Korg i5M Reference Guide

TADA A PR re see ДЫЙ NE RA Al Synthesis System Table of Contents Contents Arrangement Play Mode ae 1-1 Functions in Arrangement Play Mode .........................eee=.eieee.. 1-2 Basic Settings and Performance Monitors ........................ee..e... 1-3 Page 1 Arrangement Play .........................e.....i 0er... 1-3 Page 2 Style Display ........................e....ee 00 DDD 1-6 Track Setting .....................eeeeeiin ir eee rien eee arene eens 1-7 Page 3 Track Sound ...................ee..e26eermieeie eee 1-7 Page 4 Track Setting.......................eeeiie ee e A 1-8 Page 5 Miscellaneous ............................ 0000 1-11 Page6 Effects.....................enricicc rene erroneo erre ener. 1-12 Utility ......................eeeermecerenvecenoreencc cer eceo ee eceroe ee neeero reee renace. 1-13 Page7 RENAME ARRANGEMENT...................... eme. 1-13 Page 8 Write Arrangement......... Вененнннннненненнннннненееннне. 1-13 Volume/Mute ..................e..reremrnee ee reee enero riera 1-15 Backing Sequence Mode ................................00 00000 seen, 2-1 What Can the Backing Sequence Mode Do? ...................... 2-1 Always SAVE your data! .................e...eeereeeeeceer A 2-1 Using Other i-Series Disks ....................e..r2rmerrerrcsn recente. 2-1 Functions in the Backing Sequence Mode............................... 2-2 Realtime Recording ............................ eee e A 2-3 Page 1 Realtime........................eecime re eee 2-3 Display/Selection of Arrangement ...........................emmno 2-3 Volume/Multe...................._.e_eeciiiranre ren nee ee en enero. 2-4 Realtime Recording ......................ceerieeereee E RER 2-6 Track Editing ......................ee.eeereici rene eee enero nene 2-10 Page 2 Step Recording ...................... irene 2-10 Page 3 Erase Backing Sequence .........................00000.. 2-14 Page 4 Copy Backing Sequence ....................eereemneiiccos 2-14 Page5 Edit 1..................._.eccieeic De Deere een 2-15 Page 5-1 Delete Measure........................er merecer 2-15 Page 5-2 Insert Measure .....................ereerreccnccons eer 2-16 Page 5-3 Erase Measure........................eceriericireerce reee... 2-17 Page6 Edit 2....................e..es0eriicerecerer ro erre ce ee 2-18 Page 6-1 Copy Measure................e._.eeriveccseicner e 2-18 Page 6-2 Bounce Track .................e...siceeorserniceer en De ee 2-19 Page 6-3 Quantize....................——..e.eeecicereeren eee 2-20 Page 7 Shift Note ............................annee ener eee. 2-21 Page 8 Event Edit .......................eeeenerecrcereer recerca 2-22 Page 9 Extra Track........................... 000000 DDD 2-24 Page 10 Track Sound ...................eeereeeearrrrrocaceera eee 2-26 Page 11 Effects........................reec ere ree De eee EEEE 2-27 Page 12 Next B. Sequence.....................eeiieercecreree 2-28 Page 13 Rename Backing Sequence .......................ees.e. 2-29 Page 14 Conversion into a Standard MIDI File ................ 2-30 Table of Contents Song Play Mode …….……………………..……………….…serrerenenmentenensnsnn 3-1 What can the Song Play Mode do? .....................ee.e.=meeecenes 3-1 Functions in Song Play Mode .......................eeneeeeemresirenceerieenenen. 3-2 Basic Settings ...............-......ermeeremicerree nee rec e eee Decenas 3-3 Page 1 PLAY .................2mmemienccccance nen nee ener eee. 3-3 Page 2 Channel Sound...................e...enee2errie es 3-5 Page3 Transpose Position .......................===.e..emeriee e... 3-6 Page 4 Effects................. ioreceneooraorneneaonreacaner cane ren ener eeeeen ee 3-7 Volume/Mute ......................erevcseiemccecicen e enero! 3-8 1-1 CA eee 4-1 The Effects Pages .....................=...e..eereeorermeocicerecec enero reee nc. 4-2 Dynamic Modulation ......................ee-..emeeie reee 4-2 Details of Each Effect Type ............................e 0000 4-4 Effects Placement (Output Channels) ....................e.esee... 4-12 Global Mode..............................eeeimeeireee e 5-1 Functions in Global Mode ...................e=.eeve=eieereeseieere enero ree. 5-2 Data saved on disk ......................resmverccencens PT 5-2 Page 1 Disk Parameter .......................e.reeonercccconreneccere. 5-3 Page 1-1 Load FUnctionS .…...…......…….….…….sseessssensesessens anses 5-3 Page 1-1-1 LOAD ALL ........coo icone, 5-3 Page 1-1-2 Load One ...................2iieveneinreencene nee 5-5 Page 1-2 SAVE .....….........….…sercreroranseresennsencrenrransarenren ass sement 5-7 Page 1-3 Utilities ........................ereemenrernccnce nen eee 5-8 Basic Parameter/MIDI Parameter ............................. ree sens 5-9 Page 2 ARRANGEMENT SELECT/ECHO BACK ........... 5-9 Page 3-1 PRESET LOAD..................eeeceveccccrenccoreencenennenes 5-11 Page 3-2 MIDI SETTING..................e.ce.eneemiccir e 5-12 Page4 MASTER TUNE/LOCAL/CLOCK....................... 5-14 Page 5 MIDI Channel [GLOBAL, KBD1, KBD2, CHORD] ................ww... 5-15 Page6 MIDI CHANNEL [DRUM, PERC, BASS, ACC1, ACC?, ACC3) .... 5-17 Page 7 MIDI Filter ...................——....emicecnrican ere 5-18 Pedal Parameters ..................e0i000 100 DDD 5-20 PEDAL FUNCTION -.............e.me0orrencecarericconcanrecoceneeenere ee 5-20 Page 8 Assignable Pedal ..........................emee.e.mmee0n00n 5-20 Page 9 EC5 Switch A...E..................e.eeeveeereenie ene e A KUNG 5-20 Page 10 SOUND HOLD/VELOCITY CURVE .................. 5-23 Scales ...............eeececericucioerereoorenooneuercacereneareneecerecenenacen recae 5-25 Page 11, 12 MAIN SCALE/SUB SCALE ....................mme.... 5-25 Page 13 USER SCALE ................eceeeerreccccrreiricncren enacccees 5-27 MIDI Data DUMP -..................eeeeerervececreenrtenonen cananea sarees snes eens 5-28 Page 14 DATA DUMP ...................emmec0reinicereeiiecec eee 5-28 Page 15 PITCH BEND SWITCH.......... cecicactrceceneneereneecees 5-30 Page 16 DAMPER ...................ereereconceaeorenonrenene acen ene 5-31 Table of Contents Appendix A Error MeSSaGES A-1 - Backing Seg. Troubleshooting ...........................e0 0er A-1 INTERACTIVE COMPOSITION (B. SEQ) …A-2 SONG PLAY MODE Troubleshooting... .........................e........ A-2 OTNETS …....….....…......……crrrrersarenrancrrrsanrserarerrreaneraraneenrennen ressens A-3 Disk Troubleshooting Message ee HEHE A-3 AppendiX Bakkkkkt EEE eee B-1 General Troubleshooting... HERE EEE B-1 Floppy Disk Troubleshooting............................... eee... B-2 Appendix C.............................eemennerre ee eee errores C-1 Recognized Chords ......................eeceemreereirren e eee C-2 Drum Map Tables .....................eirenermiiiirr erica rencor cena enero C-6 MIDI Implementation Chart essen EEE EEE C-8 MIDI Data Format ……….…...…..….....………ccesssrsserssennensessensasensensnssene C-9 Appendix D Performance Notes ae D-1 Table of Contents * The Reference Guide includes LCD figures along with an explanation of the functions and operations. The program/ arrangements numbers and names, parameters, and values in these figures are examples. Therefore, the actual indication on the LCD of the ¿5M may be different due to specification improvements and changes in the programs. Arrangement Play Mode > )| Arrangement Play М! | Mode This is the main performance mode of the Korg iSM. The i5M will automatically select this mode every time your turn the power ON. In this mode, you can select the arrangements you will play when performing live with the i5M. A total of 64 user arrangements and 128 preset arrangements are available in the ¿SM memory that can be used to compose original scores or to arrange existing scores for a performance. The general procedures for editing parameters are outlined on page 5-1 “Watch the screen and operate the i5M” of the User's Guide. For more details on arrangement performances, refer to page 3-4 of the User's Guide. Refer to page 5 to set the MIDI channels for arrangement backing tracks of the Global Mode. The keyboard timbres will use the channels specified by the Global or KB1, KB2 channels. (See page 5-15 of this manual for details.) Arrangements can be edited (for example, changing the volume of each part) during a performance. However, keep in mind that all editing details up to that point will be lost when you switch to another mode or arrangement during editing procedures, after the performance. Make a point to save all edited settings using the Write Function described on page 1-13. — Switching Page Display Parameter functions are broken down into 8 display pages, as listed on the following page. Use the PAGE+/PAGE- keys to switch through display pages. If you have a certain display in mind, keep the ARR PLAY key held down, and press the ARRANGEMENT SELECT key or the PRO- GRAM SELECT key of the corresponding page number. Also refer to the explanation on the keys on Page 2-16 and the explanation on the page on Page 4-2 of the User's Guide. The general procedures for editing parameters are outlined on page 5-1 “Watch the screen and operate the i5M” of the User's Guide. 7 М Arrangement Play Mode Functions in Arrangement Play Mode The table below is a list of the Arrangement Play Mode functions, and indicates the title and main contents of each display page. Display |- Ref. Guide Page Page 1 Performance Monitor To select arrangements and to display tempo and chord. 1-3 2 Style Displays style. 1-6 3 Arrangement track, pan, and effect send settings. 1-7 4 Track Settings Damper pedal editing, track status, 1.8 wrap-around point, and octave settings. 5 Chord latch and variation change. 1-11 6 Effects Effect type and effect balance. 1-12 7 Rename Arrangement To change the arrangement name. 1-13 8 Write Arrangement To write the arrangement to the user bank. 1-13 v | J [| Volume/Mute To set the volume and mute settings of each track. 1-15 ARR OPLAY + 8 BEAT 1 BIG BAND 1 O LT BOSSA | WALTZ 1 O Arrangement Play Mode М) Basic Settings and Performance Monitors Page 1 Arrangement Play A display like the one shown below will appear when you press the ARR PLAY key. You can use this display to adjust the playback tempo as you perform. While this display is showing, you can use the ARRANGEMENT SELECT keys to select arrangements that you want to perform with. You can also use this display to adjust the playback tempo as you perform. Arrangement bank and number Arrangement name \ / \ 7 Tempo The arrangement name to be played back, playback tempo and chord will be displayed here. Use page 4 to select programs or change octaves for the two keyboard timbres. You can also press the VOLUME/MUTE KBD1/UPPER or KBD2/LOWER key to display the Volume/Mute display, and use the TEMPO/VALUE UP/DOWN key to select programs and use the OCTAVE UP/DOWN keys to change octaves. 15 Page 1-15 ARR: Arrangement Editing The number of the current arrangement is selected with the ARRANGEMENT (PROGRAM) SELECT key from the 192 arrangements programmed in the iSM memory. There are two methods to select arrangements that are set in the Arr. Select parameter on page 2 in Global mode. Refer to page 2-13 of the User's Guide and page 5-9 of this manual for more information. 