Detune= –1200, which is one octave down.) This command is valid when “Detune” (3.1–3a) is

selected.

☞PROG 2.1–2c, 2.1–3, GLOBAL

COMBI 3.2: Ed–Param2

3.2–1: Other

Speciﬁes the delay from note-on until sound is produced for each timbre. Also speciﬁes the scale.

3.2–1a

3.2–1b

3.2–1c

3.2–1a: Delay [ms], Use Prog’s Scale

Delay [ms] [0000…5000, KeyOff]

Speciﬁes a delay time from note-on until the sound begins for each timbre.

KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0. This setting is used when creating harpsichord sounds. Normally you will set this to 0.

Use Prog’s Scale [Off, On]

Each timbre can use the scale that is speciﬁed by “Scale” (PROG 2.1–1c).

On (checked): The scale speciﬁed by the program will be used. Off (unchecked): The scale speciﬁed by “Type (Combi’s Scale)” (3.2–1b) will be used.

3.2–1b: Combi’s Scale, Key, Random

Speciﬁes the scale that the combination will use.

Type (Combi’s Scale)

[Equal Temperament...User Octave15]

Indicates the type of scale.

☞“Type (Scale Type)” (PROG 2.1–1c)

Key [C…B]

Indicates the tonic key of the selected scale.

☞“Key” (PROG 2.1–1c)

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on.

☞“Random” (PROG 2.1–1c)

■ 3.2–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 3.3: Ed–Key Zone

These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original volume will be reached.

By setting timbres of different sounds to ranges that do not overlap, you can play different sounds in different ranges of the keyboard (Key Split). By setting the ranges to overlap, you can play two or more sounds with a single note (Layer). If you set the slopes (the grayed portion) to overlap, the sounds will overlap, and the proportion of the overlap will change according to the keyboard location (Positional Cross-fade).

3.3–1: Key (Key Zone)

3.3–1a

3.3–1b

3.3–1c

3.3–1a: Key Zone Map (1)

Bottom Slope

Bottom Key

This displays the range of note data that will sound the currently selected track. The range of notes sounded is shown as a line, and the slope portion is shaded.

3.3–1b: Top Key, Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) of the notes that will sound each timbre 1–8.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) of the notes that will sound each timbre 1–8.

You can also set this parameter by holding down the [ENTER] key and playing a note.

It is not possible to set the bottom key above the top key of the same timbre. Nor is it possible for the top and bottom slopes to overlap.

How volume will change according to keyboard location

Top Slope

Top Key

■ 3.3–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.3–2: Slope (Key Slope)

3.3–2a

3.3–2b

3.3–2a: Top Slope, Bottom Slope

Top Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the maximum programmed volume level will be reached, starting from the top key.

0: The volume will be at the original level from the top key. 12: The volume will increase gradually as you play down-

ward, and will reach the original volume one octave below the top key. 60: The volume will increase gradually as you play downward, and will reach the original volume ﬁve octaves below the top key.

Bottom Slope [00...72]

Speciﬁes the range of keys (12 is one octave) over which the maximum programmed volume level will be reached, starting from the bottom key.

0: The volume will be at the original level from the bottom key. 12: The volume will increase gradually as you play upward, and will reach the original volume one octave above the bottom key. 60: The volume will increase gradually as you play upward, and will reach the original volume ﬁve octaves above the bottom key.

■ 3.3–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.3–3: Review

3.3–3a

3.3–3b

COMBI

1.1

2.12.23.13.23.33.44.14.24.34.46.17.17.2

Volume

Bottom Slope

Bottom Key Top Key

Top Slope

Key

3.3–3a: Key Zone Map (All)

T1...T8

This displays the range of notes that will sound for each of the timbres 1–8. The range of notes sounded is shown as a line, and the slope portion is shaded.

■ 3.3–3b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.4–2: Slope (Velocity Slope)

3.4–2a

COMBI 3.4: Ed–Vel Zone

(Velocity Zone)

Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change. By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds (Velocity Switch). If you set two or more timbres to velocity zones that overlap, the sounds will be heard together (Layer). If the slope ranges (gray line) overlap, different sounds will be sounded together, and your playing dynamics will determine the proportion of each sound (Velocity Cross-fade).

3.4–1: Vel (Velocity Zone)

3.4–1a

3.4–1b

3.4–1c

3.4–1a: Velocity Zone Map (1)

Bottom Slope

Bottom Velocity

Top Slope

Top Velocity

3.4–2b

3.4–2a: Top Slope, Bottom Slope

Top Slope [0…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Top Velocity.

0: The volume will be at the original value from the top velocity. 120: The volume will decrease as the velocity approaches the top velocity.

Bottom Slope [0…120]

Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom Velocity.

0: The volume will be at the original value from the bottom velocity. 120: The volume will decrease as the velocity approaches the bottom velocity.

How volume will change according to key position

Volume

Bottom Slope

Bottom Velocity Top Velocity

Top Slope

Velocity

This displays the range of velocities that will sound the currently selected timbre. The range of velocities sounded is shown as a line, and the slope portion is shaded.

3.4–1b: Top Velocity, Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity value that each timbre 1–8 will sound.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity value that each timbre 1–8 will sound.

You can also set this parameter by holding down the [ENTER] key and playing a note.

It is not possible to set the bottom velocity greater than the top velocity for the same timbre. Nor can the top slope and the bottom slope overlap.

■ 3.4–1c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

■ 3.4–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

3.4–3: Review

3.4–3a

3.4–3b

3.4–3a: Velocity Zone Map (All)

T1...T8

Displays the range of velocities that each timbre will respond to. The range of velocities sounded is shown as a line, and the slope portion is shaded.

■ 3.4–3b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 4.1: Ed–MIDI Filter1

These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.

On (checked): Transmission and reception of MIDI data is enabled. When “Status” (3.1–1a) is INT, operations of the built-in controllers or incoming MIDI data will apply the effect of the checked item to the program of the corresponding timbre. (The effect dynamic modulation function is not affected by this setting.) When “Status” is EXT or EX2, operations of the built-in controllers will transmit MIDI data on the channel of that timbre. MIDI transmission and reception settings for this instrument are made in “MIDI Filter” (GLOBAL 2.1–1b). The MIDI Filter 3 and MIDI Filter 4 pages contain MIDI ﬁlters for assignable controllers (whose function can be set by the user), and if these are assigned to MIDI control changes, the ﬁlter settings will affect those control changes.

In this case, if the assignable controllers have been set to control changes that are also found in the MIDI Filter 1 or MIDI Filter 2 pages, the settings in the MIDI Filter 1 and MIDI Filter 2 pages will take priority. Also, if the same control change is assigned to two or more controllers in the MIDI Filter 3 and MIDI Filter 4 pages, checking any one of them will enable that control change.

Off (unchecked): Transmission and reception of MIDI data is disabled.

4.1–2: MIDI 1–2 (MIDI Filter 1–2)

4.1–2a

4.1–2b

4.1–2a: Damper CC#64, Portamento SW CC#65

Damper CC#64 [Off, On]

Speciﬁes whether or not MIDI control change message #64 hold (damper pedal) messages will be transmitted and received.

Portamento SW CC#65 [Off, On]

Speciﬁes whether or not MIDI control change message #65 portamento on/off messages will be transmitted and received.

■ 4.1–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 4.2: Ed–MIDI Filter2

COMBI

1.1

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4.1–1: MIDI 1–1 (MIDI Filter 1–1)

4.1–1a

4.1–1b

4.1–1a: Program Change, After Touch

Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be transmitted and received.

After Touch [Off, On]

Specify whether or not MIDI after touch messages will be transmitted and received.

■ 4.1–1b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

4.2–1: MIDI 2–1 (MIDI Filter 2–1)

4.2–1a

4.2–1b

4.2–1a: JS+Y CC#01, JS–Y CC#02

JS+Y CC#01 [Off, On]

Speciﬁes whether or not MIDI control change #1 (the +Y axis of this instrument’s joystick, or speciﬁed as the “B” assignment of a REALTIME CONTROL knob) will be transmitted or received.

JS–Y CC#02 [Off, On]

Speciﬁes whether or not MIDI control change #2 (the –Y axis of this instrument’s joystick, or speciﬁed as the “B” assignment of a REALTIME CONTROL knob) will be transmitted or received.

■ 4.2–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

4.2–2: MIDI 2–2 (MIDI Filter 2–2)

4.2–2a

Knob2 [Off, On]

Speciﬁes whether MIDI control change message #71 (internal low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) for the A-mode of knob [2] and the MIDI control change message assigned to the B-mode of knob [2] will be transmitted and received.

4.2–2b

4.2–2a: JS X/Bend as AMS, Ribbon CC#16

JS X/Bend as AMS [Off, On]

Speciﬁes whether or not MIDI pitch bend messages (the X axis of this instrument’s joystick) will be received to control the AMS ( assigned to JS X. (This is not a ﬁlter for MIDI pitch bend message reception.)

☞p.212 “Alternate Modulation Source”) effect

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (selected as assignment B for REALTIME CONTROLS [1]– [4] knobs, or assigned to the ribbon controller of a TRITON etc.) will be transmitted or received.

■ 4.2–2b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 4.3: Ed–MIDI Filter3

Speciﬁes whether the A- and B-mode effects of REALTIME CONTROLS knobs [1], [2], [3], and [4] will be transmitted and received. The A-mode of each knob is ﬁxed as a MIDI control change message. For B-mode, you can assign a MIDI control change message in 2.2: Ed-Ctrl.

4.3–2a: Real-time Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether MIDI control change message #79 (internal ﬁlter EG intensity) for the A-mode of knob [3] and the MIDI control change message assigned to the B-mode of knob [3] will be transmitted and received.

Knob4 [Off, On]

Speciﬁes whether MIDI control change message #72 (internal ﬁlter and amp EG release time) for the A-mode of knob [4] and the MIDI control change message assigned to the Bmode of knob [4] will be transmitted and received.

■ 4.3–1(2)b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 4.4: Ed–MIDI Filter4

4.4–1: MIDI 4–1 (MIDI Filter 4–1)

4.4–1a

4.4–1b

4.3–1: MIDI 3–1 (MIDI Filter 3–1)

4.3–2: MIDI 3–2 (MIDI Filter 3–2)

4.3–1a

4.3–1a: Real-time Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether MIDI control change message #74 (internal low pass ﬁlter cutoff frequency) for the A-mode of knob [1] and the MIDI control change message assigned to the Bmode of knob [1] will be transmitted and received.

4.3–1b

4.4–1a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether or not the effect of the [SW1] key and [SW2] key will be transmitted and received. [SW1] key and [SW2] key correspond to the control change messages speciﬁed in 2.2: Ed-Ctrl. This ﬁlter setting is valid for settings of SW1 Mod.(CC#80), SW2 Mod.(CC#81), or Porta.SW(CC#65).

■ 4.4–1b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

4.4–2: MIDI 4–2 (MIDI Filter 4–2)

4.4–2a

4.4–2b

4.4–2a: Foot Pedal/Switch, Other Control Change

FootPedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be transmitted and received. The function is assigned in GLOBAL 1.1–3a: System Foot page. This ﬁlter setting is valid when a MIDI control change is assigned.

Other Ctrl Change [Off, On]

Speciﬁes whether or not MIDI control change message not covered in the preceding items MIDI Filter 1–4 will be transmitted and received.

■ 4.4–2b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

COMBI 6.1: Ed–Arp. (Arpeggiator)

These parameters specify how the arpeggiator will function within the combination. Two arpeggiators can run simultaneously. This offers a variety of possibilities, such as applying separate arpeggio patterns to two sounds that have been assigned as a keyboard split, or using velocity to switch between two arpeggio patterns.

6.1–1: Setup

6.1–1a

6.1–1b

6.1–1c

6.1–1a: Arpeggiator Run, (Tempo)

Arpeggiator Run A, B (Run A, B)

When the [ARP ON/OFF] key is on, the arpeggiator(s) checked here will run if they are assigned to a timbre by “Assign” (6.1–1b). (

 (Tempo) [040...240, EXT]

Set the tempo of the arpeggiator. This can also be adjusted by the REALTIME CONTROLS C-mode [TEMPO] knob

☞1.1–1a)

(

☞1.1–4(5)a)

6.1–1b: Assign

Assign [Off, A, B]

Assigns arpeggiator A or B to each timbre 1–8. When the [ARP ON/OFF] key is on, the arpeggiator speciﬁed for each timbre will operate according to “Arpeggiator Run” and these settings.

Off: The arpeggiator will not play this timbre. A: This timbre will be played by Arpeggiator A. Make set-

tings in the Arp. A page to select the arpeggio pattern and set parameters. B: This timbre will be played by Arpeggiator B. Make settings in the Arp. B page to select the arpeggio pattern and set parameters.

If the “Status” (3.1–1a) of the timbre is INT, each timbre 1–8 to which arpeggiator A or B is assigned will be sounded by the note data generated by the arpeggiator, regardless of the “MIDI Channel” (3.1–1a) setting of the timbre. If a timbre is set to EXT or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each timbre.

In this case, the arpeggiator can be triggered (operated) by any MIDI channel speciﬁed for the “MIDI Channel” parameter of any timbre 1–8 assigned to arpeggiator A or B.

If Local Control (“Local Control On,” GLOBAL 2.1–1a) is Off, the keyboard will not trigger the arpeggiator . The arpeggiator will be triggered via MIDI IN. Turn Local Control OFF if you have recorded only the trigger notes on an external sequencer, and wish to playback the external sequencer to trigger the TRITON Le’s arpeggiator.

If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn the TRITON Le’s Local Control ON, and turn off the echo back function on your external sequencer.

You can control the arpeggiator from an external sequencer, or use an external sequencer to r ecord arpeggio note data. (

Example 1)

Set the “MIDI Channel” (3.1–1a) of timbres 1 and 2 to Gch, and set “Status” (3.1–1a) to INT. Assign arpeggiator A to timbre 1 and arpeggiator B to timbre 2, and check “Arpeggiator Run A, B” (1.1–4a/5a, 6.1–1a).

•When the front panel [ARP ON/OFF] key is off, timbres 1 and 2 will sound simultaneously (layered) when you play the keyboard.

•When the front panel [ARP ON/OFF] key is turned on, timbre 1 will be played by arpeggiator A, and timbre 2 will be played by arpeggiator B.

Trigger = Gch

Arpeggiator

☞p.239)

Arpeggiator Assign

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=INT

Pattern - A

Pattern - B

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Example 2)

The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5 are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (3.1–1a) is set respectively to INT, Off, INT, Off, and INT. Assign arpeggiator A to timbres 2 and 3, assign arpeggiator B to timbres 4 and 5, and check “Arpeggiator Run A, B” (1.1–4a/5a, 6.1–1a).

•When the front panel [ARP ON/OFF] key is off, playing the keyboard will sound only timbre 1. (Timbres 2 and 4 are receiving the Gch, but they will not sound since their “Status” is Off.)

•When you turn on the front panel [ARP ON/OFF] key, arpeggiator A will operate for timbres 2 and 3, and arpeggiator B will operate independently for timbres 4 and 5. (Arpeggiators A and B are triggered by receiving note data on any MIDI channel of an assigned timbre, but in this example they are being triggered from the Gch.) When you play the keyboard, arpeggiator A will operate for timbres 2 and 3, but only timbre 3 whose “Status” is INT will sound. Similarly, arpeggiator B will operate for timbres 4 and 5, but only timbre 5 whose “Status” is INT will sound. In this way, you can make settings so that a timbre does not sound when the arpeggiator is off, but sounds only when the arpeggiator is on.

Arpeggiator Assign

Off

Trigger = Gch, Ch2

Trigger = Gch, Ch3

Arpeggiator

Pattern - A

Pattern - B

Timbre 1 MIDI Ch=Gch Status=INT

Timbre 2 MIDI Ch=Gch Status=Off

Timbre 3 MIDI Ch=2ch Status=INT

Timbre 4 MIDI Ch=Gch Status=Off

Timbre 5 MIDI Ch=3ch Status=INT

Sounded by normal keyboard playing

Does not sound

Pattern - A

Does not sound

Pattern - B

■ 6.1–1c: UTILITY

6.1–2: Arp. A (Arpeggiator A)

6.1–3: Arp. B (Arpeggiator B)

The Arp. A pages you make settings for arpeggiator A. The Arp. B pages you make settings for arpeggiator B.

You can also use Utility “Copy Arpeggiator” (6.1–1c) to copy settings from another mode such as Program mode.

6.1–2b

6.1–2a

6.1–2c

6.1–2(3)a: Arpeggiator-A(B) Setup

Pattern* [P000...P004, U000(INT)...U215(User)] Octave* [1, 2, 3, 4] Reso (Resolution)* [   ,  ,   ,  ,   ,  ] Gate [000...100%, Step] Velocity [001...127, Key, Step] Swing [–100...+100%] Sort* [Off, On] Latch* [Off, On] Key Sync.* [Off, On] Keyboard* [Off, On]

These parameters are the arpeggiator A settings for the combination. (☞p.24 PROG 6.1: Ed–Arp.)

* These parameters can also be set in “1.1–4: Arp. A, 1.1–5:

Arp. B”

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

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

Copy Arpeggiator

This command copies arpeggiator settings.

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

2 In “From” select the copy source (mode, bank, number)

arpeggiator. If you are copying from Combination, or Song, select either A or B to if you wish to copy settings from only one arpeggiator, or select A&B if you wish to copy the settings of both arpeggiators.

3 If you are copying from a Program, or are copying either

A or B from Combination, or Song, select either A or B as the “To” copy destination.

4 To execute the Copy Arpeggiator command, press the

[F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

6.1–2(3)b:  (Tempo)

 (Tempo) [040...240, EXT]

☞1.1–1a

■ 6.1–2(3)c: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Copy Arpeggiator” (6.1–1c)

6.1–4: Zone (Scan Zone)

These settings specify the note and velocity ranges that will operate arpeggiators A and B.

6.1–4a

COMBI 7.1: Ed–InsertFX

☞For details on insertion effects, refer to p.155 “7. Effect

Guide.”

7.1–1: BUS

6.1–4b

6.1–4a: Scan Zone A/B

Zone Map

This shows the “Scan Zone” for each arpeggiator, A and B.

Key zone of arpeggiator B

Key zone of arpeggiator A

C–1–G9

Velocity zone of arpeggiator A

Velocity zone of arpeggiator B

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speciﬁes the lower limit.

A: Vel (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will operate arpeggiator A. “Top” speciﬁes the upper limit, and “Btm” speciﬁes the lower limit.

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

B: Vel (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

Specify the range of notes (keys) and velocities that will operate arpeggiator B (

The values of these parameters can also be entered by playing a note on the keyboard while you hold down the [ENTER] key.

■ 6.1–4b: UTILITY ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Copy Arpeggiator” (6.1–1c)

☞“A: Key,” “A: Vel”).

7.1–1a

7.1–1b

7.1–1a: BUS Select, Send1(MFX1), Send2(MFX2)

Here you can specify the output bus for each timbre 1–8. You can also specify the send level to the master effects.

BUS Select [DKit, L/R, IFX, 1, 2, 1/2, Off]

Speciﬁes the output bus for the program oscillator of each timbre 1–8. The current setting status can be viewed in the

7.1–2c: Routing Map. DKit: This can be selected only if the program for which set-

tings are being made is a drum program “Mode (Oscillator Mode) Drums” (PROG 2.1–1a). With a setting of DKit, the “BUS Select” (GLOBAL 5.1–3a) setting made for each key of the drum kit will be used. For example if you have made “BUS Select” settings for each key of a drum kit so that the Snare sounds are sent to IFX and the other sounds are sent to L/R, selecting Dkit will send the Snare sounds to IFX and the other sounds to L/R. If you want to re-specify these routings, use Utility “DKit IFX Patch” (7.1–1b).

If this is set to 1/2, the programs of timbres 1–8 will be sent in stereo from AUDIO OUTPUT (INDIVIDUAL) 1/2. If the pan of the program oscillator is controlled by MIDI control change #10 (pan) or AMS (Alternate Modulation Source), the sound will be output with the pan setting that is in effect at the moment of note-on. Unlike the case when this parameter is set to L/R, the pan of a sounding note will not change in real-time. If you wish to move the pan of a sounding note in realtime and output it from AUDIO OUTPUT (INDIVIDUAL) 1/2, you must set “BUS Select” to IFX, select 00: No Effect for “IFX” (7.1–2a), and then set “BUS Select” (7.1–2a) to 1/2.

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

For each timbre 1–8, these parameters set the send level to master effects 1 and 2. These settings are valid when “BUS Select” is set to L/R or Off. When IFX is selected, the send levels to master effects 1 and 2 are set by the “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” parameters of the Setup page (7.1–2a), after the sound has passed through IFX. If “BUS Select” is set to 1, 2 or 1/2 these settings are ignored.

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Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on the MIDI channel speciﬁed for each timbre in the 3.1: Ed–Param1, MIDI page. The actual send levels are determined by summing this value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 7.1–2a) for each oscillator of the program selected for the timbre.

7.1–2: Setup

Here you can select the type of insert effect, turn it on/off etc.

7.1–2b

7.1–2a

7.1–2c

■ 7.1–1b: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c)

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

Copy Insert Effect

☞PROG 7.1–1c

However, the MIDI control channel speciﬁed for “Control Channel” of the 7.1: Ed–InsertFX, Setup page will not be copied.

DKit IFX Patch (DrumKit IFX Patch)

This command changes the “BUS Select” settings for each key of the drum kit, so that connections to the IFX are temporarily changed to L/R. This can be executed only if the program speciﬁed for a timbre is a drum program, and the “BUS Select” (7.1–1a) setting is DKit, and the “BUS Select” (GLOBAL 5.1–3a) for each key of the drum kit is IFX.

1 Select “DKit IFX Patch” to access the dialog box.

2 At the right of “DrumKit IFX→,” select L/R as the patch

destination.

3 To execute Drum Kit Insert Effect Patch, press the [F8]

(“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. To return the drum kit to its original state, execute IFX → IFX.

7.1–2d

7.1–2a: Ed-InsertFX Setup

IFX On/Off [Off, ON] Insert Effect [00...89: name] Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 1/2, Off] S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

These parameters are the same as in Program mode. (

☞PROG 7.1–2)

However, dynamic modulation (Dmod) of the insert effect and the “Pan (CC#8), “Send1(MFX1),” and “Send2(MFX2)” that follow the insert effect will be controlled on the “Control Channel” (7.1–2b) MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

7.1–2b: Control Channel

Control Channel [Ch01...16, G ch, All Rt.]

Speciﬁes the MIDI channel on which dynamic modulation (Dmod) of the insert effect and the “Pan (CC#8), “Send1(MFX1),” and “Send2(MFX2)” that follow the insert effect will be controlled.

The channel number of the timbre routed through this IFX will be followed by a “*” displayed at the right of Ch01–16. If two or more timbres with different MIDI channel settings are routed through the IFX, this parameter speciﬁes which of these channels will be used to control the effect.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) will be used to control the effect. Normally you will set this to G ch. All Rt. (All Routed): The channel of any timbre routed through this effect can be used to control the effect. (Channels of each routed timbre will be indicated by “*”.)

