KORG TRITON STUDIO User Manual

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Boldface type

About this manual

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

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

boldface type.

Procedure steps

Steps in a procedure are listed as

BG p.

GE p.

...

–

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

Symbols , , , , ,

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

Conventions in this manual

Abbreviations for the manuals BG, PG, GE, VNL

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

: Basic Guide : Parameter Guide

GE: KARMA GE Guide VNL : Voice Name List

Switches and knobs [ ]

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

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

Example screen displays

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

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages,

brackets [ ]

always indicate hexadecimal numbers.

numbers in square

Parameters in the LCD display screen “ ”

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

How to read the “Parameter Guide”

(example)

Mode name

Page No.

Tab No.

Tab name

Parameter No.

Parameter name

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

5.3–1: OS1LFO1 (OSC1 LFO1)

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

5.3–1a

5.3–1b

5.3–1c

5.3–1a: OSC1 LFO1

Waveform [Triangle 0…Random6 (Vect.)]

PROG 5.3: Ed–LFOs

Page name

Range of possible parameter values

Utility menu command No.

5.3–1d

■ 5.3–1d: UTILITY

Utilty menu command name

☞“Write Program” (1.1–1c)

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

Swap LFO 1&2

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

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

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

iii

Table of Contents

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

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

PROG 1.1: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

1.1–1: Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

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

1.1–3: KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

1.1–4: K.RTC (KARMA RTC) . . . . . . . . . . . . . . . . . . . . . . . .6

1.1–5: Note (Note Activity) . . . . . . . . . . . . . . . . . . . . . . . . . .6

PROG 2.1: Ed–Basic . . . . . . . . . . . . . . . . . . . . . . . . . . .7

2.1–1: Basic (Prog Basic) . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.1–2: OSC1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

2.1–3: OSC2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

2.1–4: V.Zone (Velocity Zone) . . . . . . . . . . . . . . . . . . . . . .10

PROG 2.2: Ed–Ctrl. . . . . . . . . . . . . . . . . . . . . . . . . . . .10

2.2–1: Ctrls (Controls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

PROG 2.3: Ed–OSC . . . . . . . . . . . . . . . . . . . . . . . . . . .11

PROG 3.1: Ed–Pitch . . . . . . . . . . . . . . . . . . . . . . . . . .11

3.1–1: OSC1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

3.1–2: OS1lfo (OSC1 LFO) . . . . . . . . . . . . . . . . . . . . . . . . .12

3.1–3: OSC2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

3.1–4: OS2lfo (OSC2 LFO) . . . . . . . . . . . . . . . . . . . . . . . . .13

3.1–5: EG (Pitch EG) . . . . . . . . . . . . . . . . . . . . . . .13

PROG 4.1: Ed–Filter1 . . . . . . . . . . . . . . . . . . . . . . . . .15

4.1–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

4.1–2: Mod.1 (Filter1 Modulation1) . . . . . . . . . . . . . . . . . . .16

4.1–3: Mod.2 (Filter1 Modulation2) . . . . . . . . . . . . . . . . . . .17

4.1–4: lfoMod (LFO Modulation) . . . . . . . . . . . . . . . . . . . . .17

4.1–5: EG (Filter1 EG) . . . . . . . . . . . . . . . . . . . . . .18

PROG 4.2: Ed–Filter2 . . . . . . . . . . . . . . . . . . . . . . . . .20

4.2–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

4.2–2: Mod.1 (Filter2 Modulation1) . . . . . . . . . . . . . . . . . . .20

4.2–3: Mod.2 (Filter2 Modulation2) . . . . . . . . . . . . . . . . . . .20

4.2–4: lfoMod (LFO Modulation) . . . . . . . . . . . . . . . . . . . . .20

4.2–5: EG (Filter2 EG) . . . . . . . . . . . . . . . . . . . . . .20

PROG 5.1: Ed–Amp1. . . . . . . . . . . . . . . . . . . . . . . . . . 20

5.1–1: Lvl/Pan (Level/Pan) . . . . . . . . . . . . . . . . . . . . . . . . .20

5.1–2: Mod. (Amp1 Modulation) . . . . . . . . . . . . . . . . . . . . .20

5.1–3: EG (Amp1 EG) . . . . . . . . . . . . . . . . . . . . . .22

PROG 5.1: Ed–Amp. . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PROG 5.2: Ed–Amp2 . . . . . . . . . . . . . . . . . . . . . . . . . 23

5.2–1: Lvl/Pan (Level/Pan) . . . . . . . . . . . . . . . . . . . . . . . . 23

5.2–2: Mod. (Amp2 Modulation) . . . . . . . . . . . . . . . . . . . . 23

5.2–3: EG (Amp2 EG) . . . . . . . . . . . . . . . . . . . . . . 23

PROG 5.2: Ed–EGs. . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PROG 5.3: Ed–LFOs. . . . . . . . . . . . . . . . . . . . . . . . . . 24

5.3–1: OS1LFO1 (OSC1 LFO1) . . . . . . . . . . . . . . 24

5.3–2: 1LFO2 (OSC1 LFO2) . . . . . . . . . . . . . . . . . . . . . . . 25

5.3–3: 2LFO1 (OSC2 LFO1) . . . . . . . . . . . . . . . . . . . . . . . 25

5.3–4: 2LFO2 (OSC2 LFO2) . . . . . . . . . . . . . . . . . . . . . . . 25

PROG 6.1: Ed–KARMA . . . . . . . . . . . . . . . . . . . . . . . 26

6.1–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

6.1–2: Key Z/T (KeyZ/Thru) . . . . . . . . . . . . . . . . . . . . . . . . 27

6.1–3: RxFltr (Receive Filter). . . . . . . . . . . . . . . . . . . . . . . 28

6.1–4: TxFltr (Transmit Filter) . . . . . . . . . . . . . . . . . . . . . . 28

PROG 6.2: Ed-KARMA Mdl . . . . . . . . . . . . . . . . . . . . 29

6.2–1: Parm1 (Parameter 1) . . . . . . . . . . . . . . . . . . . . . . . 29

6.2–2: Parm2 (Parameter 2) . . . . . . . . . . . . . . . . . . . . . . . 31

PROG 6.3: Ed-KARMA GE . . . . . . . . . . . . . . . . . . . . . 32

6.3–1: GE P...4 (GE Parameter 1...4) . . . . . . . . . . . . . . . . 32

6.3–1: GE P...8 (GE Parameter 5...8) . . . . . . . . . . . . . . . . 32

6.3–1: GE P...12 (GE Parameter 9...12) . . . . . . . . . . . . . . 32

6.3–1: GE P...16 (GE Parameter 13...16) . . . . . . . . . . . . . 32

PROG 6.4: Ed-KARMA RT . . . . . . . . . . . . . . . . . . . . . 34

6.4–1: RTP ..4 (RT Parameter 1...4) . . . . . . . . . . . . . . . . . 34

6.4–2: RTP ..8 (RT Parameter 5...8) . . . . . . . . . . . . . . . . . 34

6.4–3: DynMIDI (Dynamic MIDI) . . . . . . . . . . . . . . . . . . . . 36

6.4–4: Name1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

6.4–5: Name2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

PROG 7.1: Ed–BUS . . . . . . . . . . . . . . . . . . . . . . . . . . 37

7.1–1: BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

7.1–2: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

PROG 7.2: Ed–InsertFX . . . . . . . . . . . . . . . . . . . . . . . 38

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

7.2–2: IFX 1 (Insert Effect1). . . . . . . . . . . . . . . . . . . . . . . . 39

7.2–3: IFX 2 (Insert Effect2). . . . . . . . . . . . . . . . . . . . . . . . 39

7.2–4: IFX 3 (Insert Effect3). . . . . . . . . . . . . . . . . . . . . . . . 39

7.2–5: IFX 4 (Insert Effect4). . . . . . . . . . . . . . . . . . . . . . . . 39

7.2–6: IFX 5 (Insert Effect5). . . . . . . . . . . . . . . . . . . . . . . . 39

7.2–7: Routing (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . 40

PROG 7.3: Ed–MasterFX . . . . . . . . . . . . . . . . . . . . . . 40

7.3–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

7.3–2: MFX 1 (Master Effect1). . . . . . . . . . . . . . . . . . . . . . 41

7.3–3: MFX 2 (Master Effect2). . . . . . . . . . . . . . . . . . . . . . 41

7.3–4: MEQ (Master EQ) . . . . . . . . . . . . . . . . . . . . . . . . . . 41

2. Combination mode . . . . . . . . . . . . . . . . . . . 43

COMBI PAGE MENU . . . . . . . . . . . . . . . . . . . . . . . . . 43

COMBI 1.1: Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

1.1–1: Combi (Combination) . . . . . . . . . . . . . . . . . . . . . . . . 43

1.1–2: Prog (Timbre Program) . . . . . . . . . . . . . . . . . . . . . . 45

1.1–3: Mix (Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

1.1-4: KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

1.1–5: K.RTC (KARMA RTC) . . . . . . . . . . . . . . . . . . . . . . . 48

1.1–6: Note (Note Activity) . . . . . . . . . . . . . . . . . . . . . . . . . 48

COMBI 2.1: Ed–Prog/Mixer . . . . . . . . . . . . . . . . . . . . 48

2.1–1: Prog (Timbre Program) . . . . . . . . . . . . . . . . . . . . . . 48

2.1–2: Mix (Mixer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

COMBI 2.2: Ed–Ctrl . . . . . . . . . . . . . . . . . . . . . . . . . . 49

2.2–1: Ctrls (Controls). . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

COMBI 2.3: Ed–MOSS . . . . . . . . . . . . . . . . . . . . . . . . 49

COMBI 3.1: Ed–Param1. . . . . . . . . . . . . . . . . . . . . . . 49

3.1–1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

3.1–2: OSC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

3.1–3: Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

COMBI 3.2: Ed–Param2. . . . . . . . . . . . . . . . . . . . . . . 51

3.2–1: KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

3.2–2: Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

COMBI 3.3: Ed–Key Zone . . . . . . . . . . . . . . . . . . . . . 52

3.3–1: Key (Key Zone) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

3.3–2: Slope (Key Slope) . . . . . . . . . . . . . . . . . . . . . . . . . . 53

3.3–3: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

COMBI 3.4: Ed–Vel Zone (Velocity Zone) . . . . . . . . 53

3.4–1: Vel (Velocity Zone). . . . . . . . . . . . . . . . . . . . . . . . . . 53

3.4–2: Slope (Velocity Slope) . . . . . . . . . . . . . . . . . . . . . . . 54

3.4–3: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

COMBI 4.1: Ed–MIDI Filter1 . . . . . . . . . . . . . . . . . . . 54

4.1–1: MIDI 1–1 (MIDI Filter 1–1) . . . . . . . . . . . . . . . . . . . . 54

4.1–2: MIDI 1–2 (MIDI Filter 1–2) . . . . . . . . . . . . . . . . . . . . 55

COMBI 4.2: Ed–MIDI Filter2 . . . . . . . . . . . . . . . . . . . 55

4.2–1: MIDI 2–1 (MIDI Filter 2–1) . . . . . . . . . . . . . . . . . . . . 55

4.2–2: MIDI 2–2 (MIDI Filter 2–2) . . . . . . . . . . . . . . . . . . . . 55

COMBI 4.3: Ed–MIDI Filter3 . . . . . . . . . . . . . . . . . . . 55

4.3–1: MIDI 3–1 (MIDI Filter 3–1) . . . . . . . . . . . . . . . . . . . . 55

4.3–2: MIDI 3–2 (MIDI Filter 3–2) . . . . . . . . . . . . . . . . . . . . 55

COMBI 6.1: Ed–KARMA . . . . . . . . . . . . . . . . . . . . . . . 57

6.1–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

6.1–2: MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

6.1–3: Key Z (KeyZone) . . . . . . . . . . . . . . . . . . . . . . . . . . 59

6.1–4: Key T (Key Thru) . . . . . . . . . . . . . . . . . . . . . . . . . . 60

6.1–5: RxFltr (Receive Filter). . . . . . . . . . . . . . . . . . . . . . . 60

6.1–6: TxFltr (Transmit Filter) . . . . . . . . . . . . . . . . . . . . . . 60

COMBI: 6.2 Ed-KARMA Mdl. . . . . . . . . . . . . . . . . . . . 61

6.2–1: Parm1 (Parameter 1) . . . . . . . . . . . . . . . . . . . . . . . 61

6.2–2: Parm2 (Parameter 2) . . . . . . . . . . . . . . . . . . . . . . . 61

COMBI 6.3: Ed-KARMA GE . . . . . . . . . . . . . . . . . . . . 62

6.3–1: GE P..4 (GE Parameter 1...4). . . . . . . . . . . . . . . . . 62

6.3–2: GE P..8 (GE Parameter 5...8). . . . . . . . . . . . . . . . . 62

6.3–3: GE P..12 (GE Parameter 9...2). . . . . . . . . . . . . . . . 62

6.3–4: GE P..16 (GE Parameter 13...16). . . . . . . . . . . . . . 62

COMBI 6.4: Ed-KARMA RT . . . . . . . . . . . . . . . . . . . . 63

6.4–1: RTP ..4 (RT Parameter 1...4) . . . . . . . . . . . . . . . . . 63

6.4–2: RTP ..8 (RT Parameter 5...8) . . . . . . . . . . . . . . . . . 63

6.4–3: DynMIDI (Dynamic MIDI) . . . . . . . . . . . . . . . . . . . . 63

6.4–4: Name1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

6.4–5: Name2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

6.4–6: Rndm1 (Random 1) . . . . . . . . . . . . . . . . . . . . . . . . 64

6.4–7: Rndm2 (Random 2) . . . . . . . . . . . . . . . . . . . . . . . . 64

COMBI 7.1: Ed–BUS . . . . . . . . . . . . . . . . . . . . . . . . . . 65

7.1–1: BUS (BUS T01...08) . . . . . . . . . . . . . . . . . . . . . . . . 65

7.1–2: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

COMBI 7.2: Ed-InsertFX . . . . . . . . . . . . . . . . . . . . . . . 66

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

7.2–2: IFX 1 (Insert Effect1) . . . . . . . . . . . . . . . . . . . . . . . 67

7.2–3: IFX 2 (Insert Effect2) . . . . . . . . . . . . . . . . . . . . . . . 67

7.2–4: IFX 3 (Insert Effect3) . . . . . . . . . . . . . . . . . . . . . . . 67

7.2–5: IFX 4 (Insert Effect4) . . . . . . . . . . . . . . . . . . . . . . . 67

7.2–6: IFX 5 (Insert Effect5) . . . . . . . . . . . . . . . . . . . . . . . 67

7.2–7: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

COMBI 7.3: Ed–MasterFX . . . . . . . . . . . . . . . . . . . . . 67

7.3–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

7.3–2: MFX1 (Master Effect1) . . . . . . . . . . . . . . . . . . . . . . 68

7.3–3: MFX2 (Master Effect2) . . . . . . . . . . . . . . . . . . . . . . 68

7.3–4: MEQ (Master EQ). . . . . . . . . . . . . . . . . . . . . . . . . . 68

COMBI 4.4: Ed–MIDI Filter4 . . . . . . . . . . . . . . . . . . . 56

4.4–1: MIDI 4–1 (MIDI Filter 4–1) . . . . . . . . . . . . . . . . . . . . 56

4.4–2: MIDI 4–2 (MIDI Filter 4–2) . . . . . . . . . . . . . . . . . . . . 56

3. Sequencer mode. . . . . . . . . . . . . . . . . . . . . 69

SEQ PAGE MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

SEQ 1.1: Play/REC . . . . . . . . . . . . . . . . . . . . . . . . . . .69

1.1–1: Play.REC (Play/REC). . . . . . . . . . . . . . . . . . . . . . . . 69

1.1–2: Prog...8 (Program T01...08) . . . . . . . . . . . . . . . . . . .74

1.1–3: Prog...16 (Program T09...16) . . . . . . . . . . . . . . . . . .74

1.1–4: Mix..8 (Mixer T01...08) . . . . . . . . . . . . . . . . . . . . . . .75

1.1–5: Mix..16 (Mixer T09...16) . . . . . . . . . . . . . . . . . . . . . .75

1.1–6: Pref. (Preference). . . . . . . . . . . . . . . . . . . . . . . . . . . 75

1.1–7: K.RTC (KARMA RTC) . . . . . . . . . . . . . . . . . . . . . . .77

SEQ 1.2: Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

1.2–1: Loop...8 (Track Play Loop T01...08). . . . . . . . . . . . . 77

1.2–2: Loop...16 (Track Play Loop T09...16). . . . . . . . . . . . 77

SEQ 2.1: Cue List . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

2.1–1: Cue List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

SEQ 2.2: Controller . . . . . . . . . . . . . . . . . . . . . . . . . . .81

2.2–1: Ctrls (Controls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

SEQ2.3: MOSS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

SEQ 3.1: Param1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

3.1–1: MIDI...8 (MIDI T01...08) . . . . . . . . . . . . . . . . . . . . . .82

3.1–2: MIDI...16 (MIDI T09...16) . . . . . . . . . . . . . . . . . . . . .82

3.1–3: OSC..8 (OSC T01...08) . . . . . . . . . . . . . . . . . . . . . .83

3.1–4: OSC..16 (OSC T09...16) . . . . . . . . . . . . . . . . . . . . .83

3.1–5: Ptch..8 (Pitch T01...08) . . . . . . . . . . . . . . . . . . . . . .83

3.1–6: Ptch..16 (Pitch T09...16) . . . . . . . . . . . . . . . . . . . . .83

SEQ 3.2: Param2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

3.2–1: KRM..8 (KARMA T01...08). . . . . . . . . . . . . . . . . . . .84

3.2–2: KRM..16 (KARMA T09...16). . . . . . . . . . . . . . . . . . .84

3.2–3: Othr..8 (Other T01...08) . . . . . . . . . . . . . . . . . . . . . . 85

3.2–4: Othr..16 (Other T09...16) . . . . . . . . . . . . . . . . . . . . . 85

SEQ 3.3: Key Zone . . . . . . . . . . . . . . . . . . . . . . . . . . .85

3.3–1: Key..8 (Key T01...08) . . . . . . . . . . . . . . . . . . . . . . . .85

3.3–2: Key..16 (Key T09...16) . . . . . . . . . . . . . . . . . . . . . . .85

3.3–3: Slp..8 (Slope T01...08) . . . . . . . . . . . . . . . . . . . . . . .86

3.3–4: Slp..16 (Slope T09...16) . . . . . . . . . . . . . . . . . . . . . .86

3.3–5: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

SEQ 3.4: Vel Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

3.4–1: Vel..8 (Vel T01...08) . . . . . . . . . . . . . . . . . . . . . . . . .86

3.4–2: Vel..16 (Vel T09...16) . . . . . . . . . . . . . . . . . . . . . . . .86

3.4–3: Slp..8 (Slope T01...08) . . . . . . . . . . . . . . . . . . . . . . .87

3.4–4: Slp..16 (Slope T09...16) . . . . . . . . . . . . . . . . . . . . . .87

3.4–5: Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

SEQ 4.1: MIDI Filter1 . . . . . . . . . . . . . . . . . . . . . . . . . 87

4.1–1: M1–1..8 (MIDI Filter1–1 T01...08). . . . . . . . . . . . . . 87

4.1–2: 1–1..16 (MIDI Filter1–1 T09...16) . . . . . . . . . . . . . . 87

4.1–3: 1–2..8 (MIDI Filter1–2 T01...08) . . . . . . . . . . . . . . . 88

4.1–4: 1–2..16 (MIDI Filter1–2 T09...16) . . . . . . . . . . . . . . 88

SEQ 4.2: MIDI Filter2 . . . . . . . . . . . . . . . . . . . . . . . . . 88

4.2–1: M2–1..8 (MIDI Filter2–1 T01...08). . . . . . . . . . . . . . 88

4.2–2: 2–1..16 (MIDI Filter2–1 T09...16) . . . . . . . . . . . . . . 88

4.2–3: 2–2..8 (MIDI Filter2–2 T01...08) . . . . . . . . . . . . . . . 88

4.2–4: 2–2..16 (MIDI Filter2–2 T09...16) . . . . . . . . . . . . . . 88

SEQ 4.3: MIDI Filter3 . . . . . . . . . . . . . . . . . . . . . . . . . 89

4.3–1: M3–1..8 (MIDI Filter3–1 T01...08). . . . . . . . . . . . . . 89

4.3–2: 3–1..16 (MIDI Filter3–1 T09...16) . . . . . . . . . . . . . . 89

4.3–3: 3–2..8 (MIDI Filter3–2 T01...08) . . . . . . . . . . . . . . . 89

4.3–4: 3–2..16 (MIDI Filter3–2 T09...16) . . . . . . . . . . . . . . 89

SEQ 4.4: MIDI Filter4 . . . . . . . . . . . . . . . . . . . . . . . . . 89

4.4–1: M4–1..8 (MIDI Filter4–1 T01...08). . . . . . . . . . . . . . 89

4.4–2: 4–2..16 (MIDI Filter4–1 T09...16) . . . . . . . . . . . . . . 89

4.4–3: 4–2..8 (MIDI Filter4–2 T01...08) . . . . . . . . . . . . . . . 90

4.4–4: 4–2..16 (MIDI Filter4–2 T09...16) . . . . . . . . . . . . . . 90

SEQ 5.1: RPPR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

5.1–1: Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

5.1–2: RPPR Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

SEQ 5.2: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . 95

5.2–1: Track Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

SEQ 6.1: KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

6.1–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

6.1–2: MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

6.1–3: KeyZ (Key Zone). . . . . . . . . . . . . . . . . . . . . . . . . . 106

6.1–4: Key T (KeyThru) . . . . . . . . . . . . . . . . . . . . . . . . . . 106

6.1–5: RxFiltr (Receive Filter) . . . . . . . . . . . . . . . . . . . . . 107

6.1–6: TxFiltr (Transmit Filter) . . . . . . . . . . . . . . . . . . . . . 107

6.1–7: Note (Note Activity). . . . . . . . . . . . . . . . . . . . . . . . 107

SEQ 6.2: KARMA Mdl. . . . . . . . . . . . . . . . . . . . . . . . 108

6.2–1: Parm1 (Parameter 1) . . . . . . . . . . . . . . . . . . . . . . 108

6.2–2: Parm2 (Parameter 2) . . . . . . . . . . . . . . . . . . . . . . 108

SEQ 6.3: KARMA GE . . . . . . . . . . . . . . . . . . . . . . . . 109

6.3–1: GE P..4 (GE Parameter 1...4). . . . . . . . . . . . . . . . 109

6.3–2: GE P..8 (GE Parameter 5...8). . . . . . . . . . . . . . . . 109

6.3–3: GE P..12 (GE Parameter 9...12). . . . . . . . . . . . . . 109

6.3–4: GE P..16 (GE Parameter 13...16). . . . . . . . . . . . . 109

SEQ 6.4: KARMA RT . . . . . . . . . . . . . . . . . . . . . . . . 110

6.4–1: RTP..4 (RT Parameter 1...4) . . . . . . . . . . . . . . . . .110

6.4–2: RTP..8 (RT Parameter 5...8) . . . . . . . . . . . . . . . . .110

6.4–3: DynMIDI (Dynamic MIDI) . . . . . . . . . . . . . . . . . . . . 110

6.4–4: Name1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

6.4–5: Name2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

6.4–6: Rndm1 (Random 1) . . . . . . . . . . . . . . . . . . . . . . . . 111

6.4–7: Rndm2 (Random 2) . . . . . . . . . . . . . . . . . . . . . . . . 111

SEQ 7.1: BUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

7.1–1: BUS..8 (BUS T01...08). . . . . . . . . . . . . . . . . . . . . . 111

7.1–2: BUS..16 (BUS T09...16). . . . . . . . . . . . . . . . . . . . . 111

7.1–3: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

SEQ 7.2: Insert FX . . . . . . . . . . . . . . . . . . . . . . . . . . 112

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

7.2–2: IFX1 (Insert Effect1). . . . . . . . . . . . . . . . . . . . . . . .113

7.2–3: IFX2 (Insert Effect2). . . . . . . . . . . . . . . . . . . . . . . .113

7.2–4: IFX3 (Insert Effect3). . . . . . . . . . . . . . . . . . . . . . . .113

7.2–5: IFX4 (Insert Effect4). . . . . . . . . . . . . . . . . . . . . . . .113

7.2–6: IFX5 (Insert Effect5). . . . . . . . . . . . . . . . . . . . . . . .113

7.2–7: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

SEQ 7.3: Master FX . . . . . . . . . . . . . . . . . . . . . . . . . 113

7.3–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

7.3–2: MFX1 (Master Effect1). . . . . . . . . . . . . . . . . . . . . .114

7.3–3: MFX2 (Master Effect2). . . . . . . . . . . . . . . . . . . . . .114

7.3–4: Master EQ (Master EQ) . . . . . . . . . . . . . . . . . . . . .114

4. Song Play mode. . . . . . . . . . . . . . . . . . . . . 115

S.PLAY PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . 115

S.PLAY 1.1: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

1.1–1: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

1.1–2: Prog..8 (Program T01...08) . . . . . . . . . . . . . . . . . . 117

1.1–3: Prog..16 (Program T09...16) . . . . . . . . . . . . . . . . . 117

1.1–4: Mix..8 (Mixer T01...08) . . . . . . . . . . . . . . . . . . . . . . 117

1.1–5: Mix..16 (Mixer T09...16) . . . . . . . . . . . . . . . . . . . . . 117

1.1–6: Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

1.1–7: K.RTC (KARMA RTC) . . . . . . . . . . . . . . . . . . . . . . 118

S.PLAY 2.2: Controller . . . . . . . . . . . . . . . . . . . . . . 119

2.2–1: Ctrls (Controls). . . . . . . . . . . . . . . . . . . . . . . . . . . .119