15 User's Guide page 2-13. <Selecting arrangements while playing> If you select a new arrangement while the iSM is playing, the new arrangement will start at the beginning of the next measure, and the Tempo setting will change to the tempo in the new arrangement. To prevent the tempo from changing when changing the arrangement, press the KBD lock key. Doing so will also retain the current setting of the TRANSPOSE key, keyboard timbre, the effects, and etc. <To select arrangements with the footswitch> You can also change the arrangement selection using a footswitch or one of the pedals on an ECS External Controller. The arrangement selection will change every time you step on the footswitch connected. These methods for controlling the arrangement selection are enabled by Global Mode settings. IS Global Mode page 5-20. To use a footswitch, set the ASSIGNABLE PEDAL parameter to either AR- RANGEMENT UP or ARRANGEMENT DOWN (see page 5-21). The same applies for the ECS. ARRANGEMENT UP: the arrangement number will increase by one number every time the footswitch is stepped on. ARRANGEMENT DOWN: the arrangement number will decrease by one number every time the footswitch is stepped on. 7 "e Arrangement Play Mode Transpose Change Transposition Press the TRANSPOSE +1 or -1 key if you want to transpose during a performance, i User’s Guide page 3-6 “Transpose to an easier pitch for playing or singing” With the ¿SM you can transpose up to a maximum of 11 steps in half-note increments. Using this function will transpose the timbre of the MIDI instrument connected to the iSM, the entire backing track and the Chord Detect function. However, performance data output from the MIDI OUT jack is not affected by this function. Display Chord Detected Display the chord played Chord Name The arrangement chord currently performed 1s displayed. This chord detection display will remain blank until an actual chord is performed on the connected instrument, if you interrupt a performance to select a new arrangement. If you edit an arrangement during a performance, the new arrangement will continue with the chord played immediately before the change. To set the chords, play the connected instrument with the chords you want to perform, within the chord detection range. The setting will be canceled when the RESET key is pressed while performance is stopped. & Refer to the page 3-9 “Now let’s try playing and providing your own accompaniment” of the User’s Guide for details on Chord Detection. Tempo Change Adjust the tempo of performance The playback tempo of the arrangement can be adjusted within the range of 40 to _ TEMPO/ VALUE 240 beats per minute. The TEMPO/VALUE UP and DOWN keys are used to change the tempo. <Setting the tempo with TAP TEMPO> =) The tempo can be set by actually tapping the keys, in addition to setting the - tempo with a numerical figure. Press the TAP TEMPO key several times according to the tempo you want to playback. The i5M will then compute the time interval between the tap and set the tempo. It requires experience to set the playback tempo in a numerical figure, but with this method, the tempo can be easily set. You can also see the numerical value of that tempo, since it will be displayed. © <External Clock Control> EXT will appear in the tempo display area when the Global Mode Clock parameter (see page 5-14) is used to set a synchronous clock with the IN 1 or IN 2 system. This indicates that the tempo of the i5M is being controlled by MIDI clock messages from an external sequencer or personal computer. You will not be able to change the tempo setting with the TEMPO key, at this time. If you want to adjust the tempo, make tempo adjustments through the external sequencer connected to the iSM’° MIDI input. 1-4 KEYBOARD ASSIGN O SINGLE OLAYER OSPUT OM.DRUMS Using the upper and lower keyboard separately SPLIT POINT OCTAVE DOWN UP Arrangement Play Mode J Keyboard Timbre Change Each arrangement has two keyboard timbres: KB1 and KB2. To change the timbre, first press the VOLUME/MUTE KBD 1/UPPER key or KBD2/LOWER key to display the Volume/Mute screen. Then, use the TEMPO/VALUE UP/ DOWN keys to select programs. Or, if the Arr. Select parameter on page 2 in Global mode has been set to 8key, use the PROGRAM SELECT Bank key and 1-8 keys to specify a program. "% Page 5-9 You can select keyboard timbre KB2 only when you select the layer or split keyboard assign modes. Bank Programs Comments ROM/RAM A 64 General MIDI programs 1-64 ROM B 64 General MIDI programs 65-128 ROM C 64 i5M preset programs 1-64 ROM D 64 i5M preset programs 65-128 ROM E 64 iSM preset programs 129-192 ROM User 64 User programs 1-64 RAM Drum 16 Drum kit ROM(14)/RAM(2) The programs (timbre) assigned to KB1: * will be played across the entire note range of the connected instrument when you use the single or layer keyboard assign modes. * will be played in the higher range including the split point keys when you use the split keyboard assign mode. The programs assigned to KB2: * will be played across the entire keyboard when you use the layer keyboard assign modes. * will be played on the lower keyboard alone when you use the split keyboard assign mode. SPLIT: Split Point This indicates the current keyboard split point. All of the notes from the split point on up are known as UPPER, and those below it are known as LOWER. ES User's Guide page 3-5 “Low notes don't sound” The split point divides the note range of the connected instrument into the upper and lower parts for the purpose of chord scanning based on the scanning modes set (See page 2-6 of the User's Guide for details). The mute keyboard range is determined by this split point in the mute function described on page 1-15 of this guide. What's more, the split point will separate the two keyboard timbres when you use the split keyboard assign mode (with KB1 in the upper keyboard and KB2 in the lower). <Setting Split Point> You can set the split point by playing the note where you want the split point to occur on the connected instrument, while holding down the SPLIT POINT key. Alternately, press and hold down the SPLIT POINT key and press the TEMPO/ VALUE UP/DOWN keys. Octave You can transpose a selected keyboard timbre up or down for a maximum of two octaves using the OCTAVE keys. 15” User’s Guide page 3-6 “Transpose to an easier pitch for playing or singing” 1-5 7 HI Arrangement Play Mode 8 BEAT 4 Page2 Style Display vom ARR OPLAY U) + BOSSA 1 | WALTZ 4 Нан ЕР Оо Ка ль YN O) $ EL ves, een of a i ММО. tee | “ Style name ST: Style This displays the name of the style used in the current arrangement. Style and arrangement Korg i-series offers abundant data in various musical genres called “styles.” Style data is used with various settings required for producing an actual sound, such as effect settings, volume balance between parts, and song tempo, to make an “arrangement.” 