If “BUS Select” (7.1–1a) is set to DKit for a timbre for which a drums program is selected, the MIDI channel of that timbre will be valid only if this is set to All Rt., regardless of the drum kit “BUS Select” setting (GLOBAL 5.1–3a) or the Utility “DrumKit IFX Patch” (7.1– 1b) setting.

7.1–2c: Routing Map, BUS Select

This displays the bus to which the programs used by timbres 1–8 will be sent.

Routing Map

This displays the insert effect settings. The routing, the speciﬁed effect name, and the on/off status are shown.

T01...8: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off]

While viewing the map, you can specify the bus where each timbre 1–8 will be sent. Use the cursor keys to select the timbre, and use the [INC]/ [DEC] keys or the [VALUE] dial to set “BUS Select” (7.1–1a). These settings can also be made in “BUS Select” (7.1–1a).

■ 7.1–2d: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Copy Insert Effect” (PROG 7.1–1c, 7.1–1b), “Dkit IFX Patch” (7.1–1b), “Select by Category” (PROG 7.1–2c)

7.1–3: IFX (Insert Effect)

Here you can adjust the parameters for the IFX that was selected in the Setup page (

☞p.164–).

7.1–3a

COMBI 7.2: Ed–MasterFX

☞For details on master effects, refer to p.155 “7. Effect

Guide.”

7.2–1: Setup

Here you can select the type of each master effect, turn it on/off, and make chain and master EQ settings. With the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Control Ch,” this is the same as in Program mode. (

☞PROG 7.2: Ed-MasterFX)

7.2–1a

7.2–1b

7.2–1c

7.2–1e7.2–1d

7.2–1a: MasterFX Setup

MFX1 On/Off, MFX2 On/Off [Off, ON] Master Effect 1, 2 [00...89: name] Rtn 1, 2 (Return 1, 2) [000...127]

These are the same as in Program mode. Refer to “PROG

7.2–1: Setup.” However, the master ef fects will be contr olled on the “MFX 1, 2 Control Ch” MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

MFX 1, 2 Control Ch [Ch01...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) will be used for control. Normally you will set this parameter to G ch.

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■ 7.1–3a: UTILITY ☞“Write Combination” (1.1–1c)

7.2–1b: MasterFX Chain

MFX Chain [Off, On] Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

These are the same as in Program mode. (☞PROG 7.2–1: Setup)

7.2–1c: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Selects the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) will be used for control. Normally you will set this parameter to G ch.

7.2–1d: Master EQ Gain [dB]

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

These are the same as in Program mode. (☞PROG 7.2–1: Setup)

■ 7.2–1e: UTILITY

☞“Write Combination,” “Solo Selected Timbre” (1.1–1c),

“Select by Category” (PROG 7.2–1d)

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

Copy Master Effect

☞p.28 PROG 7.2–1d

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.2–1a) will not be copied.

Swap Master Effect

☞p.29 PROG 7.2–1d

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.2–1a) will not be swapped.

7.2–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is located immediately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall tonal character of the sound ( and the MEQ Low Gain can be controlled by assigning a modualtion source to the “Low Gain Mod-Src.” and “High Gain Mod-src.” functions on this page.

■ 7.2–4a: UTILITY ☞“Write Combination” (1.1–1c)

☞p.209). The MEQ High Gain

7.2–4a

7.2–2: MFX1 (Master Effect1)

7.2–3: MFX2 (Master Effect2)

Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (

☞p.164–).

7.2–2a

■ 7.2–2(3)a: UTILITY

☞“Write Combination” (1.1–1c)

3. Sequencer mode

In Sequencer mode you can use the built-in 16-track sequencer to play , r ecord and edit songs. You can also record and play patterns, make settings for the RPPR (Realtime Pattern Play Recording) function, play songs that use the arpeggiators, record patterns, and create Cue Lists to playback multiple songs consecutively.

If the EXB-SMPL option (sold separately) is installed, executing the Sampling mode “Time Slice” command (SMPL 3.1–2e) will divide the sample and will at the same time create song performance data for these divided samples. You can then freely re-create the original rhythm loop in various ways; for example you can change the song tempo in Sequencer mode to play the rhythm loop at a different tempo without changing the pitch, or you can edit the sequence data to change the note numbers or timing.

These settings and any song data you have recorded are not backed up when the power is turned off. Before turning off the power , be sure to save important data on a SmartMedia or a data ﬁler. Immediately after the power is turned on, memory will not contain any song data, so in order to playback the sequencer, you will need to load data from the SmartMedia, or receive a MIDI bulk data dump from an external MIDI sequencer (

☞p.130).

SEQ PAGE MENU

For details on how to select pages in Sequencer mode, refer to p.1.

P/R 1.1: Play/REC Make settings for song playback/record-

Loop 1.2: Loop Make settings for track play loop function.

Cue 2.1: Cue List Play, create, and make settings for cue Ctrl 2.2: Controller Controller settings. (☞p.61)

Prm1 3.1: Param1 MIDI, OSC, and pitch settings for each

Prm2 3.2: Param2 Delay and scale settings for each track. KeyZ 3.3: Key Zone Key zone settings for each track. (☞p.64)

VelZ 3.4: Vel Zone Velocity zone settings for each track.

MIDI1 4.1: MIDI Filter1 MIDI message transmission/reception ﬁl-

MIDI2 4.2: MIDI Filter2 Filter settings: JS, Ribbon Ctrl etc.

MIDI3 4.3: MIDI Filter3 Filter settings: REALTIME CONTROL

MIDI4 4.4: MIDI Filter4 Filter settings: SW, Other Ctrl Change

RPPR 5.1: RPPR Pattern recording and editing. Pattern

TEdit 5.2: Track Edit Edit track playback data. Specify track Arp 6.1: Arp. Arpeggiator settings. (☞p.81)

IFX 7.1: Insert FX Set BUS and master effect send level for

MFX 7.2: Master FX Master effect selection and settings. Mas-

ing, select a program for track, and make pan and level settings. (

☞p.57)

(

☞p.58)

lists. (

☞p.62)

track. (

☞p.64)

(

☞p.65)

(

ter settings for each track: Prog Change, After Touch etc. (

☞p.67)

(

☞p.68)

Knob (

☞p.68)

(

name settings. RPPR settings. (

☞p.73)

names. (

each track. Insert effect routing, selection, and set-

☞p.84)

tings. (

ter EQ settings. (

☞p.50)

☞p.66)

☞p.69)

☞p.85)

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

SEQ 1.1: Play/REC

Here you can select a song, begin to create a new song, or make basic settings such as selecting the program used by each track.

1.1–1: Play.REC (Play/REC)

Here you can select a song, make settings for song playback/recording, and turn RPPR on/off.

1.1–1a

1.1–1b

1.1–1c

Changing the time signature in the middle of a measure

If you know beforehand the location at which you wish to change time signatures in the middle of a measure, use “Insert Measure” (5.2–1b) to specify and insert the time signature for each measure of the same time signature, and then record your musical data. Alternatively, if you wish to change the time signature in the middle of a song which already contains musical data, use “Track Select” (1.1–1c) to specify the Master Track (or any Track01–16 which contains data), and use “Event Edit” (5.2–1b) to modify the time signature of the Bar event. If the number of beats in a measure increases when you modify the time signature, rests will be inserted in the portion that was added. Conversely if the number of beats decreases, that portion will not be played. However if you return to the original time signature, the data that had been hidden will once again be played.

1.1–1d

1.1–1a: Location, Meter, Reso (Resolution),

 (Tempo), Tempo Mode

Location [001:01.000...999:16.191]

This display shows the current position in the song. From the left, the numbers are the measure, beat, and clock. When you modify these values, the current location will change.

When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, changing the location will cause Song Position Pointer messages to be transmitted. If this parameter is set to External, Song Position Pointer messages from the speciﬁed source will change the location.

The range in which the beat and clock can be modiﬁed will depend on the currently speciﬁed time signature.

Meter [*/*, 1/4...16/16]

This is the time signature at the current location of the song. The time signature can be changed at each measure.

*/*: This will be displayed when you press the [REC/ WRITE] key. Specify this when you wish to use the time signature that is already recorded for that measur e, and wish to record without changing the time signature.

1/4–16/4, 1/8–16/8, 1/16–16/16: This is the time signature at the current location of the song. After pressing the front panel [REC/WRITE] key, specify the time signature here. Then press the [START/STOP] key to begin recording, and the speciﬁed time signature will be recorded on the Master Track and on previously-recorded tracks. Be aware that if you press the [START/STOP] key during the pre-count to stop recording, the time signature will not be recorded.

Normally, you will specify the time signature when you record the ﬁrst track, and select */* when recording subsequent tracks.

Recording from measure 2 of track 2

when Meter = */* Track 1 Track 2

Track 1 Track 2

1 (4/4) 2 (3/4) 1 (4/4)

1 (4/4) 2 (3/4) 1 (4/4) 2 (3/4)

3 (4/4)

Recording

3 (4/4) 3 (4/4)

Track 1 Track 2

when Meter =7/8 1 (4/4) 2 (3/4) 1 (4/4)

1 (4/4) 2 (7/8) 1 (4/4) 2 (7/8)

3 (4/4)

Recording

3 (7/8) 3 (7/8)

3 (4/4)

4 (7/8) 4 (7/8)





Rest is inserted



Not played

Reso (Real-time Quantize Resolution) [Hi, 3...]

This corrects the timing of data as it is recorded in real-time. (It does not affect previously-recorded data.)

Hi (High Resolution): Timing will not be corrected. Data will be recorded at the maximum resolution (/192). 3 –  : Data will be corrected to the nearest interval of the speciﬁed timing as it is recorded. For example if you select 3 , data will be corrected to the nearest 32nd note triplet interval. If you select , data will be corrected to the nearest quarter note interval.

With a setting of 





      

Since all of the musical data that is recorded into the sequencer will be corrected to the speciﬁed timing resolution, coarse settings of this parameter will cause continuous controllers such as pitch bend to be recorded in “stairstep” fashion. In such cases, use a setting of Hi to record, and then use “Quantize” (5.2–1b) to correct only the desired type of data (notes etc.). It is best to avoid recording at a stiff resolution to begin with.

 (Tempo) [040…240, EXT]

This sets the playback tempo of the song and the tempo of the arpeggiator.

040...240: When the “Tempo Mode” is Manu, this tempo will be used for recording and playback. When “Tempo Mode” is REC, this tempo will be recorded on the master track. EXT: This will appear when “MIDI Clock” (GLOBAL 2.1–1a) is External. The tempo of the internal sequencer will synchronize with the MIDI Clock messages received from an external sequencer etc. When “MIDI Clock” is Internal, the above tempo setting (040...240) will be used.

If Tempo is selected as an alternate modulation source,  = 120 will be the base value.

Tempo Mode [Auto, Manu, REC]

Auto: The tempo will follow the tempo of the Master Track. The tempo of the master track can be speciﬁed by using “Event Edit” (5.2–1b) with Master Track chosen in “Track Select,” (1.1–1c) or by the REC operation described below. When Auto is selected, it will not be possible to modify the “ (Tempo)” setting while a song is playing or recording (or during standby).

Manu (Manual): The “ (Tempo)” setting will be used. REC: Tempo changes will be recorded on the Master Track. This can be selected if you set “T rack Select” (1.1–1c) to T01– T016 and press the [REC/WRITE] key to enter Recording

Standby mode. Start recording and adjust the “” (Tempo)” value, or use the REALTIME CONTROLS C-mode [TEMPO] knob to adjust the tempo. This cannot be selected when the 1.1–6: Preferences page item “REC Setup” is set to Loop All Tracks. Tempo changes can also be created using “Event Edit” (5.2– 1b) or “Create/Ers. Ctrl” (5.2–1b).

If you wish to record only the tempo changes, set “REC Setup” (1.1–6a) to OverDub, and the tempo will be recorded on the master track without being affected by the musical data of “Track Select.”

1.1–1b: Song Select

Song Select [000...199: name]

Indicates the song that you wish to record or play. If you wish to create a new song, you can either select a number from the popup menu for which the song name is blank, or use the numeric keys [0]–[9] to directly specify the song number, then press the [ENTER] key to access the dialog box, and ﬁnally press the [F8] (“OK”) key.

If you wish to change the length of the song after creating it, execute “Set Song Length” ( When you create a new song, you may wish to set it somewhat longer than you expect to need; then when you are ﬁnished recording and editing, you can use “Set Song Length” to specify the correct length.

If “MIDI Clock” (GLOBAL 2.1–1a) is Internal, changing the song will cause Song Select and Song Position Pointer messages to be transmitted. If “MIDI Clock” is External, Song Select messages can be received from the speciﬁed source to change songs. When the song changes, tracks whose track status (“Status” (3.1–1a)) is EXT, EX2 or BTH will transmit Bank Select, Program Change, Volume, Panpot, Poramento, Send1, 2, Post IFX Pan, and Post IFX send 1, 2 messages on the MIDI channel of the respective track.

☞p.81, 5.2–1b).

1.1–1c: RPPR (Real-time Pattern Play/Rec), Track Select, Selected Track Information

RPPR [Off, On]

This turns the RPPR (Real-time Pattern Play/Recording) function on/off. RPPR lets you assign a pattern to each note of the keyboard, so that the pattern will playback (or be recorded) when you press the appropriate key.

On (checked): The RPPR function will be on. If a pattern has been assigned to each key in the 5.1–2: RPPR Setup page, pressing that key will perform the assigned pattern ( RPPR Setup).

☞5.1–2:

Track Select [T01...T16: name, Master Track]

T01–T16: Select the track(s) that will record or play song data. The track name can be speciﬁed using the “Rename Track” (5.1–1c) procedure. When you perform real-time recording on a single track, the musical data will be recorded on the track you select here. When you perform real-time recording on two or more tracks simultaneously ( MUTE/REC” (1.1–2(3)b) will select the recording track, regardless of the setting you make here. Master Track: Select the master track when you wish to use the 5.2–1: Track Edit page menu commands to edit the tempo track. When using real-time recording or step recording, it is not possible to record the master track alone.

When you play the keyboard of this instrument and operate its controllers, the internal tone generator will sound according to the settings (program, level etc.) of the tracks that are selected here (if “Status” 3.1–1a is INT or BTH), and other tracks whose MIDI channels match will also sound at the same time (if “Status” is INT or BTH). Messages will also be transmitted on the MIDI channels of these tracks (whose “Status” is EXT, EX2 or BTH).

☞“Multi REC” 1.1–6a), the “PLAY/

Selected Track Information

This shows information on the “Track Select” that is currently selected for editing.

T (Track) No.: Bank No.: Prog No. and name

This displays the track number, and the bank, number, and name of the program selected for that track.

Ch 01...16

This shows the MIDI channel number speciﬁed for the track.

■ 1.1–1d: UTILITY

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

Memory Status

This displays the remaining amount of sequencer memory.

Solo Selected Track

The Solo function will alternate on/off each time you select this command. When checked, the Solo function will be turned on, and only the currently selected track will sound. Other tracks will be muted. To solo another track, select a parameter of the desired track. “Selected Track Information” (1.1–1c) will indicate [Solo]. To defeat the Solo function, select the “Solo Selected Track” page menu command once again.

Even if multiple “SOLO On/Off” (1.1–2(3)b) settings are On, turning on the Solo function here and selecting “SOLO On/Off” or the parameter of another track will cause only that track to be soloed and sounded.

If any tracks that have been muted by the Solo function have a “Status” (3.1–1a) setting of EXT, EX2, or BTH, the MIDI note-on/off messages of that track will not be transmitted.

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

Rename Song

Here you can rename the selected song. A name of up to sixteen characters can be input. (

☞BG p.43)

Delete Song

This command deletes the currently selected song.

1 Select “Delete Song” to access the dialog box.

2 If you wish to execute the Delete Song command, press

the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. When you execute this command, the musical data, setting data, and patterns etc. of the currently selected song will be erased, and the memory area allocated to that song will be freed.

Copy From Song

Copies all settings and musical data from the song you specify to the currently selected song.

1 Select “Copy From Song” to access the dialog box.

2 In “From,” select the copy source song number. 3 Select the data that will be copied.

All: Copy all musical data (e.g., track events and patterns) and settings. Without Track/Pattern Events: Only song settings other than Play Loop and RPPR will be copied.

4 To execute Copy Song, press [F8] (“OK”) key. To cancel

without executing, press [F7] (“Cancel”) key. If you execute All, all musical data and settings of the currently selected song will be erased, and replaced by the copy source data. If you execute Without Track/Pattern Events, song set- tings other than Play Loop and RPPR will be erased, and replaced by the copy source data.

Copy From Combi (Copy From Combination)

Copies the settings of the combination you specify to the settings of the currently selected song.

1 Select “Copy From Combi” to access the dialog box.

2 In “Combi,” select the copy source combination. 3 Check or uncheck “with Effects” to specify whether effect

and EQ settings will also be copied. If this is checked, the insert effect, master effect, and mas-

ter EQ settings will also be copied.

4 In “To,” select the copy destination tracks (1–8 or 9–16). 5 To execute the copy, press [F8] (“OK”) key. To cancel

without executing, press [F7] (“Cancel”) key. When you execute, the settings of the currently selected song will be erased, and replaced by the settings of the combination.

Load Template Song

This command loads a template song as a song. The built-in sequencer contains sixteen different preset tem- plate songs (P00–15) that contain preset settings for programs and effects appropriate for various musical styles. You are also free to create your own favorite settings for programs, track parameters, and effects, and save them as one of sixteen user template songs (U00–15) ( Template Song”).

1 Select “Load Template Song” to access the dialog box.

2 In “From,” specify the template song that you wish to

load.

3 If you check “Copy Pattern to Track too?,” the “Copy

Pattern To Track” dialog box will appear automatically after “Load Template Song” has been executed.

☞“Save as User

Preset Template Song Track No.: Name Program Corresponding Preset Pattern No.:Name

P00: Pop/Ballade Track01: Drums A020:Standard Kit 1 P00: Pop&Balad 1/Std ... P10: Pop(6/8) 3/Std P01: Rock/Metal Rock Track01: Drums D020:Processed Kit P11: Rock 1/Process ... P21: Rock11/Process P02: R & B Track01: Drums 1(Std 2) B020:Standard Kit 2 P22: R&B 1/Std2 ... P27: R&B 6/Std2

Track09: Drums 2(Std) A020:Standard Kit1 P28: R&B 7/Std ... P32: R&B11/Std P03: Jazz Track01: Drums C020:Jazz/Brush Kits P33: Jazz 1/Jazz ... P39: Jazz 7/Jazz P04: Latin Track01: Drums C020:Jazz/Brush Kits P40: Latin 1/Jazz ... P42: Latin 3/Jazz

Track08: Percussion C100:Percussion Kit P43: Latin 4/Perc ... P45: Latin 6/Perc P05: Reggae Track01: Drums B084:Drum'nBass Kit P48: Reggae 1/D'n'B ... P53: Reggae 6/D'n'B P06: Country Track01: Drums A020:Standard Kit 1 P54: Country 1/Std ... P57: Country 4/Std P07: Folk Track01: Drums A020:Standard Kit 1 P58: Folk 1/Std ... P61: Folk 4/Std P08: European Trad. Track01: Drums A020:Standard Kit 1 P62: E.Trad 1/Std ... P67: E.Trad(3/4)2/Std

Track08: Percussion C100:Percussion Kit — P09: Orchestral Track01: Percussion B100:Orchestra&Ethnic — P10: Techno/Euro Beat Track01: Drums C004:House Kit P68: Techno 1/House ... P78: Techno11/House P11: House Track01: Drums C004:House Kit P79: House 1/House ... P92: House14/House P12: Drum'n'Bass Track01: Drums B084:Drum'n'Bass Kit P93: Drum'nBs 1/D'n'B ... P108: Drum'nBs16/D'n'B P13: Acid Jazz Track01: Drums B020:Standard Kit 2 P109: AcidJazz 1/Std2 ... P120: AcidJazz12/Std2 P14: Hip Hop/Rap Track01: Drums B004:HipHop Kit P121: HipHop 1/HipHop ... P135: HipHop15/HipHop P15: Big Beats Track01: Drums 1(Hip/Hop) B004:HipHop Kit P136: Bigbeat 1/HipHop ... P143: Bigbeat 8/HipHop

Track09: Drums 2(Tricky) A100:! {Tricky} Kit! P144: Bigbeat 9/Tricky ... P149: Bigbeat14/Tricky

P46: Latin 7/Jazz ... P47: Latin 8/Jazz

If you execute without checking this, only the template song you speciﬁed in step

4 To load the template song, press the [F8] (“OK”) key. To

cancel without loading, press the [F7] (“Cancel”) key. When you execute, song settings other than Play Loop and RPPR will be copied.

If in step 3 you checked “Copy Pattern to Track too?” and pressed the [F8] (“OK”) key, the “Copy Pattern To Track” dialog box will appear.

This dialog box is the same as in 5.1: RPPR, Pattern page, utility menu command “Copy To Track” (

5 In “Pattern,” select the pattern that you wish to copy. If

you press the [START/STOP] key, the selected pattern will play. In To “Track,” select the copy destination track. In “Measure,” specify the beginning measure of the copy destination.

Track 1 of all sixteen preset template songs contains a drum category program. (In preset template songs P02, P04, P08, and P15 drum category programs are speciﬁed for multiple tracks.) The pattern names of the 150 preset patterns indicate the musical genre and part of the optimal drum category program. (

For example in P00: Pop&Balad 1/Std, the musical genre is “Pop&Balad 1,” and “Std” is part of the name of the drum category program that is most suitable. By loading the drum track for these preset template songs and the corresponding preset patterns, you can efﬁciently set up a drum track that is suited to each preset template song.

6 To execute, press the [F6] (“Copy”) key. When you exe-

cute, “Measure” will count up automatically. You may then copy patterns as well. To exit the command, press the [F7] (“Exit”) key.

(Example)

Load preset template song P00: Pop/Ballade together with preset pattern P01: Pop&Balad 2/Std into song S000.

1 Select “Load Template Song” to access this dialog box. 2 In “From,” select P00: Pop/Ballade. 3 Check “Copy Pattern to Track too?” 4 Press the [F8] (“OK”) key to access the “Copy Pattern To

Track” dialog box.

5 Set “Pattern” to Preset to select preset patterns, and

select one of the patterns P00: Pop&Balad 1/Std– P07: Pop&Balad 8/Std for the pattern name. (Preset tem- plate song P00: Pop/Ballade speciﬁes program A020: Standard Kit 1 for track 1.) If you wish to play the

selected pattern, press the [START/STOP] key. If you wish to adjust the tempo, use the [TEMPO] knob. For this example, select P01: Pop&Balad 2/Std.

6 Set To:”Track” to 01, and “Measure” to 001. 7 Press the [F6] (“Copy”) key once. The eight-measure pre-

set pattern P01: Pop&Balad 2/Std has now been copied to the song. “Measure” will count-up automatically.

By repeating steps 5 and 7 you can continue to copy other patterns. When you press the [F7] (“Exit”) key, the dialog box will close.

☞The table in the previous page)

2 will be loaded.

☞p.71).

Save Template Song (Save as User Template Song)

This command saves the program selections, track parameters, and effect settings etc. of the song as a user template song U00–15.