S.PLAY 2.3: MOSS. . . . . . . . . . . . . . . . . . . . . . . . . . 119

2.3–1: MOS..8 (MOSS T01...08). . . . . . . . . . . . . . . . . . . . 119

2.3–2: MOS..16 (MOSS T09...16). . . . . . . . . . . . . . . . . . . 119

S.PLAY 3.1: Param . . . . . . . . . . . . . . . . . . . . . . . . . 120

3.1–1: Param..8 (Status/Scale T01...08). . . . . . . . . . . . . . 120

3.1–2: Prm..16 (Status/Scale T09...16). . . . . . . . . . . . . . . 120

3.1–3: KRM..8 (KARMA T01...08). . . . . . . . . . . . . . . . . . . 120

3.1–4: KRM..16 (KARMA T09...16). . . . . . . . . . . . . . . . . . 120

S.PLAY 4.1: Select Directory. . . . . . . . . . . . . . . . . . 121

4.1–1: Select Directory . . . . . . . . . . . . . . . . . . . . . . . . . . 121

S.PLAY 4.2: Jukebox . . . . . . . . . . . . . . . . . . . . . . . . 121

4.2–1: Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

S.PLAY 6.1: KARMA. . . . . . . . . . . . . . . . . . . . . . . . . 122

6.1-1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

6.1–2: MIDI I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6.1–3: Key Z (KeyZone) . . . . . . . . . . . . . . . . . . . . . . . . . 124

6.1–4: Key T (Key Thru) . . . . . . . . . . . . . . . . . . . . . . . . . 125

6.1–5: RxFiltr (Receive Filter) . . . . . . . . . . . . . . . . . . . . . 125

6.1–6: TxFiltr (Transmit Filter) . . . . . . . . . . . . . . . . . . . . . 125

6.1–7: Note Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

S.PLAY 6.2: KARMA Mdl . . . . . . . . . . . . . . . . . . . . . 126

6.2–1: Parm1 (Parameter 1) . . . . . . . . . . . . . . . . . . . . . . 126

6.2–2: Parm2 (Parameter 2) . . . . . . . . . . . . . . . . . . . . . . 126

S.PLAY 6.3: KARMA GE. . . . . . . . . . . . . . . . . . . . . . 127

6.3–1: GE P..4 (GE Parameter 1...4). . . . . . . . . . . . . . . . 127

6.3–2: GE P..8 (GE Parameter 5...8). . . . . . . . . . . . . . . . 127

6.3–3: GE P..12 (GE Parameter 9...12). . . . . . . . . . . . . . 127

6.3–4: GE P..16 (GE Parameter 13...16). . . . . . . . . . . . . 127

S.PLAY 6.4: KARMA RT . . . . . . . . . . . . . . . . . . . . . . 128

6.4–1: RTP..4 (RT Parameter 1...4) . . . . . . . . . . . . . . . . 128

6.4–2: RTP..8 (RT Parameter 5...8) . . . . . . . . . . . . . . . . 128

6.4–3: DynMIDI (Dynamic MIDI) . . . . . . . . . . . . . . . . . . . 128

6.4–4: Name1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

6.4–5: Name2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

6.4–6: Rndm1 (Random 1) . . . . . . . . . . . . . . . . . . . . . . . 129

6.4–7: Rndm2 (Random 2) . . . . . . . . . . . . . . . . . . . . . . . 129

S.PLAY 7.1: BUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

7.1–1: BUS..8 (BUS T01...08) . . . . . . . . . . . . . . . . . . . . . 129

7.1–2: BUS..16 (BUS T09...16) . . . . . . . . . . . . . . . . . . . . 129

7.1–3: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . 130

S.PLAY 7.2: Insert FX. . . . . . . . . . . . . . . . . . . . . . . . 130

7.2–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

7.2–2: IFX1 (Insert Effect1) . . . . . . . . . . . . . . . . . . . . . . . 131

7.2–3: IFX2 (Insert Effect2) . . . . . . . . . . . . . . . . . . . . . . . 131

7.2–4: IFX3 (Insert Effect3) . . . . . . . . . . . . . . . . . . . . . . . 131

7.2–5: IFX4 (Insert Effect4) . . . . . . . . . . . . . . . . . . . . . . . 131

7.2–6: IFX5 (Insert Effect5) . . . . . . . . . . . . . . . . . . . . . . . 131

7.2–7: Route (Routing) . . . . . . . . . . . . . . . . . . . . . . . . . . 131

S.PLAY 7.3: Master FX . . . . . . . . . . . . . . . . . . . . . . . 131

7.3–1: Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

7.3–2: MFX1 (Master Effect1) . . . . . . . . . . . . . . . . . . . . . 132

7.3–3: MFX2 (Master Effect2) . . . . . . . . . . . . . . . . . . . . . 132

7.3–4: MEQ (Master EQ). . . . . . . . . . . . . . . . . . . . . . . . . 132

vii

5. Global mode . . . . . . . . . . . . . . . . . . . . . . . 133

GLOBAL PAGE MENU . . . . . . . . . . . . . . . . . . . . . . .133

GLOBAL 1.1: System . . . . . . . . . . . . . . . . . . . . . . . .133

1.1–1: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

1.1–2: Pref. (System Preference) . . . . . . . . . . . . . . . . . . . 136

GLOBAL 2.1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . .137

2.1–1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

GLOBAL 3.1: User Scale . . . . . . . . . . . . . . . . . . . . .140

3.1–1: Octave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

3.1–2: All Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141

GLOBAL 4.1: Category Name . . . . . . . . . . . . . . . . .141

4.1–1: P.0..7 (Prog.00...07). . . . . . . . . . . . . . . . . . . . . . . .141

4.1–2: P.8..15 (Prog.08...15). . . . . . . . . . . . . . . . . . . . . . .141

4.1–3: C.0..7 (Comb.00...07). . . . . . . . . . . . . . . . . . . . . . . 141

4.1–4: C.8..15 (Comb.08...15). . . . . . . . . . . . . . . . . . . . . . 141

GLOBAL 5.1: DKit (Drum Kit). . . . . . . . . . . . . . . . . . 142

5.1–1: High (High Sample) . . . . . . . . . . . . . . . . . . . . . . . .142

5.1–2: Low (Low Sample) . . . . . . . . . . . . . . . . . . . . . . . . .144

5.1–3: Voice (Voice/Mixer) . . . . . . . . . . . . . . . . . . . . . . . .144

GLOBAL 6.1: Controller . . . . . . . . . . . . . . . . . . . . . .145

6.1–1: Foot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145

6.1–2: KARMA1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

6.1–3: KARMA2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146

6. Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . 149

DISK PAGE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . 150

1.1–1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

1.1–2: Save. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153

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

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

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

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

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

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

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

Insert Effects (IFX 1, 2, 3, 4, 5) . . . . . . . . . . . . . . . . .160

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

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

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

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

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

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

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

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

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

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

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

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

000: No Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

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

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

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

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

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

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

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

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

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

010: St.Random Filter(Stereo Random Filter) . . . . . . . . . 173

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

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

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

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

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

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

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

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

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

019: Ensemble. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

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

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

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

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

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

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

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

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

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

029: 2Voice Reso(2Voice Resonator) . . . . . . . . . . . . . . . 183

030: Doppler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

031: Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

viii

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

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

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

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

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

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

037: Detune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

038: Pitch Shifter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

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

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

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

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

042: Auto Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192

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

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

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

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

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

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

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

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

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

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

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

053: Rev SmoothHall (Reverb Smooth Hall) . . . . . . . . . . 197

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

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

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

057: Rev BrightRoom (Reverb Bright Room) . . . . . . . . . . 198

Mono

→

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

058: P4EQ–Exciter (Parametric 4-Band EQ – Exciter). . . . 199

059: P4EQ–Wah

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

060: P4EQ–Cho/Fl

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

061: P4EQ–Phaser

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

062: P4EQ–M.Dly

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

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

064: Comp–AmpSim (Compressor – Amp Simulation) . . . 202

065: Comp–OD/HG

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

066: Comp–P4EQ

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

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

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

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

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

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

072: Limit–Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

073: Limiter–M.Dly (Limiter – Multitap Delay) . . . . . . . . . 206

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

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

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

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

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

079: OD/HG–AmpSim

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

080: OD/HG–Cho/Fl

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

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

082: OD/HG–M.Dly (Overdrive/Hi.Gain – Multitap Delay). . 209

083: Wah–AmpSim

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

084: Deci–AmpSim (Decimator – Amp Simulation). . . . . 210

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

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

087: Cho/Fl–M.Dly (Chorus/Flanger – Multitap Delay) . . . 211

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

089: Reverb–Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

090: Piano Body (Piano Body/Damper Simulation). . . . . 213

091: St.MltbandLmt (Stereo Multiband Limiter) . . . . . . . . 213

092: OD/HyprG Wah (Overdrive/Hyper Gain Wah). . . . . 213

093: Vocoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

094: MltTap ChoDly (Multitap Chorus/Delay) . . . . . . . . . 215

095: St.Pitch Shift (Stereo Pitch Shifter) . . . . . . . . . . . . . 215

096: Rotary SP OD (Rotary Speaker Overdrive). . . . . . . 216

097: Early Reflect(Early Reflections). . . . . . . . . . . . . . . . 217

098: LCR Long Delay (L/C/R Long Delay) . . . . . . . . . . . 217

099: St/Cross LDly (Stereo/Cross Long Delay) . . . . . . . . 217

100: LCR BPM LDly(L/C/R BPM Long Delay). . . . . . . . . 218

101: St.BPM LDelay (Stereo BPM Long Delay) . . . . . . . 218

102: Hold Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

8. Appendices . . . . . . . . . . . . . . . . . . . . . . . . 221

Alternate Modulation Source (AMS) . . . . . . . . . . . . 221

About Alternate Modulation. . . . . . . . . . . . . . . . . . . . . . . .221

About Alternate Modulation Sources. . . . . . . . . . . . . . . . . 221

AMS (Alternate Modulation Source) List . . . . . . . . . . . . . .222

Alternate Modulation settings . . . . . . . . . . . . . . . . . . . . . .224

The effect of alternate modulation on various

parameters, and example applications . . . . . . . . . . .224

Dynamic Modulation Source (Dmod) . . . . . . . . . . . . . .227

Dynamic Modulation Source List. . . . . . . . . . . . . . . . . . . . 227

About the BPM/MIDI SYNC function. . . . . . . . . . . . . . . . .229

SW1/2 Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230

SW1, SW2 Assign List . . . . . . . . . . . . . . . . . . . . . . . . . . .230

Knob 1...4 B Assign . . . . . . . . . . . . . . . . . . . . . . . . .231

Realtime Control Knobs B Assign List . . . . . . . . . . . . . . .231

Foot Switch Assign. . . . . . . . . . . . . . . . . . . . . . . . . . 232

Foot Switch Assign List . . . . . . . . . . . . . . . . . . . . . . . . . . .232

Foot Pedal Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Foot Pedal Assign List . . . . . . . . . . . . . . . . . . . . . . . . . . .233

EXB-MOSS option . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Features of the EXB-MOSS. . . . . . . . . . . . . . . . . . . . . . . 269

The structure of a MOSS tone generator program . . . . . 269

About the oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Loading the preloaded data . . . . . . . . . . . . . . . . . . . . . . . 270

Selecting programs/combinations . . . . . . . . . . . . . . . . . . 272

Editing a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Editing a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Sequencer, Song Play mode . . . . . . . . . . . . . . . . . . . . . . 273

Operation when transmitting/receiving control changes . . 273

Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Cautions when using bank F . . . . . . . . . . . . . . . . . . . . . . 287

Affix the Sondius-XG label. . . . . . . . . . . . . . . . . . . . . . . . 287

Modulation Source List . . . . . . . . . . . . . . . . . . . . . . . . . . 287

EXB-MOSS Parameter Index . . . . . . . . . . . . . . . . . . . . . 288

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Dynamic MIDI Sources & Destinations . . . . . . . . . .234

Dynamic MIDI Sources . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Dynamic MIDI Destinations. . . . . . . . . . . . . . . . . . . . . . . .235

MIDI transmission when

this instrument’s controllers are operated . . . . . . .240

This instrument operations when control

changes are transmitted/received . . . . . . . . . . . . . .242

MIDI applications. . . . . . . . . . . . . . . . . . . . . . . . . . . .245

■ About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

■ Connecting MIDI devices/computers

(MIDI connectors) . . . . . . . . . . . . . . . . . . . . . . . . . . .245

■ Messages transmitted and received

by this instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Various messages. . . . . . . . . . . . . . . . . . . . . . . . . . .256

Data compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . .260

MIDI IMPLEMENTATION . . . . . . . . . . . . . . . . . . . . . .261

Option boards/memory. . . . . . . . . . . . . . . . . . . . . . .264

About option boards . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264

Please note when installing an option board. . . . . . . . . . . 264

Checking after installation . . . . . . . . . . . . . . . . . . . . . . . . .265

Installing an EXB-PCM . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Installing the EXB-MOSS . . . . . . . . . . . . . . . . . . . . . . . . .267

* KARMA™ (Kay Algorithmic Realtime Music Architecture) Tech-

nology has been licensed from Stephen Kay, and is protected by U.S. Patents 5,486,647, 6,084,171, 6,087,578, 6,103,964, 6,121,532, and 6,121,533. Other patents pending.

* KARMA™, the KARMA Logo, Generated Effect™ (GE),

Melodic Repeat™, Direct Index™, Manual Advance™, and SmartScan™ are trademarks of Stephen Kay, Karma Lab LLC, www.karma-lab.com. This manual copyright © 2000-2001 by KORG Inc. and Stephen Kay. All rights reserved.

* 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

Use the following procedure to select the desired page within the 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. ( OSC 2.3: Ed-OSC This will be displayed when you select

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 and Amp 2 (volume) settings.

Amp2 5.2: Ed-Amp2 LFO 5.3: Ed-LFOs Type and speed settings etc. for the

Amp 5.1: Ed-Amp This will be displayed when you select

EG 5.2: Ed-EGs KARM 6.1: Ed-KARMA KARMA GE selection, key zone

K Mdl 6.2: Ed-KARMA Mdl Module parameter settings (transpose,

K GE 6.3: Ed-KARMA GE GE parameter settings and assign-

K RT 6.4: Ed-KARMA RT KARMA RT parameters, Dynamic MIDI

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

IFX 7.2: Ed-InsertFX Insert Effect routing, selection and set-

MFX 7.3: Ed-MasterFX Master Effect selection and settings.

formance Editor for easy editing, and to select KARMA GE. (

Oscillator and Multisample. (

☞p.2)

☞p.7)

☞p.10)

bank F if the optional EXB-MOSS is installed. OSC settings for the MOSS tone generator. (

☞p.11)

(

☞p.15)

tings. (

☞p.20)

Amp EG, pan (position) settings.

☞p.20)

(

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.) (

bank F if the optional EXB-MOSS is installed. Amp (volume) settings. Amp EG, pan (position) settings. (

parameters, MIDI ﬁlter settings.

☞p.26)

(

pitch range of generated phrase, trigger etc.) (

ments to KARMA real-time controls

☞p.32)

(

settings. (

level for the oscillator output. (

☞p.38)

tings. (

Master EQ settings. (

☞p.11)

☞p.24)

☞p.23)

☞p.29)

☞p.34)

☞p.37)

☞p.40)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

PROG 1.1: Play

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 ( 1a).

1.1–1: Program

1.1–1a

1.1–1b

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

10’s Hold,  (Tempo)

Bank [Bank A...F, G, g(1)...g(9), g(d)]

This is the program bank display. Use the BANK [A]–[G] keys to select the bank. Bank G will cycle as follows each time you press the BANK [G] key. G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8)→g(9)→ g(d)→G

Bank F can be selected if you have installed the separately sold EXB-MOSS option. When installed, the 128 special EXB-MOSS programs will be available.

The KARMA series provides rewritable banks A, B, C, D, and E, each containing 128 programs (total 640). As for nonrewritable program areas, it provides banks G (capital programs for GM2), banks g(1)–g(9) (variation programs), and bank g(d) (drums). (For a list of the factory-set programs, refer to the separate VNL.)

Bank A, B for preloaded programs Bank C, D for user programs, and EXB-PCM series programs Bank E for preloaded programs Bank F for EXB-MOSS programs Bank G GM2 capital program Bank g(1)...g(9) GM2 variation programs* Bank g(d) GM2 drums program

☞GLOBAL 2.1–

1.1–1c

Program Select

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

Selects a program. Choose this parameter, and use the VALUE [ ], [ ] keys, numeric keys [0]–[9], and 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 transmit MIDI program changes from a con-

nected external MIDI device, or use a foot switch to select programs. (

6.1–1a), p.232 “Foot Switch Assign List”)

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 VALUE [ ], [ ]

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

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

display.

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

Select by Category

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

menu.

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

“Select by Category,” and then press the [F8] key. The Select Program by Category dialog box will appear. The programs in that category will be shown in the framed list.

☞p.145 “Foot SW Assign” (GLOBAL

→ Cancel.

* For banks with no variation sounds, the GM basic sounds

will be recalled. (An * will be added at the beginning of the program name.)

3 Select “Cat,” and use the Value Controller to choose the

category that includes the program you wish to select.

4 Use the cursor keys [ ], [ ] to select a program from

the list. Alternatively, you can use the [ ], [ ] keys to select “Index,” and use the VALUE [ ], [ ] keys or [VALUE] dial to make your selection.

5 Press the [F8] (“OK”) key to ﬁnalize your selection, or

press the [F7] (“Cancel”) key to cancel your selection.

10’s HOLD

1 Press the [./HOLD] key 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. You can also use the [VALUE] dial to change the second digit place.

3 You can use the VALUE [ ], [ ] 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 KARMA function. The tempo can also be adjusted by the [TEMPO] knob. A display of EXT indicates that the “MIDI Clock” setting (GLOBAL 2.1–1a) has been set to External, and that the KARMA function will synchronize to MIDI Clock messages received from an external MIDI device. This parameter is linked with “Te mp o” (6.1: Ed-KARMA).

1.1–1b: Program Information

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–E.

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.39)

Select by Category

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

1.1–2: P.Edit (Performance Editor)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

This displays the functions that are assigned to the [SW1] key, [SW2] key, and real-time 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 keep a program, be sure to write it into memory on this instrument. An edited program cannot be recovered if you fail to write it 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 name and program name.

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

you are writing. The category selected here can be used to ﬁnd this program when selecting a program in Program, Combination, Sequencer and Song Play. 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.

4 Press “To ” to specify the writing destination.

You can also use the Bank [A]–[E] keys to select a bank.

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 (

☞p.2). “ ” sets the tempo.

1.1–2b: Performance Editor

The Performance Editor lets you edit major program parameters without moving to the PROG 2.1–7.3 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–7.3: Ed-MasterFx to make ﬁne adjustments.

If the “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 this instrument whose “Exclusive” setting is checked, the Performance Editor corresponding to that message will be modiﬁed.

☞BG p.38).

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.

This Performance Edit function cannot be used for bank F.

OSC Bal (OSC Balance) [–10…+00…+10]

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

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

Level (Amp Level) [–10…+00…+10]

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

Attack (Attack Time) [–10…+00…+10]

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

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

Decay (Decay Time) [–10…+00…+10]

This adjusts the Decay Time and Slope Time of the ﬁlter EG and amp EG. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will lengthen the Decay 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 insertion effects 1–5 as a whole. With an adjustment of +00, the value of the program parameters will be unchanged. Positive (+) settings will raise the Wet levels above the program setting, and lower the Dry levels. With an adjustment of +10, the setting will be “Wet.” Negative (–) settings will lower the Wet levels below the program setting, and raise the Dry levels. With an adjustment of –10, the setting will be “Dry.”

MFX Bal (MFX Balance) [–10…+00…+10]

This adjusts the master effect “Rtn1 (Return1)” and “Rtn2 (Return2)” (7.3–1a) 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 IFX1/2/3/4/5 effects MFX Bal Master Effect RTN1, 2(Return1, 2)

For the bank F programs that can be used when the separately sold EXB-MOSS option is installed, different program parameters will be adjusted. (

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

option”)

■ 1.1–2c: UTILITY

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

Level Modulation St, Time Modulation At 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: KARMA

Make KARMA function-related settings that will be used by the program. Here you can select the GE (Generated Effect) used by the KARMA module. Other settings are made in PROG 6.1, 6.2, 6.3, and 6.4.

To turn KARMA function on/off, use the KARMA real-time controls [ON/OFF] key. The state of the KARMA real-time controls [LATCH], [SCENE] key, switches [1]/[2], and knobs [1]–[8] and the note settings/velocity of the CHORD TRIGGER [1]–[4] keys can be saved independently for each program.

1.1–2a

1.1–3a

1.1–3b

1.1–3a: KARMA GE Setup

The phrases and patterns produced by a KARMA module are generated by a GE (Generated Effect). Based on input note data from the keyboard, the GE creates phrases and patterns using numerous internal parameter settings to control the development of the note data, the rhythm, the chord structure, the velocity etc. MIDI control changes and pitch bend etc. can also be generated in synchronization with the phrase or pattern. In this way you can produce phrases and patterns in which the GE freely varies the tone or pitch. The GE can be selected independently for each KARMA module.