1 User's Guide page 4-4 “Style/Arrangements/Programs” You can make the analogy that an “arrangement” is “the structure of the band” and a “style” is a “score” or “musical pattern” played by the band. You cannot edit styles or assign them to any arrangements on the iSM. 1-6 8 BEAT 5 BIG BAND 4 ARR 0+ = SLO WALTZ) A 0 < =~ © 20 Y Stereo position of each track Level sent to Effect Processor TEMPO/VALUE DOWN UP III и Arrangement Play Mode i Track Setting Page 3 Track Sound The program (timbre) and stereo position of the 8 arrangement tracks, and the level sent to the 2-channel effects can be set in this page. Track Program number and name Stereo position Effect Send Level Track [Drum, Perc, Bass, ACC1...ACC3, KB1, KB2] Select the track setting you want to change. The parameter can be selected by pressing the corresponding track key. The volume/mute display will appear when the track key of the track displayed 1s pressed. iF" Volume/Mute page 1-135. Program This parameter lets you select the program to be played by the corresponding track. To change the current program selection, press the corresponding track key to display the track on the LCD. Then, use the TEMPO/VALUE UP/DOWN keys to select a program. If the Arr. Select parameter is set to 8key on page 2 in Global mode, you can also use the PROGRAM SELECT Bank key and 1-8 keys to specify a program. ES Page 1-5, Page 5-9 Pan: [OFF, L15...L01, CENT, R01...R15, PROG] This parameter sets the stereo position (panpot) of each track. It does this by adjusting the levels of channel A and B. & Page 4-12. The CENT setting centers the track. L setting moves the stereo position to the left, and R moves it to the right. The sound moves farther from the center to the left or right, as the numerical value of the setting increases. The OFF setting lets you turn off the track’s output to channels A and B. And the PROG setting allows you to use the panning specified by each program. Effect Send Level C, D | [0...9, P] These parameters determine the levels of the backing track signals that are sent to the effects system through channels C or D. You can set the level from 0 to 9 (maximum) for each channel. If you set these parameters to P, the ¿SM will use the effect send levels specified by the program's parameters. The i5M effect system comes with a total of 4 output channels for every arrangement including Serial, Parallel 1, Parallel 2, and Parallel 3, depending on how the two stereo effect processors are set up and the combination of the output signal path. For more details on the output channels refer to page 4-12 “Effect Placement (Output Channels)”. | 1-7 > A Arrangement Play Mode Page 4 Track Setting In this page you can set the damper pedal modes, octave, wrap-around and other sound fields for each arrangement track. Track Program в W BAS EB gy SA ESE BW a . a . : aa a mw a a [173 = “ .... E EUSO JABEE B "a “ 0 » "a 1138 - . EE EA a * aus x De ... Ш Li аа Damper Octave Track Program Track Status Wrap-Around Octave Track Drum Program ава моя SEF FREER SF a aw я т ве тва «я в Фев agp a т в вавен a зна 5 +» EH в в Ul к в ав E E. UA в во Track Status Track [Drum, Perc, Bass, ACC1...ACC3, KB1, KB2] This parameter lets you choose which track’s settings to adjust. Program This parameter lets you select the program to be played by the corresponding track. To change the current program selection, press the corresponding track key to display the track on the LCD. Then, use the TEMPO/VALUE UP/DOWN keys to select a program. If the Arr. Select parameter is set to 8key, you can also use the PROGRAM BANK key and PROGRAM NUMBER keys to specify a program. ¥& Page 5-9 Damper (Keyboard Track only) (DIS, ENA] This parameter lets you disable the damper switch for the corresponding keyboard timbre. The damper will take effect when playing the connected instrument in the ENA mode, and will disable the damper when playing the keyboard in the.DIS mode. This can be handy when you are playing two programs such as the organ and piano in the layer keyboard assign mode. By disabling the damper for the organ, you can enjoy damper effects on only the piano, as expected. You may also want to prevent your damper switch from holding notes by disabling the damping effects, if you will be controlling the damper switch with the Chord Latch function. ES Page 1-11 1-8 LIGHTROCKI CHARLESTON ARR Ortay + MAMBO 2 JAZ WALTZ (Keyboard Track) (Accompaniment Track) (Bass Track) (Drum Track) (Percussion Track) TEMPO/VALUE DOWN UP CURSOR TEMPO/VALUE P < > ) DOWN U Using damper with corresponding keyboard Using the MIDI system that is connected Adjusting the chord pitch for each track 7 Arrangement Play Mode IH Octave [-2...0...+2] This parameter lets you raise or lower the octave in which the bass track, accompaniment tracks, and keyboard timbres play, to a maximum of two octaves. A setting of 0 produces the standard pitch for the selected program. However, this parameter will not appear if DRUM or PERC is selected. You can also use the front panel OCTAVE keys to change the octave setting for either of the two keyboard timbres. ES User's Guide page 2-7 Track Status (Backing Track only) | wo [OFF, INT, EXT, BOTH] This parameter allows you to determine whether the backing track data is played on the i5M or the data is sent to the connected MIDI tone generator. The functions of the Track Status settings are as follows: » Backing performance is not available when you turn OFF the track parameter. * Tracks set in INT will playback the track’s data from only the internal tone generator of the (5M. It will not transmit tones to external tone generators from the MIDI OUT or TO HOST jacks. * Tracks set in EXT will transmit a track’s data to an external tone generator without the I5M playing the data itself. * Tracks set in BOTH let you send track data to both MIDI OUT and TO HOST destinations. The ¿SM will also playback the track’s