1 Select “Save Template Song” to access the dialog box.

2 In “To,” specify the user template song (U00–15) in which

the data will be saved.

3 To save the template song, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. Be aware that when you execute this command, all setting data of the save destination User T emplate Song will be erased and rewritten.

FF/REW Speed

This allows you to set the speed at which fast-forward or rewind will occur when you press the [FF] key or [REW] key.

1 Select “FF/REW Speed” to access the dialog box.

2 In “Speed,” specify the speed (relative to the playback

tempo) at which fast-forward and rewind will occur. With a setting of 2, this will occur at double the playback tempo; with a setting of 3, triple the tempo; and with a setting of 4, quadruple the tempo. However in sections where the playback data is dense, the fast-forward or rewind speed may slow down.

3 If “Ignore Tempo” is checked, the playback tempo and

note length will be ignored, and fast-forward and rewind will be performed as fast as possible. The speed of fastforward and rewind will differ between sections where the playback data is dense and sections where it is sparse. If this item is unchecked, fast-forward and rewind will be performed at the speed you specify for “Speed.”

4 To execute the settings, press the [F8] (“OK”) key. To can-

cel, press the [F7] (“Cancel”) key.

Set Location (Set Location for Locate Key)

When you press the [LOCATE] key, you will move to the location speciﬁed here.

1 Select “Set Location” to access the dialog box.

2 In “Location,” specify the location to which you will

move when you press the [LOCATE] key. If you specify 001:01:000, you will move to the beginning of the song when you press the [LOCATE] key.

3 To execute the settings, press the [F8] (“OK”) key. To can-

cel, press the [F7] (“Cancel”) key.

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

Even when this dialog box is not opened, you can set this value to the current location by holding down the [ENTER] key and pressing the [LOCATE] key.

GM Initialize

This command transmits a GM System On message to Sequencer mode, resetting all tracks to the GM settings (refer to the table below).

In Sequencer mode when a GM System On message is received from an external device or the tone generator

will be reset to the GM settings in the same way as when this command is executed (However even in these cases, the parameters of the 7.2: Master Fx will not be reset).

1.1–2: Prog...8 (Program T01...08)

1.1–3: Prog...16 (Program T09...16)

Here you can make basic settings such as selecting the program used by each track.

1.1–2a

1.1–2b

1.1–1c

1.1–2c

1.1–2(3)a: Program

Program Select

[A...D/000...127, G001...128, g001...g128:d]

Here you can select the program that will be used by each track. When this parameter is selected, you can use the VALUE controller to make a selection. At this time, the BANK SELECT key LEDs will light to indicate the bank of the selected program. The track number and the abbreviated category name of the selected program are displayed above “Program Select.”

By holding down the [TIMBRE/TRACK] key and pressing a [F1](T1/T9)–[F8](T8/T16) key you can move to the corresponding track “T1”–“T16.” The program bank can also be selected directly by using the BANK [A]–[GM] keys.

When this parameter is selected, you can use the Utility menu command “Select by Category” to select a program by category. (

☞p.2)

GM Initialize Parameters

Parameter Track1–9, 11–16 Track10

1.1 Program Select G001:Acoustic Piano g001: (d): STANDARD Kit

Pan C064 C064 Volume 100 100

3.1 Status – – The setting remains unchanged

3.2 Use Program’s Scale – – The setting remains unchanged

6.1 Arpeggiator Assign – – The setting remains unchanged

Other Arpeggiator parameters – – The setting remains unchanged

7.1 IFX/Indiv.Out BUS Select L/R DKit Send1(MFX1) 0 0 Send2(MFX2) 40 40 IFX – – The setting remains unchanged Pan(CC#8) – – The setting remains unchanged BUS Select – – The setting remains unchanged Send1 – – The setting remains unchanged Send2 – – The setting remains unchanged Other Insert Effect parameters – – The setting remains unchanged

7.2 MFX1 – – 16: St. Chorus MFX2 – – 53: Rev Smth. Hall Return1 – – 127 Return2 – – 050 Other Master Effect and Master EQ parameters – – Default settings

The program you select here will be used when the song is played or recorded from the beginning. If the program is changed while recording, the program change will be recorded as musical data, and the program will change during playback. You can also change the program manually during playback. However if program change command is already recorded, the program will change at that point.

If the “Status” (3.1–1(2)a) is INT or BTH, the program can be speciﬁed by receiving a MIDI program change. When you switch songs or return to the beginning of the song, tracks whose “Status” is EXT, EX2, or BTH will transmit the bank and program number via MIDI. Tracks whose “Status” is EX2 will display the Bank as “–,” and will transmit via MIDI the bank number speciﬁed by “Bank (EX2) MSB” and “Bank (EX2) LSB” in the Param1 page (3.1–1(2)a).

1.1–2(3)b: PLAY/MUTE/REC, SOLO On/Off

PLAY/MUTE/REC [PLAY, MUTE, REC]

Speciﬁes the mute status of each track, and select the recording tracks for multi-track recording. During playback or single track recording (normal recording), you can select PLAY or MUTE for tracks other than the recording track. During multi-track recording, each track can be set to PLAY, MUTE, or REC. Use the [INC][DEC] keys, or the [VALUE] dial to change the setting.

PLAY: The track will play. MUTE: The track will be muted (silent). REC: This will appear in single track recording (normal

recording). It cannot be selected. If you have selected multi-track recording (Preference page “Multi REC” on), select REC for the tracks that you wish to record.

SOLO On/Off [SOLO On, SOLO Off]

Turn the Solo function on/off. Select the box located at the right of “PLAY/MUTE/REC,” and turn the setting on/off. A track for which this is turned on will show an “S” in the box, and only that track will sound. The other tracks will be muted.

In the case of tracks whose “Status” (3.1–1(2)a) is BTH, EXT, or EX2, a track that has been muted by the Mute or Solo functions will not transmit note on/off data on the MIDI channel speciﬁed for that track.

If the utility menu command “Solo Selected Track” (1.1–1d) is on, you cannot turn the solo mode off from here, its solo state will take priority. To turn the solo mode off in this case, you must use the utility menu command (1.1-1d) to deselect it. When you press “SOLO On/Off” or a parameter of another track, only that selected track will be soloed, and will be heard.

■ 1.1–2(3)c: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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

Select by Category

Select the program for each track by category. This will appear and can be selected when “Program Select” is selected. (

☞PROG 1.1–1a)

1.1–4: Mix..8 (Mixer T01...08)

1.1–5: Mix..16 (Mixer T09...16)

Here you can set the pan and volume of each track. The pan and volume that you specify here will be used when you playback or record from the beginning of the song. If you change the settings during recording, the changes will be recorded as sequencer data, and pan and volume will change during playback. You can also change the settings during playback. However when the song reaches a location where pan or volume data was recorded, the settings will change as recorded.

1.1–4a

1.1–1c

1.1–4b

1.1–4(5)a: Pan, Volume

Pan (Panpot) [RND, L001...C064...R127]

Sets the pan of tracks 1–16. L001...C064...R127: A setting of L001 is far left, and R127 is

far right. A setting of C064 will reproduce the pan setting of the oscillator in Program mode.

OSC1

Left

OSC1

Left

If a mono-type insertion effect is inserted, this setting will be ignored. In this case, the 7.1: Insert FX Setup page “Pan (CC#8)” setting will adjust the pan of the sound following the insertion effect. (

RND: The sound will be panned randomly at each note-on.

If “Status” (3.1–1(2)a) is INT or BTH, CC#10 Panpot can be received to control the panning. When receiving CC#10, a value of 0 or 1 is far left, 64 is center , and 127 is far right. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the pan you specify here as a MIDI message (except for RND).

Center

OSC2

OSC1: Amp1 Pan=L001 OSC2: Amp2 Pan=R127

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

OSC2

OSC1: Amp1 Pan=C064 OSC2: Amp2 Pan=C064

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

☞p.158 “3. Mixer”)

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

Volume [000...127]

Set the volume of tracks 1–16.

When “Status” (3.1–1(2)a) is INT or BTH, CC#7 V olume can be received to control the volume. The volume of a track is determined by multiplying the MIDI Volume (CC#7) and Expression (CC#11) values. When you change the song or return to the beginning of the song, tracks whose “Status” is EXT, EX2 or BTH will transmit the volume you specify here as a MIDI Volume message.

■ 1.1–4(5)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

1.1–6: Pref. (Preference)

Here you can select the method of real-time recording, and set the metronome.

1.1–6a

1.1–1c

1.1–6b

1.1–6a: Rec Setup, Metronome

Indicates the method of real-time recording. Refer to BG p.64, 78 for the real-time recording.

REC Setup:

Recording Mode [Over Write...Loop All Tracks] Over Write

When recording for the ﬁrst time, you will normally select this method. To begin recording, press the [REC/WRITE] key and then the [START/STOP] key. To stop recording, press the [START/STOP] key once again. Be aware that when this method of recording is used to record on a track that already contains data, any previously existing data will be erased from the measure at which you begin recording and from all subsequent measures.

Over Dub

Select this when you wish to add data to a previouslyrecorded track. To begin recording, press the [REC/WRITE] key and then the [START/STOP] key. To stop recording, press the [START/STOP] key once again. Previously-recorded data will remain in the track, and the newly-recorded data will be added.

Manual Punch In

Select this method when you wish to use the [REC/WRITE] key or a foot switch to re-record selected portions of a previously-recorded track. Press the [START/STOP] key to playback the song. When you reach the measure at which you wish to begin re-writing the data, press the [REC/WRITE] key or the foot switch, and recording will begin. When you are ﬁnished recording, press the [REC/WRITE] key or the foot switch once again, and recording will end.

Auto Punch In

Select this method when you wish to automatically rerecord selected portions of a previously-recorded track. If you select Auto Punch In, the display will indicate “M***– M*** (Auto P Start Meas–Auto P End Meas)” at the right, allowing you to specify the range of measures that will be rewritten. Press the [REC/WRITE] key and then the [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur only over the speciﬁed area (“Auto P Start Meas–Auto P End Meas”), rewriting it with the newly recorded data.

Auto P Start Meas–Auto P End Meas

[M001...M999–M001...M999]

When “Recording Mode” is set to Auto Punch In, specify the measures at which recording will start and end.

Loop All Tracks

Select this method when you wish to repeatedly record a speciﬁed area of a track, and continue adding data. This is suitable for creating drum patterns, etc. If you select Loop All Tracks, the display will indicate “ M***–M*** (Loop Start Meas–Loop End Meas)” at the right, allowing you to specify the range of measures that will be recorded repeatedly. Press the [REC/WRITE] key and then the [START/STOP] key, and playback will occur until the speciﬁed measure is reached. Then, recording will occur repeatedly over the speciﬁed area (“Loop Start Meas”–“Loop End Meas”). Previously-recorded data will remain, and the new data will be added. While recording, you can check “Remove Data” to delete unwanted data.

If you check “Multi REC,” Loop All Tracks cannot be selected.

Loop Start Meas–Loop End Meas

[M001...M999–M001...M999]

When the “Recording Mode” is set to Loop All Tracks, you can specify the range of measures that will deﬁne the loop.

Remove Data [Off, On]

You can delete unwanted musical data while recording with Loop All Tracks. This is available when Loop All Tracks is chosen in “Recording Mode.”

On (checked): During recording, press the key (note number) that corresponds to the musical data you wish to delete. All occurrences of that note number will be deleted for the interval that you continue holding down the key. Controller data can also be erased in a similar way. For example while you move and hold the joystick in the X (horizontal) direction, bender data will be erased. While you apply pressure to the keyboard, after touch data will be erased.

Also, you can press and hold down the [REC/WRITE] key to delete all musical data for as long as the key is held.

Multi REC [Off, On]

On (checked): Multi-track recording mode will be selected. Check this when you wish to record multiple tracks simultaneously. Use this when you want to record a keyboard performance using a Combi, or to realtime-record an arpeggiator performance on multiple tracks of differing channels. If this is checked, the “PLAY/MUTE/REC” (1.1–2(3)b) setting of all tracks will be set to REC. At this time, use the Program page (1.1–2(3)b) “PLAY/ MUTE/REC” setting to specify the tracks on which multitrack recording will occur. (

The Multi REC setting also allows MIDI data on multiple channels to be received from a multi-track sequencer connected to this instrument, and recorded simultaneously on multiple tracks. In this case, MIDI data of matching MIDI channels will be recorded on tracks whose “PLAY/MUTE/REC” (1.1–2(3)b) is set to REC, regardless of the “Track Select” (1.1–1c) setting. When you do this, it is a good idea to set “MIDI Clock” (GLOBAL 2.1–1a) to External so that this instrument will synchronize to the external sequencer. However, tempo changes will not be recorded.

☞p.237 “Recording musical data from an external device”

Off (unchecked): Single track recording mode will be selected. Recording will occur on the track you select in “Track Select.”

☞BG p.80)

Metronome:

Here you can adjust the metronome settings.

Metronome Sound [REC Only, REC/Play, Off]

REC Only: The metronome will sound only during recording. REC/Play: The metronome will sound during recording and playback. Off: The metronome will not sound. However, the pre-count will sound before recording begins. This parameter is linked to SEQ 5.1: RPPR Pattern “Metronome Sound” (5.1–1b).

Precount [0…2]

Speciﬁes the pre-count that will occur before recording begins. With a setting of 0, recor ding will begin the instant you press the [START/STOP] key (after ﬁrst pressing the [REC/ WRITE] key).

Level [000…127]

Sets the volume of the metronome.

BUS (BUS Select) [L/R, L, R, 1, 2, 1/2]

Select the output destination of the metronome sound. L/R, L, R: Output from OUTPUT (MAIN) L/MONO and/or

R. 1, 2, 1/2: Output from OUTPUT (INDIVIDUAL) 1, 2, respectively.

SEQ 1.2: Loop

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

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

When playing/recording a song, you can independently loop the playback of tracks 1–16.

1.2–1a

1.1–1c

1.2–1b

1.2–1(2)a: Track Play Loop

Loop On [Off, On]

Turn looping on/off for each track 1–16. On (checked): That track will loop between “Loop Start

Meas” and “Loop End Meas.”

Loop Start Meas (Loop Start Measure) [001...999]

Speciﬁes the ﬁrst measure of the loop.

Loop End Meas (Loop End Measure) [001...999]

Speciﬁes the last measure of the loop.

Play Intro [Off, On]

On (checked): After the measures before the speciﬁed “Loop Start Meas” are played once, the region of “Loop Start Meas” – “Loop End Meas” will be played repeatedly. For example, you can use this on a drum track to make it play a ﬁll-in and then begin looping. Off (unchecked): Playback will begin from the “Loop Start Meas,” and will begin looping immediately.

This will be valid if “Track Play Loop” is checked and “Loop Start Meas” is set to other than 001.

Example)

When “Play Intro” is checked

Track 1 will loop as follows. M001–M002–M003–M004–M003–M004–M003–M004…

When “Play Intro” is not checked

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

■ 1.1–6b: UTILITY ☞“Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load T emplate Song”, “Save Template Song”, “FF/REW Speed”, “Set Location,” “GM Initialize” (1.1–1d)

Track 1 will loop as follows. M003–M004–M003–M004–M003–M004–M003–M004...

■ 1.2–1(2)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

SEQ 2.1: Cue List

2.1–1: Cue List

The cue list allows you to playback multiple songs in succession. You can specify a number of repetitions for each song. This instrument allows you to create twenty cue lists. In a single cue list you can freely connect up to 99 songs. Each unit in a cue list is called a “step,” and you can specify a song number and a repeat (number of repetitions) for each step. For example you could create each part of a song (intro, melody A, melody B, break, solo backing, ending etc.) as an individual song, and use a cue list to play the intro twice, melody A four times, melody B four times, the break twice, melody A four times ... etc. to produce the entire song. In cases when you wish to change the structure of the song, this Cue List function can help you work more efﬁciently. The utility menu command “Convert to Song” (2.1–1e) lets you convert the songs in a cue list into a single song. For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

2.1–1a

2.1–1b

2.1–1c

2.1–1e2.1–1d

2.1–1a: Location, Meter, Cue List Select, Track

Select, Selected Track Information,  (Tempo), Tempo Mode

Location [0001:01.000…9999:16.191]

This displays the current location within the selected cue list. From the left, the numbers indicate the measure, beat, and clock. The range of the beat and clock will depend on the time signature of the corresponding song.

When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, changing the location within a cue list will cause Song Position Pointer messages to be transmitted. If “MIDI Clock” is External, this message can be received from the speciﬁed source to change the location within the cue list. If the location exceeds the allowable data range of a Song Position Pointer message, it will not be transmitted.

Meter (Time Signature) [1/4...16/16]

This displays the time signature of the currently-playing song.

Cue List Select [C00...C19: name]

Indicates the cue list that you wish to play. When using a cue list to play songs, you must ﬁrst load the necessary data into internal memory, either from SmartMedia, or by a MIDI data dump from an external sequencer (

☞p.129).

When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, selecting a cue list in this page will cause a Song Select message (corresponding to the cue list number) and Song Position Pointer message to be transmitted. When “MIDI Clock” is External, a Song Select message from the speciﬁed source will switch cue lists.

Track Select [T01...T16: name]

Indicates the track that you wish to play manually from the keyboard along with the playback. While a cue list is playing, you can play along using the track settings and musical data of the song selected by the current “Step” (2.1–1c). The track you select here will also follow the track settings and musical data of the currently playing song. If you wish to continue using the same program to play along from the keyboard with consecutive songs, specify the same program for this track in the songs of each Step.

Selected Track Information

This area shows the program bank number, program number, and name of the track selected in “Track Select.”

 (Tempo) [040...240, EXT]

Speciﬁes the tempo at which the song in the cue list will be played (

☞“1.1–1a: Tempo”).

Tempo Mode [Auto, Manu]

Auto: Playback will use the tempo speciﬁed by the currently playing song. During playback, the “ (Tempo)” setting cannot be modiﬁed. Manu (Manual): Tempo speciﬁed in the song will be ignored, and playback will use the tempo speciﬁed above for “ (Tempo).”

2.1–1b: Step, Cue Edit-Song, Rep (Cue Edit-Repeat), FX (Cue Edit-Load FX)

Here you can create and edit a Cue List. When creating a new cue list, the cue list will show a default cue list of two “Steps,” consisting of “Step” 01 (S000: NEW SONG) and “Step” 02 (End). To create or edit a cue list, press the [F7] (“EDIT”) key. If you now select a song for “Step” 01, that song will play once. If you set “Rep (Repeat)” to 02, that song will play twice. Press [F7] (“EDIT”), and with “Step” 01 selected, press the [F4] (“Insert”) key to insert a step. For example with “Song” S001 selected for “Step” 01, set “Rep” to 02, select “Song” S002 for “Step” 02 and set “Rep” to 02. When you press the [START/STOP] key, song 1 (S001) will be played twice, and then song 2 will be played twice. In this way, arrange the desired songs in the cue list and specify the number of times that each will be played.

Step [Measure] [01...100 (M0001...M9999)]

This shows the step number and its beginning measure. When playback is stopped, the step currently selected by “Step” (2.1–1c) will be a black triangle. When you use the [STAR T/STOP] key to begin playback, it will begin fr om this step. While a cue list is playing, the playing step will be a black triangle. “M**** (Measure)” shows the beginning measure of each step. It cannot be edited.

Cue Edit-Song

[S000...S199: name, End, Continue to Step01]

This selects the song for the step. It cannot be selected during playback. You can also select whether playback will end with the last step in the cue list, or whether playback will return to “Step”

01 and continue endlessly. End: Playback will end. Continue to Step01: Playback will return to “Step” 01, and

the cue list will continue playing endlessly . To stop, press the [START/STOP] key.

Rep (Cue Edit-Repeat) [01...64, FS]

Speciﬁes the number of times that the song of this step will be repeated. FS: A foot switch connected to the rear panel can be used to specify the point at which the song will stop repeating. When you press the foot switch, that repetition of the song will ﬁnish playing, and then playback will continue to the next step. Set “Foot Switch Assign” (GLOBAL 6.1–1a) to Cue Repeat Control.

FX (Cue Edit-Load FX) [Off, On]

Speciﬁes whether the effect settings will also change simultaneously when the playback advances to the song of the next step.

On (checked): The effect settings will change to those of the newly selected song. Off (unchecked): The effect settings will not change.

Depending on the effect settings, a certain amount of time may be required to switch effects. In this case, playback will not be smoothly connected from song to song. If you want to transition smoothly from song to song,

check “FX” in “Step” 01. For the remaining steps, do not check “FX” With these settings, the effects will be

set before playback begins, so there will be no time lag to interrupt the smooth transition between songs. Although it is not possible to change the effect types in the middle of a cue list, you can use the dynamic modulation function or MIDI control changes (effect control) to apply reverb more deeply to certain songs, or raise the LFO speed for other songs, etc. When using a cue list to construct a song, we recommend this method. When you execute the “Convert to Song” (2.1–1e) page menu command, the effect settings of the “Step” 01 song will be speciﬁed at the beginning of the song that is created by the conversion.

Even when “FX” is not checked, there may be a time lag in the transition from one song to the next, depending on the musical data in the song. There may also be cases in which the musical data at the transition between songs does not play at the correct timing. To ﬁx this, you can edit the musical data of the song, or convert the cue list to a single song. If you use “Convert to Song” (2.1–1e) to convert the cue list to a song, there will be no time lag at the transition, and the musical data will play at the correct timing.

2.1–1c: Step (Current Step)

Step (Current Step) [01...100]

Indicates the step that will be inserted, cut or copied. If you wish to playback from a step in the middle of the cue list, select the desired step here, and press the [START/ STOP] key.

Last Step [Last: 001...100]

This will be displayed at the right of “Step” for the last step.

2.1–1d: EDIT/DONE, INSERT, CUT, COPY

EDIT/DONE ([F7])

Press this to create or edit a cue list. When you press this key, the display will change from “EDIT” to “DONE.” When you are ﬁnished creating or editing the cue list, press “DONE” (the [F7] key).

INSERT ([F4])

When you press the [F4] (“Insert”) key, the step data that was temporarily saved in the buffer by the [F6] (“Copy”) key or [F5] (“Cut”) key will be inserted at the “Current Step.” (If copy or cut has not been executed, default data will be inserted.)

CUT ([F5])

When you press the [F5] (“Cut”) key, the “Current Step” will be cut, and its data will be saved temporarily in the buffer. If you Insert immediately after you cut, the data will return the state in which it was before you cut.

COPY ([F6])

When you press the [F6] (“Copy”) key, the data of the “Current Step” will be saved temporarily in the buffer. Press the [F4] (“Insert”) key to insert the copied step into the “Step.”

■ 2.1–1e: UTILITY

☞“Memory Status,” “FF/REW Speed,” “Set Location” (1.1–

1d)

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

Rename Cue List

This command lets you rename the selected cue list. In the “Rename Cue List” dialog box, press the [F5] (“Name”) key, and enter the desired name. You can input up to 16 characters. (☞BG p.43)

Delete Cue List

This command deletes the currently selected cue list.

1 Select “Delete Cue List” to access the dialog box.

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

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

executing, press the [F7] (“Cancel”) key. When you execute this command, the settings of the currently selected cue list will be deleted.