In Program mode you can use one KARMA module (module [A]). (In Combination, Sequencer, and Song Play modes, you can use four KARMA modules (modules [A], [B], [C], [D]).)

GE Category [00: name...]

This shows the category of the GE selected for the KARMA module. You can use the utility menu command “Select by Category” to select a GE by category. (

☞p.2, 1.1–3b)

If you select a GE when “Init K.RTC” is On, the KARMA real-time controls knobs [1]–[8] will automatically be set to the center (12 o’clock) and switches [1]/[2] will be off. For each GE, up to sixteen parameters ideal for controlling the phrase or pattern have been preset. These parameters can be assigned to KARMA real-time controls knobs [1]–[8] and switches [1]/[2] and controlled. If this is done, the settings of knobs [1]–[8] and switches [1]/ [2] will signiﬁcantly change the phrase or pattern of the GE. This setting will set knobs [1]–[8] to the center, and switches [1]/[2] to the Off position, ensuring that the GE will function in its original preset state.

If the GE parameter “Asgn” (6.3–1(2)(3)(4)a) has been set to Knob1–Knob8SW, SW[1], or SW[2], the GE may not operate in its preset state, depending on the GE that is selected. If this occurs, set the GE parameter “Asgn” to “---.” Also, all KARMA module parameters including the GE parameter “Asgn” will be initialized when you execute the “Initialize KARMA Module” utility menu command in the 6.1: Ed-KARMA–6.4: EdKARMA-RT pages.

■ 1.1–3b: UTILITY

☞ “Write Program” (1.1–1c)

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

Select by Category (Select Program by Category/Select by Category: GE)

When “Program Select” (1.1–2a) is selected, you can select programs by category. ( When “GE Select” (1.1–3a) is selected, you can select a GE by category. For the procedure, refer to “Select by Category” (

☞p.2)

☞p.2).

PROG

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GE Select [0000: Arp Model 1 Up/Dn...]

Here you can select a GE. You can select from over 1000 different types.

 (Tempo) [040...240, EXT]

Speciﬁes the tempo at which KARMA will operate. (☞p.3)

Int K.RTC (KARMA Real-time Controls–Use GE’s Value)

[Off, On]

Speciﬁes whether the settings of the KARMA real-time controls knobs [1]–[8] and switches [1]/[2] will be initialized when you select a GE. This allows you to hear the original state of the phrase or pattern produced by the GE. Normally you will turn this On when selecting a GE.

On (checked): The KARMA real-time controls knobs [1]–[8] and switches [1]/[2] will be initialized when a GE is selected. Off (unchecked): The KARMA real-time controls knobs [1]– [8] and switches [1]/[2] will not be initialized when a GE is selected. (The state of the knobs and switches will be applied.)

Knobs [1]–[8] and switches [1]/[2] that are not assigned to GE parameters will not be initialized. ( 1a “Asgn”)

☞PROG 6.3–

1.1–4: K.RTC (KARMA RTC)

■ 1.1–4b: UTILITY

1.1–2a

1.1–4a

1.1–4b

1.1–4a: RT Knob/SW Name

This displays the names of KARMA real-time controls knobs [1]–[8] and switches [1]/[2], and the settings of knobs [1]–[8] and switches [1]/[2] that are written in the program. These names can be edited in the PROG 6.4–4/5: EdKARMA RT, Name 1/2 page. Knobs [1]–[8] and switches [1]/[2] can be switched between two types of settings; SCENE 1 and 2. The settings of the knobs and switches displayed here will also change according to the SCENE 1/2 selection. (☞BG p.26 “Performing with the KARMA function”)

Graphic display of knobs [1]–[8] and switches [1]/[2]

When you operate a knob [1]–[8] or switch [1]/[2] to modify the value that is written in the program, the graphic display of that knob or switch will be highlighted in black. When you return the knob or switch to the value that is written in the program, the graphic display will revert to its prior state. You can use this feature to return a knob or switch to its original position after operating it.

To restoring the state of knobs [1]–[8] and switches [1]/[2]

You can either restore the setting while watching the graphic display of the knob or switch, or use one of the following methods. (This is possible only in Program and Combination modes.)

[Restoring the entire program]

Press the [COMPARE] key. All settings of the program will be restored to the written state. (

[Restoring only the SCENE settings]

1 When you operate knobs [1]–[8] or switches [1]/[2] to

modify the values that are written in the program, the LED of the current scene will blink.

2 At this time, you can hold down the [ENTER] key and

press the [SCENE] key to automatically restore all knobs and switches to the values that are written. (The LED will light.)

3 If you once again hold down the [ENTER] key and press

the [SCENE] key, all knobs and switches will return to the state of step

[Restoring only the settings of knobs [1]–[8] and switches [1]/ [2] ]

1 When you operate a knob [1]–[8] or switch [1]/[2] to

modify the values that are written in the program, the graphic display of that knob or switch will be highlighted in black.

2 At this time, you can hold down the [ENTER] key and

operate the knob or switch you adjusted, and it will automatically return to the value that was written.

1. (The LED will blink.)

☞BG p.15 “Compare key”)

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

1.1–5: Note (Note Activity)

1.1–2a

1.1–5a

1.1–5b

1.1–5a: Note Activity Display, Chord Name

Note Activity Display

This is a real-time display of the note-on/off states generated by the KARMA module (module [A]). The key zone settings of the KARMA module are displayed as a solid line. (

Chord Name

This shows the name of the chord detected by the KARMA module.

Chord detection is affected by the key zone (PROG 6.12a: KeyZ/Thru) and “Transpose” (PROG 6.2-1a: Module Parameter) of the KARMA module, and by the

“Dynamic MIDI Destination” (PROG 6.4-3a/b/c/d) “Chord Scan” and “Smart Scan” settings.

■ 1.1–5b: UTILITY

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

☞p.27 PROG 6.1–2a: KeyZ/Thru)

PROG 2.1: Ed–Basic

Here you can make basic settings for the oscillator(s) that will be used.

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 Single 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 repeatedly, 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’s occur, the ﬁrst note-on will retrigger the sound, and the second and subsequent note-on’s will not retrigger. Off (unchecked): Legato is off. Notes will always be retriggered when note-on occurs. When legato is on, multiple note-on’s will not retrigger the voice. If one note is already on and another note is turned on, the ﬁrst voice will continue sounding. 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. 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” (GLOBAL3.1–2a).

User Octave 00–15: These are the single-octave scales that are speciﬁed in “User Octave Scale” (GLOBAL3.1–1a).

PROG

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Key [C…B]

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

Random [0…7]

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

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

1.1–1a) to correct the pitch.

2.1–2: 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. Internal ROM contains 425 different multisamples (preset multisamples) and 73 drum kits. If an EXB-PCM series option has been installed, you will be able to select multisamples from the installed option.

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

■ 2.1–1d: UTILITY

☞ “Write Program” (1.1–1c)

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

Copy 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]–[G] keys to select the bank.

3 In “To , ” select the copy destination oscillator.

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

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

Swap Oscillator

This command exchanges the settings of oscillators 1 and 2.

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

2 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.

2.1–2c

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

2.1–2d

2.1–2e

2.1–2a: OSC1 Multisample

Velocity SW L→H [001...127]

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

2.1–2b: High, Low

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

High:

High MS Bank [ROM, EXB* ...] High Multisample [000...424, 000...]

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. EXB*: Multisamples from a separately sold EXB-PCM series option board can be selected. “*” will indicate the type of installed option. The multisample number for “High Multisample” will depend on the options that are installed.

The EXB* display will differ depending on the type of option board.

If a program that uses a multisample from a separately sold EXB-PCM series board is selected, but the necessary multisample is not available because the corresponding EXB-PCM (expansion board) is not installed, the “High MS Bank” ﬁeld will indicate “ROM.” In this case, the program will not sound. By re-selecting the multisample bank, you can make the program sound.

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

Rev (High Reverse) [Off, On]

The multisample will be played in reverse. In the case of ROM or optional (EXB-PCM series) multisamples that were originally speciﬁed to loop, 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) [0...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.

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 note-off occurs. This is used to create sounds such as the “click” that is heard when a harpsichord note is released. In this case, set the “Amp1 EG”, “Amp2 EG” (5.1–3a, 5.2–3) “S (Sustain Level)” parameter to 0.

2.1–2d: OSC1 Drum Kit

Drum Kit [00(A/B)...63(User), 64(GM)...72(GM)]

Select a drum kit.

00 (A/B)–15 (A/B) Preset drum kits. 16 (C)–31 (C) 32 (D)–47 (D) 48 (User)–63 (User) for user drum kits 64 (GM)–72 (GM) ROM preset drum kits compatible with GM2.

for user drum kits, EXB-PCM series drum kits

PROG

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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. EXB*...] Low Multisample [000...424, 000...] S.Ofs (Low Start Offset) [Off, On] Rev (Low Reverse) [Off, On] Level (Low Level) [000...127]

☞ Refer to the corresponding item in “High.”

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.”

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.

Select by Category

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

This command is valid if “Mode (Oscillator Mode)” (2.1–1a) is Single or Double, and you are selecting the “High MS Bank,” “High Multisample,” “Low MS Bank,” or “Low Multisample” of OSC1 or OSC2 for which ROM was selected for “High MS Bank” or “Low MS Bank.”

☞p.2).

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

■ 2.1–4b: UTILITY

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

Oscillator” (2.1–1d)

PROG 2.2: Ed–Ctrl

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

2.2–1: Ctrls (Controls)

2.2–1a

2.2–1c2.2–1b

2.2–1a: Knob B Assign

Here you can assign functions (mainly various types of control change) to the B mode of the REAL-TIME CONTROLS knobs [1]–[4] ( List”). The functions you set here will take effect when you operate the REAL-TIME CONTROLS knobs [1]–[4] in B-mode.

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

☞p.231 “Realtime Control Knobs B Assign

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

2.2–1b: SW1/2 Assign

These settings assign functions to [SW1] and [SW2] keys

☞p.230 “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 in 1.1:Play. 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 (keyboard models of the TRITON and the TRITON-Rack). Programs created on this instrument can be used by a TRITON keyboard model, and vice versa. 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 2.3: Ed–OSC

This page will be displayed when you select bank F if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

( option”)

PROG 3.1: Ed–Pitch

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

3.1–1: OSC1

Speciﬁes how the keyboard location will affect the pitch of oscillator 1, and select 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 on/off and mode settings.

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

Pitch

2oct

1oct 1oct

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 this instrument or other instrument connected to 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.

C4 C5

–1

Key

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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. (

☞p.224)

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.222 “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.224)

3.1–1b: Pitch EG

3.1–1c: Portamento

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

☞p.222

“AMS List” SW1 CC#80, SW2 CC#81, Prta.SWCC#65).

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

Enable (Porta. Enable) [Off, On]

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

Fingered (Porta. Fingered) [Off, On]

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

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

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

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

■ 3.1–1d: UTILITY

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

Oscillator” (2.1–1d)

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.222 “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)

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

☞p.224). As you play more softly, the pitch

Note-off

Note-on

Note-off

Strongly played with a positive (+) value

Note-on

Strongly played with a negative (–) value

Note-off

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

3.1–2a: 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.222 “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.224).

LFO2:

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

Refer to the preceding section “LFO1.”

■ 3.1–2b: UTILITY

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

Oscillator” (2.1–1d)

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 time over which the pitch change will occur.

3.1–5d

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

3.1–3: OSC2

Speciﬁes how the keyboard location will affect the pitch of oscillator 2, and select 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 on/off status and mode. 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.”

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.

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)

3.1–5c: Time Mod. (Time 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.222 “AMS List”).

I (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect applied by “AMS1 (Level Mod. AMS1).”

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

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

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

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.222 “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 speci- ﬁed 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

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

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

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

S (AMS1 SW Start) [–, 0, +]

Speciﬁes the direction of change in “S (Start Level)” caused by “AMS1 (Level Mod. AMS1).” If “I (AMS1 Intensity)” is a positive (+) value, a setting of + will raise the EG level, and a setting of – will decrease it. 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).”

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

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

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

A (AMS SW Attack) [–, 0, +]

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

D (AMS SW Decay) [–, 0, +]

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

■ 3.1–5d: UTILITY

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

Oscillator” (2.1–1d)

PROG 4.1: Ed–Filter1

Frequency (A Frequency) [00…99]

Speciﬁes the cutoff frequency of ﬁlter 1A.

Indicates settings for ﬁlter 1 that 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, Drums the ﬁlter 2 pages cannot be selected.

4.1–1: Basic

Here you can specify the basic type for ﬁlter 1 (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 for 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

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.222 “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 resonance will decrease as you play more strongly, and as you play more softly the resonance will approach the level speciﬁed by the “Resonance (A Resonance)” setting. The resonance level is determined by adding the “Resonance (A Resonance)” and “Intensity (AMS Intensity)” values.

The effect of resonance

Low Pass

Level

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

Trim [00…99]

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

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

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

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

4.1–2c

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 keyboard location 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 apply, 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 keyboard 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 keyboard 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.

4.1–2d

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 direc- tion as the keyboard tracking settings. With negative (–) settings, the effect will be in the opposite direction.

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

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

☞“Int. to A”)

4.1–2b: Filter EG

Int. to A (Intensity to A) [–99…+99]

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

Int. to B (Intensity to B) [–99…+99]

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

☞ (“Int. to A” Intensity to A)

Vel to A (Velocity to A) [–99…+99]

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

Vel to B (Velocity to B) [–99…+99]

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

☞ (“Vel to A” Velocity to A).

Changes in cutoff frequency

Note-on

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

Note-off

Note-on

Strongly played Setting to +

Note-off

Note-on

Strongly played Setting to –

Note-off

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”).

PROG

1.1

■ 4.1–2c: AMS, Into to A, Int to B

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

Indicates the source that will control the depth and 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.222 “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. For details on how this will apply, refer to “Int. to A (Intensity 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)

■ 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

☞“Filter-A Modulation”).

Oscillator” (2.1–1d)

4.1–4: lfoMod (LFO Modulation)

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

4.1–4a

4.1–4b

4.1–4c

4.1–4a: Filter LFO1 Modulation

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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

4.1–3a: 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 (–)

☞p.222 “AMS List”).

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”).

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”)

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

Selects a source that will control the depth and direction of cutoff frequency change for both ﬁlters 1A and 1B (

☞p.222

“AMS List”).

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

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

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

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

☞“Int. to A”).

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]

■ 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).

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.

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)

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.

4.1–5d

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.222 “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.

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.

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.

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

B (AMS SW Break) [–, 0, +]

Speciﬁes the direction in which “AMS (Level Mod. AMS)” will affect “B (Break Point Level).” When “I (AMS Intensity)” has a positive (+) value, a setting of + for this parameter will allow “AMS” to raise the EG level, and a setting of – will allow “AMS” to lower the EG level. With a setting of 0 there will be no change.

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

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

Note-off

Note-on

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

Note-off

Note-on

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

Note-off

4.1–5c: Time Mod. (Time Modulation)

These settings let you use alternate modulation to control the “T (Time)” parameters of the ﬁlter 1 EG.

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

Indicates the source that will control the “T (Time)” parameters of the ﬁlter 1 EG (

☞p.222 “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 Track (4.1–2a) settings. With positive (+) values of this parameter, positive (+) values of “Ramp (Ramp Setting)” (4.1–2a) will lengthen the EG times, and negative (–) values of “Ramp (Ramp Setting)” will shorten the EG times. The direction of change is speciﬁed by “A (AMS1 SW Attack),” “D (AMS1 SW Decay),” “S (AMS1 SW Slope),” and “R (AMS1 SW Release).” With a setting of 0, the times speciﬁed by “Filter1 EG” (4.1– 5a) will be used. If “AMS1 (Time Mod. AMS1)” is set to Velocity, positive (+) values of this parameter will cause EG times to lengthen as you play more strongly, and negative (–) values will cause EG times to shorten as you play more strongly. With a setting of 0, the times speciﬁed by “Filter1 EG” will be used.

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.

R (AMS1 SW Release) [–, 0, +]

Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – will allow AMS1 to shorten the time. With a setting of 0 there will be no change.

Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)

Note-on

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

Note-off

Note-on

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

Note-off

Note-on

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

Note-off

AMS2 (Time Mod. AMS2) [Off, (KT, EXT)] I (AMS2 Intensity) [–99…+99] A (AMS2 SW Attack) [–, 0, +] D (AMS2 SW Decay) [–, 0, +] S (AMS2 SW Slope) [–, 0, +] R (AMS2 SW Release) [–, 0, +]

These parameters are the settings for “AMS2” to control the “Time” parameters of the ﬁlter 1 EG ( AMS1)”–“R (AMS1 SW Release)”).

■ 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.”

☞“AMS1 (Time Moc.

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.

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.

5.1–1: Lvl/Pan (Level/Pan)

These parameters control the volume and pan of oscillator 1.

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).

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

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

Indicates the source that will modify pan (☞p.222 “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

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 resulting level is determined by multiplying the values of CC#7 and CC#11. The Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a) is used for control.

5.1–1d

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

Oscillator” (2.1–1d)

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

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 keyboard location that you play.

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.

PROG

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 keyboard location and Ramp settings

Volume

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.222 “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 multiplying 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 a source that will control the depth by which “OSC1 LFO1” will modulate the volume of oscillator 1 (

☞p.222 “AMS List”).

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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

Softly played

Note-off

Note-on

Strongly played

Note-off

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.

AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)]

Indicates a source that will control the depth by which “OSC1 LFO2” will modulate the volume of oscillator 1 (

☞p.222 “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)

5.1–3: EG (Amp1 EG)

Indicates settings to specify how Amp 1 will cause the volume of oscillator 1 to change over time.

5.1–3b: Level Mod. (Level Modulation)

These parameters let you use AMS to control the amp 1 EG levels that were speciﬁed in “Amp 1 EG” (5.1–3a).

5.1–3a

5.1–3b

5.1–3c

5.1–3d

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.

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

Break Point

Sustain Level

Note-off

Time

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

Selects the source that will control the “Level” parameters of the amp 1 EG (

☞p.222 “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.

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

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

Note-off

Note-on

Note-off

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

5.1–3c: Time Mod. (Time Modulation)

You can use two AMS sources to control the Amp 1 EG times that were speciﬁed in “Amp 1 EG” (5.1–3a).

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

Selects the source that will control the “Time ” parameters of Amp 1 EG. (

☞p.222 “AMS List”)

Attack Time

Decay Time

Slope Time

Release Time

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.

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

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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.

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

Settings of 5.1–3a: Amp 1 EG

Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on

Note-off

Note-on

Low-pitched note played with “A,” “D,” “S”, and “R” at +

Note-on

Note-off

Note-on

High-pitched note played with “A,” “D,” “S”, and “R” at –

Note-on

Note-off

PROG 5.1: Ed–Amp

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

( option”)

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”)

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 –

PROG 5.2: Ed–EGs

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

( option”)

PROG 5.3: Ed–LFOs

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.)]

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

5.3–1d

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) [0…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)

You can use two alternate modulation sources to adjust the speed of the OSC1 LFO1.

AMS1 (Freq. AMS1)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Indicates the source that will adjust the frequency of the oscillator 1 LFO1 (

☞p.222 “AMS List”). OSC1 LFO1 can be

modulated by OSC1 LFO2.

Int (AMS1 Intensity) [–99…+99]

Speciﬁes the depth and direction of the effect that “AMS1 (Freq. AMS1)” will have. When this parameter is set to a value of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be increased by a maximum of 2, 4, 8, 16, 32, or 64 times respectively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respectively). For example, if “AMS1 (Freq. AMS1)” is Note No., positive (+) values of this parameter will cause the oscillator 1 LFO to speed up as you play higher notes. Negative (–) values will cause the oscillator 1 LFO to slow down as you play higher notes. This change will be centered on the C4 note. If “AMS1 (Freq. AMS1)” is set to JS +Y #01, raising the value of this parameter will cause the oscillator 1 LFO1 speed to increase as the joystick is moved away from yourself. With a setting of +99, moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times.

AMS2 (Freq. AMS2)

[Off, (PEG, FEG, AEG, LFO2, KT, EXT)]

Int (AMS2 Intensity) [–99…+99]

Indicates settings for a second alternate modulation source that will adjust the frequency of the oscillator 1 LFO1.

☞ “AMS1 (Freq. AMS1),” “Int. (AMS1 Intensity)”

Pitch at note-on

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.

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:

PROG

1.1

Base Note (Sync. Base Note)

[  ,   ,  ,   ,  ,   ,  ,  ]

Times (Sync. Times) [01...16]

When “Sync. (MIDI/Tempo 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 KARMA

function, the LFO will always perform one cycle every four beats.

■ 5.3–1d: UTILITY

☞ “Write Program” (1.1–1c)

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

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)”).

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

Swap LFO 1&2

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.

PROG 6.1: Ed–KARMA

Here you can make KARMA function settings for use by the program. In Program mode you can use one KARMA module (module [A]).

When you switch programs, these settings will automatically be rewritten to the KARMA settings stored in that program. (

☞GLOBAL 1.1–1c: System Basic, Auto KARMA

“Program”: On)

The KARMA function can be turned on/off by the KARMA real-time controls [ON/OFF] key. The state of the KARMA real-time controls [LATCH] [SCENE] keys, switches [1]/[2], and knobs [1]–[8], and the note settings/velocity of the CHORD TRIGGER [1]–[4] keys can be saved in each program.

In order for these settings to be valid, GLOBAL 1.1–1c: System Basic, Auto KARMA “Program” must be On.

The PROG 6.1–1: Setup page parameters can also be set from the PROG 1.1–3: KARMA page.

6.1–1: Setup

Here you can select the GE used by the KARMA module, and make key zone and MIDI ﬁlter settings for the KARMA module.

6.1–1a

6.1–1b

6.1–1c

6.1–1a:  (Tempo)

Speciﬁes the tempo at which the KARMA function will operate. (

6.1–1b: GE Setup

GE Category [00: name ...]

This displays the category of the currently selected GE. (

☞p.5)

☞p.3)

☞ “Write Program” (1.1–1c), “Select by Category” (1.1–3b)

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

Copy KARMA Module

This command copies the settings of the KARMA module used by a speciﬁed program, combination, song, or song play.

The “Input Channel” and “Output Channel” (6.2–1a) settings of combination, song, or song play will not be copied.

1 Select “Copy KARMA Module” to access the dialog box.

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

ber. You can press a Bank [A]–[G] key to select the bank.

3 If the copy source is a combination, song, or song play,

you can also select the module that will be copied.

4 If you wish to copy KARMA RT parameters and

KARMA real-time CONTROLS settings as well, check “KARMA RT&Panel Setting.”

Settings copied by “KARMA RT&Panel Setting”

• [ON/OFF] key setting

• [LATCH] key setting

• CHORD TRIGGER [1]–[4] key settings

• SCENE [1], [2] key settings

• KARMA real-time CONTROLS knobs [1]–[8],

switches [1]/[2] settings

• PROG 6.4: Ed-KARMA RT settings (RTParm, DynMIDI, Name)

5 To execute the copy, press the [F8] (“OK”) key. To cancel

without executing press the [F7] (“Cancel”) key.

Init KARMA Module (Initialize KARMA Module)

This command initializes the settings of the KARMA module.

The GE selection will not be initialized. The GE parameter “Values” will be set to the default values that are preset for the selected GE.