data from the internal tone generator of the i5M. Æ This parameter will not appear when the keyboard track is selected. Wrap-Around (ACC1, ACC2, ACC3, BASS only) [ORG, 1...12] This parameter lets you specify a pitch at which the corresponding track will drop an octave. This prevents the backing tracks from rising to unnaturally high pitches when you play some chords. This will change the pitch of the backing track selected, by one octave. In other words, the performance will automatically drop one octave during a backing track performance, if you play a chord that 1s higher than the tonic chord specified. You can set a pitch from one to twelve semitones above the tonic as the wrap- around point for the bass and each of the accompaniment tracks. You can also select ORG if you want a track to use the wrap-around setting of the style that 1s being played. Ae The number you select for the Wrap-Around parameter represents an interval relative to the key set for each chord variation in a specific style. This parameter will not appear if DRUM, PERC, KB1 or KB2 is selected as the track field. 7 Ш Arrangement Play Mode <Note> Set different wrap-around points for each track. It is a good idea to set the wrap-around points to a different value for each track to make the chord progression sound more natural. If you set all of the wrap-around parameters to the same value, then all of the backing tracks will drop an octave at the same time, creating a musically unnatural situation. When selecting wrap-around points for an arrangement, you may find it helpful to listen to one track only (mute all other tracks with the Mute function), and try out each wrap-around point while playing the chord progression you will use when performing. Do this for each track to create a more natural-sounding arrangement. 1-10 POP 1 6/8 BBAND ARR OPLAY + MERENGUE 1 MARCH 1 O CURSOR TEMPO/VALUE DOWN UP CO Maintain the chord with the damper switch Fill-in switches variations between fill-ins Arrangement Play Mode HN Page 5 Miscellaneous Chord Latch Chord Latch [ON, OFF] This turns the Chord Latch function ON and OFF. The Chord Latch function lets you use a damper switch to prevent the arrangement’s chord setting from changing. Doing so will allow you to play the keyboard without changing the arrangement’s chord setting. Set the damper parameter described on page 1-8 to DIS in order to prevent the damper switch from acting as a hold pedal for one or both keyboard timbres. Fill 1, Fill 2: Variation Change [OFF, —1...—4, 1&2...3&4, UP, DOWN] There are two Variation Change parameters: Fill 1 and Fill 2, as described below. These Variation Changes let you specify which variation the arrangement should switch to after it plays each of the fill-ins. * Set these parameters to OFF when you want to continue with the variation that was playing before the fill. * Settings preceded by a one-way arrow will always select the same variation. For example, if the Variation Change parameter of Fill 1 is set for —2, the iSM will always select Variation 2 after the fill-in plays, regardless of the variation played prior to Fill-in 1. * Alternating between two variations...Let’s say you insert a variation change for Fill 1 of 2— —3. By putting this fill-in in a variation 2 performance, it will always select Variation 3 after the fill-in plays. If Fill-in 1 is selected again after that, the i5M will return to Variation 2 after the fill-in performance. Aa In this case, Variation Changes are not effective 1f you insert Fill 1 during a Variation 1 or 4 performance. * The UP and DOWN settings tell the arrangement to follow each fill with the next variation in order, and then return to the original number. For example, 1f Fill 1 is set to UP and this fill-in is inserted during a Variation 1 performance, the i5M will switch to Variation 2 after the fill-in performance. Fill-in inser- “tions thereafter will switch the variation to 2—3—4—1—2—...in numerical order between 1 and 4. 7 if Arrangement Play Mode Page 6 Effects mas ARR This page contains information on the effect settings that allow you to add a 7 O) professional touch to your arrangements. E mis . POLKA 1 Effect 1 Type Balance of effect O Tare £00 CURSOR TEMPO/ VALUE al > DOWN up piste FR SOC —— Effect 2 Type Balance of effect Here, you will use two digital signal processors to apply effects to your arrangements. Since the processors can apply two effects simultaneously, you can apply a variety of different effects to the programs playing the arrangement. EFFECT TYPE Selecting the effect type The i5M comes with two independent effect types for selection. The selected effect’s Dry/Wet level can be adjusted and switched ON/OFF. iF" Page 5-20 Dry/Wet (Effect level) [00...99, FX] Determining the level of effect This parameter determines the output level of the effects. When the parameter is set to 00, there will be no effect output. The effect level increases (how much effect you hear) as the numerical value gets higher. Setting the parameter to FX will allow for effect sound only. If you want to add a certain amount of reverb or reflection, it is best to audition the programs while changing the numerical values. If you want to change the overall sound characteristics with chorus, flanger, enhancer or exciter, it is advised that the effect parameter is switched to FX to maximize the effect output to bring out the clearest effect results. Refer to page 4-1 “Effects” section for more details on the effect types. 1-12 COUNTRY 2 FOXTROT 1 BACKING O sea U + CUMBIA | POLKA 2 O CURSOR TEMPO/VALUE < > DOWN UP SPLIT LI O SUSTAIN POINT INS DEL COUNTRY 4 FOXTROT 2 ARR OPLAY MENEAITO 1 PARTYPLKA1 O TEMPO/VALUE DOWN UP Arrangement Play Mode EM Utility Display pages 7 and 8 contain functions that let you name your own arrangements or rename existing ones, and write them to the i5SM memory. Page 7 RENAME ARRANGEMENT You can use this function to change the name of the arrangement you're editing. An arrangement name can consist of up to ten characters. When you select this function, the current arrangement name will appear. Put the <¢ or p> cursor under the character that you want to change, and then change the character using the UP/DOWN keys of the TEMPO/VALUE parameter. US User's Guide page 2-5 Pressing the SUSTAIN/INS key allows you to copy the character on the cursor and insert it in that position. Pressing the SPLIT POINT/DEL key will delete the character on the cursor. 