Copy Cue List

This command copies the settings of another cue list to the currently selected cue list.

1 Select “Copy Cue List” to access the dialog box.

2 In “From,” specify the copy source cue list. 3 To execute, press the [F8] (“OK”) key. To cancel without

executing, press the [F7] (“Cancel”) key. When you execute this command, the settings of the currently selected cue list will be deleted and rewritten by the copy source data.

Convert to Song (Convert Cue List to Song)

This command converts a cue list consisting of multiple songs to a single song. Although it is not possible to record additional tracks into a cue list, you can convert the cue list to a song, and then record solos etc. onto open tracks. Also, it will be necessary to convert a cue list to a song if you wish to write it to a SmartMedia as SMF data. During the conversion, the track and effect settings of the song speciﬁed for “Step” 01 will be copied to the beginning of the resulting song, and all track and effect settings of subsequent songs will use the settings of the song for “Step” 01.

The “Convert to Song” command converts a cue list to a song as described below.

Song/Track parameters will use the settings of the “Step” 01 song.

The MIDI channel of each track will be according to the settings of the “Step” 01 song. If “Step” 02 and following songs have different settings, it may not be possible to convert the playback result of the cue list into a song. As far as possible, try to keep the MIDI channel assignments consistent between songs that you intend to use as part of a play list that will be converted into a song.

The following track parameters will not be reﬂected in the conversion. As with the MIDI channels, we recommend that you keep these settings consistent between all songs in the cue list.

SOLO On/Off, Status, MIDI Channel, Bank(EX2) LSB, Bank(EX2) MSB, Force OSC Mode, OSC Select, Delay, Use Programs Scale, Key Zone, Velocity Zone, MIDI Filter1–4

Converting Song/Track parameters into track events

Second and subsequent repetitions of the “Step” 01 song, and the settings of “Step” 02 and following songs will all be converted into track events (musical data). The following data will be converted.

Track1–16 Bank/Program, P an, Volume , Portamento, Detune,

Master T rack Tempo, Meter

If “Pan” (1.1–4(5)a) is RND, it will be converted to C064. If “Portamento” (3.1–3(4)a) is PRG, or if “Bend Range” (3.1– 5(6)a) is PRG or a negative value, these will not be reﬂected in the conversion.

“Detune” (3.1–5(6)a) will be divided into RPN Fine Tuning and Coarse Tuning, and converted into events. For example if the “Detune” setting of +600, Fine Tuning will be 00 and Coarse T uning will be 6. Fine Tuning will modify the playback pitch (Detune). Coarse T uning will change the notes that are played back (Transpose). For this reason with some programs such as drum pro-

Bend Range

grams, the playback result produced by a cue list may not be reproduced when the cue list is converted into a song.

Converting “Track Play Loop” (SEQ 1, 2: Loop, Track Playloop page)

If “Loop On” is on, the area from “Loop Start Meas” to “Loop End Meas” will be expanded as far as the last measure in the master track.

Example)

If Track Play Loop is M005–M008, and the master track contains 10 measures, the data will be expanded from the beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8, M005, 6.

Converting patterns

Patterns in the “Step” 01 song will be copied as patterns of the converted song. If there is a second or subsequent repeat for “Step” 01, or if the tracks of “Step” 02 and subsequent songs contain patterns, they will be expanded into track events (musical data).

“Transpose” settings

If the “Transpose” (3.1–5(6)a) of the tracks in “Step” 02 and subsequent songs differ from the settings of the “Step” 01 song, the note numbers of the note data will be shifted.

Example)

If “Step” 01 “Transpose” = +1 and “Step” 02 “Transpose” –1, the actual note numbers of the “Step” 02 track note data will be shifted downward by 2.

If “Rep” is set to FS (Foot Switch), it will be converted as “Rep”

When you execute “Convert to Song” to convert a cue list to a song, the repeat settings within the cue list and the pattern and track play loop settings of the songs used by the cue list will all be converted into events such as note data. For this reason, the amount of data will increase signiﬁcantly, and in some cases there may not be enough internal memory to perform the conversion. In particular if the cue list uses long songs, or if numerous repeats have been speciﬁed, or if many patterns are used by the songs, you should try executing the “Convert to Song” command from time to time as you create the cue list, in order to verify the amount of memory that will be required for the conversion.

A cue list that is longer than 999 measures cannot be converted into a song.

1 Select the cue list (C00–C19) that you wish to convert into

a song.

2 Select “Convert to Song” to access the dialog box.

3 In “To,” specify the song into which the cue list will be

converted. If you select a new song, a dialog box will ask you for conﬁrmation. Press the [F8] (“OK”) key to create a new song and convert the cue list to that song.

4 To execute the conversion, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data that was converted from the cue list. Before you execute, be sure that you will not be losing important data.

After executing this command, you can press the [COMPARE] key to return to the state before execution.

Copy Song

This command creates a song from a speciﬁed portion of a song in a cue list. For example if you have an eight-measure song and want to repeat measures 5–8, you can use this command to create a four-measure song from that portion. Then you can assign the resulting song to a step in a cue list, and repeat it.

1 In “Step,” select the desired step. 2 Select “Copy Song” to access the dialog box.

SEQ 2.2: Controller

2.2–1: Ctrls (Controls)

Here you can set the B-mode functions that the REALTIME CONTROL knobs [1]–[4] and the [SW1] key, [SW2] key, will have in Sequencer mode.

When these switches or knobs are operated during recording, the MIDI messages that you assign here will be recorded.

2.2–1a

3 In “From Measure,” specify the ﬁrst measure in the copy

source song. In “To End of Meas,” specify the last measure.

4 In “To,” specify the song into which the data will be con-

verted. If you select a new song, a dialog box will ask you for conﬁrmation. Press the [F8] (“OK”) key to create a new song and copy the data to that song. If you select an existing song that already contains settings and/or musical data, executing this command will erase the data of that song and rewrite it with the data from the copy source. Before you execute, be sure that you will not be losing important data.

5 If you check “Replace to original Song in Cue” and exe-

cute this command, the “Step” song will be replaced by the newly created song. If you execute without checking this box, the newly created song can be selected later for the desired step of the cue list.

6 To execute the Copy Song operation, press the [F8]

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

2.2–1c2.2–1b

2.2–1b: Knob B Assign

Here you can set the B-mode functions (mainly various control changes) that the front panel REALTIME CONTROL knobs [1]–[4] will have in Sequencer mode ( time Control Knobs B Assign List”). The functions you specify here will operate when you rotate the front panel REALTIME CONTROL knobs [1]–[4] in B-mode. Since the functions assigned to these knobs by the program of each track will not be valid, you can make new assignments here.

☞p.221 “Real-

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]

☞“Knob B Assign” (PROG 2.2–1a).

2.2–1b: SW1/2 Assign

Here you can assign functions to the front panel [SW1] and [SW2] keys ( Since the functions assigned to these switches and knobs by the program of each track will not be valid, you can make new assignments here.

☞p.220 “SW1, SW2 Assign List”).

SW1 (SW1 Assign) [Off, ..., AfterT Lock] SW1 Mode [Toggle, Momentary] SW2 (SW2 Assign) [Off, ..., AfterT Lock] SW2 Mode [Toggle, Momentary]

☞“SW 1/2 Assign” (PROG 2.2–1b).

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

2.2–1c: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

SEQ 3.1: Param1

3.1–1: MIDI..8 (MIDI T01...08)

3.1–2: MIDI..16 (MIDI T09...16)

Here you can make MIDI-related settings for each track.

3.1–1a

1.1–1c

3.1–1b

3.1–1(2)a: Status, MIDI Channel, Bank(EX2) MSB/ LSB

Status [INT, Off, BTH, EXT, EX2]

This sets the status of MIDI and the internal tone generator for each track.

INT: When the musical data recorded in the track is played back, or when you use “Track Select” (1.1–1c) to select a track that is set to INT and play the keyboard and operate the controllers, the internal tone generator of this instrument will sound, and MIDI data will not be transmitted to an external device. Off: The program will not sound, nor will MIDI data be transmitted. BTH: The operation of both INT and EXT will be performed. When the musical data recorded in the track is played back, or when you select a track that is set to BTH and play the keyboard and operate the controllers, the internal tone generator of this instrument will sound, and at the same time MIDI data will also be transmitted to an external device. EXT: When the musical data recorded in the track is played back, or when you select a track that is set to EXT and play the keyboard and operate the controllers, MIDI data will be transmitted to an external device, but the internal tone generator of this instrument will not sound. When you switch songs or reset to the beginning of the song, tracks that are set to EXT will transmit program change, volume, panpot, portamento, send 1, 2, post IFX pan, and post IFX send 1, 2 MIDI messages. EX2: “Bank Select” will be enabled. Instead of the A–g: (d) bank numbers that can be selected on this instrument, the bank number you specify here will be transmitted. In other respects this is the same as EXT.

MIDI data is transmitted and received on the MIDI channel that is speciﬁed separately for each track by “MIDI Channel.”

Recorded data Keyboard and controller operations

Status Internal tone

INT EXT, EX2 × BTH

generator

●

● ● ●

MIDI OUT Internal tone

●

Received data

generator

●

× —

MIDI OUT

—

MIDI Channel [01…16]

Speciﬁes the MIDI channel that the track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when “Status” is INT, the transmit channel when it is EXT or EX2, and the receive/ transmit channel when it is BTH. Tracks set to INT which have the same MIDI channel will sound and be controlled identically when they receive MIDI data or data from the sequencer tracks.

Bank(EX2) MSB [000...127] Bank(EX2) LSB [000...127]

When “Status” is set to EX2, this sets the bank number that will be transmitted. When “Status” is other than EX2, this setting has no effect.

3.1–1(2)b: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

3.1–3: OSC..8 (OSC T01...08)

3.1–4: OSC..16 (OSC T09...16)

These parameters specify how each track will be sounded.

3.1–3a

1.1–1c

3.1–3b

3.1–3(4)a: Force OSC Mode, OSC Select, Portamento

Force OSC Mode [PRG, Poly, Mono, LGT]

Indicates the “Voice Assign Mode” (PROG 2.1–1b) of the program selected for each track 1–16 (

OSC Select [Both, OSC1, OSC2]

Speciﬁes the “Oscillator Mode” (PROG 2.1–1a) of the program selected for each track 1–16. If the “Oscillator Mode” is Double, you can use this setting to make only one or the other oscillator sound (

☞COMBI 3.1–2a).

Portamento [PRG, Off, 001...127]

Speciﬁes the portamento effect for each track 1–16

☞COMBI 3.1–2a).

(

The portamento setting you make here will be used when the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as part of the musical data. (However if you set this to PRG, it will not be recorded.) You can change this setting during playback. However if you come to any Portamento On/Off data or Portamento Time data that was recorded, the settings will change to the recorded values. When the track whose “Status” (3.1–1a) is INT or BTH, MIDI control change (CC) #05 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.) When you switch songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit this setting via MIDI. If this is Off, CC#65 with a value of 0 will be transmitted. If this is 001–127, a CC#65 of 127 and CC#05 of 1–127 will be transmitted. If this is set to PRG, nothing will be transmitted. This data is transmitted on the MIDI channel speciﬁed for each track by “MIDI Channel” (3.1–1a).

3.1–3(4)b: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

“Transpose” and “Detune” settings do not affect the note data that is transmitted via MIDI. “Transpose” and “Detune” are controlled by received MIDI RPN messages. The “Oscillator Mode” (PROG 2.1–1a) of the programs selected for tracks 1–16 will be controlled as follows.

• If “Oscillator Mode” is Single or Double, MIDI RPN

Coarse Tune messages can be received to control and change the “Transpose” setting, and Fine Tune messages to control and change the “Detune” setting.

• If “Oscillator Mode” is Drums, MIDI RPN Coarse Tune

and Fine Tune messages can be received to control and change the “Detune” setting. The range of control will be ±1 octave when Coarse Tune and Fine Tune are added.

Bend Range [PRG, –24...+24]

Speciﬁes the range of pitch change that will occur when the pitch bender is operated.

PRG: The pitch range speciﬁed by the program will be used. –24–+24: Regardless of the setting of the program, pitch

bending will use the range you specify here.

This setting can be controlled and changed by received MIDI RPN Pitch Bend Range messages. (These messages will not be received if the setting is PRG.)

3.1–5(6)b: UTILITY

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

3.1–5: Ptch..8 (Pitch T01...08)

3.1–6: Ptch..16 (Pitch T09...16)

Here you can make pitch-related settings for each track.

3.1–5a

1.1–1c

3.1–5b

3.1–5(6)a: Transpose, Detune, Bend Range

Transpose [–24...+24]

Adjusts the pitch of each track in semitone steps. 12 steps are one octave.

Detune (BPM Adj.) [–1200... +1200]

Adjusts the pitch of each track in one-cent steps from the normal pitch.

0: Normal pitch.

You can use the “Detune BPM Adjust” (3.1–5(6)b) page menu command to make a calculation in BPM units and set Detune automatically.

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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

Detune BPM Adjust

If the program of a track uses a phrase or rhythm loop multisample or sample created by adjusting the BPM in Sampling mode (if the separately sold EXB-SMPL option is installed) or loaded in Media mode, this command adjusts the BPM. “Detune BPM Adjust” adjusts the BPM of the phrase or rhythm by changing the pitch. This command is available for a track when the “Detune” setting of that track is selected. When you execute this command, the selected “Detune” value will be adjusted. For the procedure, refer to “Detune BPM Adjust” (COMBI

3.1–3b).

SEQ 3.2: Param2

3.2–1: Othr..8 (Other T01...08)

3.2–2: Othr..16 (Other T09...16)

Here you can make additional settings for each track.

3.2–1a

3.2–1b

1.1–1c

SEQ 3.3: Key Zone

Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope settings specify the range from the top/bottom key until the original volume is reached.

These settings do not affect MIDI transmission/reception. All note data that is received will be recorded into the internal sequencer, and all note data from the internal sequencer or from the keyboard will be transmitted.

3.2–1c

3.3–1: Key..8 (Key T01...08)

3.2–1(2)a: Delay [ms], Use Prog’s Scale

Delay [ms] (Delay Time) [0000...5000, KeyOff]

Speciﬁes a delay time from when a track receives a note-on until it actually sounds.

KeyOff: The sound will begin when note-off occurs. In this case, the sound will continue indeﬁnitely unless the amp EG Sustain Level of the program is other than 0. This setting is useful for simulating harpsichord sounds. Normally you will leave this at 0.

Use Prog’s Scale (Use Program’s Scale) [On, Off]

Each track can use the scale that is speciﬁed for the program by “Type.”

On (checked): The scale of the program will be used. Off (unchecked): The scale speciﬁed by “Type” (3.2–1(2)b)

will be used.

3.2–1(2)b: Scale

Speciﬁes the scale that will be used for the song.

Type (Song’s Scale)

[Equal Temperament...User Octave 15]

Indicates the type of scale (☞“Type” PROG 2.1–1c).

Key [C…B]

Indicates the tonic key of the selected scale (☞“Key” PROG

2.1–1c).

Random [0…7]

As this value is increased, an increasingly random deviation will be added to the pitch at each note-on ( PROG 2.1–1c).

■ 3.2–1(2)c: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

☞“Random”

3.3–2: Key..16 (Key T09...16)

3.3–1a

3.3–1b

1.1–1c

3.3–1c

3.3–1(2)a: Key Zone Map

This shows the range of note data that will sound the currently selected track. The note range that will be sounded is shown as a line, and the slope portion is grayed. (

3.3–1(2)b: Top Key, Bottom Key

Top Key [C–1...G9]

Speciﬁes the top key (upper limit) that will be sounded by each track 1–8, 9–16.

Bottom Key [C–1...G9]

Speciﬁes the bottom key (lower limit) that will be sounded by each track 1–8, 9–16. For a diagram of Key and Slope parameters, refer to “COMBI 3.3: Ed-Key Zone.”

You can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

■ 3.3–1(2)c: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

☞p.39 COMBI 3.3–1a)

3.3–3: Slp..8 (Slope T01...08)

3.3–4: Slp..16 (Slope T09...16)

3.3–3a

1.1–1c

3.3–3b

SEQ 3.4: Vel Zone

Top/Bottom V elocity specify the range of velocities that will be sounded by tracks 1–8 and 9–16, and Top/Bottom Slope specify the range over which the volume will be adjusted.

3.3–3(4)a: Top Slope, Bottom Slope

Top Slope [00...72]

Speciﬁes the key range (12 is one octave) from the top key until the original volume is reached.

Bottom Slope [00...72]

Speciﬁes the key range (12 is one octave) from the bottom key until the original volume is reached.

■ 3.3–3(4)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

3.3–5: Review

3.3–5a

3.3–5b

3.3–5a: Key Zone Map (All)

T1...16

This shows the range of note data that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

■ 3.3–5b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

3.4–1: Vel..8 (Vel T01...08)

3.4–2: Vel..16 (Vel T09...16)

3.4–1a

3.4–1b

1.1–1c

3.4–1c

3.4–1(2)a: Velocity Zone Map (1)

This shows the range of velocities that will sound the currently selected track. The velocity range that will be sounded is shown as a line, and the slope portion is grayed. (

3.4–1(2)b: Top Velocity, Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity that will be sounded by each track 1–8, 9–16.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity that will be sounded by each track 1–8, 9–16. For a diagram of these parameters, refer to “COMBI 3.4: EdVel Zone.”

You can also enter a value for these parameters by playing a note while you hold down the [ENTER] key.

■ 3.4–1(2)c: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

☞p.40 COMBI 3.4–1a)

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

3.4–3: Slp..8 (Slope T01...08)

3.4–4: Slp..16 (Slope T09...16)

3.4–3a

1.1–1c

3.4–3b

3.4–3(4)a: Top Slope, Bottom Slope

Top Slope [0…120]

Speciﬁes the range of values over which the volume will be adjusted from the top velocity until the original volume is reached.

Bottom Slope [0…120]

Speciﬁes the range of values over which the volume will be adjusted from the bottom velocity until the original volume is reached.

■ 3.4–3(4)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

3.4–5: Review

3.4–5a

SEQ 4.1: MIDI Filter1

Here you can select whether or not to apply ﬁltering to the MIDI data received by tracks 1–16. For example even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other does not.

These MIDI ﬁlter settings have no effect on the MIDI messages that have already been recorded.

These MIDI ﬁlter settings do not affect the transmission of MIDI messages that have already been recorded. These settings affect the MIDI messages that are transmitted when you adjust program, pan, volume, portamento and send 1/2 parameters of a track whose “Status” (3.1–1(2)a) is set to BTH, EXT, or EX2.

On (checked): Reception of MIDI data is enabled. Tracks whose “Status” (3.1–1(2)a) is INT or BTH will receive MIDI messages whose channel matches and whose types are checked. The types of effect that are checked will be applied to the program of each track when this instrument’s controllers are operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.) Settings that regulate MIDI transmission/reception of this instrument itself are made in “MIDI Filter” (GLOBAL

2.1–1b).

If the user-assignable controllers that can be ﬁltered in the MIDI Filter 3 and MIDI Filter 4 pages are set to MIDI control changes, ﬁltering will be performed for these control changes. In this case, any control change ﬁltering that is being performed in the MIDI Filter 1 and MIDI Filter 2 pages will be given priority. Furthermore, if the same control change is assigned to multiple controllers for which there are ﬁlter settings in the MIDI Filter 3 and 4 pages, checking any one of these will enable that control change.

Off (unchecked): Reception of MIDI data is disabled.

3.4–5b

3.4–5a: Velocity Zone Map (All)

T1...16

This shows the range of velocity that will be sounded by tracks 1–16. The note range that will be sounded is shown as a line, and the slope portion is grayed.

■ 3.4–5b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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

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

4.1–1a

1.1–1c

4.1–1b

4.1–1(2)a: Program Change, After Touch

Program Change [Off, On]

Speciﬁes whether or not MIDI program change messages will be received.

After Touch [Off, On]

Speciﬁes whether or not MIDI after touch messages will be received.

■ 4.1–1(2)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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

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

JS-Y CC#02 [Off, On]

Speciﬁes whether or not MIDI control message #2 (the –Y axis of this instrument’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

■ 4.2–1(2)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

4.1–3a

1.1–1c

4.1–3b

4.1–3(4)a: Damper, Portamento SW

Damper CC#64 [Off, On]

Speciﬁes whether or not MIDI control change message #64 Hold (damper pedal) will be received.

Portamento SW CC#65 [Off, On]

Speciﬁes whether or not MIDI control change message #65 Portamento On/Off will be received.

4.1–3(4)b: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

SEQ 4.2: MIDI Filter2

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

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

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

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

4.2–3a

1.1–1c

4.2–3b

4.2–3(4)a: JSX/Bend as AMS, Ribbon

JSX/Bend as AMS [Off, On]

Allow incoming MIDI pitch bend messages (the X-axis of this instrument’s joystick) to control the AMS ( Modulation Source”) that is speciﬁed for JS X. (This is not a reception ﬁlter for MIDI pitch bend messages.)

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (speciﬁed as the B-mode assignment of REALTIME CONTROLS knobs [1]–[4], or the ribbon controller of a TRITON etc.) will be received.

■ 4.2–3(4)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

☞“Alternate

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

4.2–1a

1.1–1c

4.2–1(2)a: JS+Y, JS-Y

JS+Y CC#01 [Off, On]

Speciﬁes whether or not MIDI control message #1 (the +Y axis of this instrument’s joystick, or assigned to B-mode of the REALTIME CONTROL knobs [1]–[4]) will be received.

4.2–1b

SEQ 4.3: MIDI Filter3

Speciﬁes whether the A- and B-mode operations of REALTIME CONTROLS knobs [1]–[4] will be received. MIDI control messages are ﬁxed as the A-mode operation of each knob. In B-mode the knobs correspond to the messages you assign in the 2.2: Controller Controls page.

SEQ 4.4: MIDI Filter4

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

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

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

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

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

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

4.3–1a

1.1–1c

4.3–1b

4.3–1(2)a: Real-time Control Knob 1, 2

Knob1 [Off, On]

Speciﬁes whether or not the A-mode MIDI control change message #74 (this instrument’s low pass ﬁlter cutoff frequency) and the B-mode MIDI control change message will be received.

Knob2 [Off, On]

Speciﬁes whether or not the A-mode MIDI control change message #71 (this instrument’s low pass ﬁlter resonance or high pass ﬁlter cutoff frequency) and the B-mode MIDI control change message will be received.

4.4–1a

1.1–1c

4.4–1b

4.4–1(2)a: SW1, SW2

SW1, SW2 [Off, On]

Speciﬁes whether or not the effect of the [SW1] and [SW2] keys will be received. The function of these keys can be set in the 2.2: Controller page. This is valid when the switches are set to SW1 Mod.(CC#80), SW2 Mod.(CC#81) or Porta.SW(CC#65).

■ 4.4–1(2)b: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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

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

4.3–3(4)a: Real-time Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether or not the A-mode MIDI control change message #79 (this instrument’s ﬁlter EG intensity) and the Bmode MIDI control change message will be received.