1 Select “Init KARMA Module” to access the dialog box.

GE Select [0000: Arp Model 1 Up/Dn…]

Indicates the GE. (☞p.3)

Init K.RTC (KARMA Real-time Controls–Use GE’s Value)

[Off, On]

■ 6.1–1c: UTILITY

☞p.5)

2 If you also wish to initialize the KARMA RT parameters

and KARMA real-time Controls settings, check “KARMA RT&Panel Setting.”

Settings that are initialized by “KARMA RT&Panel Setting”

• 6.4: Ed-KARMA RT settings (RTParm, DynMIDI, Name)

• KARMA real-time Controls knobs [1]–[8], switches [1]/[2], [SCENE] key, [LATCH] key settings

• CHORD TRIGGER [1]–[4] key settings

3 To initialize the settings, press the [F8] (“OK”) key. To

cancel without initializing, press the [F7] (“Cancel”) key.

6.1–2: Key Z/T (KeyZ/Thru)

6.1–2a

6.1–2b

6.1–2a: Zone Map, KeyZone Bottom, KeyZone Top

The KARMA module is controlled by note data in numerous ways, including the variation of phrase or pattern produced by the GE, by trigger, and by chord detection. Here you can specify the range of note data (key zone) that will control the KARMA module.

In Program mode, all MIDI data for the KARMA module is transmitted and received on the Global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

Zone Map

Key zone

6.1–2c

Thru Out Zone [Off, On]

On (checked): Note data from keys outside the key zone will be input directly to the tone generator. (They will not be input to the KARMA module, since they are outside the key zone.) When you play keys outside the key zone, the tone generator will sound. Off (unchecked): The tone generator will not sound even if you play keys outside the key zone.

Transpose OutZ [–36...+36]

Speciﬁes the transpose setting applied to note data from keys outside the key zone. Make this setting if you wish to apply a transposition in semitone steps to the pitch of notes played from conventionally from the keyboard when “Thru Out Zone” is On. You could select a bass program and make the settings shown below.

Example

Using the KARMA module to control the bass line in the lower range of the keyboard, and playing in real-time in the upper range.

KeyZone Bottom

KeyZone Top

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

A solid line indicates the speciﬁed key zone. Notes and messages from the MIDI IN connector within this zone will be input to the KARMA module.

KeyZone Bottom [C–1...G9]

Speciﬁes the bottom key (lower limit) of the key zone.

KeyZone Top [C–1...G9]

Speciﬁes the top key (upper limit) of the key zone.

These parameters can also be set by holding down the [Enter] key and pressing a note.

6.1–2b: Thru In Zone, Transpose InZ, Thru Out Zone, Transpose OutZ

Speciﬁes whether note data from the keyboard within or outside of the key zone (6.1–2a) will be played while the KARMA module plays phrases or patterns.

Thru In Zone [Off, On]

On (checked): Note data from keys within the key zone will be input to the KARMA module, and will also be input directly to the tone generator. When you play a key within the key zone, the phrase or pattern generated by the KARMA module will sound, as will the note itself. Off (unchecked): Only the phrase or pattern generated by KARMA will sound. Keys played within the key zone will not sound.

KARMA Module

Bass line

Key Zone

Thru In Zone Transpose InZ

✓

Tone generator

Thru Out Zone

Transpose OutZ

Realtime performance

■ 6.1–2c: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c), “Select by Category” (1.1–3b)

Transpose InZ [–36...+36]

Speciﬁes the transpose setting applied to note data from within the key zone. Make this setting if you wish to apply a transposition in semitone steps to the pitch of notes played from the keyboard when “Thru In Zone” is On.

6.1–3: RxFltr (Receive Filter)

Speciﬁes whether ﬁlters will be applied to the MIDI control data received by the KARMA module before it is passed on (echoed) to the tone generator. On (checked): The corresponding MIDI data will be echoed to the tone generator. Off (unchecked): The corresponding MIDI data will not be echoed to the tone generator.

When the KARMA module is on, the MIDI control data received by the KARMA module will be transmitted to the tone generator without change. Depending on these settings, you can (for example) make settings so that the damper pedal is enabled when the KARMA module is off, and disabled when it is on. (See the diagram below, “KARMA Rx/Tx Filter.”)

These settings do not affect the Dynamic MIDI (PROG

6.4–3) settings. If you have speciﬁed MIDI control data as the Dynamic MIDI source, it will be valid regardless of these settings.

Other CC [Off, On]

Speciﬁes whether MIDI control change messages other than the above will be echoed to the tone generator.

■ 6.1–3b: UTILITY

☞ “Write Combination” (1.1–1c), “Copy KARMA Module,”

“Init KARMA Module” (6.1–1c), “Select by Category” (1.1–3b)

6.1–4: TxFltr (Transmit Filter)

Speciﬁes whether ﬁltering will be applied to the MIDI control data produced by the GE selected for the KARMA module. (See the diagram below, “KARMA Rx/Tx Filter.”)

On (checked): The corresponding MIDI data will be transmitted from the KARMA module. Off (unchecked): The corresponding MIDI data will not be transmitted from the KARMA module.

6.1–3a

6.1–3b

6.1–3a: Rx Filter

AfterT (After Touch) [Off, On]

Speciﬁes whether MIDI aftertouch messages will be echoed to the tone generator.

Bend (Pitch Bend) [Off, On]

Speciﬁes whether MIDI pitch bend messages will be echoed to the tone generator.

Damper (Damper CC#64) [Off, On]

Speciﬁes whether MIDI control change message #64 Hold (damper pedal) will be echoed to the tone generator.

JS+Y (JS+Y CC#01) [Off, On]

Speciﬁes whether MIDI control change message #1 (internal joystick +Y direction, or speciﬁed as the B-assignment of a real-time control knob) will be echoed to the tone generator.

JS-Y (JS-Y CC#02) [Off, On]

Speciﬁes whether MIDI control change message #2 (internal joystick -Y direction, or speciﬁed as the B-assignment of a real-time control knob) will be echoed to the tone generator.

6.1–4a

6.1–4b

6.1–4a: Tx Filter

The GE can also automatically produce pitch bend and various types of control change data in addition to note data. Three envelope generators can also be used to apply timevariant change to velocity, tempo, duration, and various control changes such as pitch bend, JS +Y (CC#1) etc.

GE parameter group: (☞GE Guide)

Bend: Automatically generate pitch bend data in synchronization with the phrase or pattern.

CCs: Automatically generate the two control changes speciﬁed by CC-A and CC-B.

Envelopes: Use Envelope 1, Envelope 2, and Envelope 3 to automatically generate velocity, tempo, duration, or control changes such as pitch bend, JS +Y (CC#1) etc.

The data that is output will depend on the settings of the parameters for the selected GE. For example, transmitting/ ﬁltering pitch bend will produce no result if the GE has not been designed to produce pitch bend data.

KARMA Rx/Tx Filter

MIDI IN

Controller

KARMA function

KARMA Module

Dynamic MIDI

Rx Filter

Tx Filter

Tone

generator

GE Bend (GE Pitch Bend) [Off, On]

Speciﬁes whether to transmit the MIDI pitch bend messages produced by the GE selected for the KARMA module.

This setting also applies to the pitch bend messages produced by CC–A, CC–B, Envelope 1, Envelope 2, and Envelope 3.

When KARMA function is on and the KARMA module is producing pitch bend data, the pitch bend range of the program will be controlled as follows.

The pitch bend range speciﬁed within KARMA GE will automatically be transmitted from the KARMA module, and set within the program. This ensures that the pitch bend data produced by the GE of the KARMA will function correctly. At this time, in most cases the pitch bend data, the pitch bend data produced when you operate the joystick will automatically be optimized so that it will produce the same bend effect as if KARMA were off. (In the case of a program whose “OSC Mode” is Double, and whose OSC 1 and 2 “Pitch JS (+X) and JS (–X) settings differ, the pitch bend will be adjusted for OSC 1.)

GE CC-A/GE CC-B [Off, On]

Speciﬁes whether to transmit the various MIDI messages produced by CC–A/CC–B of the GE selected by the KARMA module. However if CC–A/CC–B are producing pitch bend messages, these settings will be ignored, and the “GE Bend” setting will be used.

GE Env.1/GE Env.2/GE Env.3 [Off, On]

Speciﬁes whether to transmit the various MIDI messages produced by Envelope 1, Envelope 2, and Envelope 3 of the GE selected by the KARMA module. However if Envelope 1, Envelope 2, or Envelope 3 are producing pitch bend messages, these settings will be ignored, and the “GE Bend” setting will be used.

■ 6.1–4b: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c), “Select by Category” (1.1–3b)

PROG 6.2: Ed-KARMA Mdl

Here you can set KARMA module parameters. In Program mode, you can use one KARMA module (module [A]).

6.2–1: Parm1 (Parameter 1)

6.2–1a

6.2–1b 6.2–1c

6.2–1a: Module Parameters

Transpose [–36...+36]

Controls the pitch of the phrases or chords produced by the KARMA module, in semitone steps. The note data from the keyboard or the MIDI IN connector will be input to the KARMA module. ( “KeyZone Top” (6.1–2a)). Here you can transpose the pitch (in semitone steps) of the note data that is input to the KARMA module.

☞“KeyZone Bottom,”

Force Range

[Off, Lowest, Highest, C3–B3[1], C3–B3[2]]

Control the pitch range of the phrases or chords produced by the KARMA module.

Note data from the keyboard or the MIDI IN connector will be input to the KARMA module ( “KeyZone Top” (6.1–2a), “Transpose” (6.2–1a)). Here you can make settings so that the note data input to the KARMA module is forcibly restricted to a speciﬁc range.

Off: The input notes will be sent to the KARMA module as played, with no further alteration.

Lowest: The input notes will be forcibly restricted to be within one octave of the lowest note. If you play a chord of E2, E4, G#4, B4, and D#5 (i.e., E Maj7) on the keyboard, the input notes will all be transposed to be within an octave of the lowest note (E2): E2, G#2, B3, and D#3. Highest: The input notes will be forcibly restricted to be within one octave of the highest note. If you play a chord of E2, E4, G#4, B4, and D#5 (i.e., E Maj7) on the keyboard, the input notes will all be transposed to be within an octave of the highest note (D#5): E4, G#4, B4, and D#5.

Played on keyboard: E2 E4 G#4 B4 D#5 (play an EMaj7 chord)

↓

Lowest: input notes transposed to E2 G#2 B3 D#3 Highest: input notes transposed to E4 G#4 B4 D#5

C3–B3[1]: The input notes will be forcibly restricted to be

near the middle octave (C3–B3). The lowest note will have the pitch of the lowest note played, and the other input notes will be transposed as far as possible so as to maintain the chord inversion. This is effective when you wish to produce phrases or patterns having a similar inversion to what was played, but in a ﬁxed range regardless of where you are playing on the keyboard.

C3–B3[2]: The input notes will be forcibly restricted to be within the center octave (C3–B3). Since all notes will be forced into the center octave (C3–B3), the chord inversion will change signiﬁcantly; for example the bass note may change. This is effective when you want to absolutely limit the input notes to a speciﬁc octave.

☞“KeyZone Bottom,”

6.2–1d

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

Played on keyboard:

Play chords in the order of E4 G#4 B4 D#5 (EMaj7 ﬁrst inversion) G#4 B4 D#5 E5 (EMaj7 second inversion) B4 D#5 E5 G#5 (EMaj7 third inversion) D#5 E5 G#5 B5 (EMaj7 fourth inversion)

↓

C3–B3[1]:

Transpose the input notes to: E3 G#3 B3 D#4 (EMaj7 ﬁrst inversion) G#2 B2 D#3 E3 (EMaj7 second inversion) B2 D#3 E3 G#3 (EMaj7 third inversion) D#3 E3 G#3 B3 (EMaj7 fourth inversion)

C3–B3[2]

D#3 E3 G#3 B3 (EMaj7/D#) D#3 E3 G#3 B3 (EMaj7/D#) D#3 E3 G#3 B3 (EMaj7/D#) D#3 E3 G#3 B3 (EMaj7/D#) (all identical)

Delay Start [Off, Fixed, 3...4x]

Specify the delay from when the trigger (by note data) is input, until the phrase or pattern starts.

3...4x:Specify the delay time as a note value interval rela-

tive to the tempo. Fixed: The delay time will be speciﬁed in time units (ms). Set the time in “Delay Start Fixed.”

Delay Start Fixed [0000 ms ... 5000 ms]

This is valid if “Delay Start” is set to Fixed. Set “Delay Start” in ms units.

Quantize Trig [Off, On]

Quantize (correct) the timing of the triggering caused by the note data or Dynamic MIDI.

On (checked): Trigger timing will be quantized in 16th note units relative to the basic tempo. Off (unchecked): Triggering will occur at the moment you play the keyboard or activate a trigger through Dynamic MIDI.

Trigger

KARMA GE Phrase / Pattern

Quantize Trig

✓

Quantize Trig

Trigger

Quantize Trig

✓

Quantize Trig

Regular (i.e. Scalic, Scalic 2, etc.), will cause the Note Series to be created in root position, regardless of the inversion of the Chord. In other words, when this is Off (Unchecked), if you play CMaj/E, the Note Series will start from E and continue up, or if you play CMaj/G, the Note Series will start with G. By using “Root Position” On (Checked), you can make sure that any inversion of a chord ends up the same. For example, CMaj/E and CMaj/G will both be the same as CMaj, and the Note Series will start from a C. This can allow a GE to behave more predictably with all inversions of a

☞GE Guide “Note Series”)

chord. (

When the GE-Type is Generated-Drum, the notes come from Drum Patterns and not the Note Series. The drum patterns can be used to generate melodies, in addition to drum and percussion grooves. “Root Position” also has a similar effect on how the Drum Patterns are transposed, but only if “Drum-Track Keyboard” is on. (☞GE Guide “Drum”). Also when the GE-Type is Generated- Drum, if using arpeggiated pitch-bending (based on the Note Series), the resulting pitch bend data will be affected also (

☞GE

Guide “Bend”). When the GE-Type is Real-time, this parameter has no effect unless you are using Dynamic MIDI to Direct Index the Note Series (

☞p.234

“Dynamic MIDI Sources & Destinations”).

6.2–1b: Tx CC (Transmit CC)

When KARMA function is turned on, MIDI control change messages are transmitted to the tone generator. Make these settings when you wish to control the program sound or effects etc. when KARMA function is turned on.

Tx CC1 Number [Off, 000...095] Tx CC2 Number [Off, 000...095] Tx CC3 Number [Off, 000...095] Tx CC4 Number [Off, 000...095]

Selects the MIDI control change message that will be transmitted. The value of the transmitted message is speciﬁed by “Value (Tx CC Value)” (6.2–1c).

If the KARMA [ON/OFF] key is on, the speciﬁed MIDI control change message will be transmitted when you select a program whose KARMA [ON/OFF] key is turned on. If the selected GE produces the control change speciﬁed here, the effect of the control change produced by GE will be given priority.

The MIDI control change messages speciﬁed here for transmission and the MIDI control change messages produced by the selected GE when the KARMA [ON/ OFF] key is on will be reset automatically when the KARMA [ON/OFF] key is turned off.

When this is On, triggering at a timing that is within a 32nd note of the 16th note base value will cause the playback to begin simultaneously (lower row of the preceding diagram). If the trigger is later than this, playback will start at the next 16th note (upper row of the diagram above).

Root Position [Off, On]

The phrases and patterns produced by a KARMA module are generated by a GE (Generated Effect). In most cases, this is done based on a Note Series. When “Root Position” is On (Checked), any “Note Type” (GE parameter:

☞VNL) except

6.2–1c: Value (Tx CC Value)

Value (Tx CC1 Value) [000...127] Value (Tx CC2 Value) [000...127] Value (Tx CC3 Value) [000...127] Value (Tx CC4 Value) [000...127]

Speciﬁes the value of the message that will be transmitted. This will have no effect if “Tx CC Number” is Off.

■ 6.2–1d: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c), “Select by Category” (1.1–3b)

6.2–2: Parm2 (Parameter 2)

6.2–2a

6.2–2c6.2–2b

6.2–2a: Trigger/Latch

Set trigger conditions and latch on/off for the GE selected for the KARMA module. Settings are made independently for Note, Env.1, Env.2, and Env.3.

Note:

Speciﬁes the trigger conditions for the phrase or pattern produced by the GE, and set latch on/off.

Note Trigger [Any, AKR, 1st, Dyn]

With any of these settings, the trigger will be applied by operations of the controller speciﬁed for Dynamic MIDI (6.4–3) (if “Destination” is set to Trig Nt&Env, Trig Notes.

☞p.234 “Dynamic MIDI Sources & Destinations”)

Any (Any Note + Dynamic MIDI): Every note-on will cause triggering; i.e., each note-on will cause the phrase or pattern to restart from the beginning. AKR (1st Note After Key Release + Dynamic MIDI): Triggering will occur when the ﬁrst note-on occurs from a state in which no keys are “on.” Triggering will not occur if even one note is being pressed. By changing the chord you play on the keyboard while holding at least one note, you can control the phrase or pattern without triggering. 1st (1st Only Until Module Stops + Dynamic MIDI): After KARMA function is turned on, only the ﬁrst note-on will cause triggering. Subsequent note-ons will not cause triggering. Dyn (Dynamic MIDI): Triggering will be produced by operating the controller speciﬁed by Dynamic MIDI (6.4–3). In this case, note-ons will not cause triggering.

Note Latch [Off, On]

Speciﬁes whether the phrase or pattern will continue when you release your hand from the keyboard (latch on) or whether the phrase or pattern will stop (latch off). In Program mode, turn this On and use the [LATCH] key to control latch on/off.

Off (unchecked): Latch will be off regardless of the [LATCH] key on/off status. On (checked): The [LATCH] key will control latch on/off. When the [LATCH] key is off (LED dark), latch is off. When the [LATCH] key is on (LED lit), latch is on.

In Combination, Sequencer, and Song Play mode, up to four KARMA modules can be used. In these modes, you can turn “Note Latch” on/off independently for each KARMA module. If you use “Copy KARMA Module” to copy KARMA module settings from these modes to a program, there may be cases in which the setting here will be off, so that latch-on will not occur even if you turn on the [LATCH] key. In such cases, turn this on.

Env1: Env2: Env3:

Each GE provides three Envelopes. They can produce timevariant control of velocity, tempo, duration, pitch bend, and various control changes.

You can specify triggering conditions and latch conditions for each of the three Envelopes of the GE.

If the selected GE does not use Envelopes, these settings will have no effect.

Env1 Trigger/Env2 Trigger/Env3 Trigger

[Any, AKR, 1st, Dyn]

For any of these settings, triggering will be applied by operations of the controller speciﬁed for Dynamic MIDI (6.4–3) (if “Destination” is set to Trig Nt&Env, Trig

Env1...Trig Env3).

Any (Any Note + Dynamic MIDI): Every note-on will cause

triggering; i.e., each note-on will cause the envelope to start from the beginning. AKR (1st Note After Key Release + Dynamic MIDI): Triggering will occur when the ﬁrst note-on occurs from a state in which no keys are “on.” Retriggering will not occur if even one note is being pressed. 1st (1st Only Until Module Stops + Dynamic MIDI): After KARMA is turned on, only the ﬁrst note-on will cause triggering. Subsequent note-ons will not cause triggering. Dyn (Dynamic MIDI): Triggering will be produced by operating the controller speciﬁed by Dynamic MIDI (6.4–3). In this case, note-ons will not cause triggering.

Env1 Latch/Env2 Latch/Env3 Latch

[Off, Sus1, Rel1, Sus2, Rel2]

Off: The envelope will not be latched. When all keys are released or a Dynamic MIDI trigger is released (note-off), the envelope will move to the release segment. Sus1: Once the envelope is started, it will proceed through attack → decay → sustain → release. If note-off occurs before the envelope reaches the sustain level, the envelope will not begin the release immediately but wait until after reaching the sustain level. Even in the case of a note for which the note-on/off interval is short, the envelope will proceed through attack → decay → sustain → release as if the key was being held for a longer time. If the envelope reaches the sustain level before receiving note-off, it will stop at the sustain level (the same operation as for the Off setting). If the note-off occurs after the envelope reaches the sustain level, the envelope will begin the release when noteoff occurs (the same operation as for the Off setting). If the note-off occurs after the envelope reaches the sustain level, the envelope will begin the release when note-off occurs (the same operation as for the Off setting). Rel1: Once the envelope has started, it will proceed through attack → decay → release, regardless of when the note-off occurs. Even if a key is being pressed, the envelope will ignore sustain, and will proceed immediately to the release. Sus2: The envelope will ignore note-off, and will procee through attach → decay → sustain. Therefore, this setting will never reach the release portion. Other operation is the same as for Sus1. Rel2: The same operation as Rel1, except will ignore noteoff for the purpose of looping, as explained below.

The envelope can be set to repeat as a loop as part of the GE. A looped envelope will be controlled as follows.

For Sus1 and Rel1, the envelope will continue repeating as long as the key is held. For Sus2 and Rel2, the envelope will continue repeating even if the key is released.

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

6.2–2b: Clock Advance

Here you can make settings for the clock that will operate the KARMA module. By using these settings in conjunction with the Dynamic MIDI (6.4–3) function, you can use Man- ual Advance by operating controllers such as the joystick to trigger the clock that operates KARMA module, causing the phrase or pattern to advance.

Mode (Clk Adv. Mode) [Auto...Auto+Dyn2]

Auto: The KARMA module will operate according to the

“Te mp o” (1.1–1a) setting. If “MIDI Clock” (Global 2.1–2a) is External, the KARMA module will operate in synchronization with the MIDI clock from the External MIDI device. Normally you will select Auto. Dyn: The clock by which the KARMA module will operate can be triggered by operating the joystick or other controller according to the Dynamic MIDI (6.4–3) setting, causing the phrase or pattern to advance. (Set Dynamic MIDI (6.4–3a/ b/c/d) “Destination” to Clock Adv.) You can input a chord from the keyboard, and use the joystick to “strum” guitar chords, or use note-on/off to advance through the arpeggio pattern. Auto+Dyn1: The KARMA module will operate according to both Auto and Dyn. Auto + Dyn2: The KARMA module will operate according to both Auto + Dyn, except that a trigger received from Dynamic MIDI will momentarily stop the automatic advancement until the KARMA module playback is restarted.

Size (Clk Adv. Size) [3... , Event]

This is valid when “Mode” is Dyn, Auto + Dyn1 or Auto + Dyn2. It speciﬁes the unit by which the phrase or pattern

will be advanced when the controller is operated.

3... : The phrase or pattern will be advanced by the speci-

ﬁed note value, synchronized to the rhythm of the phrase or pattern. Event: The phrase or pattern will be advanced by one note or one chord, ignoring the rhythm of the phrase or pattern.

VelSensBtm (Vel Sens Bottom) [001...127]

This is valid when “Mode” is Dyn, Auto + Dyn1 or Auto + Dyn2. If the Dynamic MIDI “Source” is Note or Velocity, the

phrase will be produced by applying the velocity of each Manual Advance trigger that is input to the KARMA module to the notes as they are generated. This parameter speciﬁes the lower limit of a scaled range that the velocity is adjusted by before being applied.

With a setting of 001, the velocity data will be input to the KARMA module with an unmodiﬁed range of 1–127. With a setting of 064, velocity data in the range of 1–127 will be scaled to the range of 64–127 before it is input to the KARMA module.

■ 6.2–2c: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c), “Select by Category” (1.1–3d)

PROG 6.3: Ed-KARMA GE

Here you can edit the parameters of the GE selected for the KARMA module. By assigning GE parameters to KARMA real-time CONTROLS, you can control the phrase or pattern in real-time while you play.