1% User's Guide page 2-4, 2-6 Specify the character using the cursor Name of current arrangement Immediately save your new arrangement in the user bank by performing the Write arrangement procedures indicated in page 8, after you change the name of your arrangement. Otherwise, your new name will return to the prior name when you switch arrangements or modes. Page 8 Write Arrangement This function lets you store an arrangement you’ve edited in the memory of the ISM. When you store an arrangement, the {SM will memorize not only the settings you have made in the 8 display pages of this mode, but also the current settings of front panel keys that you can use to control your arrangement, This function, however, excludes the SYNCHRO START/STOP key, KBD LOCK key, SOUND HOLD key, ENSEMBLE, and SUSTAIN key. (» Use the UP/DOWN keys of the TEMPO/VALUE parameter to input the data number that you want to write above the cursor. At this time, you can not input the data number with the ARRANGEMENT SELECT keys. 7 EM Arrangement Play Mode @ The display will show the arrangement name that already exists at the location number you entered in Step 1. You can not restore an arrangement name that you have erased with the Write Arrangement function. @ When you are ready to save the Arrangement press the RESET/ key. (4) The prompt “Are you sure?” will appear on the i5M display. Press RESET/ again if it is okay. ® The data will be written in over the selected Arrangement number. 1-14 в В fq o 3 a a 0 mm A Jr 5 Adjusting the volume of the entire track To mute the track J Г Arrangement Play Mode HE Volume/Mute This parameter is used to set the volume and mute settings of each track. This display will appear if you press any of the 8 VOLUME keys while in any of the arrangement play mode pages. Track Program number and name | aa le " | an. — | | E Volume Bar graph Activity (Mute) Octave (Keyboard track only) Pressing the EXIT key after setting the parameters will bring you back to the original display. The iSM will automatically return to the previous display if you leave it untouched for approximately 7 seconds after setting the parameters. US User's Guide page 2-3 “VOLUME/MUTE” Track [KB1, KB2, ACC1...3, BASS, PERC, DRUM] Select the track for which you want to set the volume and mute parameters. Press the VOLUME A/Y key that corresponds to the track. Volume [000...127] The volume will increase by 1-step every time you press the VOLUME UP key. The volume will continuously increase if this key is held down. The volume will decrease by 1-step every time you press the VOLUME DOWN key. The volume will continuously decrease if this key is held down. The volume is displayed in a numerical figure and as a bar graph to the right of the numerical figure. д KB1 program and volume will be displayed on the LCD even if KB2 is pressed when the keyboard assign mode is set to SINGLE or M.DRUM. Track Activity [- - — -, (UPPER/LOWER/PLAY)] You can switch between MUTE and UNMUTE track every time you simultaneously press the VOLUME A/V keys that correspond to that track. PLAY will appear if the track is unmuted. However, KB1 and KB2 will indicate UPPER or LOWER, respectively. À bar (— - — —) will be displayed for muted tracks. MINS 1-16 Arrangement Play Mode dE 2 Backing Sequence Mode LE Backing Sequence Mode What Can the Backing Sequence Mode Do? The Backing Sequence Mode lets you record and perform arrangements. At the heart of each backing sequence are three tracks known as arrangement tracks. Two of these tracks record performance information and key operations from the front panel, to control playback of style tracks using a selected arrangement. The third arrangement track lets you add a melody line to the accompaniment using the keyboard timbres. You also have the option of leaving this track empty and using the keyboard timbres for live performances. You also have eight extra tracks in which you can record eight additional parts of the score. A tempo track is available so you can record tempo changes that you make during a performance. You can record your performance at a comfortable tempo and play it back at a desired tempo. — Switching Page Display Parameter functions are broken down into 8 display pages, as listed on the following page. Use the PAGE+/PAGE- keys to switch through display pages. If you wish to go to a certain display, keep the BACKING SEQ key held down, and press the ARRANGEMENT SELECT key or the PRO- GRAM SELECT key of the corresponding page number. Also refer to the explanation on the keys on Page 2-16 and the explanation on the page on Page 4-2 of the User's Guide The general procedures for editing parameters are outlined on page 5-1 “Watch the screen and operate the i5M” of the User's Guide. Always SAVE your data! The i5M sequence memory can hold as many as ten backing sequences, up to a total of 40,000 steps of data. Each backing sequence track is limited to a maximum of 16,000 steps. The contents of the sequence memory that are not saved will be lost forever when you turn off your iSM. After every programming session, you should make sure to save your backing sequences on a disk using the SAVE function. It is also a good idea to periodically save data during the programming session, to prevent accidental data loss in case of a power failure. 