Knob4 [Off, On]

Speciﬁes whether or not the A-mode MIDI control change message #72 (the release time of this instrument’s ﬁlter and amp EG’s, release time) and the B-mode MIDI control change message will be received.

■ 4.3–1(2)b, 4.3–3(4)b: UTILITY ☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

4.4–3a

1.1–1c

4.4–3b

4.4–3(4)a: Foot Pedal/Switch, Other Control

Change

Foot Pedal/Switch [Off, On]

Speciﬁes whether or not the effect of the ASSIGNABLE PEDAL/SWITCH will be received. The function of this switch is set in GLOBAL 1.1: System Foot page. This is valid when the switch is set to a MIDI control change.

Other Control Change [Off, On]

Speciﬁes whether or not MIDI controller messages other than those included in MIDI Filter 1–4 will be received.

■ 4.4–3(4)b: UTILITY

☞“Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load T emplate Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

SEQ 5.1: RPPR

On this instrument you can use preset patterns P000–149, and user patterns U00–99. One song can contain up to one hundred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected from any song. Preset patterns cannot be edited, but you may copy a preset pattern to a user pattern, and edit. User patterns can be created by realtime recording (including recording that uses the arpeggiator), step recording, the Get From Track command (obtaining data from a track), or the Copy Pattern command (copying from another pattern) (

☞✢✧ ❐✎✘✐).

These patterns can be assigned to each key by the RPPR (Real-time Pattern Play/Recording) function and played by pressing a single key, and the resulting performance can be recorded on the sequencer (

5.1–1: Pattern

If you wish to record pattern data, use “Pattern Bank” and “Pattern Select” to select a user pattern and pattern number. Next, use the “Pattern Param. (Pattern Parameter)” page menu command to set the number of measures in the pattern and its time signature. Then you can perform real-time recording in the Pattern Edit tab, or step recording by using the “Step Recording (Loop)” page menu command. Finally, use page menu commands as desired to perform event editing or other types of editing.

5.1–1a

5.1–1b

5.1–1a: Location, Song Select, Track Select

Location

This shows the current location of the selected pattern, in measure units.

Song Select [000…199: name]

Selects the song that you wish to use. (☞1.1–1b)

Track Select [T01…T16: name]

Selects the track that will record/play the pattern data. (

☞1.1–1c)

The program bank, number, and name of the selected track will be displayed at the right.

☞5.1–2: RPPR Setup page).

5.1–1c

5–1–1b: Pattern, Metro. (Metronome)

Pattern:

Pattern (Pattern Bank) [Preset, User]

Indicates the type of pattern. If you select Preset, recording will not be possible. You will be able to select and execute the utility menu commands “Copy Pattern,” “Bounce Pattern,” “Put To Track,” and “Copy To Track.”

Pattern Select [P00...149, U00..U99]

Indicates the pattern. User patterns can be renamed by the utility menu command “Rename Pattern.”

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo of the pattern. Refer to “ (Tempo)” (1.1–1a).

Resolution [Hi, 3 …  ]

Speciﬁes a correction to the timing when real-time recording a pattern. (

☞1.1–1a “Reso (Resolution)”)

Remove Data [Off, On]

Deletes unwanted musical data while recording a pattern. (

☞p.1.1–6a “Remove Data”)

Metro. (Metronome):

The metronome parameters you specify here are linked with the 1.1: Play/REC, Preference page Metronome parameters (1.1–6a).

Metronome Sound [REC Only, REC/Play, Off]

Speciﬁes whether the metronome will sound during recording or playback. (

☞1.1–6a “Sound (Metronome Sound)”)

Precount [0...2]

Speciﬁes the number of measures in the pre-count before recording begins. (

☞1.1–6a “Precount”)

Level [000...127]

Speciﬁes the volume of the metronome. (☞1.1–6a “Level”)

BUS (BUS Select) [L/R, L, R, 1, 2, 1/2]

Speciﬁes the output destination of the metronome sound. (

☞1.1–6a “BUS”)

■ 5.1–1c: UTILITY

☞“Memory Status,” “Rename Track” (1.1–1d)

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

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Rename Pattern

Press the [F5] (“Name”) key to access the dialog box, and rename the selected pattern. You may input up to sixteen characters. (☞BG p.43)

Step Rec (Loop)

Here you can perform step recording into a pattern. This is available when a user pattern is selected.

1 In “Pattern Bank” and “Pattern Select,” specify the pat-

tern. By default, the pattern length is one measure. If you wish to change the number of measures in the pattern, set the Utility “Pattern Param.”

2 Select the “Step Rec (Loop)” to access the dialog box.

Time signature

measure (beat, clock)

3 The remaining steps are the same as when step recording

Note numberLocation within the

a track. Refer to steps

Velocity

3 and following of “Step Record-

Length (beat, clock)

ing” (5.2–1b). However, step recording a pattern differs from step recording a track in that when you reach the end of the pattern, you will automatically return to the beginning of the pattern and continue recording, allowing you to add more data.

Event Edit

Here you can edit individual events of the musical data in a pattern that you input. Use “Pattern Bank” and “Pattern Select” to specify the pattern that you wish to edit. For the remaining steps, refer to “Event Edit” (5.2–1b).

Pattern Param. (Pattern Parameter)

This command speciﬁes the number of measures and the time signature of the selected pattern.

1 Use “Pattern Bank” and “Pattern Select” to specify the

pattern.

2 Select “Pattern Param.” to access the dialog box.

3 In “Length,” specify the number of measures in the pat-

tern.

4 In “Meter,” specify the time signature of the pattern.

However, this time signature is only temporary, and when you “put” the pattern in a track of a song, the pattern will play according to the time signature of that measure.

5 To execute the Pattern Parameter settings, press the [F8]

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

Erase Pattern

This command erases the musical data from the selected pattern.

1 Use “Pattern Bank” and “Pattern Select” to specify the

pattern.

2 Select “Erase Pattern” to access the dialog box.

3 If you check “All Pattern,” all user patterns in the song

will be erased. If “All Patterns” is not checked, only the pattern speciﬁed in

1 will be erased.

4 To execute the Erase Pattern command, press the [F8]

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

Copy Pattern

This command copies the settings and musical data of the selected pattern to another pattern. User patterns belong to a particular song, but you can use the Copy Pattern command to use a pattern in another song. While preset patterns cannot be edited, you can copy a preset pattern to a user pattern and then edit and save it as a user pattern. Be aware that when you execute the Copy Pattern operation, the pattern settings and musical data of the copy destination will be erased.

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

2 In From: “Pattern,” specify the copy source pattern. (By

default, this will be the pattern that was selected in the page.)

3 In To: “Song” and “Pattern,” specify the copy destination

song and pattern. For “Pattern,” only user patterns U00– U99 can be speciﬁed.

4 To execute the Copy Pattern command, press the [F8]

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

Bounce Pattern

This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination. The time signature and length of the pattern following execution will be according to the settings of the bounce destination. If MIDI control data exists in the selected pattern and in the bounce destination pattern, the resulting playback following the bounce operation may produce unexpected results. We recommend that you use “Event Edit” (5.1–1c) to prepare the MIDI control data of the two patterns before executing the Bounce Pattern command.

1 Use “Pattern Bank” and “Pattern Select” to specify the

bounce source pattern.

2 Select “Bounce Pattern” to access the dialog box.

3 In From “Pattern,” select the bounce source pattern. (By

default, the pattern that are selected in the page will be chosen.)

4 In To: “Song” and “Pattern,” select the bounce destina-

tion song and pattern. For “Pattern,” only user patterns U00–U99 can be speciﬁed.

5 To execute the Bounce Pattern command, press the [F8]

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

Get From Track

This command loads musical data from a track into the speciﬁed pattern.

1 Use “Pattern” and “Pattern Select” to specify the pattern. 2 In “Pattern Param.”, specify the pattern length of the

“get” destination.

3 Select “Get From Track” to access the dialog box.

4 In “From: Song,” select the “get” source song. 5 In “Track,” select the “get” source track. 6 In “Measure,” specify the ﬁrst measure of the “get”

source.

7 To execute the Get From Track command, press the [F8]

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

Put To Track

This command places a pattern into a track. Unlike the Copy to Track command, this command only places the pattern number in the song, so that when playback reaches that point, the pattern will be recalled. The musical data of the pattern will not actually exist in the track. By creating patterns that contain frequently-used phrases or drum patterns, and then placing them on the tracks, you can conserve memory. Be aware that when you edit a pattern, all locations in the song where that pattern has been placed will be affected.

When you execute the Put to Track command, the musical data will be affected as follows.

•Musical data previously existing at the “put” destination will be erased.

• The pattern that you “put” will playback according to the time signature that is specified by the measures of the “put” destination.

• Control data such as pitch bend etc. (but not including volume data) previously existing in the track will be reset immediately before the measure at which the pattern was “put.”

If you wish to use control data such as pitch bend in the measures in which a pattern is “put,” you must ﬁrst write the control data into the pattern ( To delete a pattern that has been placed in a track you can use “Erase Measure” (5.2–1b), specifying the area in which the pattern was “put,” and setting “Kind” to All.

Example: Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures

are reached, pattern 20 is called and its data is played.

Track 10 (Drums)

☞BG p.81).

4 In “Measure,” specify the ﬁrst measure of the “put” des-

tination.

5 To execute the Put to Track command, press the [F6]

(“Put”) key . When you execute the command, “Measur e” will automatically count up. If you wish to, you can continue “putting” the pattern. To exit the command, press the [F7] (“Exit”) key.

Copy To Track

This command copies the speciﬁed area of musical data from the speciﬁed pattern to a track as musical data. Unlike the Put To Track command, this command actually writes the musical data of the pattern into the track, so that you can edit the copied data in the track. Even if you later edit the copy source pattern, the musical data of the song will not be affected. When you execute the Copy to T rack command, the musical data will be affected as follows.

•Musical data previously existing in the copy destination measures will be erased.

• The musical data that is copied will playback according to the time signature specified at the beginning of the copy destination measures.

Example: Copy the musical data of pattern 41 to measure 2

Before Copy

After Copy

1 432

Pattern 41

1 432

The procedure is the same as for the Put to Track command.

☞“Put To Track” (5.1–1c).

Rename Track

Press the [F5] (“Name”) key to access the dialog box and rename the selected track. Up to sixteen characters can be input. (☞BG p.43)

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Pattern 20

1 Select “Put to Track” to access the dialog box

2 In “Pattern Bank” and “Pattern Select,” select the “put”

source pattern. (By default, this will be the pattern selected in page)

3 In “To: Track,” select the “put” destination track.

5.1–2: RPPR Setup

Here you can make settings for the RPPR (Real-time Pattern Play/Recording) function. RPPR lets you assign a pattern from a song to each key, and then playback patterns simply by pressing individual notes on the keyboard. The results can also be recorded. For each song, you can assign either a preset pattern or a user pattern to each of the seventy two keys in the range C#2–C8. For each key, you can specify the pattern, track number, and how the pattern will be played.

The arpeggiator is not operated by patterns played back by RPPR. When RPPR is on, keys for which no pattern is assigned will sound the track selected by “T rack Select.” At this time, the arpeggiator will operate if either arpeggiator A or B is selected for that track and turned on. RPPR will not be triggered by notes generated by the arpeggiator.

When Local Control is OFF (“Local Control On” GLOBAL 2.1–1a), the keyboard will not trigger RPPR pattern playback. Notes received at MIDI IN on the channel of the track currently selected by “T rack Select” will trigger patterns. If you have recorded only the trigger notes on an external sequencer and wish to playback the external sequencer to trigger RPPR patterns on this instrument, set Local Control OFF. If you want the note data generated by RPPR to be recorded on the external sequencer, set Local Control ON, and turn off the echo back function of the external sequencer.

In the RPPR Setup page, RPPR is turned on automatically. This will be the same result as when the RPPR check box (1.1–1c) in each page is checked.

5.1–2a

5.1–2b

5.1–2d5.1–2c

KEY (Key Select) [C#2...C8]

Indicates the key that you wish to edit. The following parameters will apply to the key that you select here. The key can also be selected by holding down the [ENTER] key and playing a note on the keyboard.

Assign [Off, On]

On (checked): When you play the key speciﬁed by “KEY,” the pattern selected in “Pat (Pattern Bank),” “Pattern Select” will be triggered. Off (unchecked): That key will sound the currently selected track at the corresponding pitch, just as in normal Sequencer mode.

Pattern (Pattern Bank) [Pre, User] Pattern Select [P000...149, U00...99]

Indicates the RPPR pattern for the key selected in “KEY.” If the selected user pattern contains no musical data, there will be no sound when you press that key.

Track [T01...T16: name]

Indicates the track that will be used for the RPPR pattern selected for the “KEY.” When you play the key, the pattern will be played according to the settings of the track you select here. Track settings are made in 1.1: Play/REC–4.4: MIDI Filter 4. When you record in real-time with the RPPN function turned on, the data will be recorded on the track you select here. (

☞BG p.74)

M (Mode) [Once, Manual, Endless]

Speciﬁes how the pattern of the speciﬁed “KEY” will be played.

Once: When you press the key, the pattern will playback only once to the end. Manual: The pattern will continue repeating as long as you continue holding the key , and will stop when you release the key. Endless: The pattern will continue repeating even after you release the key. To stop the pattern playback, press any note below C2, or press the same key once again.

Key-on

Key-off

Same key, or C2 Key-off

5.1–2a: Track Select, (Tempo)

Track Select [T01…T16: name]

Indicates the track that will trigger RPPR. When note data is received on the MIDI channel of the selected track, the corresponding pattern will play. (

☞1.1–1c)

The program bank, number, and name of the selected track will be displayed at the right.

 (Tempo) [040...240, EXT]

Speciﬁes the playback tempo for RPPR. Refer to “ (Tempo)”

☞1.1–1a).

(

5.1–2b: RPPR Setup

Keyboard & Assigned drawing

This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function. (Assignments are not possible for the keys displayed in gray.)

Non-assignable keys Assigned keys

Selected key

Non-assigned keys

START STOP

Once

START STOP

Manual

START STOP

Endless

Shift [–12...+12]

Adjust the playback pitch of the pattern for the speciﬁed “KEY” in semitone steps over a range of ±1 octave. With a setting of 0, the pattern will be played at its original pitch.

Sync [Off, Beat, Measure, SEQ]

Speciﬁes how the pattern playback will be synchronized when you press the speciﬁed “KEY.”

Off: The pattern will begin playing at the moment you press the note. Beat: The pattern will synchronize to the beats of the pattern that was started by the ﬁrst key (i.e., the ﬁrst note-on that occurs from a condition where no notes of the keyboard are pressed). This setting is suitable when you wish to play phrase patterns in unison.

Measure: The pattern will synchronize to the measures of the pattern that was started by the ﬁrst key. This setting is suitable for rhythm, bass or drum patterns. SEQ: The pattern will synchronize to the measures of the sequencer song.

Key 1 on

Song

Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings

Sync: OFF

Pattern 1

Pattern 2

Sync: Beat

Pattern 1

Pattern 2

Sync: Measure

Pattern 1

Pattern 2

Sync: SEQ

Pattern 1

Pattern 2

Sync settings

Key 2 on Key 1 off

•When Beat or Measure are selected, pattern playback

will begin when you press the first key. The second and subsequent patterns that are triggered from the keyboard will synchronize to the pattern that was started by the first key; with a setting of Beat they will synchronize in steps of a beat, and with a setting of Measure they will synchronize in steps of a measure.

•When SEQ is selected, the pattern will playback in

synchronization with the measures of the sequencer song. The pattern will synchronize with the currentlyplaying song, so you must start the song before you play notes on the keyboard.

• Beat, Measure, and SEQ will cause the pattern to start

immediately if you play the key within a thirty-second note of the timing of the respective beat or measure, but if you play the key later than this, the start of the pattern will be delayed by a beat.

Stopping playback of a RPPR pattern

By pressing C2 or any lower note, all the patterns being played by RPPR will stop. The patterns of keys whose “Sync” setting is Off will stop immediately, but the playback of other keys will stop at the beginning of the next beat or measure. Pattern playback of keys whose “Sync” setting is other than Off can be stopped immediately by rapidly pressing C2 or any lower note twice in succession.

Example) Using RPPR to assign preset patterns P00, P01, and P02 to keys

Before you begin, assign a drum program such as A036 to track 1.

1 Select C#2 as the “KEY.” Check “Assign,” and set “Pat

(Pattern Bank),” “Pattern Select,” and “Track.”

2 Select D2 as the “KEY.” 3 Press the [F4](“REVERT”) key, and the “Pat (Pattern

Bank),” “Pattern Select” (Pat: Pre, P00: Pop&Balad 1/Std) and “Track” (T01: Drums) that you selected in step

will be copied automatically.

4 Change only the “Pattern Select.” Select “Pattern Select,”

and press the [INC] key to select P01: Pop&Balad 2/Std.

5 Select D#2 as the “KEY.” 6 Press the [F4](“REVERT”) key, and the “Pat (Pattern

Bank),” “Pattern Select” (Pat: Pre, P01: Pop&Balad 2/Std) and “Track” (T01: Drums) that you selected in step

will be copied automatically.

7 As you did in step 4, set “Pattern Select” to P02:

Pop&Balad 3/Std.

In this way you can use the “REVERT” to efﬁciently assign “Pat (Pattern Bank),” “Pattern Select” and “Track” to each “KEY” of an RPPR Setup. This function is particularly convenient when the patterns you are assigning to each key are numbered consecutively or close to each other, and are used in the same track, as in the example shown above.

■ 5.1–2d: UTILITY

☞“Memory Status” (1.1–1d), “Rename Track” (5.1–1c)

SEQ 5.2: Track Edit

5.2–1: Track Edit

Here you can edit the settings of the currently selected track and the musical data that has already been recorded, as well as perform step recording. When you wish to edit musical data or perform step recording, ﬁrst use the tab page window to select the track and specify the desired area. Then select the appropriate utility menu command.

SEQ

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■ 5.1–2c: REVERT

This copies “Pat (Pattern Bank),” “Pattern Select” and “Track” settings from the previously-edited “KEY” whose “Assign” is checked to the currently-edited “KEY.”

5.2–1a

Displays the playback data (selected track is highlighted)

: Playback data exists No playback data Pattern used

From Measure

To End of

Measure

5.2–1b

5.2–1a: T rack Select, Measure (From)/Meas. (To End of)

Track Select [T01...T16, Master Trk]

Use the cursor keys [ ][ ] to select the track in which you wish to record or edit (or use as the copy source). If you wish to select all tracks, you do not need to select T01...T16. Simply check “All T racks” in the dialog box of the utility menu command. Master Trk: You can edit the tempo and time signature of the master track.

Measure (From) [001...999]

Specify the ﬁrst measure that will be edited (or used as the copy source) or step-recorded.

Meas. (To End of) [001...999]

Specify the last measure that will be edited (or used as the copy source).

■ 5.2–1b: UTILITY

☞“Memory Status” (1.1–1d), “Rename Track” (5.1–1c)

Step Recording

Step recording allows you to specify the length and velocity of each note numerically, and to input the pitches from the keyboard. You can use the[F4] (“Rest”) key and [F5] (“Tie”) key to input a rest or tie.

Be aware that if you step-record onto a track which already contains sequence data, all data will be erased from the measure speciﬁed in “Measure (From)” and all subsequent measures.

It is best to use the “Create/Ers. Ctrl” Create mode to input data whose data whose value changes continuously, such as pitch bend, and to use “Event Edit” to input individual data items such as program changes.

1 Use “Track Select” to select the track into which you wish

to input data, and use Track Edit tab item “Measure (From)” to specify the measure at which you wish to begin input.

2 When you select “Step Recording,” the following dialog

box will appear.

Time signature

measure (beat, clock)

3 In “Meter,” set the time signature.

This will show the time signature that has already been set for the measure. If you change the time signature setting, the time signature data of the measures you record will change, and all tracks will change to the time signature you speciﬁed.

Note numberLocation within the

Velocity

Length (beat, clock)

4 In “Step (Step Time),” specify the length of the basic step

that you wish to input, in terms of a note value. For “Step (Step Time),” a Triplet (3)/Normal(–)/Dot(.) symbol located at the right of the note type indicates the length of the note. The note type can be selected from a range of  (whole note) –  (32nd note). If you set Triplet/Normal/Dot to 3 (Triplet), triplets of the speciﬁed note value will be used as the step time. If you select “–” (Normal), the speciﬁed note value will be used without change. If you select “.” (Dot), the speciﬁed note will be dotted. The following table shows the number of clocks for each “Step (Step Time)” setting.



(0:24)(0:48)(0:96)(1:00)(2:00)(4:00)



(0:36)

 

(0:72)

 

(0:144)

 

(1:96)

 

(3:00)

 

(6:00)

333333



(0:16)(0:32)(0:64)(0:128)(1:64)(2:128)

5 In “Duration,” specify the length that the note will actu-

ally be held, relative to the “Step (Step Time).” In general, 100% will be tenuto, 85% will be normal, and 50% will be staccato.

6 Use “Vel (Velocity)” to specify the velocity value (key-

board playing strength) of the note data. With the [PAUSE] key pressed, you can hold down the [ENTER] key and play a note on the keyboard to specify the velocity value. If you set this to Key, the actual velocity at which you played the key will be input.

7 Note events can be input as described below, using com-

mands from the keyboard and function keys.

Inputting notes

When you press a key on the keyboard, that note number will be input as a note of the length speciﬁed in When you press a chord on the keyboard, those note numbers will be input as chords of the length speciﬁed in

4. Since each of the note numbers you press before

releasing all of the keys will be input at the same location, the notes will be input as a chord even if they are actually played at different times. Each time you press and release the keyboard, the location will advance by the length speciﬁed in

Inputting rests

Press the [F4] (“Rest”) key to input a rest of the length speciﬁed in

Inputting a tie

If you press the [F5] (“Tie”) key without pr essing the keyboard, the previously-input note will be tied, and lengthened by the amount speciﬁed in If you press the [F5] (“Tie”) key while holding down a note, the note you are playing will be tied, and lengthened by the amount speciﬁed in

You can even input notes as shown in the following diagram.





Step Time =

Tie

Press G



Step Time =

Press E and C





Step Time =

Off

Release E (continue holding C)

Deleting a note or rest

To delete a note or rest, press the [F6] (“Back”) key. The location will move backward by the amount speciﬁed in

4, and the data in that interval will be deleted.

Auditioning the next note before input

If you wish to make sure of the next note before you actually input it, press the [PAUSE] key (the LED will light). Now when you press a key, you will hear sound but the note will not be input. Press the [PAUSE] key once again (the LED will go dark) to cancel the pause mode and resume input.

8 When you are ﬁnished with step recording, press the [F8]

(“Done”) key. If you press the [COMPARE] key, you will return to the condition of before you began step recording.

Event Edit

Here you can edit individual events of music data that were input.

1 Use “Track Select” to select the track that you wish to

edit, and use the T rack Edit tab “Measure (Fr om)” ﬁeld to specify the measure at which you wish to begin editing.

2 If you selected Track01–16 in “T rack Select,” selecting this

command will open the Set Event Filters dialog box.