6.3–1: GE P...4 (GE Parameter 1...4)

6.3–1: GE P...8 (GE Parameter 5...8)

6.3–1: GE P...12 (GE Parameter 9...12)

6.3–1: GE P...16 (GE Parameter 13...16)

ChdMode (Chord Mode)

[Off, 1st,Chrd1, Chrd2, Chrd3]

This is valid when “Mode” is Dyn, Auto + Dyn1 or Auto + Dyn2. It speciﬁes how a chord will be sounded when that

chord is input from the keyboard.

Off: There will be no sound when you input a chord from the keyboard. This is analogous to a guitarist changing chords in the left hand. The phrase or pattern will sound from the ﬁrst step when you operate the controller. 1st: When you input a chord from the keyboard, the ﬁrst step of the phrase or pattern will sound. When you operate the controller, the phrase or pattern will continue advancing. Chrd1: When you input a chord from the keyboard, the ﬁrst several steps of the phrase or pattern will sound, according to the number of notes that you input. When you operate the controller, the phrase or pattern will continue advancing. Chrd2: When you input a chord from the keyboard, it will sound in the same way as for Chrd1. However, the phrase or pattern will play from the beginning of the pattern when you operate the controller. Chrd3: When you input a chord from the keyboard, it will sound in the same way as for Chrd1. However, the phrase or pattern will start from the second step when you operate the controller. When simulating acoustic guitar ﬁnger picking, this allows you to create a natural connection between the played chord and the ﬁnger picking sounded by the controller.

6.3–1a

6.3–1b

6.3–1(2)(3)(4)a: GE Parameter, Value, Asgn (Assign), Pol (Polarity)

GE Parameter (GE real-time Parameter)

This shows the GE parameters selected for the KARMA module. Each GE has up to 16 preset parameters that are suitable for controlling the phrase or pattern. The GE parameters displayed will depend on the selected GE. For details on the GE parameters, refer to GE Guide.

Value (GE real-time Parameter Value)

Sets the value of each GE parameter. If you use GE Select (1.1–3a, 6.1–1b) to select a GE, the default values that are preset for each GE will be speciﬁed. The range of the values are also preset for each GE.

The value you specify here will be the center value when the KARMA real-time CONTROLS knobs etc. are used to control these parameters.

Asgn (GE real-time Parameter Assign)

[---, ...Dyn4]

Here you can assign the controller for the GE parameter. By assigning GE parameters to KARMA real-time CONTROLS, they can be controlled in real-time while you play.

---: No assignment. ... (Knob 1...8): Assigns the parameter to KARMA

real-time CONTROLS knobs [1]–[8]. The knob will continuously control the “value.”

For example, let’s assume that the “Rhythm Swing%” parameter of the selected GE has a Value range of +0000– +0100.

• If you set “Value”: +0050, “Asgn (Assign)”: Knob 1, and [Pol (Polarity)]:+ Knob 1 at the center position (12 o’clock) will produce a value of +0050. At far left the value will be +0000, and at far right the value will be +0100. Turning the knob from center toward the left will control the value from +0050...+0000, and turning it from center toward the right will control the value from +0050...+0100.

• If you set “Value”: +0080, “Asgn (Assign)”: Knob1, and ”Pol (Polarity)”:+

Knob 1 at the center position (12 o’clock) will produce a value of +0080. At far left the value will be +0000, and at far right the value will be +0100. Turning the knob from center toward the left will control the value from +0080...+0000, and turning it from center toward the right will control the value from +0080...+0100.

... (Knob 1...8SW): Assign the parameter to

KARMA real-time CONTROLS knobs [1]–[8]. The knob will switch the value between minimum and maximum only, in a key (on/off) operation. The left range of the knob is off, and the center and right is on.

• If you set “Value”: +0050, “Asgn (Assign)”: Knob 1SW, and [Pol (Polarity)]:+ Turning the knob toward the left will produce a value of +0000. Turning it to center or right will produce a value of +0100.

... : The parameter will be assigned to switch [1]/[2].

The “Value” will be controlled between the minimum and maximum values.

The maximum and minimum values controlled by Knob1–8SW and SW1/2 will depend on the “Value” setting.

[Example] GE parameter Value range: in the case of 0...100

“Value” setting: +0050 Minimum value controlled by Knob1–8SW, SW1/2: 0 Maximum value controlled by Knob1–8SW, SW1/2: 100

“Value” setting: +0025 Minimum value controlled by Knob1–8SW, SW1/2: 0 Maximum value controlled by Knob1–8SW, SW1/2: 50

“Value” setting: +0075 Minimum value controlled by Knob1–8SW, SW1/2: 50 Maximum value controlled by Knob1–8SW, SW1/2: 100

The correspondence between the KARMA real-time CONTROLS and MIDI control change messages can be speciﬁed in Global mode 6.1–2. In this case, a MIDI control change message value of less than 64 will be “off,” and 64 or greater will be “on.”

Dyn 1...4: This corresponds to Dynamic MIDI 1...4. Select this if you wish to control a GE parameter using the controller selected for “Source” in Dynamic MIDI (6.4–3a/ b/c/d). (Set the Dynamic MIDI (6.4–3a/b/c/d) “Destination” to RTParm Ctrl.)

Pol (GE real-time Parameter Polarity) [+, –]

Speciﬁes the polarity used when you operate the KARMA real-time CONTROLS that you selected for “Asgn.”

+: In the case of Knob1...8, rotating to the left of center will

lower the “Value,” and rotating to the right will raise it. In the case of Knob1...8SW, the left side will be off, and the center and right side will be on. In the case of SW1/2, the parameter will be on when the LED is lit.

–: In the case of Knob1...8, rotating to the left of center will

raise the “Value,” and rotating to the right will lower it. In the case of Knob1...8SW, the left side will be on, and the center and right side will be off. In the case of SW1/2, the parameter will be on when the LED is dark.

■ 6.3–1(2)(3)(4)b: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c), “Select by Category” (1.1–3d)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

PROG 6.4: Ed-KARMA RT

6.4–1: RTP ..4 (RT Parameter 1...4)

6.4–2: RTP ..8 (RT Parameter 5...8)

Here you can assign controllers for 29 different KARMA parameters (RT Parms) other than the GE parameters such as the KARMA key zone parameters (6.1–2a, 6.1–2b) and KARMA module parameters (6.2–1a, 6.2–2a, 6.2–2b). By assigning these to KARMA real-time CONTROLS, you can control them in real-time while you play.

In RT Parm 1–8, if you select a parameter by “Grp” and “Parameter” and check “Module A,” that parameter can no longer be edited as a KARMA key zone parameter (6.1–2a, 6.1–2b) or KARMA module parameter (6.2– 1a, 6.2–2a, 6.2–2b).

6.4–1a

6.4–1b

6.4–1c

6.4–1d

6.4–1e

6.4–1(2)a/b/c/d: RT Parm 1...4, RT Parm 5...8

Grp (Parm Group) [Off, Mix, Ctrl, Trig, Zone]

Indicates the group of parameters that you wish to assign. The 29 KARMA parameters are divided into four groups, and the parameters that can be assigned in “Parameter” will differ according to the group.

Parameter [---, Transpose ... Tr.Oct/5 OutZ]

Indicates the parameter that you wish to assign. The parameters that can be selected will differ according to the group you selected in “Grp.”

Each of the parameters you select here corresponds to a KARMA key zone parameter or module parameter that can be set in 6.1 or 6.2. If you select “Grp” and “Parameter” in RT Param 1–8 and check “Module A,” that parameter can no longer be edited as the corresponding parameter of 6.1 or 6.2.

Group: Mix

Transpose [–36...+36]

Assigns the “Transpose” (6.2–1a) function. Control the transposition in semitone steps.

Trnsp.Oct [–36...+36]

Assigns the “Transpose” (6.2–1a) function. Control the transposition in octave steps.

Trnsp.Oct/5 [–36...+36]

Assigns the “Transpose” (6.2–1a) function. Control the transposition in steps of an octave and a ﬁfth.

Group: Ctrl

Quantize Trig [0, +1]

Assigns the “Quantize Trig” (6.2–1a) function.

0: Off 1: On

☞ p.30 “Quantize Trig” (6.2–1a)

Root Position [0, +1]

Assigns the “Root Position” (6.2–1a) function.

0: Off 1: On

☞ p.30 “Root Position” (6.2–1a)

Force Range [0...+4]

Assigns the “Force Range” (6.2–1a) function.

0: Off 1: Lowest 2: Highest 3: C3–B3[1] 4: C3–B3[2]

☞ p.29 “Force Range” (6.2–1a)

ClkAdv Mode [0...+3]

Assigns the “Mode (Clk Adv. Mode)” (6.2–2b) function.

0: Auto 1: Dyn 2: Auto+Dyn1 3: Auto+Dyn2

☞ p.32 “Mode (Clk Adv. Mode)” (6.2–2b)

ClkAdv Size [0...+11]

Assigns the “Size (Clk Adv. Size)” (6.2–2b) function.

0...10: 3...

11: Event

☞ p.32 “Size (Clk Adv. Size)” (6.2–2b)

ClkAdv Vel [001...127]

Assigns the “VelSensBtm” (6.2–2b) function.

☞ p.32 “VelSensBtm” (6.2–2b)

ClkAdv Chord [0...+4]

Assigns the “ChdMode” (6.2–2b) function.

0: Off 1: 1st 2: Chrd1 3: Chrd2 4: Chrd3

☞ p.32 “ChdMode” (6.2–2b)

Group: Trig

Dly Start [0...+25]

Assigns the “Delay Start” (6.2–1a) function.

0: Off 1: Fixed

2…25: 3...4x 

☞ p.30 “Delay Start” (6.2–1a)

Dly Start ms [0...+5000]

Assigns the “Delay Start Fixed” (6.2–1a) function.

☞ p.30 “Delay Start Fixed” (6.2–1a)

Note Trigger [0...+3]

Assigns the “Note Trigger” (6.2–2a) function.

0: Any 1: AKR 2: 1st 3: Dyn

☞ p.31 “Note Trigger” (6.2–2a)

Note Latch [0, +1]

Assigns the “Note Latch” (6.2–2a) function.

0: Off 1: On

☞ p.31 “Note Latch” (6.2–2a)

Env1 Trigger/Env2 Trigger/Env3 Trigger [0...+3]

Assigns the “Env1 Trigger”/“Env2 Trigger”/“Env3 Trigger” (6.2–2a) functions.

0: Any 1: AKR 2: 1st 3: Dyn

☞ p.31 “Env1 Trigger”/“Env2 Trigger”/“Env3 Trigger”

(6.2–2a)

Env1 Latch/Env2 Latch/Env3 Latch [0...+4]

Assigns the “Env1 Latch”/“Env2 Latch”/“Env3 Latch” (6.2–2a)

0: Off 1: Sus1 2: Rel1 3: Sus2 4: Rel2

☞ p.31 “Env1 Latch”/“Env2 Latch”/“Env3 Latch” (6.2–2a)

Group: Zone

Thru InZone [0, +1]

Assigns the “Thru In Zone” (6.1–2b) function.

0: Off 1: On

☞ p.27 “Thru In Zone” (6.1–2b)

Thru OutZone [0...+1]

Assigns the “Thru Out Zone” (6.1–2b) function.

0: Off 1: On

☞ p.27 “Thru Out Zone” (6.1–2b)

Key Zone Btm [0...+127]

Assigns the “KeyZone Bottom” (6.1–2a) function.

0...127: C-1–G9 (corresponds to note numbers)

☞ p.27 “KeyZone Bottom” (6.1–2a)

Key Zone Top [0...+127]

Assigns the “KeyZone Top” (6.1–2a) function.

0...127: C-1–G9 (corresponds to note numbers)

☞ p.27 “KeyZone Top” (6.1–2a)

Trnsp. InZ [–36...+36]

Assigns the “Transpose InZ” (6.1–2b) function. This controls transposition of the note data from the keyboard within the key zone, in semitone steps.

☞ p.27 “Transpose InZ” (6.1–2b)

Trnsp. OutZ [–36...+36]

Assigns the “Transpose OutZ” (6.1–2b) function. This controls the transposition of note data from the keyboard outside the key zone, in semitone units.

☞ p.27 “Transpose OutZ” (6.1–2b)

Tr.Oct InZ [–36...+36]

Assigns the “Transpose InZ” (6.1–2b) function. This controls the transposition of note data from the keyboard within the key zone, in octave units.

Tr.Oct OutZ [–36...+36]

Assigns the “Transpose OutZ” (6.1–2b) function. This controls the transposition of note data from the keyboard outside the key zone, in octave units.

Tr.Oct/5 InZ [–36...+36]

Assigns the “Transpose InZ” (6.1–2b) function. This controls the transposition of note data from the keyboard within the key zone, in units of an octave and a ﬁfth.

Tr.Oct/5 OutZ [–36...+36]

Assigns the “Transpose OutZ” (6.1–2b) function. This controls the transposition of note data from the keyboard outside the key zone, in units of an octave and a ﬁfth.

Min (Parm Min Value) [---, –0036...+5000]

Speciﬁes the minimum value that will be operated by the controller. The available values will depend on the selected parameter. When the parameter is selected, the minimum parameter value will be set as the default.

Max (Parm Max Value) [---, –0036...+5000]

Speciﬁes the maximum value that will be operated by the controller. The available values will depend on the selected parameter.

Val (Parm Value) [---, –0036...+5000]

Speciﬁes the value of the selected KARMA parameter. If you check “A (Parm Module A)” and select “Parameter,” this will be set as the current value of the parameter (set in

6.1 and 6.2). The value you specify here will be the center value when you use “Asgn” to control the parameter from the KARMA real-time CONTROLS knobs, etc.

A (Parm Module A) [Off, On]

Speciﬁes the module to which the settings of RT Parm 1–8 will apply. In Program mode, only one KARMA module (module [A]) can be used. Thus in Program mode, you can turn the RT Parm 1–8 settings on/off.

On (checked): RT Parm settings will be valid. Off (unchecked): RT Parm settings will be ignored.

Asgn (Parm Assign) [---, ...Dyn4]

Assigns the selected parameter to a controller. If you assign a parameter to KARMA real-time CONTROLS, you can control it in real-time while you play.

☞ 6.3–1a: “Asgn” (GE real-time Parameter Assign)

■ 6.4–1(2)e: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c)

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

6.4–3: DynMIDI (Dynamic MIDI)

Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI control messages to control speciﬁc KARMA functions. You can take advantage of this to control KARMA in various ways while you play. For example, Manual Advance (6.2– 2b) lets you use joystick or note-on to advance the KARMA clock. Or you can use a foot switch to control Auto Trans- pose, or a damper pedal to control the KARMA latch.

6.4–3a

6.4–3b

6.4–3c

6.4–3d

6.4–3e

6.4–3a/b/c/d: Dyn MIDI1...4

Input (Dyn1...4 Input Module)

In Program mode this is ﬁxed at A. This is because only KARMA module [A] is used. This setting cannot be changed.

Source (Dyn1...4 Source) [Off, JS+Y #01...Vel Out Z]

Indicates the controller etc. that will be the Dynamic MIDI source. (

☞p.234 “Dynamic MIDI Source and Distnation”)

Btm (Dyn1...4 Range-Btm) [000...127]

Speciﬁes the lower limit for the value controlled by “Source.”

If “Source” is Short Note, Note No., White Note, or Black Note, the numeric value corresponds to the note numbers C-

1–G9.

Top (Dyn1...4 Range-Top) [000...127]

Speciﬁes the upper limit for the value controlled by “Source.”

If “Source” is Short Note, Note No., White Note, or Black Note, the numeric value corresponds to the note numbers C-

1–G9.

Act (Dyn1...4 Src Action) [M, T, C]

Speciﬁes the operation mode for Dynamic MIDI.

M (Momentary): The parameter will be controlled as a switch. For example if “Source” is JS+Y #01, the parameter will normally be off, and will be on when you move the joystick.

If “Pol” (Dyn1...4 Polarity) is “+” and the source controller value is “Btm (Dyn1...4 Range-Btm)” this will be off. If the controller value is “Top (Dyn1...4 Range- Top),” it will be on.

[Example]

When “Btm (Dyn1...4 Range-Btm)”: 000 and “Top (Dyn1...4 Range-Top)”: 127 The controller value and the on/off status are related as follows. 000 → 127: on at 127 127→ 000: off at 000

T (Toggle): The parameter will be controlled as a switch. For example if “Source” is JS+Y #01, the parameter will alternate between on/off each time you move the joystick.

If “Pol” (Dyn1...4 Polarity) is “+,” on and off will alternate each time the source controller value exceeds the “Top (Dyn1...4 Range-Top)” value after having passed through the “Btm (Dyn1...4 Range-Btm)” value.

[Example]

When “Btm (Dyn1...4 Range-Btm)”: 0 and “Top (Dyn1...4 Range-Top)”: 127 The controller value and the on/off status are related as follows. 000 → 127: on → off at 127 127 → 000 → 127: on → off at 127 (127 → 001 → 127: no change)

C (Continuous): The parameter will be controlled continuously.

The operating modes that can be selected are limited by the “Destination.” ( Destinations”)

☞p.234 “Dynamic MIDI Sources &

Destination (Dyn1...4 Destination)

[Off, RTParm Ctrl...Buffer Latch]

Select the Dynamic MIDI control destination function. (

☞p.235 “Dynamic MIDI Destinations”)

Pol (Dyn1...4 Polarity) [+, –, +/–, –/+]

Speciﬁes the Dynamic MIDI polarity. For example if you set “Pol” to + and the Source is K.Knob1, moving the knob1 from left to right will change the value from 0 → 127. If you set “Pol” to –, the same knob1 movement will change the value from 127 → 0. (

☞p.234 Dynamic MIDI Destination “JS X”)

■ 6.4–3e: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c)

6.4–4: Name1

6.4–5: Name2

6.4–4a

6.4–4b

6.4–4(5)a: Knob, Switch

Knob1...8 [000: no name...] Switch1, 2 [000: no name...]

Indicates the name for the KARMA real-time CONTROLS knobs and keys. Appropriate names for the functions of the KARMA realtime CONTROLS knobs and keys have been preset.

6.4–4(5)b: UTILITY

☞ “Write Program” (1.1–1c), “Copy KARMA Module,” “Init

KARMA Module” (6.1–1c)

PROG 7.1: Ed–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.

☞ For details on insertion effects, refer to p.159 “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 multiplying these values with the send level setting of each oscillator.

PROG

1.1

7.1–1: BUS

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, IFX1...5, 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 IFX1 (or IFX2–

IFX5), set “IFX1” (or IFX2–IFX5 (7.2–1a)) to 000: No Effect, and set the “BUS Select” (7.2–1a) 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 IFX1, IFX2, IFX3, IFX4 or IFX5, the send levels to master effect 1 and 2 are set by “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” (7.2–1a) after passing through IFX 1/2/3/4/5 of the Ed-InsertFX Setup pages.

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.”

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

OSC1 Send2 [000...127]

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

☞“OSC1 Send1”).

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

Copy Insert Effect

This command copies effect settings from Program, Combination, Song, or Song Play mode.

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]–[G] keys to select the bank.

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

from a master effect. If “All” is checked, all effect settings will be copied (i.e., the contents of the Setup page and the effect parameters of IFX 1–5, but not “Ctrl Ch”).

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 In “To , ” select the copy destination insert effect. If you

check “Post IFX Mixer Setting,” the “Chain,” “Pan (CC#8),” “BUS Select,” “S1 (Send 1 (MFX1))” and “S2 (Send 2 (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.

Swap Insert Effect

This command swaps (exchanges) insert effect settings.

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

7.1–2: Route (Routing)

7.1–2a

7.1–2b

7.1–2a: Routing

This displays the setting status of the insert effects.

This shows the insert effect routing, the names of the selected effects, their on/off setting, and chain status. The insert effect type, on/off, and chain settings can be made in the Setup page of 7.2: Ed-InsertFx. You can use the Value Controller to set “BUS Select” ( 1a).

■ 7.1–2b: UTILITY

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

Insert Effect” (7.1–1c)

☞7.1–

PROG 7.2: Ed–InsertFX

2 In “Source 1” and “Source 2,” select each of the insert

effects that you wish to swap.

3 To execute the Swap Insert Effect command, press the

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

7.2–1: Setup

Here you can select the type of each insert effect, turn it on/ off, and make chain settings. 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 (

7.2–1a

7.2–1a: InsertFX Setup

IFX1 — IFX5 On/Off [Off, ON]

Selects the insert effect on/off. When this is Off, the input will be output without change. (For 000: No Effect, on/off will produce the same result.)

☞p.160).

7.2–1b

Separately from this setting, you can use control change #92 to turn off all insert effects together. 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 1, 5 [000...089: name] Insert Effect 2, 3, 4 [000...102: name]

Indicates the type of each insert effect. For “Insert Effect 1” and “Insert Effect 5” you can select from 90 types of effect: 000: No Effect – 089: Reverb-Gate. Double-size effects cannot be used. For “Insert Effect 2,” “Insert Effect 3” and “Insert Effect 4” you can select from 103 types of effect: 000: No Effect – 102: Hold Delay. If you select a double-size effect, the next insert effect will be unavailable for use. For example if you select a double-size effect for IFX2, IFX3 cannot be used. A maximum of two double-size effects can be used (normal size for IFX1, double size for IFX2 and IFX4) (

These effects can also be selected by category in Utility “Select by Category” (7.2–1b).

☞p.160).

Chain [ (Off), (On)]

Indicates “chain” on/off for each insert effect. For example if “Chain” for IFX1 is set to (On), IFX1 and IFX2 will be connected in series. If “BUS Select” (7.1–1a) is set to IFX1, IFX1 and IFX2 will be inserted in series. A maximum of ﬁve insert effects (IFX1–IFX5) can be inserted in series. When effects are chained, the “Pan (CC#8),” “BUS Select,” “S1 (Send1(MFX1))” and “S2 (Send2(MFX2))” settings that follow the last IFX in the chain will be used.

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 following “BUS Select” is set to L/R (

CC#8 will control.

☞p.162).

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 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).

■ 7.2–1b: UTILITY

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

Insert Effect” (7.1–1c)

Select by Category

Indicates insert effects by category. For the procedure, refer to “Select by Category” (

This command can be used when selecting “Insert Effect 1”–”Insert Effect 5.”

☞p.2).

PROG

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

7.2–2: IFX 1 (Insert Effect1)

7.2–3: IFX 2 (Insert Effect2)

7.2–4: IFX 3 (Insert Effect3)

7.2–5: IFX 4 (Insert Effect4)

7.2–6: IFX 5 (Insert Effect5)

Here you can set the effect parameters for the IFX 1/2/3/4/ 5 that were selected in the Setup page (

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

☞p.227 “Dynamic Modulation Source (D.mod)”)

☞p.168).

7.2–2a

■ 7.2–2(...6)a: UTILITY

☞ “Write Program” (1.1–1c)

7.2–7: Routing (Routing)

7.2–7a: Routing

This shows the status of the insert effect settings. (☞7.1–2a)

7.2–7a

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 [000...089: name]

Indicates the effect type for master effect 1, 2. You can select from 90 types of effect: 000: No Effect–089: Reverb-Gate. (Double-size effects cannot be selected.) If 000: 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).

7.2–7b

■ 7.2–1b: UTILITY

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

Insert Effect” (7.1–1c)

PROG 7.3: Ed–MasterFX

☞ For details on insertion effects, refer to p.159 “7. Effect

Guide.”

