KORG TRITON STUDIO User Manual

4E

BG

PG

1 2 3

1 2 3

☞ p. ■ , ☞

■ , ☞

■ , ☞■ . ■

■

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

iv

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

v

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

vi

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

ix

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.

x

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. (

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

1

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.)

2

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).

3

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

4

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

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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–

5

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)

6

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

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

7

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

2.1–2e

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.

8

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

1.1

2.12.22.33.14.14.25.15.25.36.16.26.36.47.17.27.3

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.

9

■ 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

1.

10

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

+2

+1

0

–1

Key

PROG

1.1

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11

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.

12

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

13

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)

14

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)

15

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.

16

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

4.1–3b

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.

17

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.

18

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.

19

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.

20

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