13 Page 5-7 Using Other i-Series Disks With the iSM, you can use disks of other i-Series models. Any data storage disk for the i-Series Korg Interactive Music Workstation can be inserted in the {5M disk drive to load arrangements, programs, backing sequences and drum programs into the i5SM. Arrangement programs made on the i2, i3, i4S or il can also be played back on the iSM. However, it is important to note that it may not be possible to- playback the exactly same timbre or accompaniment made on other ¿-Series models, depending on the program or style used. 2-1 y || Backing Sequence Mode Functions in the Backing Sequence Mode The table below shows the layout of the i5M Backing Sequence Mode. For each display page we list the page name, a brief outline of the page’s contents, and the numbers of the pages in this manual where you will find these contents described. Display Ref. Guide Page Page Displaying/selecting = arrangements 2-3 Y Volume/Mute [| [] 2-4 1 Realtime Recording A Initial Setting, Track activity, © seq Rec quantize, metronome, extra track REC mode, | 2-5 tempo. Selection of recording track. Specitying the recording start measure. | 2-10 Recording START/STOP 2 | Step Recording © O Input performance dataj 2-10 3 Erase Backing Sequence | Erase backing sequence. 2-14 4 Copy Backing Sequence | Copy backing sequence. 2-14 Delete Measure Delete a measure. 2-15 5 Insert Measure Insert a measure. 2-16 Erase Measure Erase data in a measure. 2-17 Copy Measure Copy a measure. 2-18 6 Bounce Track Bounce the track. 2-19 Quantize Adjust timing of the data to record. 2-20 7 Shift Note Partial shift of a note. 2-21 Selecting a track to edit. 2-22 Edit START/STOP 8 | Event Editing 9 © Correct event MIDI channel, 9 Selections of a track. Transpose, detune. 2-24 Extra Track Selection of a program. 10 Pan, effect, send level. | 2-26 11 Effects Effect type, Effect balance. 2-27 12 Next Backing Sequence | Selection of the next backing sequence to be played| 2-28 13 Rename Backing Sequence [| Change the name of the backing sequence. 2-29 14 | SMF Converter Conversion into a standard MIDI file. 2-30 8 BEAT 1 BIG BAND 1 BACKING + LT BOSSA 1 WALTZ 1 Selecting the backing sequence Adjusting the tempo a Backing Sequence Mode LE Realtime Recording Page 1 Realtime This parameter is used for initial REC/PLAYBACK settings. Backing Sequence Number and Name Measure Number — 1 Tempo Chord Display/Selection of Arrangement The arrangement currently used by the backing sequence will appear when the EXIT key is pressed in page 1. You can select an arrangement using the ARRANGEMENT SELECT key. Refer to page 2-13 of the User’s Guide and page 5-9 of this manual for how to select arrangements. You can also use page 9 and page 10 of this mode in the same manner to select an arrangement for the Backing Sequence. In this case, you will automatically return to this page (Page 1) after selecting the arrangement. You will return to the original display when the EXIT key is pressed once again, or if you leave the keys untouched for several seconds. Backing Sequence Number [0...9] This parameter 1s used to select the backing sequence to playback or record. The name of the current backing sequence will appear in the top center of the display. The backing sequence can be changed with the backing sequence number at the top left of the screen. Backing Sequence Name This parameter displays the name of the backing sequence selected for playback or record. The backing sequence name can be changed using the Rename Back- ing Sequence function. M (Measure Number) [001...999] This indicates the location at which recording or playback is set to begin. Each track of a backing sequence can contain a maximum of 999 measures. You can reset the measure point to 1 by pressing the RESET key. This point will automatically be reset whenever a backing sequence is played back to the end of the sequence. J=Tempo [REC, AUT, 40...240] This parameter is used to adjust the tempo of the backing sequence between 40 to 240 beats per minute. This is a convenient feature if you want to playback a backing sequence at a faster tempo, when it was initially recorded at a slow tempo. AZ Tempo changes can also be recorded as you record the backing sequence. US Page 2-8 2-3 C7 | Backing Sequence Mode Chord Display This field indicates the chord that the backing sequence is currently playing. The arrangement will be played back according to these chords. You can change the chord setting by playing a chord in the chord-scanning note range of the connected instrument. You can also input chords directly using the CHORD key on the i5M . "5 User's Guide page 2-14 The setting will be canceled by pressing the RESET key. Details of the Chord Scanning function that the i5M can recognize are explained in the Appendix of the Refernce Guide. Volume/Mute В a This parameter is used to set the volume and mute settings of each track. This display will appear if you press any of the 8 VOLUME keys to the left of the LCD display, in page 1. The type of parameter displayed will vary slightly depending on the track type. Refer to the details of each parameter for more information on the parameters displayed. Track or Channel Program number and name Volume Bar graph — Activity (Mute) Octave (Keyboard track only) Track [KB1, KB2, ACC1...3, BASS, PERC, DRUM, Etr1...Etr8] 5%” + VO Select the track in which you want to set the volume and mute parameters. Press the VOLUME A key or Y key that corresponds to the track. Press the BACKING SEQ key again when you want to select an extra track. The LED for the BACKING SEQ will start blinking. You can select the corresponding extra track if the A key or Y key is pressed again at this time. You can select a program to be assigned to the KB1 and KB2 tracks and Extra tracks ETr1-ETr8, using the corresponding track key and TEMPO/ VALUE UP/DOWN keys. If the Arr. Select parameter is set to 8key in Global mode, you can also use the PROGRAM SELECT key. However, the preset arrangement programs can only be used for ACC1/2/3, BASS, PERC, and DRUM tracks. To select a program for these tracks, first change the program that is currently used for the arrangement in Arrangement Play mode, then write the arrangement using the Write Arrangement function (Page 1-13). Track Volume | [000...127] Adjusting the volume of the The volume will increase by 1-step every time you press the VOLUME A key. entire track The volume will continuously increase if this key is held down. The volume will decrease by 1-step every time you press the VOLUME Y key. The volume will continuously decrease if this key 1s held down. The volume is displayed as a numerical figure and a bar graph to the right of the numerical figure. 