In the Set Event Filters dialog box you can select the types of events (musical data) that will appear and can be edited in the event edit window. For “Note” you can set “Btm (Bottom)” and “Top” to specify the range of notes. These settings can also be entered by holding down the [ENTER] key and pressing a key. Normally you will leave these set at C–1 and G9. “Control Change” lets you specify the control change number. Normally you will leave this set at ALL. If you selected Master Track in “Track Select,” this dialog box will not appear. You can also check various other events (“Pitch Bend,” “Program Change,” “After Touch,” and “Poly After Touch”).

3 Press the [F8] (“OK”) key to open the Event Edit dialog

box.

Measure

4 Use the cursor keys [ ], [ ], [ ], [ ] to select the

event that you wish to edit. You can also press the [F1] (“JUMP”) key and use “M (Measure)” and “Index” so that the events of the measure being edited and the index number within that measure are displayed at the beginning of the dialog box.

5 Select the event that you wish to edit, and use the

[VALUE] dial etc. to modify its value(s).

• By modifying the value of the “Bt” (Beat. Tick) location within the measure, you can move the event within the measure.

• You can edit each event by modifying its data value(s). When you select a note event, it will sound.

6 You can press the keys located at the function of the dia-

log box to edit events as follows.

Inserting an event

Select the “Bt” location where you wish to insert an event, and press the [F4] (“Insert”) key to insert an event.

Deleting an event

Select the event that you wish to delete, and press the [F5] (“Cut”) key to delete the event.

Moving an event

You can use the [F5] (“Cut”) key and [F4] (“Insert”) key to move an event (by “cut and paste”). Use the [F5] (“Cut”) key to delete the event that you wish to move, then use the [F4] (“Insert”) key to insert it at the desired location. You can also move an event by modifying its “Bt” value.

Copying an event

Select the event that you wish to copy, and press the [F6] (“Copy”) key. Then select the copy destination and press the [F4] (“Insert”) key to insert the event at that location.

7 The end of the pattern is indicated as End of Pattern.

When you are ﬁnished event editing, press the [F8] (“OK”) key. If you press the [COMPARE] key, you will return to the state before you began event editing. The following table shows the types of musical data that can be edited by “Event Edit” and the range of their values.

BAR (displayed only)

(Measure line)

C–1...G9 * (Note data)

P.Aft (Polyphonic after touch)

Ctl.C (Control change)

PROG (Program change)

AftT (After T ouch)

BEND (Pitch bend)

Val: 1...127 * (Velocity)

C–1...G9 (Note number)

#: 0...101 (Control change number)

Bnk: A...D, 000...127, G, g(d), - - (Program bank)

0...127 (value)

–8192...+8191 (value)

:Be aware that since the time signature is recorded in the

Meter: 1/4...16/16 * (Time signature)

L: 000.000...15984.000 (Length: beats, clocks)

Val: 0...127 (Value)

No.: 0...127, 1...128 (G, g(d)) (Program number)

master track, modifying it from any track will affect the same measure of all tracks, causing them to be played in that time signature.

:Note data and velocity values can also be entered by

holding down the [ENTER] key and playing a note on the keyboard.

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Index no.

Location within the measure (beat, clock)

Event data

Pattern numbers will be displayed in locations in which a pattern has been “put” (placed). At the end of the track there will be an indication of End of Track.

Erase Track

This command erases the data from the speciﬁed track. However, it is not possible to erase the master track by itself.

1 In “Track Select,” select the track that you wish to erase. 2 Select “Erase Track” to access the dialog box.

If you check “All Tracks,” the musical data of all tracks will be erased.

3 To execute the Erase Track command, press the [F8]

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

Copy/Bounc. Trk (Copy/Bounce Track)

Copy Track

Copies the musical data of the copy source track to the speciﬁed track. Be aware that when you execute Copy Track, the data that previously existed in the copy destination track will be erased.

Bounce Track

Combines the musical data of the bounce source and bounce destination, and moves this data into the bounce destination. All musical data that had been in the bounce source will be erased. If the bounce source track and bounce destination track contain MIDI control data, this operation may produce unexpected results. To prevent this from happening, use the Erase mode of the “Event Edit” or “Create/Ers. Ctrl” utilities to edit the MIDI control data of the two tracks beforehand.

1 Select “Copy/Bounc. Trk” to access the dialog box.

2 Set “Mode” to either Copy or Bounce. 3 Set “From” to the copy source (bounce source) track, and

set “T o” to the copy destination (bounce destination). (By default, “From” will be initially set to the “Track Select” track.)

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

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

Erase Measure

This command erases the speciﬁed type(s) of musical data from the speciﬁed range of measures. The Erase Measure command can also be used to remove only a speciﬁc type of data. Unlike the Delete Measure command, executing the Erase Measure command does not cause the subsequent measures of musical data to be moved forward.

1 Use “Track Select” to select a track. 2 Select “Erase Measure” to access the dialog box.

4 In “Kind,” specify the type of data that will be erased.

All will erase all types of data from the track, Note will erase note data, Ctl.C will erase control change data, AftT will erase both channel pressure and polyphonic key pressure data, BEND will erase pitch bend data, and PROG will erase program change data.

5 If you check “All Tracks,” the speciﬁed type of data will

be erased from all tracks.

6 To execute the Erase Measure command, press the [F8]

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

Example: If measures 2–3 are erased, measures 2–3 will be blank.

Before Erase

After Erase

21 543

No data

If control data extends across measures that were erased and measures that were not erased, only the data within the range being erased will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

Note data can also be erased using “Shift/Ers. Note”. Use this command when you wish to erase a speciﬁc range of notes, or to erase notes from a speciﬁc “Beat.Tick.”

You can also erase control changes by using the Erase mode of “Creat/Ers. Ctrl.” Use this when you wish to specify the type of control change to be deleted, or to use “Beat. Tick” units to specify the range from which the data will be deleted.

Delete Measure

This command deletes the speciﬁed measures. When the Delete Measure command is executed, the musical data following the deleted measures will be moved forward in units of a measure.

1 Use “Track Select” to select the track. 2 Select “Delete Measure” to access the dialog box.

3 In “From Measure” select the ﬁrst measure that you wish

to delete, and in “To End of Measure” select the last measure that you wish to delete. (By default, “From Measure” and “T o End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 If you wish to delete musical data from all tracks includ-

ing the master track, check “All Tracks.” If this is not checked, data will be deleted only from the track that was selected by “Track Select.”

5 To execute the Delete Measure command, press the [F8]

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

3 In “From Measure” select the ﬁrst measure to be erased,

and in “To End of Measure” select the last measure to be erased. (By default, “From Measure” and “To End of Measure” will be set to the range that you speciﬁed in the Track Edit page.)

Example: When measures 3–5 are deleted, measures 6–8 are moved forward.

Before

1 2 3 4 5 6217 8

Delete

After Delete

543

If in 4 you uncheck “All Tracks” and execute this operation, the measures will not be deleted from the master track. Time signature and tempo data will remain unchanged, and the time signature and tempo of the measures that were moved forward as a result of the Delete operation will change.

Example: When measures 2 and 3 (3/4 time) of track 2 are deleted, the measures that were

at 4 and 5 are moved forward, and their time signature will change to 3/4.

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Before Delete

Track 1

1 (4/4) 3 (3/4) 5 (4/4)2 (3/4) 4 (4/4)

Track 2

ward by the number of measures that were inserted. However, the time signature and tempo will not move.

7 To execute the Insert Measure command, press the [F8]

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

Time signature = */*

Track 1

Before Insert

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

After Delete

Track 2

Track 1

2 (3/4)1 (4/4) 3 (3/4)

2 (3/4)1 (4/4) 3 (3/4) 4 (4/4) 5 (4/4)

If in 4 you check “All Tracks” and execute this operation, the speciﬁed measures of musical data will be deleted from all tracks including the master track, and the time signature and tempo will also move forward by the number of measures that were deleted. If control data extends across a line between measures that were deleted and measures that were not deleted, only the data within the range being deleted will be erased. However if note data extends across two or more measures, deleting any of the intervening measures will delete that note data from the following measures as well.

Insert Measure

This command inserts the speciﬁed number of measures into the speciﬁed track. When you execute the Insert Measure command, the musical data following the insert location will be moved backward. If musical data is inserted into an area across which note data has been tied, a note-off will be created immediately before the inserted measure, and the subsequent portion of the note will be deleted.

1 In “Track Select,” specify the track into which you wish

to insert.

2 Select “Insert Measure” to access the dialog box.

After Insert

Before Insert

After Insert

1 (4/4) 2 (4/4)

Track 2

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Measures 4 and 5 will use the previously specified time signature.

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 1

1 (4/4) 2 (4/4) 4 (5/4) 5 (2/4)3 (3/4)

Track 2

Insert two measures

Track 2

1 (4/4) 2 (7/8) 4 (5/4) 5 (2/4)3 (7/8)

Track 1

Measures 2 and 3 will be 7/8, and measures 4 and 5 will be the previously specified time signature.

3 (3/4)

Time signature = 7/8

5 (2/4)4 (5/4)

5 (2/4)4 (5/4)1 (4/4) 2 (7/8) 3 (7/8)

Repeat Measure

This command repeatedly inserts the speciﬁed measures for the speciﬁed number of times. When you execute the Repeat Measure command, the measures will be inserted following the measure speciﬁed by “To End of Measure,” and musical data following the inserted data will be moved backward. It is convenient to use this command when you have a song that you playback with “T rack Play Loop” (1.2–1(2)a) turned on, and wish to expand it into musical data.

1 Use “Track Select” to select the track whose measures

you wish to repeat.

2 Select “Repeat Measure” to access the dialog box.

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

3 In “At Measure,” specify the measure location at which

the data will be inserted. (The measure you speciﬁed in Track Edit page “Measure (From)” will be set as a default.)

4 In “Length,” specify the number of measures that will be

inserted.

5 In “Meter,” specify the time signature of the measures

that will be inserted. If you want the inserted measures to match the existing time signature, specify */*. With any setting other than */*, the time signature of the inserted measures will change, and the speciﬁed time signature will apply to all tracks for those measures.

6 If you wish to insert measures into all tracks including

the master track, check “All Tracks.” The musical data following the inserted measures will playback in the same way it did before the measures were inserted. If “All Tracks” is unchecked, the measures will be inserted into the speciﬁed track. At this time, the musical data following the inserted location will be moved back-

3 In “From Measure” and “To End of Measure,” specify the

range of measures that will be repeated. (By default, “From Measure” and “To End of Measure” will be set to the range you speciﬁed in the Track Edit page.)

4 In “Times,” specify the number of repetitions. For exam-

ple if you set “From Measure” to 001, “To End of Measure” to 004, and “Times” to 2, the musical data of measures 1–4 will be inserted into measures 5–8. The result will be that measures 1–4 will be played twice.

5 If you wish to repeat the musical data of all tracks includ-

ing the master track, check “All Tracks.”

6 To execute the Repeat Measure command, press the [F8]

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

If you execute the Repeat Measure operation on measures 1–4 with “Time” = 2, measures 1–4 will be inserted into measures 5–8.

Before Repeat Measure

After Repeat Measure

Track 1

1 2

3 4

5 6

1 2

3 4

5 6

Copy Measure

This command copies measures of musical data from the copy source to the speciﬁed measure location. When you execute the Copy Measure command, the track data at the copy destination will be rewritten.

1 Select the copy source song. 2 Select “Copy Measure” to access the dialog box.

5 To execute the Move Measure command, press the [F8]

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

Example: When you move the musical data of track 1 measures 2–4 to track 2 measure 3, track 1 measures 2–4 will be inserted into track 2 measures 3–5. The musical data of track 2 measures 3 and 4 will move back (to measures 6 and 7). The musical data of track 1 measures 5–7 will move to measures 2–4.

Tra ck 1 (move source)

1 5

6 7

3 In “From: Track,” select the copy source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” the musical data of all tracks including the master track will be copied.

4 In “From Measure” and “To End of Measure,” specify the

range of copy source measures. (By default, “From Measure” and “T o End of Measure” will be the range that you speciﬁed in the Track Edit page.)

5 In “To: Song,” specify the copy destination song. In

“Track” (when “All Tracks” is unchecked) specify the copy destination track. In “Measure,” specify the ﬁrst measure where the copied measures will be inserted.

6 To execute the Copy Measure operation, press the [F8]

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

Example: When you copy measures 5–7 of track 1 to the third measure of track 2,

measures 3–5 of track 2 will be rewritten.

Track 1 (source)

Track 2 (destination)

2 (4/4)1 (4/4) 5 (3/4)4 (3/4)3 (4/4)

2 (4/4)1 (4/4) 5 (3/4)4 (3/4)3 (4/4) 6 (3/4) 7 (4/4)

6 (3/4) 7 (4/4)

Move Measure

This command moves measures of musical data to a speciﬁed destination. When you execute the Move Measure command, musical data following the move source will be moved forward according to the number of measures moved, and musical data following the move destination will be moved backward correspondingly.

1 Select “Move Measure” to access the dialog box.

2 In “From: Track,” select the move source track. (By

default, this will be the track you selected in “Track Select.”) If you check “All Tracks,” musical data of all tracks including the master track will be moved.

3 In “From Measure” and “To End of Measure,” specify the

range of measures that will be moved. (By default, “From Measure” and “T o End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 In “To: Track” (if “All Tracks” is unchecked), specify the

move destination track. In “Measure,” specify the ﬁrst measure of the move destination.

Tra ck 2 (move destination)

2154367

Create/Ers. Ctrl (Create/Erase Control Data)

This command inserts (creates) or erases data such as control changes, aftertouch, pitch bend, or tempo in the speciﬁed region.

Create Ctrl Data (Create Control Data)

Here’s how you can insert (create) various types of data in the region you specify.

1 In “Track Select,” specify the track in which you wish to

create control data. If you wish to create tempo data, set this to the Master Track. In this case, “Kind” in step will be Tempo.

2 Select “Create/Ers. Ctrl” to access the dialog box.

3 Specify the region in which the control data will be

inserted. Use “From Measure” to “To Measure” to specify the range of measures, and “Beat. Tick” to specify the beat and clock. (By default, “From Measure” and “To Measure” will be set to the region you speciﬁed in the Track Edit page.)

4 Set “Mode” to Create. 5 “Kind” to the type of musical data (event) that you wish

to create. Ctl.C: Control change data will be inserted. In this case, use “#” to specify the control change number.

AftT: Aftertouch data will be inserted. BEND: Pitch bend data will be inserted.

6 Specify the start location value and end location value of

the data that will be inserted. “Start” speciﬁes the value at the start location, and “End” speciﬁes the value at the end location. By default, the value at the start location will be set for “Start.” If you want to create control data that changes smoothly from the value at the start location, you should leave the start location value unchanged, and set only the end location value.

7 To execute the Create Control Data command, press the

[F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

Example: The controller is aftertouch. Starting location is 3:48, ending location is 4:24,

and end value is set to 100. This will cause the aftertouch value to begin changing from 3:48, and reach a value of 100 at 4:24.

After touch

127 100

Start location End location

Previous data

3:00 3:24 3:48 3:72 4:00 4:24 4:48

End Value

Start Value

default value

Location

Executing the Create Control Data command will use up a substantial amount of sequencer memory. This means that if there is only a small amount of free memory remaining, it may not be possible to create the data. If this occurs, you should ﬁrst use “Quantize” to quantize the data, deleting unneeded control data. Alternatively, you can apply the Quantize function to the data that was inserted by Create Control Data.

Ers. Ctrl Data (Erase Control Data)

Here’s how you can erase various types of data from the region you specify.

1 In “Track Select,” specify the track from which you wish

to erase control data. If you wish to erase tempo data, set this to the Master Track. In this case, “Kind” in step

will be Tempo.

2 Select “Create/Ers. Ctrl” to access the dialog box.

3 Specify the region from which the control data will be

erased. Use “From Measure” to “To Measure” to specify the measures, and “Beat. Tick” to specify the beat and clock. (By default, “From Measure” and “To Measure” will be set to the region you speciﬁed in the Track Edit page.)

4 Set “Mode” to Erase. 5 “Kind” to the type of musical data (event) that you wish

to erase. Ctl.C: Control change data will be erased. In this case, use “#” to specify the control change number.

AftT: Aftertouch data will be erased. BEND: Pitch bend data will be erased.

6 To execute the Erase Control Data operation, press the

[F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

If you wish to erase all control changes from a certain range of measures, it is also possible to do this by using “Erase Measure” and selecting Ctl.C as the data to be erased. However if you use the Erase Control Data described above, you can specify the range using “Beat. Tick,” and erase only speciﬁc control change data.

Quantize

This command corrects the timing of musical data that has already been input. When you execute the Quantize operation, the musical data will be affected as follows.

•When you execute Quantize on note data, the timing of the note-on will be corrected, but the length (duration of the note) will not be affected.

• If the Quantize resolution is set to Hi, the timing will be adjusted to units of the base resolution (/192), so note data will not be affected. However, continuous controller data such as joystick or after touch which occupies a large amount of memory will be processed so that two or more data events of an identical type existing at a single interval of the timing resolution will be combined into a single event, thus conserving memory. Similarly, two or more data events of an identical type existing at the identical timing will be combined into one, also conserving memory.

1 In “Track Select,” specify the track. 2 Select “Quantize” to access the dialog box.

3 Specify the range that will be quantized. In “From Mea-

sure” and “To Measure,” specify the measures. In “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “T o End of Measure” will be the range that you speciﬁed in the Track Edit page.)

4 Use “Kind” to select the type of musical data (events)

that will be quantized.

All: All musical data will be quantized. Note: Note data will be quantized. Use the “Range”

parameters “Btm (Bottom)” and “Top” to specify the range of notes. This is useful when you wish to quantize only speciﬁc notes (for example, just the snare sound of the drum track). “Btm (Bottom)” sets the lower limit of the notes. If you wish to quantize all notes, set this to C–

1. “Top” sets the upper limit of the notes. If you wish to quantize all notes, set this to G9. The note can also be set by holding down the [Enter] key and playing a key. Ctl.C: Control changes will be quantized. To limit the type of control changes, use “#” to specify the number. AftT: Both channel pressure and poly key pressure data will be quantized.

BEND: Pitch bend data will be quantized. PROG: Program change data will be quantized.

5 In “Resolution,” specify the timing resolution to which

the data will be corrected. By setting a lower resolution you can save more memory, but the timing of the playback may not be acceptable.

6 In “Offset,” specify the number of clock by which the

data will be moved forward or backward relative to the standard timing. A setting of 96 will be  , and 48 will be  . Positive (+) settings will adjust the data forward, and negative (–) settings will adjust the data backward. This allows you to simulate “pushing” or “dragging” the beat.

7 In “Intensity,” specify the degree of sensitivity to which

the timing will be corrected; i.e., how close to the locations speciﬁed by With a setting of 0, no correction will take place. With a setting of 100, the data will be moved all the way to the timing intervals speciﬁed by

5 and 6 the data will be moved.

5 and 6.

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

8 To execute the Quantize command, press the [F8] (“OK”)

key. To cancel, press the [F7] (“Cancel”) key. By varying the Offset and Intensity settings you can create quantize effects such as the following.



Original

100%

Quantize Resolution = Offset = 0, Intensity = 100%

Quantize Resolution = Offset = 0, Intensity = 50%

Quantize Resolution = Offset = +48, Intensity = 100%

Quantize Resolution = Offset = +48, Intensity = 75%

Quantize Resolution = Offset = –24, Intensity = 100%



100%

50% 50%

50%

100%

+48

75%

+48+48

100%

–24

100%

50%

100% 100%

100%

+48 +48

75% 75%

75%

+48

100% 100%

–24

100%

75%

+48

–24

sure” and specifying Note. However if you use the operation described here, you will be able to use “Beat. Tick” to specify the range, and erase only the speciﬁc notes you wish.

6 To execute the Erase Note command, press the [F8]

(“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

Modify Velocity

This command modiﬁes the velocity values of notes in the speciﬁed area so that they will change over time according to a selected curve.

1 In “Track Select,” specify the track whose velocity will be

modiﬁed.

2 Select “Modify Velocity” to access the dialog box.

Shift/Er. Note (Shift/Erase Note)

This command shifts (moves) or erases the speciﬁed note numbers in a speciﬁed track and range of measures.

1 In “Track Select,” select the track on which you wish to

execute the Shift/Erase Note command.

2 Select “Shift/Ers. Note” to access the dialog box.

3 Specify the range in which you wish to shift or erase note

numbers. In “From Measure” and “To Measure,” specify the measures. In “Beat.Tick,” specify the beat and clock. (By default, “From Measure” and “To Measure” will be the range that you speciﬁed in the Track Edit page.)

4 Specify the range of notes that you wish to shift or erase.

“Note Range: Btm (Bottom)” speciﬁes the lower limit, and “T op” speciﬁes the upper limit. If you wish to edit all notes, set “Btm (Bottom)” to C–1 and “Top” to G9. These settings can also be made by holding down the [ENTER] key as you play a note.

To shift notes

5 For “Mode,” select “Shift (Replace)” or “Shift (Create),”

and use the parameter at the right to specify the amount by which the notes will be shifted. The amount of shift can be adjusted in semitone steps, over a range of –127 to +127. +1 raises the note by a semitone.

6 Use either “Shift (Replace)” to move the note numbers, or

“Shift (Create)” to add new note numbers. For example if you have speciﬁed a drum program for the track, you can use “Replace” to change the snare sound into a different snare sound, or use “Create” to layer a sound effect on the snare sound. Or you could use this on a guitar phrase to add a lower octave to the notes.

7 To execute the Shift Note command, press the [F8]

(“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

To erase notes

5 For “Mode,” select Erase.

If you wish to erase all note data from a certain range of measures, this can also be done by using “Erase Mea-

3 Specify the range in which note velocity will be modiﬁed.

“From Measure” and “To Measure” specify the measure, and “Beat.Tick” specify the beat and clock. (By default, “From Measure” and “To Measure” will be set to the range that you speciﬁed in the Track Edit page.)

4 Specify the range of notes that will be affected by the

Modify Velocity command. Note Range “Btm (Bottom)” is the lower limit, and “Top” is the upper limit. If you wish to edit all notes, set “Btm (Bottom)” to C–1 and “Top” to G9. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

5 In “Velocity Start” specify the value at which the velocity

data will start, and in “Velocity End” specify the ﬁnal velocity value. These settings can also be made by holding down the [ENTER] key as you play a note on the keyboard.

6 In “Intensity,” specify the degree to which the velocity

data will be adjusted toward the curve you specify in

With a setting of 0 [%], the velocity will not change. With a setting of 100 [%], the velocity will be exactly as described by the curve.

7 “Curve”* lets you select from six types of curve to specify

how the velocity will change over time.

8 To execute the Modify Velocity operation, press the [F8]

(“OK”) key. To cancel, press the [F7] (“Cancel”) key. The six curves are as follows.

For a Start Velocity of 1 and End Velocity of 127

127

Velocity

127

Velocity

Start Measure

Curve 1

Curve 4

End Measure

Velocity

127

Start Measure

Curve 2

Curve 5

End Measure

127

Velocity

127

Velocity

Start Measure

Curve 3

Rndm

RANDOM

End Measure

Set Song Length

This command changes the length of the speciﬁed song. When it is executed, the length of the master track will change, and the number of measures played will change.