7.3–1: Setup

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

7.3–1a

7.3–1b

7.3–1d7.3–1c

7.3–1a: 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, 7.2–1a). The master effects are monaural input. The sound that is panned to L and R after passing through the oscillator and insert effects 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.

7.3–1b: Chain

MFX Chain [Off, On]

On (checked): Chain (series connection) will be turned on for MFX1 and MFX2. (

☞p.165)

Direction (Chain Direction)

[MFX1→MFX2, MFX2→MFX1]

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.

Signal (Chain Signal) [LR 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.

7.3–1c: Master EQ Gain [dB]

Sets the gain for the three-band EQ located immediately before the sound of the L/R bus is sent from the AUDIO OUTPUT (MAIN OUT) L/MONO and R jacks. This is linked with the various “Gain” parameters of Master EQ (7.3–4).

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 set- tings are in “dB” units.

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

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

■ 7.3–1d: UTILITY

7.3–2: MFX 1 (Master Effect1)

7.3–3: MFX 2 (Master Effect2)

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

☞p.168).

PROG

☞ “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 or Song Play modes.

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]–[G] 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.

7.3–2a

(

☞p.227 “Dynamic Modulation Source (D.mod)”)

■ 7.3–2(3)a: UTILITY

☞ “Write Program” (1.1–1c)

7.3–4: 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 (

■ 7.3–4a: UTILITY

☞ “Write Program” (1.1–1c)

☞p.220).

7.3–4a

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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. (☞p.2)

This command can be used when selecting “Master Effect 1,” ”Master Effect 2.”

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. ( MOSS 2.3: Ed-MOSS Displayed if the separately sold EXB-

Prm1 3.1: Ed-Param1 MIDI, OSC, and Pitch settings for each

Prm2 3.2: Ed-Param2 Enable timbre sounding by KARMA

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; Real-time Control Knob

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

KARM 6.1: Ed-KARMA KARMA GE selection and settings,

K Mdl 6.2: Ed-KARMA Mdl Module parameter settings (transpose,

K GE 6.3: Ed-KARMA GE GE parameter settings and assign-

K RT 6.4: Ed-KARMA RT KARMA RT parameters, Dynamic MIDI

BUS 7.1: Ed-BUS Bus and master effect send level set-

IFX 7.2: Ed-InsertFX Insert effect routing, selection, and set-

MFX 7.3: Ed-MasterFX Master effect selection and settings.

program for each timbre, and set status, pan, and level. KARMA GE selection, Run/Solo settings. (

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

MOSS option is installed. Set EXBMOSS parameters. (

timbre. (

ON/OFF, delay and scale settings for each timbre. (

☞p.52)

(

☞p.53)

(

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

Ctrl. (

☞p.55)

(

☞p.56)

(

mixer channel, key zone parameters, MIDI ﬁlter settings. (

range of generated phrase, trigger etc.)

☞p.61)

(

ments to KARMA real-time Controls.

☞p.62)

(

settings. (

tings for each timbre. (

tings. (

Master EQ settings. (

☞p.48)

☞p.49)

☞p.51)

☞p.55)

☞p.63)

☞p.66)

☞p.43)

☞p.49)

☞p.54)

☞p.57)

☞p.65)

☞p.67)

COMBI 1.1: Play

In this display page you can select and play Combinations.

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…F]

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

On this instrument, there are a total of 768 combination programs in four rewritable banks (A, B, C, D, E, F), each containing 128 combinations.

Bank A, B Preloaded combinations Bank C, D EXB-PCM series combinations, User combina-

Bank E Preloaded combinations Bank F User combinations, EXB-PCM series combina-

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

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

Here you can select a combination. Select this parameter, and use the VALUE [ ], [ ] 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.” ( ”Select by Category,” “Cat.HOLD,” “10’s HOLD”)

You can select programs by transmitting MIDI program changes from a connected external MIDI device, or by using a foot switch. ( BAL 6.1–1a,

tions

☞p.2

☞p.145 “Foot SW Assign” (GLO-

☞p.232 “Foot Switch Assign List”)

COMBI

1.1

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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 from 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

. The category will be held (ﬁxed). (

1a)

☞PROG 1.1–

10’s HOLD

When you press the [./HOLD] key, the display will indicate

, and the ﬁrst digit of the combination number

will be ﬁxed. (

☞PROG 1.1–1a)

 (Tempo) [040...240, EXT]

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

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. (☞p.2)

1.1–1b: Combination Information

This displays information for the selected combination. The functions assigned to [SW1], [SW2], and real-time 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.

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

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…Bank F] 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 KARMA function. (

1.1–2b: Timbre Number & Category

☞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 GM2 variation bank or the GM2 drums bank, the variation bank (1)–(9) or drums bank (d) will be indicated.

COMBI

1.1

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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]–[G] key, numeric keys [0]–[9], 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.

Bank F can be selected if you have installed the separately sold EXB-MOSS option. When installed, the 128 special EXB-MOSS programs will be available.

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.

1.1–2d: 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 program 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

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 Select Combination by Category dialog box, allowing you to select a combination by category. (

☞p.44)

If you have selected “Program Select,” selecting Utility “Select by Category” will access the Select Program by Cate-

gory (Timbre) 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

1.1–3b

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).

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 multiplying 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.

1.1–3a: 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,” “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 left 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 7.2: Ed–InsertFX, Setup page will adjust the panning of the sound after the insertion effect (

☞p.162 “3.

Mixer”).

1.1-4: KARMA

Here you can make KARMA settings that will be used by the combination. A combination allows up to four KARMA modules to operate simultaneously. Here you can select the GE (Generated Effect) that will be used by each KARMA module, and turn each KARMA module on/off (“Run,” “Solo” control). Other settings are made in the COMBI 6.1,

6.2, 6.3, and 6.4 pages.

The KARMA function is turned on/off by the KARMA realtime Controls [ON/OFF] key. The settings of the KARMA real-time Controls knobs [1]–[8], switches [1]/[2], [LATCH], and [SCENE] key, and the note settings/velocity of CHORD TRIGGER [1]–[4] keys can be saved independently for each combination.

1.1–4a

1.1–4b

1.1–4c

1.1–4d

1.1–4a: GE Category, GE Select

GE Category [00: name...]

This displays the category of the GE selected for the KARMA module. ( “GE Category”)

☞p.5 PROG 1.1–3a: KARMA GE Setup,

1.1–4c: Selected GE Information, Init K.RTC

This displays information on the KARMA module [A], [B], [C], or [D] that is currently being edited.

GE No., GE Name

This displays the GE number and GE name.

MIDI In/Out Ch

This displays the MIDI Input Ch (input channel) and MIDI Output Ch (output channel) of the KARMA module. These settings are made in 6.1–2: MIDI I/O, “Input Channel,” “Output Channel” (6.1–2a).

Init K.RTC (KARMA real-time Controls–Use GE’s Value)

[Off, On]

Specify whether the settings of the KARMA real-time Controls knobs [1]–[8] and switches [1]/[2] will be initialized when you select a GE. This allows you to hear the phrase or pattern generated by the GE in its original state. Normally you will leave this On when selecting a GE.

☞ p.5 PROG 1.1–3a: KARMA GE Setup, “Init K.RTC”

KARMA real-time Controls knobs [1]–[8] and switches

[1]/[2] of the applicable KARMA module that are not assigned to GE parameters will not be initialized ( 1a “Asgn”). However if they are simultaneously assigned to GE parameters for multiple KARMA modules, they will be initialized. This may cause the state of another KARMA module to change.

■ 1.1–4d: UTILITY

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

☞6.3–

Select by Category

(Select Combination by Category/Select by Category:

GE)

If “Combi Select” (1.1–2a) is selected, you can select combinations by category. ( If “GE Select” (1.1–4a) is selected, you can select a GE by category. For the procedure, refer to “Select by Category” (

☞p.44)

☞p.2).

COMBI

1.1

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GE Select [0000: Arp Model 1 Up/Dn...]

Select the GE. (☞p.5 PROG 1.1–3a: KARMA GE Setup, “GE Select”)

1.1–4b: GE Name, Run Check Box, Solo Check Box

GE Name

This displays the name of the GE selected in “GE Select.”

Run Check Box [Off, On]

KARMA modules that are On (checked) will operate.

Solo Check Box [Off, On]

Check this when you wish to audition only a speciﬁc KARMA module while KARMA is operating. Only the KARMA module that is On (checked) will operate. Even if “Run” is Off (unchecked), the module that is On (checked) here will operate.

This setting will be cleared when you reselect the combination. It will not be remembered when you write the combination.

1.1–5: K.RTC (KARMA RTC)

1.1–5a

1.1–5b

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.

1.1–5a: RT Knob/SW Name

This displays the name of the KARMA real-time Controls knobs [1]–[8] and switches [1]/[2], and the knob or switch settings that are written in the combination.

The [----] portion preceding the name of the knob or switch shows the abbreviated name of the category of the program sounded by the timbre that is played by the KARMA module controlled by operations of knobs [1]–[8] and switches [1]/[2]. If there are multiple timbres with programs of differing categories, this will indicate [MLTI].

The name can be selected in COMBI 6.4–4/5: Ed-KARMA RT, Name1/2 page.

☞p.6 PROG 1.1–4a: RT Knob/SW Name

■ 1.1–5b: UTILITY

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

Category” (1.1–1c)

1.1–6: Note (Note Activity)

1.1–6a

2.1–1a

2.1–1b

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. (

■ 2.1–1b: UTILITY

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

☞1.1–2c)

“Select by Category”: Select Program by Category (Timbre) (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.

1.1–6b

1.1–6a: Note Activity Display, Chord Name

Note Activity Display A, B, C, D

This is a real-time display of the note on/off status generated by each KARMA module (modules [A], [B], [C], and [D]). The key zone settings of the four KARMA modules are displayed as a solid line. (

☞p.59 COMBI 6.1–3: Key Z)

Chord Name A, B, C, D

This shows the name of the chord detected by each KARMA module.

Chord detection is affected by the key zone (COMBI

6.1-2a: Ed-KARMA Key Zone) and “Transpose” (COMBI 6.2-1a: Module Parameter) of each KARMA module, and by the “Dynamic MIDI Destination” (COMBI 6.4-3a/b/c/d) “Chord Scan” and “Smart Scan” settings.

■ 1.1–6b: UTILITY

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

Category” (1.1–1c)

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)

■ 2.1–1b: 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 real-time 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

COMBI

1.1

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 real-time CONTROLS knobs [1]–[4] ( List”). The functions you specify here will be controlled when you operate the real-time CONTROLS knobs [1]–[4] in “B” mode.

Since the real-time CONTROLS knob [1]–[4] function of the B mode assignments made for the program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

☞p.231 “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 program assigned to each timbre are not valid for the combination, they must be newly set by these parameters.

☞p.230 “SW1, SW2 Assign List”).

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 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

On-board controllers

EXT, EX2

KARMA

MIDI IN

Tone

generator

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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)

COMBI 2.3: Ed–MOSS

This page is displayed if the separately sold EXB-MOSS option is installed.

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

( option”)

MIDI OUT

On-board controllers

KARMA

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 set-

ting 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.

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)

3.1–3: 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 (Voice 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.

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.

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 6.1–6a: Tx Filter “GE Bend”)

■ 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.”

☞p.60

Detune BPM Adj. (Detune BPM Adjust)

If the program of a timbre uses a phrase or rhythm loop multisample, you can use this Utility to modify its BPM value. “Detune BPM Adj.” 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 Adj.” 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. You must set the “From” BPM value to the value when

“Detune” is +0000. For example if you execute “From” 60bpm “To ” 120bpm, and then execute “From” 120bpm “To ” 60bpm, will not return to 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: KARMA

Use the ON/OFF settings to choose which timbre will sound.

3.2–1a

3.2–1b

3.2–1a: OSC On/Off Ctrl

OSC On/Off Ctrl [Norml, by Off, by On]

Norml (Normal): The KARMA [ON/OFF] key will not control whether a timbre will sound. Normally you will select

Norml.

by Off (Off by KARMA-Off): The timbre will sound as

usual when the KARMA [ON/OFF] key is on. The timbre will not sound when the KARMA [ON/OFF] key is off.

Use this when you want a speciﬁc timbre of multiple timbres set to the same MIDI channel to be silent only when KARMA is off.

by On (Off by KARMA-On): The timbre will not sound when the KARMA [ON/OFF] key is on. The timbre will sound as usual when the KARMA [ON/ OFF] key is off.

Use this when you are using a KARMA module to control multiple timbres that are set to the same MIDI channel, and want a speciﬁc timbre to be silent only when the KARMA function is on. For example you can use this to play a two-timbre layer from the keyboard when KARMA is off, and use one timbre to sound the phrase when KARMA is on.

If the “Status” (3.1–1a) of each timbre is INT, you can use the “OSC On/Off Ctrl” setting to stop the oscillator of each timbre from sounding.

■ 3.2–1b: UTILITY

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

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

3.2–2: Other

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

3.2–2a

3.2–2b

3.2–2c

3.2–2a: 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)” (3.2–2b) will be used.

3.2–2b: Combi’s Scale, Key, Random

Speciﬁes the scale that the combination will use.

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

Top Slope

Top Key

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)

■ 3.2–2c: UTILITY

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

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 he 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

Volume

Bottom Slope

Bottom Key Top Key

Top Slope

Key

■ 3.3–1c: UTILITY

■ 3.3–3b: 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 volume 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 volume 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)

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

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

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 Slope

T op V elocity

COMBI

1.1

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3.3–3: Review

3.3–3a

3.3–3b

3.3–3a: Key Zone Map (All)

T1...T8

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

Top Velocity [1…127]

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

Bottom Velocity [1…127]

Speciﬁes the minimum velocity value 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 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)

3.4–2: Slope (Velocity Slope)

3.4–2a

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 keyboard location

Volume

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.

Bottom Slope

Bottom Velocity Top Velocity

■ 3.4–2b: UTILITY

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

Top Slope

Velocity

3.4–3: Review

3.4–3a

3.4–3b

3.4–3a: Velocity Zone Map (All)

T1...T8

Speciﬁes the range of velocities for which each timbre will sound. The range of velocities sounded is shown as a line, and the slope portion is shaded.

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)

■ 3.4–3b: UTILITY

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

4.1–2: MIDI 1–2 (MIDI Filter 1–2)

4.2–2: MIDI 2–2 (MIDI Filter 2–2)

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

4.2–2a

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.221 “Alternate Modulation Source”) effect

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (selected as assignment B for real-time 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

1.1

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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” assign- ment of a real-time 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” assign- ment of a real-time control knob) will be transmitted or received.

■ 4.2–1b: UTILITY

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

COMBI 4.3: Ed–MIDI Filter3

Speciﬁes whether the A and B mode effects of real-time 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.

4.3–1: MIDI 3–1 (MIDI Filter 3–1)

4.3–2: MIDI 3–2 (MIDI Filter 3–2)

4.3–1a

4.3–1b

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 B mode of knob [1] will be transmitted and received.

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.

4.4–2: MIDI 4–2 (MIDI Filter 4–2)

4.4–2a

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 B mode 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)

4.4–2b

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 6.1–1a. 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)

4.4–1a

4.4–1b

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)

COMBI 6.1: Ed–KARMA

Here you can make KARMA function settings for the combination. In Combination mode you can use four KARMA modules (modules [A], [B], [C], and [D]). A combination allows you to make a wide variety of setups, such as assigning different phrases or patterns to programs such as drums, bass, guitar, and strings, or combining the four KARMA modules with eight timbre programs.

When you switch programs, these settings will automatically change to the KARMA function settings stored in that combination. ( KARMA “Combi”: On)

KARMA function can be switched on/off by the KARMA real-time Controls [ON/OFF] key. The state of the KARMA real-time Controls knobs [1]–[8], switches [1]/[2], [LATCH] and [SCENE] keys, and the note settings/velocity of the CHORD TRIGGER [1]–[4] keys can be saved independently for each combination.

These settings are valid if Auto KARMA “Combi” must be On.

The parameters of 6.1–1: Setup can also be set from the COMBI 1.1–4: KARMA page.

6.1–1: Setup

6.1–1a

6.1–1b

6.1–1c

6.1–1a: GE Category, GE Select

☞GLOBAL 1.1–1c: System Basic, Auto

6.1–1d

■ 6.1–1d: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1d) “Select by Category” (1.1–4d)

For the procedure, refer to “Select by Category” (

☞p.2).

Init KARMA Module (Initialize KARMA Module)

This initializes the settings of a KARMA module.

The GE selection will not be initialized. The values of the

GE parameters will be set to the default values that are preset for the selected GE. Nor will the “Input Channel” and “Output Channel” (6.2–2a) settings be initialized.

1 Select “Initialize KARMA Module” to access the dialog

box.

2 Use “Module” to select the KARMA module that you

wish to initialize. If you select All, all KARMA modules [A], [B], [C], and [D] will be initialized.

3 If you want the KARMA RT parameters and KARMA

real-time Controls settings to be initialized as well, check “KARMA RT&Panel Setting.”

Settings initialized by “KARMA RT&Panel Setting”

• 6.4: Ed-KARMA RT settings (RT Parm, DynMIDI, Name)

• KARMA real-time Controls knobs [1]–[8], switch [1]/ [2], [SCENE] key, [LATCH] key settings

• CHORD TRIGGER [1]–[4] key settings

4 To execute the initialization, press the [F8] (“OK”) key. To

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

COMBI

1.1

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GE Category [00: name...] GE Select [0000: Arp Model 1 Up/Dn...]

☞ p.47 1.1–4a: GE Category, GE Select

6.1–1b: GE Name, Run Check Box, Solo Check Box

GE Name Run Check Box [Off, On] Solo Check Box [Off, On]

☞ p.47 1.1–4b: GE Name, Run Check Box, Solo Check Box

6.1–1c: Selected GE Information, Init K.RTC

GE No., GE Name MIDI In/Out Ch Init K.RTC (KARMA real-time Controls– Use GE’s Value)

[Off, On]

☞ p.47 1.1–4c: Selected GE Information, Init K.RTC

6.1–2: MIDI I/O

Speciﬁes the MIDI input/output channels for the four KARMA modules used by the combination. MIDI data from the keyboard or from MIDI IN that matches the MIDI input channel speciﬁed for a KARMA module will be input to that KARMA module. (See the diagram below, “KARMA-MIDI Input/Output Channel.”) MIDI data will be transmitted from a KARMA module on the MIDI output channel speciﬁed for that KARMA module, and will sound timbres that match that channel.

6.1–2a

6.1–2b

6.1–2a: Input Channel, Output Channel, T.Thru (KRM Off)

A/B/C/D Input Channel [01...16, Gch]

Speciﬁes the MIDI input channel for each KARMA module. MIDI data from the keyboard or from MIDI IN that matches the speciﬁed MIDI channel will be input to the KARMA module.

Gch: The MIDI channel will always match the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). When using KARMA with keyboard playing in Combination mode, you will normally select Gch.

A/B/C/D Output Channel [01...16, Gch]

Speciﬁes the MIDI output channel for each KARMA module. The MIDI data from the KARMA module will be transmitted on the speciﬁed MIDI channel, and will sound timbres whose channel matches.

Gch: The MIDI channel will always match the global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a).

KARMA Routing Map

This shows the timbres that will be sounded by each KARMA module, according to the MIDI output channel settings of each KARMA module and the MIDI channel of each timbre (3.1–1a).

Timb Thru (T.Thru (KRM Off)) [Off, On]

“Input Channel” and “Output Channel” settings are normally valid only when the KARMA [ON/OFF] key is on. As an exception, “Timb Thru” speciﬁes whether MIDI data that has passed through the KARMA module will be sent (Thru) to timbres when the KARMA [ON/OFF] key is off.

On (checked): When the KARMA [ON/OFF] key is off, MIDI data that has passed through the KARMA module will be sent via the “Output Channel” to timbres. Off (unchecked): When the KARMA [ON/OFF] key is off, MIDI data that has passed through the KARMA module will not be sent to timbres.

If you wish to apply separate phrases or patterns by using KARMA module [A] for timbre 1 and KARMA module [B], set the MIDI channels as follows.

[Example setting 1]

1 Set the global MIDI channel “MIDI Channel” (GLOBAL

2.1–1a) to 01.

2 Set timbre 1 as follows.

“Program Select”: Bass program “MIDI Channel” (3.1–1a): Gch

3 Set timbre 2 as follows.

“Program Select”: Piano program “MIDI Channel” (3.1–1a): 02

4 Set KARMA module [A] as follows.

“GE Select”: A riff of GE category Bass “Input Channel”: Gch “Output Channel”: Gch “Timb Thru”: Off

5 Set KARMA module [B] as follows.

“GE Select”: A riff of GE category Keyboard “Input Channel”: Gch “Output Channel”: 02 “Timb Thru”: Off

6 Turn the KARMA [ON/OFF] key on.

When you play the keyboard, KARMA module [A] will play the bass of timbre 1, and KARMA module [B] will play the piano of timbre 2. (See “KARMA ON/OFF=ON (1)(2)” in the diagram at the bottom of the next page.)

KARMA - MIDI Input / Output Channel

Global MIDI Ch = 01

MIDI IN

01ch

16ch

KARMA ON/OFF = ON

In : 01ch

In : 16ch

KARMA Module [A]

KARMA Module [B]

KARMA Module [C]

KARMA Module [D]

Out : 01ch

Out : 02ch

Out : 03ch

Out : 04ch

01ch

02ch

03ch

04ch

Timbre 1

Timbre 2

Timbre 3

Timbre 4

Timbre 5

Timbre 6

Timbre 7

Timbre 8

7 Turn the KARMA [ON/OFF] key off.

When you play the keyboard, you will hear the bass of timbre 1, whose MIDI channel is set to Gch. Since timbre 2 is set to MIDI channel 2, it will not sound in response to the keyboard. (See “KARMA ON/OFF=OFF (1)” in the diagram below.)

[Example setting 2]

1 Make settings 1–3 of [Example setting 1].

2 Set KARMA module [A] as follows.

“GE Select”: A riff of GE category Bass “Input Channel”: Gch “Output Channel”: Gch “Timb Thru”: Off

3 Set KARMA module [B] as follows.

“GE Select”: A riff of GE category Keyboard “Input Channel”: Gch “Output Channel”: 02 “Timb Thru”: On

4 Turn the KARMA [ON/OFF] key on.

When you play the keyboard, the result will be the same as for

6 in [Example setting 1]. (See “KARMA ON/

OFF=ON (1)(2)” in the diagram below.)

5 Turn the KARMA [ON/OFF] key off.

When you play the keyboard, you will hear the bass timbre, whose MIDI channel is Gch. The piano of timbre 2 will also be played by the keyboard because of the

“Timb Thru” ON setting of KARMA module [B]. (See “KARMA ON/OFF=OFF (2)” in the diagram below.)

■ 6.1–2b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

6.1–3: Key Z (KeyZone)

☞ p.27 PROG 6.1–2a: Key Z/Thru

In Combination mode, MIDI data for each KARMA module is transmitted and received on the “Input Channel” and “Output Channel” (6.1–2a) that you specify for each module.

6.1–3a

6.1–3b

6.1–3a: Zone Map, KeyZone Bottom, KeyZone Top

Zone Map

The key zone settings of each of the four KARMA modules are displayed as a solid line.