1 Select “Set Song Length” to access the dialog box.

2 In “Length,” specify the length of the song. 3 To execute the Set Song Length command, press the [F8]

(“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key.

Be aware that if you shorten the song, data will also be deleted from the tracks other than the master track.

SEQ 6.1: Arp. (Arpeggiator)

Here you can specify how the arpeggiator will operate in Sequencer mode. These settings can be made for each song. In Sequencer mode (as in Combination mode), you can run the two arpeggiators simultaneously. This allows you to apply different arpeggio patterns to different sounds that have been split across the keyboard, or use velocity to switch between two different arpeggio patterns, etc. In Sequencer mode, the musical data generated by the arpeggiator during song track or pattern realtime-recording can be recorded. While you record, you can modify the arpeggio pattern and parameters, and adjust the REALTIME CONTROLS C-mode [ARP-GATE] knob and [ARP-VELOCITY] knob etc.

It is not possible to set the tempo of the arpeggiator and the sequencer independently.

When “MIDI Clock” (GLOBAL 2.1–1a) is Internal, the arpeggiator can be synchronized to the start timing of the internal sequencer.

•When you turn on the arpeggiator and press the [START/STOP] key, the arpeggiator will synchronize to the timing of the sequencer.

•When you press the [START/STOP] key, the arpeggiator and sequencer will both stop. If you wish to stop only the arpeggiator, press the [ARP ON/OFF] key.

When the arpeggiator “Key Sync” is off, you can turn on the [ARP ON/OFF] key and play the keyboard to start the arpeggiator running during the pre-count before realtime recording begins, so that the arpeggiator performance will be recorded from the beginning of the pattern at the same time that recording begins. (

When “MIDI Clock” is External, the MIDI realtime clock messages transmitted from the external MIDI device connected to MIDI IN connector can perform the same type of control. Even in this case, you can start/stop using the [START/ STOP] key of the TRITON Le’s sequencer.

☞BG p.107)

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

6.1–1: Set..8 (Setup T01–08)

6.1–2: Set..16 (Setup T09–16)

6.1–1a

6.1–1b

1.1–1c

6.1–1c

6.1–1(2)a: Arpeggiator Run, (Tempo)

Arpeggiator Run A, B (Run A, B)

When the [ARP ON/OFF] key is on, the arpeggiator(s) that are checked here will function for the track(s) to which they are assigned by “Assign.” When the arpeggiator is on, A and B can be turned on/off independently.

 (Tempo) [040...240, (EXT)]

Specify the tempo of the arpeggiator. Refer to “ (Tempo)” (

☞1.1–1a).

6.1–1(2)b: Assign

Assign [Off, A, B]

This assigns arpeggiator A or arpeggiator B to each track 1– 8, 9–16. When the [ARP ON/OFF] key is turned on, the arpeggiator speciﬁed for each track will run, subject to the “Arpeggiator Run” settings and setting here.

Off: The arpeggiator will not operate. A: Arpeggiator A will operate. Use the Arp. A page to select

the arpeggio pattern and set the parameters. B: Arpeggiator B will operate. Use the Arp. B page to select the arpeggio pattern and set the parameters.

For tracks that you wish to realtime-record, select either arpeggiator A or B. If you specify an arpeggiator for two or more tracks, the arpeggiator will play each of the tracks you specify. You can set A and B to two different MIDI channels, and control one from the keyboard and the other from an external MIDI device connected to MIDI IN. You can also use multi-track recording (MultiREC) to simultaneously record the note data that is generated from the two arpeggiators.

The arpeggiator cannot be triggered by the notes played by the sequencer.

If the tracks 1–16 assigned to arpeggiators A and B have a “Status” (3.1–1(2)a) of INT or BTH, they will be played by the note data generated by the arpeggiator. If the “Status” is BTH, EXT, or EX2, MIDI note data will be transmitted on the “MIDI Channel” of each track.

In this case, arpeggiator A or B will be triggered by the “MIDI Channel” of any track 1–16 to which the corresponding arpeggiator is assigned.

If the (“Local Control On” GLOBAL 2.1–1a) is turned OFF, the arpeggiator will not be triggered by note data from the keyboard. It will be triggered by note data received at MIDI IN. If you wish to record just the trigger notes on an external sequencer and run the TRITON Le’s arpeggiator in this way, turn Local Control OFF.

If you want the note data generated by the arpeggiator to be recorded on the external sequencer, turn Local Control ON, and turn off the echo back function of the external sequencer.

You can control the arpeggiator from an external sequencer, or record arpeggio note data on an external sequencer. (

Example 1)

On tracks 1 and 2, set “MIDI Channel” (3.1–1(2)a) to 01 and “Status” (3.1–1(2)a) to INT. Assign arpeggiator A to track 1 and arpeggiator B to track 2, and check “Arpeggiator Run A, B” (6.1–1a). In “Track Select” (1.1–1c) choose Track01. With the front panel [ARP ON/OFF] key OFF, play the keyboard and tracks 1 and 2 will sound simultaneously.

When you turn on the front panel [ARP ON/OFF] key and play the keyboard, arpeggiator A will operate for track 1 and arpeggiator B will operate for track 2.

Trigger = Ch1

Arpeggiator

☞p.237)

Pattern - A

Pattern - B

Arpeggiator Assign

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=1ch Status=INT

Pattern - A

Pattern - B

Example 2)

For tracks 1, 2 and 3, set the “MIDI Channel” (3.1–1(2)a) to 01, 02, and 03 respectively, and set “Status” (3.1–1(2)a) to INT. Assign arpeggiator A to tracks 1 and 2, and arpeggiator B to track 3. Check the “Arpeggiator Run A, B” (6.1–1a) setting.

• In “Track Select,” choose Track01.

Playing the keyboard when the front panel [ARP ON/ OFF] key is off will play the sound assigned to track 1. Playing the keyboard when the front panel [ARP ON/ OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track02.

Playing the keyboard when the front panel [ARP ON/ OFF] key is off will play the sound assigned to track 2. Playing the keyboard when the front panel [ARP ON/ OFF] key is on will cause arpeggiator A to operate for tracks 1 and 2, and produce sound for both tracks.

• In “Track Select,” choose Track03.

Playing the keyboard when the front panel [ARP ON/ OFF] key is off will play the sound assigned to track 3. Playing the keyboard when the front panel [ARP ON/ OFF] key is on will cause arpeggiator B to operate for track 3, and play the sound assigned to track 3.

•Alternatively, you could choose Track01 in “Track

Select” to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the TRITON Le’s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B.

Arpeggiator Assign

Trigger = Ch1, Ch2

Trigger = Ch3

Arpeggiator

Pattern - A

Pattern - B

Track1 MIDI Ch=1ch Status=INT

Track2 MIDI Ch=2ch Status=INT

Track3 MIDI Ch=3ch Status=INTB

Pattern - A

Pattern - B

■ 6.1–1(2)c: UTILITY ☞“Memory Status,” “Rename Song,” “Delete Song,” “Copy

From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeggiator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Location” (1.1–1d)

6.1–3: Arp. A (Arpeggiator A)

6.1–4: Arp. B (Arpeggiator B)

Indicates settings for arpeggiator A in the Arp. A page, and for arpeggiator B in the Arp. B page.

You can use the “Copy Arpeggiator” utility to copy settings from another mode such as Program mode.

6.1–3b

6.1–3a

6.1–3c

6.1–3(4)a: Arpeggiator–A(B) Setup

Pattern [P000...P004, U000(INT)...U215(User)] Octave [1, 2, 3, 4] Reso (Resolution) [   ,  ,   ,  ,   ,  ] Gate [000...100(%), Step] Velocity [001...127, Key, Step] Swing [–100...+100(%)] Sort [Off, On] Latch [Off, On] Key Sync. [Off, On] Keyboard [Off, On]

These are the arpeggiator parameters for the song. (☞PROG 6.1: Ed–Arp.)

6.1–3(4)b:  (Tempo)

 (Tempo) [040…240, EXT]

☞ 1.1–1a

■ 6.1–3(4)c: UTILITY ☞“Memory Status,” “Rename Song,” “Delete Song,” “Copy

From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeggiator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Location” (1.1–1d)

6.1–5: Zone (Scan Zone)

Speciﬁes the range of notes and velocities that will trigger each arpeggiator A and B.

6.1–5a

6.1–5b

6.1–5a: Scan Zone A/B

Zone Map

This shows the “Scan Zone” settings for arpeggiators A and B (

☞COMBI 6.1–4a).

A: Key

Btm (A-Bottom Key) [C–1...G9] Top (A-Top Key) [C–1...G9]

Speciﬁes the range of notes (keys) that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

A: Vel (Velocity)

Btm (A-Bottom Velocity) [001...127] Top (A-Top Velocity) [001...127]

Speciﬁes the range of velocities that will trigger arpeggiator A. “Top” is the upper limit, and “Btm” is the lower limit.

B: Key

Btm (B-Bottom Key) [C–1...G9] Top (B-Top Key) [C–1...G9]

B: Vel (Velocity)

Btm (B-Bottom Velocity) [001...127] Top (B-Top Velocity) [001...127]

Speciﬁes the range of notes (keys) and velocities that will trigger arpeggiator B (

The value of these parameters can also be input by holding down the [ENTER] key and playing a note on the keyboard.

■ 6.1–5b: UTILITY

☞“A: Key,” “A: Vel”).

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

☞“Memory Status,” “Rename Song,” “Delete Song,” “Copy

From Song,” “Copy From Combi” (1.1–1d), “Copy Arpeggiator” (COMBI 6.1–1c), “FF/REW Speed ,” “Set Location” (1.1–1d)

SEQ 7.1: Insert FX

☞For details on insert effects, refer to p.155 “7. Effect

Guide.”.

■ 7.1–1(2)b: UTILITY

7.1–1: BUS..8 (BUS T01...08)

7.1–2: BUS..16 (BUS T09...16)

Speciﬁes the bus to which the program oscillator(s) of each track 1–8, 9–16 will be sent. You can also set the amount of signal that will be sent to the master effects.

7.1–1a

1.1–1c

7.1–1b

7.1–1(2)a: BUS Select, Send1(MFX1), Send2(MFX2)

BUS Select [DKit, L/R, IFX, 1, 2, 1/2, Off]

Speciﬁes the output bus for the program oscillators of tracks 1–8 and 9–16. The state of the settings can be viewed in the Setup page. (

☞COMBI 7.1–1a)

S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

Here you can adjust the send levels from tracks 1–8, 9–16 to master effects 1 and 2. This is valid when “BUS Select” is set either to L/R or Off. If IFX is selected, the send level to the master effects 1 and 2 is set by the (“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” parameters located in the Setup page, after the signal passes through IFX. These settings have no effect if “BUS Select” is set to 1, 2 or 1/2. The send 1 and 2 settings you make here will be used when the song is played or recorded from the beginning. If you change the settings while recording, the change will be recorded as part of the musical data, and the send amount will change when the data is played back. You can also change these settings during playback. However if send 1 and 2 data has been recorded, the settings will change accordingly.

If “Status” (3.1–1(2)a) is either INT or BTH, CC#93 and #91 can be received to control send 1 and 2 respectively and change their settings. When you switch songs or return to the beginning of a song, tracks whose “Status” is EXT, EX2 or BTH will transmit these settings via MIDI. This data will be transmitted on the MIDI channel of each track as set by “MIDI Channel” (3.1–1(2)a). The actual send level is determined by summing the value of these parameters with the send level settings of the oscillator(s) of the program used by the track (“S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” PROG 7.1– 2a).

☞“Memory Status,” “Solo Selected Track” (1.1–1d), “DKit

IFX Patch” (COMBI 7.1–1b), “FF/REW Speed,” “Set Location” (1.1–1d)

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

Copy Insert Effect

☞PROG 7.1–1c

However, the MIDI control channel speciﬁed in “Control Channel” of the 7.1: Insert FX, Setup page will not be copied.

7.1–3: Setup

Here you can select the type of the insert effects, turn them on/off etc.

7.1–3b

7.1–3a

7.1–3c

7.1–3d

7.1–3a: Insert FX Setup

IFX On/Off [Off, ON] Insert Effect [00...89: name] Pan(CC#8) [L000...C064...R127] BUS Select [L/R, 1, 2, 1/2, Off] S1 (Send1(MFX1)) [000...127] S2 (Send2(MFX2)) [000...127]

These parameters are the same as in Program mode. (

☞PROG 7.1–2)

However, this differs from Program mode in that insert effect dynamic modulation (Dmod) and the “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2)” which follow the insert effect are controlled on the MIDI channel speciﬁed by “Control Channel” (7.1–1b). The control changes used are the same as in Program mode. The pan (CC#8) and Send 1 and 2 that you specify here are used when playing or recording from the beginning of the song. If you change these settings while recording, the settings will be recorded as musical data, and during playback, the settings will change accordingly. You can also change these settings during playback. However if Pan (CC#8) and Send 1/2 data has already been recorded, the settings will change according to the recorded data.

If the “Status” (3.1–1(2)a) is INT or BTH, receiving CC#8, #93, or #91 will cause the post- insert effect pan and send 1/2 to be controlled, changing the settings. When you change songs or return to the beginning of the song, tracks whose “Status” is BTH, EXT, or EX2 will transmit these settings on the MIDI channel speciﬁed by “Control Channel.”

7.1–3b: Control Channel

Control Channel [Ch01...16, All Rt.]

Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).”

An asterisk “*” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX. If multiple tracks with differing MIDI channel settings are routed, these channels specify the channel that will be used to control the effect.

All Rt. (All Routed): Control can be performed from any of the MIDI channels of the tracks that are routed.

If “BUS Select” (7.1–1(2)a) is set to DKit for a track in which a drum program is selected, the MIDI channel of that track will be valid only if this is set to All Rt., regardless of the drum kit “BUS (BUS Select)” (GLOBAL 5.1–3a) setting or the utility setting “DrumKit IFX Patch.”

7.1–3c: Routing Map, BUS Select

This displays the settings of the insert effect. The routing, speciﬁed effect name, and on/off status of the insert effect are displayed.

T01...16: BUS Sel [DKit, L/R, IFX, 1, 2, 1/2, Off]

While viewing the map, you can specify the bus where the program oscillators for each track 1–16 will be sent. Use the cursor keys to select the track, and use the [INC]/ [DEC] keys or the [VALUE] dial to set “BUS Select” (7.1– 1(2)a). This setting can also be made in “BUS Select” (7.1–3a).

■ 7.1–3d: UTILITY

7.1–4: IFX (Insert Effect)

Sets the parameters for the effects selected for IFX in the Setup page (

■ 7.1–4a: UTILITY

☞“Memory Status” (1.1–1d)

☞p.164–).

7.1–4a

SEQ 7.2: Master FX

☞For details on the master effects, refer to p.155 “7. Effect

Guide.”

7.2–1: Setup

Here you can select the type of master effects, turn them on/ off, and make chain and master EQ settings. This is the same as Program mode with the exception of “MFX1 Control Ch,” “MFX2 Control Ch,” and “MEQ Control Ch.” (

☞PROG 7.2: Ed-MasterFX)

SEQ

1.1

1.22.12.23.13.23.33.44.14.24.34.45.15.26.17.17.2

☞“Memory Status,” “Solo Selected Track” (1.1–1d), “Copy

Insert Effect,” (PROG 7.1–1c, 7.1–1b/2b), “DKit IFX Patch” (COMBI 7.1–1b), “FF/REW Speed,” “Set Location” (1.1–1d), “Select by Category” (PROG 7.1–2c)

7.2–1a

7.2–1b

7.2–1c

7.2–1e7.2–1d

7.2–1a: Master FX Setup

MFX1 On/Off, MFX2 On/Off [Off, ON] Master Effect 1, 2 [00...89: name] Rtn 1, 2 (Return 1, 2) [000...127]

This is the same as in Program mode. Refer to “PROG 7.2–1: Setup.” However, unlike Program mode, the master effects will be controlled by the MIDI channel speciﬁed by “MFX 1, 2 Control Ch.” The control changes used are the same as in Program mode.

MFX1, 2 Control Ch [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master effects.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

7.2–1b: Master FX Chain

MFX Chain [Off, On] Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127]

This is the same as in Program mode. Refer to “PROG 7.2–1: Setup.”

7.2–2: MFX1 (Master Effect1)

7.2–3: MFX2 (Master Effect2)

Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (

☞p.164–).

7.2–1c: MEQ Ctrl

MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch]

Speciﬁes the MIDI channel that will control dynamic modulation (Dmod) for the master EQ.

G ch: The effect will be controlled on the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

7.2–1d: Master EQ Gain [dB]

Low [–18.0...+18.0] Mid [–18.0...+18.0] High [–18.0...+18.0]

This is the same as in Program mode. (☞PROG 7.2–1: Setup)

■ 7.2–1e: UTILITY

☞“Memory Status,” “Solo Selected Track,” “FF/REW

Speed,” “Set Location” (1.1–1d), “Select by Category” (PROG 7.2–1d)

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

Copy Master Effect

☞p.28 PROG 7.2–1d

Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be copied.

Swap Master Effect

☞p.29 PROG 7.2–1d

Note, the MIDI control channel speciﬁed in “Control Channel” of the MFX 1 and 2 pages will not be swapped.

7.2–2a

■ 7.2–2(3)a: UTILITY

☞“Memory Status” (1.1–1d)

7.2–4: MEQ (Master EQ)

The master EQ is a three-band stereo EQ. It is used to perform overall equalizing (tonal adjustment) on the sound from the L/R bus immediately before it is output to AUDIO OUTPUT (MAIN OUT) L/MONO and R (

■ 7.2–4a: UTILITY ☞“Memory Status” (1.1–1d)

☞p.209).

7.2–4a

4. Sampling mode

If the EXB-SMPL option (sold separately) is installed in the TRITON Le, you will be able to use Sampling mode to record 48 kHz stereo 16-bit samples. (

☞For details on install-

ing an option board, refer to p.253.)

If the EXB-SMPL option is not installed, pressing the [SAMPLING] key will display a message of “No Sampling Upgrade Installed.”

“Sampling” refers to the process of digitally converting an analog signal from a mic or audio device connected to the AUDIO INPUT jack, and recording it into internal memory. You can also apply the insert effect to the analog audio signal while it is being sampled.

If the sample data RAM (16 Mbyte SIMM memory) included with the EXB-SMPL is installed, you will be able to sample approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo. By installing additional 72-pin SIMM boards you can expand the memory to a maximum of 64 Mbytes (two 32 Mbyte SIMM units). In this case, you will be able to record up to four samples that are each approximately 2 minutes 54 seconds long for monaural (or approximately 1 minute 17 seconds for stereo), for a total of approximately 11 minutes 39 seconds of sampling (total of approximately 5 minutes 49 seconds for stereo). (

☞For details on installing compatible 72-pin SIMM boards,

refer to p.253.) In Sampling mode, samples that have been sampled or

loaded from storage media can be assigned to an index (zone) to create a multisample. One multisample can contain many indexes.

A multisample can easily be converted into a program (

☞“Conv. To Prog” 1.1–3f). Once the multisample is con-

verted it can be played and programmed like any other program sound. This program can also be used in Combination or Sequencer mode.

Samples can also be used as drum samples in a drum kit.

Index 001

0000: Sample A

Multisample

Sample

Index001 Top Key

Index 002

0001: Sample B

Drum Kit

Multisample

Index002 Top Key

Index003 Top Key

Index 003

0002: Sample C

Program OSC (Single/Double)

Program OSC (Drums)

Index 004

0003: Sample D

Index004 Top Key

In any page, the selected multisample or sample will sound when you play the keyboard, letting you hear the results of your editing in that page.

When you turn off the power , all multisample and sample data in Sampling mode will be lost. Before you turn off the power , any data you want to keep must be saved on Smart Media or an external SCSI device (if the EXBSMPL option is installed) (

☞p.149). Immediately after

the power is turned on, internal memory will not contain sample data, so you will need to load the previously-saved data in order to play or edit it.

There is no Compare function that allows you to restore edited data to the state before it was edited. If you wish to preserve the unedited state of the data, use “Copy MS” or “Copy SMPL” (1.1–3f) etc. to make a copy of the multisample or sample before you begin editing. For some of the utility menu commands in 2.1: Sample Edit or 3.1: Loop Edit, executing the command without checking “Overwrite” in the dialog box allows you to save the unedited sample data while you edit. (

☞2.1–

2e: UTILITY “About Overwrite”) When executing a sample edit operation or when you

ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been edited or sampled.

Cautions regarding sample data

• The sample data memory areas Bank 1–4 each contain 16 MB. Of this 16 MB (8,388,608 samples), sixteen samples (the first and last eight samples) are used as internal work area.

• The first and last samples of each sample are used as internal work area. These two samples are added automatically when a sample is recorded or when an .AIFF or .WAVE file is loaded. This means that if you record a sample of one second, this will result in 48,000 samples of data, but four samples will be added to this, so that sampling memory will actually contain 48,004 samples of data.

How the [AUDITION] key and [START/STOP] key will function in Sampling mode

[START/STOP] key

• Sampling (sample recording) can be performed in any page 1.1–7.1 of Sampling mode by using the [REC/ WRITE] and [START/STOP] keys (For the sampling procedure, refer to BG p.34). Recording settings such as the input level can be made in SMPL 1.1–3: Recording Input/Pref page, and these settings are also valid in the other pages.

[AUDITION] key

• The sample of the currently selected “Index” will be played at the pitch of the currently selected key (the key displayed in gray in “Keyboard & Index”: 1.1–1a) as long as you hold down the [AUDITION] key.

•In the Slice Sample dialog box of Utility “Time Slice” (3.1–2e) and in the Stretch Sample dialog box of Utility “Time Stretch” (3.1–2e), the sample of the currently selected “Index” will be played at the original key as long as you hold down the [AUDITION] key.

SMPL

1.1

2.13.14.15.15.27.1

SMPL PAGE MENU

SMPL 1.1: Recording

For details on selecting pages in Sampling mode, refer to p.1.

Rec 1.1: Recording Record samples. Select the sample or mul-

Smpl 2.1: Sample Edit Perform waveform editing and other editing

Loop 3.1: Loop Edit Set sample playback parameters. Set start,

MS 4.1: Multisample Edit multisamples. Set and edit sample

Mem 5.1: Memory View the remaining memory available for Ctrl 5.2: Controller Controller settings. (☞p.118)

IFX 7.1: Insert Effect Select the insert effects used for sampling,

tisample to record, and make various recording settings and AUDIO INPUT set-

☞p.88)

tings. (

on recorded samples or samples that were loaded into internal memory in Media

☞p.98)

mode. (

loop start, end address, and turn loop or reverse playback on/off. (

assign, zone, and original key etc.

☞p.116)

(

multisamples and samples. (

and make settings for them. (

☞p.106)

☞p.118)

☞p.119)

Here you can set the input level and make other basic settings for sampling (sample recording), and make basic settings for multisamples and samples. Normally you will record samples in this page.

1.1–1: Sample

Select the multisample and index sample for sampling, and make basic settings.