☞ p.27 PROG 6.1–2a: Key Z/Thru, “Zone Map”

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

KARMA ON/OFF = ON (1) (2)

KARMA ON/OFF = OFF (1)

KARMA ON/OFF = OFF (2)

In : Gch

KARMA Module [A]

KARMA Module [B]

KARMA Module [A]

KARMA Module [B]

Timb.Thru

KARMA Module [A]

KARMA Module [B]

Timb.Thru

✓

Out : Gch

Out : 02ch

Out : Gch

Out : 02ch

Out : Gch

Out : 02ch

In : 02ch

In : Gch

In : 02ch

In : Gch

In : 02ch

Timbre 1: BassIn : Gch

Timbre 2: Piano

Timbre 1: Bass

Timbre 2: Piano

Timbre 1: Bass

Timbre 2: Piano

A/B/C/D KeyZone Bottom [C–1...G9]

Speciﬁes the bottom key (lower limit) of the key zone.

A/B/C/D KeyZone Top [C–1...G9]

Speciﬁes the top key (upper limit) of the key zone.

These parameters can also be set by holding down the [Enter] key and playing a note.

■ 6.1–3b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1c) “Select by Category” (1.1–4d)

6.1–4: Key T (Key Thru)

☞ p.27 PROG 6.1–2b: Key Z/Thru

6.1–4a

6.1–4b

6.1–5a: Rx Filter

A/B/C/D AfterT (After Touch) [Off, On] A/B/C/D Bend (Pitch Bend) [Off, On] A/B/C/D Damper (Damper CC#64) [Off, On] A/B/C/D JS+Y (JS+Y CC#01) [Off, On] A/B/C/D JS-Y (JS-Y CC#02) [Off, On] A/B/C/D Other CC [Off, On]

☞ p.28 PROG 6.1–3a: Rx Filter

■ 6.1–5b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

6.1–6: TxFltr (Transmit Filter)

For each KARMA module ([A]–[D]), specify whether to ﬁlter the MIDI control data generated by the GE selected for the module.

☞ p.28 PROG 6.1–4a: Tx Filter

6.1–4a: Thru In Zone, Transpose InZ, Thru Out Zone, Transpose OutZ

A/B/C/D Thru In Zone [Off, On] A/B/C/D Transpose InZ [–36...+36] A/B/C/D Thru Out Zone [Off, On] A/B/C/D Transpose OutZ [–36...+36]

☞ p.27 PROG 6.1–2b: Key Z/Thru

■ 6.1–4b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

6.1–5: RxFltr (Receive Filter)

For each KARMA module ([A]–[D]), specify whether to ﬁlter the MIDI control data received by the module.

☞ p.28 PROG 6.1–3a: Rx Filter

6.1–5a

6.1–6a

6.1–6b

6.1–6a: Tx Filter

A/B/C/D GE Bend (GE Pitch Bend) [Off, On]

☞ p.28 PROG 6.1–4a: Tx Filter

If the KARMA function is on and a KARMA module is generating pitch bend data, the Bend Range (3.1–3a) of the timbre will be controlled as follows.

The pitch bend range speciﬁed within the KARMA GE will be transmitted from the KARMA module so that the corresponding timbre will be forcibly set to this bend range. This ensures that the pitch bend data generated by the KARMA module’s GE will function as intended. At this time, pitch bender data produced by operating the joystick will automatically be adjusted to produce the same bend effect as when KARMA is off (in most cases). (If multiple timbres are being controlled by one KARMA module, the settings of the lowestnumbered timbre will be used.)

6.1–5b

A/B/C/D GE CC-A [Off, On] A/B/C/D GE CC-B [Off, On] A/B/C/D GE Env.1 [Off, On] A/B/C/D GE Env.2 [Off, On] A/B/C/D GE Env.3 [Off, On]

☞ p.28 PROG 6.1–4a: Tx Filter

■ 6.1–6b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

Root Position [Off, On]

☞ p.29 PROG 6.2–1a: Module Parameter

6.2–1b: Tx CC (Transmit CC)

☞ p.30 PROG 6.2–1b: Tx CC

These messages will be transmitted on the “Output Channel” (6.1–2a) of the KARMA module.

Tx CC1...4 Number [Off, 000...095]

☞ p.30 PROG 6.2–1b: Tx CC

6.2–1c: Value (Tx CC Value)

COMBI

1.1

COMBI: 6.2 Ed-KARMA Mdl

6.2–1: Parm1 (Parameter 1)

Here you can set KARMA module parameters. In Combination mode, four KARMA modules ([A], [B], [C], [D]) can be used.

Use the [F6] (“”) key and [F7] (“”) key (6.2– 1d) to select the KARMA module that you wish to edit.

6.2–1a

6.2–1c

6.2–1a: Module Parameter

The selected KARMA module is displayed as [A], [B], [C], or [D].

Transpose [–36...+36] Force Range

[Off, Lowest, Highest, C3–B3[1], C3–B3[2]]

Delay Start [Off, Fixed, 3...4x]

Delay Start Fixed [0000 ms...5000 ms] Quantize Trig [Off, On]

☞ p.29 PROG 6.2–1a: Module Parameter, BG p.88 “About the

KARMA function — KARMA function synchronization”

6.2–1e6.2–1d6.2–1b

Value (Tx CC1...4 Value) [000...127]

☞ p.30 PROG 6.2–1c: Value (Tx CC Value)

6.2–1d: ,

Use the [F6] (“”) key and [F7] (“”) key to select the KARMA module that you wish to edit.

■ 6.2–1e: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

6.2–2: Parm2 (Parameter 2)

6.2–2a

6.2–2b 6.2–2c

6.2–2a: Trigger/Latch

Speciﬁes the trigger conditions and latch on/off for the GE that is selected for each KARMA module [A]–[D].

Note:

Note Trigger [Any, AKR, 1st, Dyn]

☞ p.31 PROG 6.2–2a: Trigger/Latch, “Note Trigger”

6.2–2d

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

TimbZ Bypass (TimbZone Bypass) [Off, On]

Speciﬁes whether the key zone settings (3.3–1b) and velocity zone settings (3.4–1b) of the timbre will be applied to the phrase or pattern generated by the KARMA module.

On (checked): The key zone settings and velocity zone settings of the timbre will be bypassed for the phrase or pattern generated by the KARMA module. The settings of the timbre will be ignored, and the notes generated by the KARMA module will be sounded. Off (unchecked): The key zone settings and velocity zone settings of the timbre will be applied to the phrase or pattern generated by the KARMA module. Notes generated by the KARMA module will not be sounded if they are outside the key zone or velocity zone of the timbre.

Note Latch [On, Off]

☞ p.31 PROG 6.2–2a: Trigger/Latch, “Note Latch”

In Combination mode, this can be turned on/off for each KARMA module. A KARMA module for which this is turned on will be in a Latch On condition when the [LATCH] key is on (LED lit).

☞ p.31 PROG 6.2–2a: Trigger/Latch, “Note Latch”

Env1/Env2/Env3:

Env1 Trigger/Env2 Trigger/Env3 Trigger

[Any, AKR, 1st, Dyn]

Env1 Latch/Env2 Latch/Env3 Latch

[Off, Sus1, Rel1, Sus2, Rel2]

☞ p.31 PROG 6.2–2a: Trigger/Latch

6.2–2b: Clock Advance

☞ p.32 PROG 6.2–2b: Clock Advance

■ 6.2–2d: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

COMBI 6.3: Ed-KARMA GE

Here you can edit the parameters of the GE selected for each KARMA module [A]–[D]. In addition, you can assign GE parameters to the KARMA real-time Controls so that you can control the phrase or pattern in real-time while you play.

Use the [F6] (“”) and [F7] (“”) keys (6.2–1d) to select the KARMA module that you wish to edit.

Mode (Clk Adv. Mode) [Auto...Auto+Dyn2]

Size (Clk Adv. Size) [3..., Event]

ChdMode (Chord Mode)

[Off, 1st, Chrd1, Chrd2, Chrd3]

VelSensBtm (Vel Sens Bottom) [001...127]

☞ p.32 PROG 6.2–2b: Clock Advance

6.2–2c: Module Trigger

Trigger by Mod (Trigger by Module) [Off, A, B, C, D]

Note and envelope triggering of a KARMA module can be controlled by the operation of another KARMA module. When the KARMA module you specify here advances by the length speciﬁed in “Module%,” the KARMA module itself will be triggered automatically, starting the phrase or pattern.

For example you could make settings so that harp glissando phrases speciﬁed for each KARMA module are triggered consecutively. Alternatively, you could make settings so that the four KARMA modules are connected in series, and play repeatedly.

Module% [000...100]

This is valid except when “Trigger by Mod” is Off.

Cutoff (Cutoff Module) [Off, On]

This speciﬁes whether the phrase or pattern generated by other KARMA modules will be stopped automatically when a KARMA module is triggered. Use this setting in cases when KARMA modules are being triggered successively one after the other, and you do not want the phrases to overlap.

On (checked): When a KARMA module is triggered, other KARMA modules that are checked will stop.

6.3–1: GE P..4 (GE Parameter 1...4)

6.3–2: GE P..8 (GE Parameter 5...8)

6.3–3: GE P..12 (GE Parameter 9...12)

6.3–4: GE P..16 (GE Parameter 13...16)

6.3–1b6.3–1a

6.3–1(2), (3), (4)a: GE Parameter, Value, Asgn (Assign), Pol (Polarity)

GE Parameter Value Asgn (Assign) [---, ...Dyn4] Pol (Polarity) [–, +]

☞ p.32, 33 PROG 6.3–1a: “GE Parameter,” “Value,” “Asgn,”

“Pol”

■ 6.3–1(2), (3), (4)b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

COMBI 6.4: Ed-KARMA RT

6.4–3: DynMIDI (Dynamic MIDI)

☞ p.36 PROG 6.4–3: DynMIDI (Dynamic MIDI)

6.4–1: RTP ..4 (RT Parameter 1...4)

6.4–2: RTP ..8 (RT Parameter 5...8)

☞ p.34 PROG 6.4–1: RTP ..4 (RT Parm 1...4), 6.4–2: RTP ..8

(RT Parm 5...8)

6.4–1a

6.4–1b

6.4–1c

6.4–1d

6.4–1e

6.4–1(2)a/b/c/d: RT Parm 1...4, RT Parm 5...8

Grp (Param Group) [Off, Mix, Ctrl, Trig, Zone]

☞ p.34 PROG 6.4–1(2)a/b/c/d: RT Parm 1–4, RT Parm 5...8

Parameter [---, Run...Tr.Oct/5 OutZ]

Group: Mix

Run [0, +1]

Assign the function of “Run” (1.1–4b, 6.1–1b).

0: Off +1: Run

☞ p.47 “Run Check Box” (1.1–4b)

Group: Trig

Trig by Mod [0...+4]

Assign the function of “Trigger by Mod” (6.2–2c).

0: Off +1: A +2: B +3: C +4: D

☞ p.62 “Trigger by Mod (Trigger by Module)” (6.2–2c)

Module% [0...+100]

Assign the function of ”Module%” (6.2–2c).

☞ p.62 “Module” (6.2–2c)

6.4–3a

6.4–3b

6.4–3c

6.4–3d

6.4–3e

6.4–3a/b/c/d: Dyn MIDI1...4

Input (Dyn1...4 Input Module) [A...D]

Indicates either A, B, C, or D as the KARMA module that will be the Dynamic MIDI “Source” input. MIDI control data that matches the “Input CHANNEL” (6.1–2a) of the KARMA module that you select here will be used as the “Source.” If the “Source” is “Note In Z” or “Note Out Z,” the zone will be the key zone (6.1–3a) of the KARMA module that you select here.

Source (Dyn1...4 Source) [Off, JS+Y #01...Vel Out Z] Btm (Dyn1...4 Range-Btm) [000...127] Top (Dyn1...4 Range-Top) [000...127] Act (Dyn1...4 Src Action) [M, T, C] Destination (Dyn1...4 Destination)

[Off, RTParm Ctrl...Buffer Latch]

☞ p.36–PROG 6.4–3a/b/c/d: Dyn MIDI1...4

A/B/C/D (Dyn1...4 Module A/B/C/D) [Off, On] L (Dyn1...4 Last Triggered) [Off, On]

Speciﬁes the modules for which the Dyn MIDI1...4 settings will be valid.

On (checked): The Dyn MIDI settings will be valid. Off (unchecked): The Dyn MIDI settings will be ignored.

“A/B/C/D”: The settings will be valid for KARMA modules [A], [B], [C], and [D] respectively. “L”: The settings will be valid only for the last-triggered KARMA module [A], [B], [C], or [D].

Pol (Dyn1...4 Polarity) [Off, On]

☞ p.36–PROG 6.4–3a/b/c/d: Dyn MIDI1...4

COMBI

1.1

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

Min (Parm Min Value) [---, –0036...+5000] Max (Parm Max Value) [---, –0036...+5000] Value (Parm Value) [---, –0036...+5000] A/B/C/D (Parm Module A/B/C/D) [Off, On]

Speciﬁes whether the RT Parm settings settings will be valid for each module.

On (checked): The RT Parm settings settings will be valid. Off (unchecked): The RT Parm settings settings will be

ignored.

Asgn (Parm Assign) [---, ...Dyn4]

☞ p.34 PROG 6.4–1(2) a/b/c/d: RT Parm 1...4

6.41(2)e: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d)

6.4–3e: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d)

6.4–4: Name1

6.4–5: Name2

6.4–4a

6.4–4b

6.4–4(5)a: Knob1...8, Switch1, 2

Knob 1...8 [000: no name...] Switch 1, 2 [000: no name...]

☞ p.36 PROG 6.4–4: Name1, PROG 6.4–5: Name2

6.4–4(5)b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d)

6.4–6: Rndm1 (Random 1)

For example, if you select Rhythm Seed 1 for all four KARMA modules, running the same GE under the same conditions will cause the randomness of the rhythms to be identical. If many types of randomness are being used, such as duration, velocity etc., setting all the seeds to the same value within each group will cause the resulting phrases to be identical. Conversely, if you select Rhythm Seed 1, 2, 3, and 4 respectively for the four KARMA modules and run the same GE under the same conditions, the randomness of the rhythms will be different. If many types of randomness are being used, such as duration, velocity etc., setting all the seeds to the different values within each group will cause the resulting phrases to be completely different. Normally, you will select different values, such as [A]: 1, [B]: 2, [C]: 3, [D]: 4. Select identical values if you want two or more KARMA modules to play the same GE in unison or harmony with the same randomizations.

Changing these settings will not have any effect for GEs that were not designed to utilize various random capabilities.

6.4–6(7)b: UTILITY

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

“Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) “Select by Category” (1.1–4d)

6.4–7: Rndm2 (Random 2)

6.4–6a

6.4–6b

6.4–7a

6.4–7b

6.4–6(7)a: Rhythm, Duration, Index, Cluster, Velocity, CC–A/B, Drum

Rhythm (Rhythm Seed) [1, 2, 3, 4] Duration (Duration Seed) [1, 2, 3, 4] Index (Index Seed) [1, 2, 3, 4] Cluster (Cluster Seed) [1, 2, 3, 4] Velocity (Velocity Seed) [1, 2, 3, 4] CC–A/B (CC–A/B Seed) [1, 2, 3, 4] Drum (Drum Seed) [1, 2, 3, 4]

For the GE selected for each KARMA module, you can often control the degree of randomness for various parameter groups such as rhythm, duration, velocity etc. The random calculations are performed based on initial starting values, known as “seeds.”

COMBI 7.1: Ed–BUS

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

☞ For details on insertion effects, refer to p.159 “7. Effect

Guide.”

7.1–1: BUS (BUS T01...08)

7.1–1a

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 multiplying this value with the send level “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” (PROG 7.2–1a) for each oscillator of the program selected for the timbre.

COMBI

■ 7.1–1b: UTILITY

1.1

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

7.1–1b

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

BUS Select [DKit, L/R, IFX1...5, 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

7.2–1: Route page.

DKit: This can be selected only if the program for which settings 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 the “BUS Select” settings of the drum kit have assigned Snare sounds to IFX1 and Kick sounds to IFX2, setting this parameter to DKit will send the Snare sounds to IFX1 and Kick sounds to IFX2. If you wish to modify 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 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 move the pan of a sounding note in realtime and output it from AUDIO OUTPUT (INDIVIDUAL) 1/2, you must set “BUS Select” to IFX1 (or IFX2– IFX5), select 000: No Effect for “IFX1” (or IFX2–IFX5) (7.2–1a), and for the sound that has passed through the IFX, set “BUS Select” (7.2–1a) to either 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 1, 2, 3, 4 or 5 are selected, the send levels to master effects 1 and 2 are set by the “S1 (Send1(MFX)), ” “S2 (Send2(MFX))” parameters of the 7.2: Ed–InsertFX, Setup page, after the sound has passed through IFX1–5. If “BUS Select” is set to 1, 2 or 1/2 these settings are ignored.

☞ “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 7.2: Ed–InsertFX, Setup page will not be copied.

Swap Insert Effect

☞PROG 7.1–1c

However, the MIDI control channel speciﬁed for “Control Channel” of the 7.2: Ed–InsertFX, Setup page will not be copied.

DKit IFX Patch (DrumKit IFX Patch)

This command applies a patch to the “BUS Select” settings of each key of the drum kit, allowing you to temporarily change the connections to the insert effects. This command is available only if a drum program has been selected for the timbre and the “BUS Select” (7.1–1a) parameter is set to Dkit. Furthermore, this command can be executed only if the “BUS Select” (GLOBAL 5.1–3a) for the individual keys of that drum kit are set to IFX1–5.

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

2 In the right side of “DrumKit IFX 1–5→”, select the insert

effect to which you want to patch.

3 To execute the Drum Kit Insert Effect Patch command,

press the [F8] (“OK”) key. To cancel without executing, press the [F7] (“Cancel”) key. To restore the condition of the drum kit, execute IFX1→IFX1, IFX2→IFX2, IFX3→IFX3, IFX4→IFX4, and IFX5→IFX5.

7.1–2: Route (Routing)

Speciﬁes the bus to which the program used by each timbre 1–8 will be sent. Here you can also set the send levels to the master effects.

7.1–2a

7.1–2b

7.1–2a: Routing Map, BUS Select

Routing Map

This shows the status of the insert effects. For each insert effect, this indicates the routing, the name of the selected effect, the on/off status, and chain status. The effect type, on/off status and chain status can be modiﬁed in the 7.2: Ed–InsertFX, Setup page.

T01...8: BUS Sel [DKit, L/R, IFX1...5, 1, 2, 1/2, Off]

You can specify the bus to which the program oscillator of each timbre 1–8 will be sent, while viewing a map of the settings. Use the cursor keys [ ], [ ] to select the timbre, and use the VALUE [ ], [ ] key, [VALUE] slider or [VALUE] dial to set “BUS Select” (7.1–1a).

These settings can also be made in “BUS Select” (7.1–1a).

■ 7.1–2b: UTILITY

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

“Copy Insert Effect,” “Swap Insert Effect,” “DKit IFX Patch” (7.1–1b)

COMBI 7.2: Ed-InsertFX

7.2–1: Setup

Here you can select the type of each insert effect, turn it on/ off, and make chain settings etc.

7.2–1a: Ed-InsertFX Setup

IFX1 — IFX5 [Off, ON] Insert Effect 1, 5 [000...089: name] Insert Effect 2, 3, 4 [000...102: name] Chain [ (Off), (On)] 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 7.2–1)

However, dynamic modulation (Dmod) of the insert effects and the “Pan (CC#8), “Send 1 (MFX1),” and “Send 2 (MFX2)” that follow the insert effects will be controlled on the “Control Channel” (7.2-1b) MIDI channel, unlike in Program mode. The control changes used are the same as in Program mode.

7.2–1b: Control Channel

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

Speciﬁes the MIDI channel on which dynamic modulation (Dmod) of the insert effects and the “Pan (CC#8), “Send 1 (MFX1),” and “Send 2 (MFX2)” that follow the insert effects 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 timbres with different MIDI channel settings are routed through the same 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 the “BUS Select” (7.1–1a) of a timbre for which a drum program is selected is set to DKit, the MIDI channel of that timbre will be valid if any IFX1–5 is set to All Rt., regardless of the “BUS Select” (GLOBAL 5.1–3a) settings or the settings of the Utility “DrumKit IFX Patch” (7.1–1b).

7.2–1a

■ 7.2–1c: UTILITY

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

“Copy Insert Effect,” “Swap Insert Effect” (7.1–1b), “Select

7.2–1c7.2–1b

by Category” (PROG 7.2–1b)

7.2–2: IFX 1 (Insert Effect1)

7.2–3: IFX 2 (Insert Effect2)

7.2–4: IFX 3 (Insert Effect3)

7.2–5: IFX 4 (Insert Effect4)

7.2–6: IFX 5 (Insert Effect5)

These are the parameters for IFX 1, 2, 3, 4, and 5 that were selected in the Setup page (

☞p.168).

COMBI 7.3: Ed–MasterFX

☞ For details on insertion effects, refer to p.159 “7. Effect

Guide.”

7.3–1: 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 7.3: Ed-MasterFX)

COMBI

1.1

7.2–2a

■ 7.2–2(...6)a: UTILITY

☞ “Write Combination” (1.1–1c)

7.2–7: Route (Routing)

7.2–7a

7.2–7b

7.2–7a: Routing Map

This shows the status of the insert effects. This shows the same content as the 7.1: BUS, Routing page. (

■ 7.2–7b: UTILITY

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

“Copy Insert Effect,” “Swap Insert Effect,” “DKit IFX Patch” (7.1–1b)

☞7.1–2a)

7.3–1a

7.3–1b

7.3–1e7.3–1c7.3–1d

7.3–1a: MasterFX Setup

MFX1 On/Off, MFX2 On/Off [Off, ON] Master Effect 1, 2 [000...089: name] Rtn 1, 2 (Return 1, 2) [000...127]

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

7.3-1: Setup.” However, the master effects will be controlled 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.

7.3–1b: 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 7.3–1: Setup”)

2.12.22.33.13.23.33.44.14.24.34.46.16.26.36.47.17.27.3

7.3–1c: 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 7.3–1: Setup)

7.3–1d: 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.

7.3–4: 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 (

☞p.220).

■ 7.3–1e: UTILITY

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

“Select by Category” (PROG 7.3–1d)

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

Copy Master Effect

☞p.41 PROG 7.3–1d

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.3–1a) will not be copied.

Swap Master Effect

☞p.41 PROG 7.3–1d

Note, the MIDI control channel that is speciﬁed by “MFX1, 2 Control Ch” (7.3–1a) will not be swapped.

7.3–2: MFX1 (Master Effect1)

7.3–3: 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.168).

(

7.3–4a

■ 7.3–4a: UTILITY

☞ “Write Combination” (1.1–1c)

■ 7.3–2(3)a: UTILITY

☞ “Write Combination” (1.1–1c)

7.3–2a

3. Sequencer mode

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

These settings and the song data you recorded are not backed up when the power is turned off. Before turning off the power, be sure to save important data on a ﬂoppy disk 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 ﬂoppy disk, or receive a MIDI bulk data dump from an external MIDI sequencer (

☞p.140).

SEQ PAGE MENU

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

BUS 7.1: BUS Set BUS and master effect send level for

each track.(

IFX 7.2: Insert FX Insert effect routing, selection, and set-

tings. (

MFX 7.3: Master FX Master effect selection and settings. Mas-

ter EQ settings. (

☞p.111)

☞p.112)

☞p.113)

SEQ 1.1: Play/REC

Here you can select songs, and make basic settings such as selecting the program used by each track.

1.1–1: Play.REC (Play/REC)

Here you can select songs and turn RPPR on/off.

1.1–1a

1.1–1b

1.1–1c

1.1–1d

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

P/R 1.1: Play/REC Select multis. Select a program for each

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. ( MOSS 2.3: MOSS Displayed if the separately sold EXB-

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

Prm2 3.2: Param2 Turn track playing b y KARMA on/off, delay

KeyZ 3.3: Key Zone Key zone settings for each track. ( 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: real-time Control Knob

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

RPPR 5.1: RPPR Pattern recording and editing. RPPR set-

TEdit 5.2: Track Edit Edit track playback data. Specify track

KARM 6.1: KARMA KARMA GE selection and settings, MIDI

K Mdl 6.2: KARMA Mdl Module parameters (transpose, range of

K GE 6.3: KARMA GE GE parameter settings and assignments

K RT 6.4: KARMA RT KARMA RT parameters, Dynamic MIDI

track, and make pan and level settings.

☞p.69)

(

☞p.77)

(

☞p.78)

lists. (

☞p.81)

MOSS option is installed. Make EXBMOSS parameter settings. (

☞p.82)

track. (

and scale settings for each track. (

☞p.86)

(

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

☞p.88)

(

☞p.89)

(

☞p.89)

(

tings. (

☞p.90)

names. (

channel, key zone parameters, and MIDI ﬁlter settings. (

generated phrase, trigger etc.). (

to KARMA real-time Controls (

settings. (

☞p.87)

☞p.95)

☞p.103)

☞p.110)

☞p.82)

☞p.84)

☞p.85)

☞p.108)

☞p.109)

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

 (Tempo), Tempo Mode

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

This is the current location of 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.

7.17.27.3

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 measure, 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)

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” (5.2–1c) 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.





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 that musical data that is recorded 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 KARMA function.

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 Te m po 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.

Select this after pressing the [REC/WRITE] key. When REC is selected and you are recording in real-time, modify the “Te mp o” value to change the tempo. This cannot be selected when the Preferences page item “Recording Setup” is set to Loop All Tracks. Tempo changes can also be created using “Event Edit” (5.2–1b) or “Create Control Data” (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 “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.

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]

Track01–Track16: Select the track(s) that will record or play song data. The track names speciﬁed in “Rename Track” (5.1–1c). 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.

■ 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 the 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.

Rename Song

Here you can rename the selected song. A name of up to sixteen characters can be input. (

☞BG p.39)

Delete Song

This command deletes the currently selected song.

1 Select this command 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

Copy 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.

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

Ch 01...16

This shows the MIDI channel number speciﬁed for the track.

7.17.27.3

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)

Copy 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 master 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 pro- grams 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. If you execute without checking this, only the template song you speciﬁed in step

2 will be loaded.

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: Pattern/RPPR, Pattern Edit tab, utility menu command “Copy To Track”

☞p.93).

(

☞“Save as User

Preset Template Song Track No.: Name Program Corresponding Preset Pattern No.:Name

P00: Pop/Ballade Track01: Drums A036:Standard Kit P00: Pop&Balad 1/Std ... P10: Pop(6/8) 3/Std

P01: Rock/Metal Rock Track01: Drums B020:Processed Kit P11: Rock 1/Process ... P21: Rock11/Process

P02: R & B Track01: Drums 1(Std 2) B036:Standard Kit 2 P22: R&B 1/Std2 ... P27: R&B 6/Std2

Track09: Drums 2(Std) A036:Standard Kit P28: R&B 7/Std ... P32: R&B11/Std

P03: Jazz Track01: Drums B004:Jazz/Brush Kits P33: Jazz 1/Jazz ... P39: Jazz 7/Jazz

P04: Latin Track01: Drums B004:Jazz/Brush Kits P40: Latin 1/Jazz ... P42: Latin 3/Jazz

P46: Latin 7/Jazz ... P47: Latin 8/Jazz

Track08: Percussion B116:Percussion Kit P43: Latin 4/Perc ... P45: Latin 6/Perc

P05: Reggae Track01: Drums B068:Drum'nBass Kit P48: Reggae 1/D'n'B ... P53: Reggae 6/D'n'B

P06: Country Track01: Drums A036:Standard Kit P54: Country 1/Std ... P57: Country 4/Std

P07: Folk Track01: Drums A036:Standard Kit P58: Folk 1/Std ... P61: Folk 4/Std

P08: European Trad. Track01: Drums A036:Standard Kit P62: E.Trad 1/Std ... P67: E.Trad(3/4)2/Std

Track08: Percussion B116:Percussion Kit —

P09: Orchestral Track01: Percussion A116:Orchestra&Ethnic —

P10: Techno/Euro Beat Track01: Drums A020:House Kit P68: Techno 1/House ... P78: Techno11/House

P11: House Track01: Drums A020:House Kit P79: House 1/House ... P92: House14/House

P12: Drum'n'Bass Track01: Drums B068:Drum'n'Bass Kit P93: Drum'nBs 1/D'n'B ... P108: Drum'nBs16/D'n'B

P13: Acid Jazz Track01: Drums B036:Standard Kit 2 P109: AcidJazz 1/Std2 ... P120: AcidJazz12/Std2

P14: Hip Hop/Rap Track01: Drums A068:HipHop Kit P121: HipHop 1/HipHop ... P135: HipHop15/HipHop

P15: Big Beats Track01: Drums 1(Hip/Hop) A068:HipHop Kit P136: Bigbeat 1/HipHop ... P143: Bigbeat 8/HipHop

Track09: Drums 2(Tricky) A004:! {Tricky} Kit! P144: Bigbeat 9/Tricky ... P149: Bigbeat14/Tricky

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 A036: Standard Kit 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 other patterns. When you press the [F7] (“Exit”) key, the dialog box will close.

☞Lower diagram)

5 and 7 you can continue to copy

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. The settings you save here can also be loaded in Song Play mode.

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 Template 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.

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

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.

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.

7.17.27.3

1.1–2: Prog...8 (Program T01...08)

1.1–3: Prog...16 (Program T09...16)

Here you can make basic settings for playback and recording of songs and select the program that will be 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...F/000...127, G001...128 g001:1...g128:d]

Here you can select the program that will be used by each track. F000...F127 can be selected if a separately sold EXB-MOSS option is installed. 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]–[G] keys.

When this parameter is selected, you can use the Utility menu command “Select by Category” to select a program by category. (

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 musical data (program change data) 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 speci- ﬁed by “Bank (EX2) MSB” and “Bank (EX2) LSB” in the Param1 page (3.1–1(2)a).

☞p.2)

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 VALUE [ ][ ] keys, the [VALUE] slider, 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, its solo state will take priority. When you press “SOLO On/Off” or a parameter of another track, only that 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 Template Song,” “Save Template Song,” “FF/REW Speed,” “Set Location” (1.1–1d)

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 musical 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 accordingly.

Volume [000...127]

Set the volume of tracks 1–16.

When “Status” (3.1–1(2)a) is INT or BTH, CC#7 Volume 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

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 7.2: Insert Effect 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

OSC1: Amp1 Pan=L032

Left

Center

Left

Center

OSC2: Amp2 Pan=R096

Right

Pan (CC#10)

C064

L032

L001

R096

R127

Right

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template 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

1.1–6b

1.1–6a: Rec Setup, Metronome

Indicates the method of real-time recording. Refer to BG p.62 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.

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

7.17.27.3

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. The area between the points where you pressed the [REC/ WRITE] key or the foot switch the ﬁrst and second times will be replaced by the newly recorded data.

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.

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.

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 Start Meas–Loop End Meas

[M001...M999–M001...M999]

When “Recording Mode” is set to Loop All Tracks, specify the measures over which recording will continue repeating.

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. 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)a) “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. Off (unchecked): Single track recording mode will be selected. Recording will occur on the track you select in “Track Select.”

☞BG p.64)

Metronome:

Here you can make metronome settings.

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, recording 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, respec-

tively.

■ 1.1–6b: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

1.1–7: K.RTC (KARMA RTC)

1.1–7a

gram mode “Restoring only SCENE settings,” “Restoring only the knob and switch settings.”) It is a good idea to save your favorite knob and switch settings on a ﬂoppy disk or data ﬁler.

■ 1.1–7b: UTILITY

1.1–7b

1.1–7a: RT Knob/SW Name

This screen displays the names of the KARMA Real-time Controls knobs and switches, and the knob and switch settings of the song.

The [---] area displayed before each knob or switch name shows the abbreviated category name for the program selected by the track that will be played by the KARMA module controlled by operating the knob or switch. If there are multiple programs of different categories, this will indicate [MLTI].

Parameter assignments are speciﬁed in the SEQ 6.3: KARMA GE: Parm page (6.3–1(2)(3)(4)) and SEQUENCE

6.4: KARMA RT RTPrm page (6.4–1(2)). The name can be edited in the SEQ 6.4–4/5: KARMA RT, Name 1/2 page. The settings of the KARMA Real-time Controls knobs and switches can be switched between two different settings by using the SCENE [1]/[2] keys. The knob and switch settings displayed here will also change according to the SCENE 1/2 setting.

Graphic display of knobs and switches

When you operate a knob or switch to modify the setting it originally had when the song was selected, the graphic display of the knob or switch will be highlighted in black. When you return the knob or switch to the setting it originally had when the song was selected, the display will return to the previous state. This provides a convenient way for you to return to the original state after you have operated a knob or switch.

A Sequencer mode song has a different structure than a program or combination, and a different reference value is used to highlight the knob or switch graphic. In the case of a program or combination, the knob or switch value that is written will be the reference value. However in Sequencer mode, the settings at the moment that the song was selected will be the reference value. (The settings when the song was selected will be the settings at the time of loading or last editing.) The operation is as described below.

1 Select song 000.

The position of knob 1 when song 000 was selected will be the center (64). At this time, the knob 1 graphic will show .

2 Turn knob 1 all the way to the right (127).

The knob 1 graphic will be highlighted as .

3 Select a different song (e.g., song 001). 4 Select song 000 once again.

The knob 1 setting will be the far right setting (127). The knob 1 graphic will be .

In Sequencer mode, it is not possible to use the “Restore entire program” operation that is available in Program and Combination modes. You can use the

“Restore only SCENE settings” and “Restore only knob and switch settings” operations to revert to the

settings at the time the song was selected. (

☞p.6 Pro-

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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

1.2–1b

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 is how Version 1 operated.)

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

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

7.17.27.3

Track 1 will loop as follows. M001–M002–M003–M004–M003–M004–M003–M004… When “Play Intro” is not checked

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 Template 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:Location, Meter, Cue List Select, Track Select,

Selected Track Information, , Tempo Mode

Location [0001:01.000…9999:15.191]

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 ﬂoppy disk, or by a MIDI data dump from an external sequencer (

☞p.140).

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.

2.1–1a

2.1–1b

2.1–1c

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]

2.1–1e2.1–1d

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 can-

not 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. Immediately after the power is turned on, 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 [START/STOP] key to begin playback, it will begin from 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.”

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

7.17.27.3

■ 2.1–1e: UTILITY

☞ “Memory Status”, “FF/REW Speed”, “Set Location” (1.1–

1d)

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.39)

Delete Cue List

This command deletes the currently selected cue list.

1 Select “Delete Cue List” to access the dialog box.

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 ﬂoppy disk 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 Select (When Status = EX2), Force OSC Mode, OSC Select, Delay, Use Programs Scale, MIDI Filter 1–4, Key Zone, Velocity Zone

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, Pan, Volume, Portamento, Detune,

Bend Range

Master T rac k 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 Tuning will be 6. Fine Tuning will modify the playback pitch (Detune). Coarse Tuning will change the notes that are played back (Transpose). For this reason with some programs such as drum programs, 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 mea-

sure 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.

2 Select “Copy Song” to access the dialog box.

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.

SEQ 2.2: Controller

2.2–1: Ctrls (Controls)

Here you can set the functions that the [SW1] key, [SW2] key, and the B-mode functions that the REAL-TIME CONTROL knobs [1]–[4] 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

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

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 out of 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.

2.2–1c2.2–1b

2.2–1b: Knob B Assign

Here you can set the B-mode functions (mainly various control changes) that the front panel REAL-TIME CONTROL knobs [1]–[4] will have in Sequencer mode ( “Realtime Control Knobs B Assign List”). The functions you specify here will operate when you rotate the front panel REAL-TIME 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.231

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).

7.17.27.3

2.2–1b: SW1/2 Assign

Here yuo 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.230 “SW1, SW2 Assign List”).

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

☞ “SW 1/2 Assign” (PROG 2.2–1b).

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

3.1–1b

2.2–1c: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

SEQ2.3: MOSS

This page is displayed when the separately sold EXB-MOSS option has been installed.

☞EXB-MOSS owner’s manual & p.269 “EXB-MOSS

( option”)

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 Received data

Status Internal tone

INT EXT, EX2 × BTH

generator

●

●●●

MIDI OUT Internal tone

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

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 accordingly. When the track whose “Status” (3.1–1a) is INT or BTH, MIDI control change (CC) #5 (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 000–127, 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).

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template 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

3.1–3b

3.1–3(4)a: Force OSC Mode, OSC Select, Portamento

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

Indicates the “Voice Assign Mode” (PROG 2.1–1b) of the program selected for each track 1–16 (

OSC Select [Both, OS1, OS2]

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).

3.1–3(4)b: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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

3.1–5b

3–5(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.

“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.

7.17.27.3

• 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. These messages will be received on the MIDI channel that is specified for each track by “MIDI Channel” (3.1–1a).

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.) ( COMBI 6.1–6a Tx Filter “GE Bend”)

☞p.60

3.1–5(6)b: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

Detune BPM Adj.

When the program selected for a track uses a phrase or rhythm loop multisample ( 1b/2a), you can use this command to change the BPM of the phrase or rhythm. The BPM can be adjusted by modifying 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).

☞PROG 2.1–2(3)b, GLOBAL 5.1–

3.2–1(2)a: OSC On/Off Ctrl

OSC On/Off Ctrl [Norml, by Off, by On]

Norml (Normal): The KARMA [ON/OFF] key will not control the sound of the track. In most cases, you should select the Norml setting.

by Off (Off by KARMA-Off): When the KARMA [ON/ OFF] key is on, the track will sound as usual. When the KARMA [ON/OFF] key is off, the track will not sound.

Use this setting if multiple tracks are set to the same MIDI channel and you want a speciﬁc one of these tracks to be muted only when the KARMA function is off.

by On (Off by KARMA-On): When the KARMA [ON/ OFF] key is on, the track will not sound. When the KARMA [ON/OFF] key is off, the track will sound as usual.

Use this setting if multiple tracks are set to the same MIDI channel, and you want only a speciﬁc track to be muted when the tracks are being controlled by the KARMA module. For example you can use this to play from the keyboard using a two-track layer when the KARMA function is off, and play the phrase on one track when the KARMA function is on. If the “Status” (3.1–1a) of each track is INT, you can use the OSC On/Off Ctrl setting to stop the oscillator of each track from sounding.

If you set “OSC On/Off Ctrl” to by Off or by On settings and operate the KARMA [ON/OFF] key while real-time-recording a song, you must be aware of the following points.

• In order to control this parameter during playback, operations of the KARMA [ON/OFF] key must be recorded in real-time.

• Set GLOBAL 6.1: Controller KARMA 2 page “KARMA Real-time Controls ON/OFF” (6.1–3a) to MIDI CC#14. If this is assigned to MIDI CC#14, operations of the KARMA [ON/OFF] key can be recorded in real-time.

• Operations will also be recorded if you assign this key to MIDI CC#00–95, but in order to avoid confusion when receiving another CC#, you should use CC#14.

•“KARMA Real-time Controls ON/OFF” (6.1–3a) will also be set to MIDI CC#14 if you execute the utility menu command “Reset KARMA Ctrls Assign” with “To:” set to Default Setting. After executing, turn the assignment Off for other KARMA Real-time Controls that you do not need to record.

SEQ 3.2: Param2

3.2–1: KRM..8 (KARMA T01...08)

3.2–2: KRM..16 (KARMA T09...16)

Speciﬁes how KARMA ON/OFF will control the sound of each track.

3.2–1a

■ 3.2–1(2)b: UTILITY

☞ “Memory Status,” “Solo Selected Track,” “Rename Song,”

“Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,” “Save Template Song,” “FF/FEW Speed,” “Set Location” (1.1–1d)

3.2–1b

3.2–3: Othr..8 (Other T01...08)

3.2–4: Othr..16 (Other T09...16)

Here you can make additional settings for each track.

3.2–3a

3.2–3b

3.2–3c

3.2–3(4)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.

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.

SEQ

3.3–1: Key..8 (Key T01...08)

3.3–2: Key..16 (Key T09...16)

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

3.3–1a

3.3–1b

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” (3.2–3(4)b)

will be used.

3.2–3(4)b: Scale

Speciﬁes the scale that will be used for the song.

Type (Song’s Scale)

[Equal Temperament...User Octave Scale15]

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).

☞“Random”

3.2–3(4)c: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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. ( COMBI 3.3–1a)

☞p.52

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.

7.17.27.3

■ 3.3–1(2)c: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

3.3–3: Slp..8 (Slope T01...08)

3.3–4: Slp..16 (Slope T09...16)

3.3–3a

SEQ 3.4: Vel Zone

Top/Bottom Velocity 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.

3.4–1: Vel..8 (Vel T01...08)

3.4–2: Vel..16 (Vel T09...16)

3.3–3b

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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

3.3–5: Review

3.3–5a

3.3–5b

3.4–1a

3.4–1b

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. (

☞p.53 COMBI 3.4–1a)

3.4–1(2)b: Top Velocity, Bottom Velocity

Top Velocity [1…127]

Speciﬁes the maximum velocity that will be sounded by each track 1–16.

Bottom Velocity [1…127]

Speciﬁes the minimum velocity that will be sounded by each track 1–16. 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

3.3–5a: Key Zone Map (All)

T1...T16

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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

☞ ““Memory Status”, “Solo Selected Track”, “Rename

Song”, “Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

3.4–3: Slp..8 (Slope T01...08)

3.4–4: Slp..16 (Slope T09...16)

3.4–3a

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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

3.4–5: Review

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.

SEQ

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

3.4–5a

3.4–5b

3.4–5a: Velocity Zone Map (All)

T1...T16

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 Template 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

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.

7.17.27.3

■ 4.1–1(2)b: UTILITY

☞ “Memory Status”, “Solo Selected Track”, “Rename Song”,

“Delete Song”, “Copy From Song”, “Copy From Combi”, “Load Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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

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)

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

4.1–3a

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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

4.2–1a

4.2–1b

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 REAL-TIME CONTROL knobs [1]–[4]) will be received.

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 REAL-TIME 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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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

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.)

☞“Alternate

Ribbon CC#16 [Off, On]

Speciﬁes whether MIDI control change message #16 (speci- ﬁed as the B-mode assignment of REAL-TIME 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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

■ 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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

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)

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.

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

4.3–1b

4.3–1(2)a: Real-time Control Knob 1, 2

SEQ

4.4–1a

1.11.22.12.22.33.13.23.33.44.14.24.34.45.15.26.16.26.36.4

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 SEQ 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 Template Song”, “Save Template Song”, “FF/REW Speed”, “Set Location” (1.1–1d)

Knob1 [Off, On]

Speciﬁes whether or not the A mode [1] knob MIDI control change message #74 (this instrument’s low pass ﬁlter cutoff frequency) and the B mode [1] knob MIDI control change message will be received.

Knob2 [Off, On]

Speciﬁes whether or not the A-mode [2] knob MIDI control change message #71 (this instrument’s low pass ﬁlter reso- nance or high pass ﬁlter cutoff frequency) and the B mode [2] knob MIDI control change message will be received.

4.3–3(4)a: Real-time Control Knob 3, 4

Knob3 [Off, On]

Speciﬁes whether or not the A mode [3] knob MIDI control change message #79 (this instrument’s ﬁlter EG intensity) and the B mode [3] knob MIDI control change message will be received.

Knob4 [Off, On]

Speciﬁes whether or not the A mode [4] knob MIDI control change message #72 (the release time of this instrument’s ﬁl- ter and amp EG’s) and the B mode [4] knob MIDI control change message will be received.

7.17.27.3

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

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

4.4–3a

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 6.1: Controller. This ˇ 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 Template 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 real-time recording, 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” and ˇattern Select” to select a user pattern and pattern number. Next, use the “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

☞BG p.67).

☞5.1–2: RPPR Setup page).

5.1–1c

5.1–1a: Location, Song Select, Track Select

Location

This shows the current location of the selected pattern, in measure units.

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.

KORG TRITON STUDIO User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Conventions in this manual

How to read the “Parameter Guide”

(example)

1. Program mode

PROG PAGE MENU

PROG 1.1: Play

1.1–1: Program

1.1–1b: Program Information

1.1–2: P.Edit (Performance Editor)

1.1–2a: Bank, Program Select, (Tempo)

1.1–2b: Performance Editor

1.1–3a: KARMA GE Setup

1.1–4a: RT Knob/SW Name

1.1–5a: Note Activity Display, Chord Name

PROG 2.1: Ed–Basic

2.1–1: Basic (Prog Basic)

2.1–1a: Oscillator

2.1–1b: Voice Assign

2.1–1c: Scale

2.1–2a: OSC1 Multisample

2.1–2b: High, Low

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

2.1–2d: OSC1 Drum Kit

2.1–3: OSC2

2.1–4: V.Zone (Velocity Zone)

PROG 2.2: Ed–Ctrl

2.2–1: Ctrls (Controls)

2.2–1a: Knob B Assign

2.1–4a: OSC 1/2 Velocity Zone

2.2–1b: SW1/2 Assign

PROG 2.3: Ed–OSC

PROG 3.1: Ed–Pitch

3.1–1: OSC1

3.1–1a: Pitch

3.1–1b: Pitch EG

3.1–1c: Portamento

3.1–2: OS1lfo (OSC1 LFO)

3.1–2a: Pitch LFO1/2 Modulation

3.1–5a: Pitch EG

3.1–3: OSC2

3.1–4: OS2lfo (OSC2 LFO)

PROG 4.1: Ed–Filter1

4.1–1: Basic

4.1–1a: Filter1

4.1–1b: A (Filter A)

4.1–1c: B (Filter B)

4.1–2: Mod.1 (Filter1 Modulation1)

4.1–2a: Keyboard Track

4.1–2b: Filter EG

4.1–4: lfoMod (LFO Modulation)

4.1–4a: Filter LFO1 Modulation

4.1–3: Mod.2 (Filter1 Modulation2)

4.1–3a: Filter-A Modulation

4.1–4b: Filter LFO2 Modulation

4.1–5: EG (Filter1 EG)

4.1–5c: Time Mod. (Time Modulation)

PROG 4.2: Ed–Filter2

4.2–1: Basic

4.2–3: Mod.2 (Filter2 Modulation2)

4.2–4: lfoMod (LFO Modulation)

4.2–5: EG (Filter2 EG)

PROG 5.1: Ed–Amp1

5.1–1: Lvl/Pan (Level/Pan)

5.1–1b: Pan

5.1–1c: AMS, Intensity

5.1–1a: Amp1 Level

5.1–2a: Keyboard Track

5.1–2c: AMS, Int.

5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod.

5.1–3: EG (Amp1 EG)

5.1–3b: Level Mod. (Level Modulation)

5.1–3a: Amp1 EG

5.1–3c: Time Mod. (Time Modulation)

PROG 5.1: Ed–Amp

PROG 5.2: Ed–Amp2