1.1–1a

1.1–1b

1.1–1c

1.1–1a: MS (Multisample Select), Index, Keyboard & Index

MS (Multisample Select) [000...999]

Selects the multisample. Each multisample consists of the samples for one or more indexes (an “index” is a range or zone of keys). This parameter can also be set from 2.1: Sample Edit–4.1: Multisample.

Here’s how to create a new multisample.

1 Use numeric keys [0]–[9] to specify the new multisample

number, and press the [ENTER] key to open the “Create New Multisample” dialog box.

1.1–1d

2 If you wish to create a stereo multisample, check “Ste-

reo.”

3 To create the multisample, press the [F8] (“OK”) key. To

cancel, press the [F7] (“Cancel”) key. A multisample will be created as follows (example).

Mono 001: NewMS_ _ _ _ _ _001 Stereo 001: NewMS_ _ _ _ _ _001-L

002: NewMS_ _ _ _ _ _001-R

Index [xxx (001...128)/yyy (001...128)]

Select s the index that you wish to sample, or to which you wish to assign a sample. Each zone within a multisample is called an “index.” For example on the 61-note keyboard, if a multisample is divided into zones of one octave (12 notes), there will be six zones. Each of these zones is called an index, and you can assign a sample to each index.

xxx: The selected index. Choose the desired index. yyy: The total number of indexes in the multisample.

To select an index, hold down the [ENTER] key and play a note on the keyboard. The index that includes the note you played will be selected. The speciﬁed key will be the base key, and will be displayed in gray in “Keyboard & Index” (

☞“Keyboard & Index”).

This parameter can also be set in 2.1: Sample Edit–4.1: Multisample. The sampling and editing that you perform in these pages will apply to the index you select here.

When ﬁrst entering the sample page, this value will be 001/

001. This indicates that only one index exists. T o increase the number of indexes, use “CREATE” in this page. When you press the [F6] (“CREATE”) key, indexes will automatically be added from the left-most zone, as 002/002, 003/003, ... The position, zone width, and original key location of the index that is created when you press the [F6] (“CREATE”) key can be set in “Create(Create Zone Preference)” (1.1–3b, 4.1–3a). You are also free to modify the zone width and original key location later.

Stereo

A “Stereo” indication will appear at the top right of LCD display if you have selected a stereo multisample or sample, or if you recorded a sample with “Mode (Sample Mode)” (1.1–2a) set to Stereo.

About stereo multisamples and stereo samples

Stereo multisamples: Under the following conditions, two multisamples will be handled as a stereo multisample.

• If you checked “Stereo” when creating a new multisample (i.e., selected a new multisample in “MS”

1.1–1a)

• If you executed the Utility “MS To Stereo” (1.1–3f)

• If you sampled with “Mode (Sample Mode)” (1.1–2a) set to Stereo

In these cases, a stereo multisample that meets the following conditions will be created automatically.

1. The last two characters of the two multisample names

will be -L and -R respectively, and the earlier portion of the names are identical.

2. The two multisamples will have the same number of

indexes, and their zone settings are identical.

Stereo samples: Under the following condition, two samples will be handled as a stereo sample.

•When the samples were recorded with a “Mode (Sample Mode)” (1.1–2a) setting of Stereo.

• If you executed the Utility “SMPL To Stereo” (1.1–3f)

In this case, a stereo sample that meets the following conditions will be created automatically.

1. The last two characters of the sample name will be -L and

-R respectively, and the earlier portion of the names are identical.

2. Two samples that satisfy condition 1. for stereo multi-

samples are selected.

Stereo multisamples and samples are distinguished internally by their multisample name or sample name. If you use Utility “Rename MS” or “Rename SMPL” (1.1–3f) etc. to modify the multisample name or sample name, please pay attention to the above conditions.

As a condition of a stereo sample, the sampling rates must be identical. You can verify the sampling rate of a sample by using the Utility “Rate Convert” (2.1–2e). Be aware that if you use Utility “Rate Convert” to convert the -L and -R samples to differing sampling rates, they will not be handled as a stereo sample.

Keyboard & Index

Original Key (currently selected Original Key is reversed)

Index zone (currently selected Index is reversed)

Index02 Index03 Index04 Index05

Index01

Lowest note of the displayed keyboard

By holding down the [ENTER] key and play a note on the keyboard, you can select the corresponding index, and the specified key will be the base key and will be shown in gray.

C4 key

Highest note of the displayed keyboard

This shows the zones and original key locations of the currently selected multisample. The white triangle indicates the C4 key. The note numbers at left and right are the range of notes displayed.

The key displayed in gray is called the base key, and functions as follows.

• In the 2.1: Sample Edit2 page, pressing the [START/ STOP] key will play the sample of the selected “Index” from “S (Edit Range Start)” to “E (Edit Range End)” in one-shot mode. At this time, the sample will sound at the pitch of the base key. In pages other than the 2.1: Sample Edit2 page, the sample of the currently selected “Index” will continue playing at the pitch of the base key as long as you hold down the [AUDITION] key.

• The grid display in 2.1: Sample Edit and the 3.1: Loop Edit Edit2 page is displayed relative to the playback pitch at the base key and the specified tempo BPM/ resolution (set in the “Grid” utility).

• The Utility “Pitch BPM Adj.” (4.1–3b) function is relative to the playback pitch of the base key.

You can use Utility “Keyboard Disp.” (1.1–3f) to change the displayed range of the keyboard.

1.1–1b: SMPL, Orig.K, TopK

Here you can set the sample, original key, and range of the selected index.

SMPL (Sample Select)

[----: ---No Assign----, 0000...3999]

Select a sample that you either sampled or that you loaded in Media mode, and play a note within the index range to play that sample. This parameter can also be set in 2.1: Sample Edit–4.1: Multisample. The sampling and editing operations that you perform in these pages will affect the sample you select here.

----: ---No Assign----: No sample is assigned to the index.

There will be no sound when you play the keyboard. To record a sample, select a vacant sample such as 0000:. When you record a sample, data will be loaded into the selected sample. The sample name (such as NewSample_0000) will be shown beside the number. This sample name can be modiﬁed using the Utility “Rename SMPL” (1.1–3f). You can also record a sample even when ----:---No Assign---

-is displayed. In this case, a sample number will be selected

automatically. Even if you record to a sample that already contains data, the selected sample will not be overwritten –the data will automatically be sampled to a vacant sample number, and the newly recorded sample will replace the previous sample in the index. If you wish to delete a sample, execute the Utility “Delete SMPL” (1.1–3f).

SMPL

1.1

2.13.14.15.15.27.1

Orig.K (Original Key) [C–1...G9]

Speciﬁes the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key.

For example, suppose that you recorded a sample with “Orig.K” of F2. When the zone of the index is C2–B2, pressing the F2 key would playback the sample at its original pitch. Pressing F#2 would playback the sample a semitone higher. Pressing E2 would playback the sample a semitone lower. The pitch of this sampled sound will change in semitone steps between C2 and B2, centered at F2. The original key location can also be viewed in “Keyboard & Index.”

If “Constant Pitch” (4.1–2a) is checked, the sample will be sounded at its original pitch by all notes in the zone.

TopK (Top Key) [C–1...G9]

Speciﬁes the highest key in the zone of the index. The zone is deﬁned by this “TopK.”

For example, suppose that you set a “TopK” of B2 for index 001/002, and a “TopK” of B3 for index 002/002. This means that the zone of index 001 will be B2 and lower, and the zone of index 002 will be C3–B3.

■ 1.1–1c: CREATE

Here you can create an index. Use this when you wish to add a sample to a multisample. When you press the [F6] (“CREATE”) key, a new index will be created according to the settings of the Create (Create Zone Preference) (1.1–3b, 4.1–3a) parameters “Pstn (Position),” “Range (Zone Range),” and “Orig.K (Origiral Key Position).” If you wish to delete an existing index or to exchange indices, use 4.1: Multisample.

“CREATE” will be displayed if the 1.1: Recor ding, Sample page or the 4.1: Multisample, Edit1, Edit2 pages are selected.

If when you execute “CREATE” (1.1–1c, 4.1–1c) or “INSERT” (4.1–1c) it is not possible to create a new index according to your Create (Create Zone Preference) settings, one of the following dialog boxes will appear. If you wish to create a new index, perform the following procedure.

• Set Top Key: Select “Index” 001, set “Pstn (Position)” (1.1–3b, 4.1–3a) to L (Left), and execute “CREATE” or “INSERT” to open the dialog box. So that a new index can be created at the left of index 001, reset the “Top Key” setting, and press the [F8] (“OK”) key.

• Set Zone Range: If you execute “CREATE” when it is not possible to create a new index according to the Create (Create Zone Preference) settings, the following dialog box will appear. This dialog box will also appear if you execute “INSERT” when it is not possible to create a new index with the contents of the “CUT” or “COPY” (4.1–1c). Reset the “Range (Zone Range)” (1.1–3b, 4.1–3a), and press the [F8] (“OK”) key.

■ 1.1–1d: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f)

1.1–2: Rec. (Recording)

1.1–2a

1.1–2b

1.1–2c 1.1–2d

1.1–2a: Sample Setup

Here you can select the memory bank into which you will sample, specify the sampling time, and select either mono or stereo sampling.

Time (Sample Time)

Speciﬁes the time that you wish to sample. This can be set in

0.001 second increments. Immediately after the power is turned on, this will show the remaining memory (available sampling time) of the selected memory bank. If you record a sample in this condition (“REC”→“START”→“STOP”), the change in time will be displayed automatically. If the installed sample data RAM has enough free space, it is a good idea to set “Time (Sample Time)” to a larger setting than necessary, and then after sampling, use the “Truncate” utility (2.1–2a, 3.1–2e) to delete unneeded regions so that the sample does not occupy any more memory than necessary. You can also press the [START/STOP] key to stop recording after you have recorded the desired material ( on the sampling procedure, refer to BG p.34).

The remaining amount of memory will depend on the following conditions.

1. The amount of memory that is installed.

2. Whether the sample is stereo or mono. When the “Mode

(Sample Mode)” (1.1–2a) is set to Stereo, the memory capacity will be halved.

3. The time speciﬁed for “Pre Trigger” (1.1–2b: a function

that automatically samples the sound even before you begin sampling) will be subtracted from the amount of memory that actually remains.

Bank (RAM Bank) [1...4]

This selects the memory bank that will be used for sampling. The sample data RAM is divided into four 16 Mbyte banks. You can expand the sample data RAM to a maximum of 64 Mbytes (two 32 Mbyte SIMM modules). ( The banks that can be selected will depend on the sample data RAM that is installed, as follows.

Installed SIMM boards and available banks

SIMM Slot No. SIMM Bank (RAM Bank)

Slot1 16 Mbyte 1

32Mbyte 1, 2

Slot2 16Mbyte 3

32Mbyte 3, 4

☞ For details

☞p.256)

For example if the 16 Mbyte SIMM (sample data RAM) included with the EXB-SMPL option (sold separately) is installed in slot 1 and you install 32 Mbytes in slot 2, you will be able to select “Bank (RAM Bank)” 1 (16 Mbyte), 3 (16 Mbyte), and 4 (16 Mbyte). Each bank is a 16 Mbyte unit. (If you install a 32 Mbyte SIMM in slot 1 and slot 2, all banks can be selected, and the total capacity will be 64 Mbytes.)

Mode (Sample Mode) [L-Mono, R-Mono, Stereo]

Select s the channel(s) to be sampled, to specify whether a mono or a stereo sample will be recorded. Depending on the “Input1, Input2” (1.1–3a) settings, the external source from the AUDIO INPUT 1 and 2 jacks will be sent, either as direct sound without being routed through an effect, or as effect-processed sound routed through an insertion effect, to the L/R bus and sampled from the internal L and R channels.

L-Mono: The sound of the internal L channel will be sampled in mono. R-Mono: The sound of the internal R channel will be sampled in mono. Stereo: The sound of the internal L and R channels will be sampled in stereo. When you sample in stereo, a stereo multisample or sample will be created.

Example 1: Sampling a monaural source connected to AUDIO INPUT 1 without applying internal effects

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) L000 Input1 “BUS (BUS(IFX)Select)” “Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) L-Mono

Example 2: A monaural source connected to AUDIO INPUT 1 routed through the internal insertion effect IFX 52: Rev Hall, and sampled in stereo

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) C064 Input1 “BUS (BUS(IFX)Select)” IFX select (7.1) 52: Reverb Hall

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

Example 3: A stereo source connected to AUDIO INPUT 1 and 2, and sampling without applying internal effects

Input1 “Lvl (Level)” (1.1–3a) 127 Input1 “Pan” (1.1–3a) L000 Input1 “BUS (BUS(IFX)Select)” Input2 “Lvl (Level)” (1.1–3a) 127 Input2 “Pan” (1.1–3a) R127 Input2 “BUS (BUS(IFX)Select)” “Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

(1.1–3a) L/R

(1.1–3a) IFX

and make settings

(1.1–3a) L/R

Example 4: A stereo source connected to AUDIO INPUT 1 and 2, routed through internal insertion effect IFX 08: St.Graphic 7EQ, and sampled in stereo

“Recording Level” (1.1–2c, 1.1–3e)as appropriate “Mode (Sample Mode)” (1.1–2a) Stereo

When you ﬁnish recording a stereo sample, you may hear a slight noise. This does not affect the audio data that has been sampled.

(1.1–3a) IFX

7EQ and make settings

1.1–2b: REC Setup

Mode (REC Mode) [Manual, Auto]

Select s the method by which sampling will be started. Manual: Sampling will start when you press the [START/

STOP] key from the sampling standby condition.

1 Press the [REC/WRITE] key to enter sampling standby

mode.

2 Use the “Recording Level” (1.1–2c, 1.1–3e) slider to

adjust the sampling level.

Be careful of changes in the monitoring volume level (

☞“Recording Level”).

3 Sampling will begin when you press the [START/STOP]

key. If you use the “Count Down” function, pressing the [START/STOP] key will cause sampling to begin after the metronome sounds a count-down.

4 To stop sampling, press the [START/STOP] key once

again. Sampling will end automatically if you continue sampling to the end of the “Time (Sample Time)” (1.1– 2a).

Auto: Sampling will begin automatically when the input level exceeds the “Threshold” setting.

1 Perform steps 1 and 2 described above. 2 Adjust the “Threshold” setting. The black triangles at

both sides of the “Recording Level” level bar display will indicate the “Threshold” level. Normally, this should be set as low as possible without allowing noise to trigger sampling.

3 Press the [START/STOP] key.

Sampling will automatically begin when the input level exceeds the “Threshold” setting.

4 When you are ﬁnished sampling, perform step 4 of the

Manual procedure.

Threshold [–63dB...0dB]

When performing auto sampling (“Mode (REC Mode)” Auto), this sets the level at which sampling will begin (

☞“Mode (REC Mode)” Auto, step 2).

This will not be displayed if “Mode (REC Mode)” is set to Manual.

SMPL

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2.13.14.15.15.27.1

Count Down (Count Down REC) [Off, 4, 8, 3, 6]

When you begin sampling with “Mode (REC Mode)” set to Manual, this parameter speciﬁes whether there will be a count-down before sampling begins.

Off: When you press the [ST ART/STOP] key from sampling standby mode, sampling will begin immediately. 4, 8, 3, 6: When you press the [START/STOP] key from sampling standby mode, sampling will begin after a countdown of the speciﬁed length, based on the tempo of “ (Tempo).” If you specify 4, the count will be 4-3-2-1-0, and sampling will begin on the count of 0.

This will not be displayed if “Mode” is set to Auto.

 (Tempo) [040...240]

This sets the tempo of the count-down when “Count Down” is used. The tempo speciﬁed here will also be used when the LFO or delay time of the insert effect is controlled by the BPM/ MIDI SYNC function during sampling ( also be set by the REALTIME CONTROLS C-mode [TEMPO] knob.

☞p.219). This can

Pre Trigger (Pre Trigger REC) [000...500ms]

When sampling the sound that occurs before sampling is actually triggered, this setting speciﬁes the time length that will be “pre-sampled.” When sampling in auto mode (“Mode (REC Mode)” Auto), sampling will begin when the input signal exceeds the speciﬁed threshold level “Threshold.” However depending on the “Threshold” settings, the early portion of the attack sound may be lost, and in such cases you can use “Pre Trigger.” Also, when sampling manually (“Mode (REC Mode)” Man- ual) and using “Count Down,” you may intend to play your instrument etc. at precisely the downbeat but actually be slightly ahead of the beat. In such cases, you can use Pre Trigger REC to sample without loosing the beginning of the note.

If you increase this value, you will always be sampling more than you need. Normally you should leave this set at 000ms, and set it to a minimal value only when necessary.

1.1–2c: Recording Level

Recording Level [–inf, –72.0... 0.0...+18.0dB]

Adjust the ﬁnal level of the signal that will be sampled.

This can also be set in the Input/Pref page.

When you press the [REC/WRITE] key you will enter sampling standby mode, and you will be able to adjust the signal level. Initially you should set this to 0.0, and make adjustments so that the level of the bar is as high as possible without exceeding 0 dB. If 0 dB is exceeded, “CLIP!” will be displayed. This indicates that the sampling signal level is excessive. Adjust the level so that “CLIP!” does not appear.

In order to sample with the maximum dynamic range, use the [LEVEL] knob to adjust the level as high as possible without making “ADC OVER!” appear. Then set “Lvl” (Input/Pref page) to 127, and adjust “Recording Level” (Recording page, Input/Pref page) as high as possible without making the “CLIP!” indication appear.

In the sampling standby mode after you press the [REC/ WRITE] key, the sound that is output from the AUDIO OUTPUT L/MONO, R and from the headphones will be adjusted by the “Recording Level,” but when you cancel sampling standby or cancel sampling, the sound will be output at the 0 dB level. If you have lowered the “Recording Level” below 0 dB, please be careful of sudden changes in volume.

If the sound is still distorted even if you lower the “Recording Level,” it is possible that distortion is

occurring in the input stage of the AUDIO INPUT, or that distortion is being caused by the settings of the internal effect.

Excessive signal levels in the input stage of the AUDIO INPUT can be veriﬁed in the Recording page, Input/ Pref page. If an indication of “ADC OVER!” appears above the “Recording Level” bar display, the distortion is due to excessive levels in the input stage of the AUDIO INPUT. Adjust the [LEVEL] knob until the “ADC OVER!” display no longer appears. (see diagram below)

If there is still distortion even after [LEVEL] has been lowered, it is possible that the distortion is being caused by the settings of the internal effect. Lower the Input 1, 2 “Lvl” (Input/Pref page), or adjust the effect settings. (see diagram below)

If you have sampled at a low input level, you can execute Normalize in Utility “Norm./Level Adj.” (2.1–2e) to amplify the level to the maximum possible without clipping.

ADC OVER!

Analog to Digital Converter

AUDIO INPUT

[LEVEL] (MIN...MAX)

ADC

"Lvl" (1.1–3a) [127=0dB]

"Pan" (1.1–3a)

Insert

Effect

"Recording Level" (1.1–2c) [–inf ... 0.0dB ... +18.0dB]

CLIP!

L-Mono R-Mono

"Mode" (1.1–2a)

Stereo

■ 1.1–2d: UTILITY ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename

SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” “Move MS,” “Rename MS,” “MS To Stereo/MS To Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f)

1.1–3: In/Pref (Input/Preference)

Specify the input level from the rear panel AUDIO INPUT 1, 2, and set pan and bus. You can also set other setup parameters.

1.1–3a

1.1–3b

1.1–3c

1.1–3d

1.1–3a: Input1, Input2

Here you can make adjustments for the input stage of the audio signal received at AUDIO INPUT 1 and 2.

These settings are valid only in Sampling mode. These settings will also be valid when you move from Sampling mode to Global mode.

In modes other than Sampling mode, settings for Audio Input 1 and 2 are made in “Audio In (Setup for COMBI, PROG, SEQ)” (GLOBAL 1.1: System, Audio In).

Lvl (Level) [000...127]

Speciﬁes the level of the signal immediately after the analog audio signal from AUDIO INPUT 1 and 2 is converted into a digital signal. Normally you will set this to 127. If you hear distortion even after lowering this level, it is possible that the distortion is occurring before the A/D converter. Adjust the [LEVEL] knob or the output level of your external sound source so that the “ADC OVER!” indication above the “Recording Level” display does not appear.

Pan [L000...C064...R127]

Sets the panning of the analog audio signal from AUDIO INPUT 1 and 2. Normally you will set Input 1 to L000 and Input 2 to R127. This allows you to sample a stereo audio source in stereo (

☞For example settings, p.91, BG p.85).

BUS (BUS(IFX) Select) [L/R, IFX, Off]

Select s the bus. L/R: Select this when you wish to sample the incoming ana-

log audio signal without applying an insert effect. Normally you will select L/R. IFX: Select this when you want to apply the insert effect to the analog audio input signal while it is being sampled. (

☞p.158)

Off: The analog audio signal will not be input.

1.1–3e 1.1–3f

Pstn (Position) [R, L]

Speciﬁes whether the new index will be created at the right or left of the selected index.

R (Right): The new index will be created at the right of the currently selected index. L (Left): The new index will be created at the left of the currently selected index.

Range (Zone Range) [001...127]

Speciﬁes the key range of the zone of the newly created index.

001: A single note of the keyboard will be the index. The sample of the index will sound at its original key when you play that note. This setting can be used similarly to pad (keyboard) type samplers.

002...127: The sample will change pitch in semitone steps across the speciﬁed number of keys, centered on the original key “Orig.K” (1.1–1b, 4.1–1b). If “Constant Pitch” (4.1–2a) is checked, the pitch will not change.

Orig.K (Original Key Position) [Btm, Cntr, Top]

Speciﬁes where the original key will be located in the zone (speciﬁed by “Zone Range”) for a newly created index.

Btm (Bottom): The lowest key in the zone will be the original key. Cntr (Center): The middle key in the zone will be the original key. Top: The top key in the zone will be the original key.

1.1–3c: Auto Loop

Auto Loop (Auto Loop On) [Off, On]

On (checked): The recorded sample will automatically be played with looping turned on (

☞“3.1: Loop Edit”).

1.1–3d: Metro (Count Down REC Metronome)

BUS (Metronome BUS) [L/R, 1, 2]

Speciﬁes the output destination of the metronome sound played by “Count Down” (1.1–2b).

L/R: The metronome will be output from OUTPUT (MAIN) L/MONO, R, and the headphones. 1, 2: The metronome will be output from OUTPUT (INDIVIDUAL) 1 or 2 respectively.

Lvl (Metronome Level) [000...127]

Speciﬁes the level of the metronome sound played by “Count Down.”

1.1–3e: Recording Level [–inf, –72.0... 0.0...+18.0]

Adjusts the signal level at the ﬁnal stage of sampling (☞1.1– 2c).

■ 1.1–3f: UTILITY

SMPL

1.1

2.13.14.15.15.27.1

1.1–3b: Create (Create Zone Preference)

These settings determine the initial state of the indexes that are created when you press the [F6] (“CREATE”) key (1.1– 1c, 4.1–1c). Each new index will be created according to the settings you make here, but you are free to modify the settings later.

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

Korg TRITON Le Electric Keyboard Parameter Manual

Specifications and Main Features

Frequently Asked Questions

User Manual