2-4 To mute the track - Г Backing Sequence Mode LE Track Activity (Arrangement Track only) [----- , (Upper/Lower/Play)] You can switch between MUTE and UNMUTE track every time you simultaneously press the VOLUME A key and VW key that corresponds to that track. PLAY will appear if the track is unmuted. However, KB1 and KB2 will indicate UPPER or LOWER, respectively. A bar (— — —-) will be displayed for muted tracks. You cannot mute an extra track. Octave (Keyboard Track only) This parameter lets you raise or lower the octave of the keyboard timbre. A setting of 0 produces the standard pitch for the selected program. To change the octave settings on the keyboard track, use the OCTAVE key on the front panel, or adjust the Track setting on page 4 in Play mode. (If you have changed the octave setting in Arrangement Play mode, you will need to write the edit using the Write Arrangement function on page 8.) To change the octave setting on a backing track, adjust the Track setting on page 4 in Arrangement Play mode. (If you have changed the octave setting in Ar- rangement Play mode, you will need to write the edit using the Write Arrange- ment function on page 8.) You cannot change the octave setting on an extra track. ES Page 1-8 “Track Setting” 55 User's Guide page 2-7 CT | Backing Sequence Mode Realtime Recording When the BACKING SEQ REC key is pressed after choosing an arrangement, start measure, and tempo parameter settings in page 1 of the Backing Sequence mode, the page containing parameters to set the track to record, recording quantize and metronome ON/OFF will appear. The parameters for the recording track and quantize are set here. Arrangement Track Keyboard Record, playback and Record, playback and [Extra Track _ Track Record mute chord track mute control track | | Zz — | | 7 — - a“ a - » a ue Anan . , ... i ий в пт, Lr, . a upavd Yan a “ e... . ak À | | _ / Tempo/REC/AUT Quantize Metronome Track [ATr, ETr1...ETr8] This indicates the track to be recorded. ATr: Arrangement Track . Use this parameter for realtime recording of the keyboard track, control track, or chord track. ETr1...ETr8: Extra Track | Use this parameter for realtime recording of the extra track. Track Activity (Arrangement Track only) [- — = —, REC, KBTr/CTRL/CHRD/MUTE] The track activity bars can be used to mute the keyboard, chord, and control tracks during recording or playback. — ——=: This bar will appear when the track is empty. In this case you can select the REC function. However, playback and MUTE will not be available since there is no data in the track. REC: Use this function when you want to enable realtime recording of a track. The REC function can be selected whether or not there is data in the track. However, it is important to note that recording on a track with existing data will overwrite the previous data. This means the previous data will be lost. The performance data sent from the connected instrument is recorded on the keyboard track. The control track consists of information regarding which arrangements, variations, etc. were recorded using the keys on the iSM panel. The chord track consists of chords specified through the chord scanning mode or CHORD key. KBTr/CTRL/CHRD: The name of the track will appear if data exists in a track. By keeping the track displayed you can prevent the track data from being recording during realtime recording. Only playback will be possible at this time. MUTE: Muting the track will prevent data from being recorded in realtime, if data already exists in that track. 26 BACKING O SEQ REC CURSOR TEMPO/VALUE > DOWN UP “ON Select the track to record or playback 4 Rec Modes Adjust the timing of the | performance e Backing Sequence Mode |= Record Mode Settings (Extra Track only) [OVWR, OVDB, AUTP, MANP] There are four ways of realtime recording on extra tracks. Overwrite (OVWR) recording replaces all previous data with new data. Overdub (OVDB) recording allows you to record over existing data. This means you will keep the previous data, while you record new data over it. There are two types of punch-in recording methods if you want to record (add) a measure (punch in) in a backing sequence. Use AUTP (automatic punch recording) if you want the :5M to punch in and out of record mode automatically, or MANP (manual punch recording) if you prefer to do it manually. 18” Page 2-9 PUNCH IN/OUT for manual punch recording is controlled through the assignable pedal or ECS external controller in the Global Mode. «# Page 5-20 Start Measure End Measure < | | и Po mam] ns eee e od = iE LET a | Quantize Metronome Start Measure [001...999] This setting 1s only displayed when you set the Record Mode setting to AUTP. When you use autopunch recording, the i5M will begin recording at the start of the measure you select here. End Measure [001...999] This setting is only displayed when you set the Record Mode setting to AUTP. When you use autopunch recording, the ¡SM will stop recording at the end of the measure you select here. To record only one measure, set this parameter to the same value as the Start Measure parameter. Recording Quantize [HI, Ny A A, A de, D, 91 The Quantize parameter sets the degree of accuracy to which the iSM will adjust the timing of data as you record it. You should select HI when you want your recorded data to reproduce the exact timing of the original performance. When you use this setting, the :5M will record data using a resolution of 96 pulses per quarter note (PPQN). Other settings will adjust the timing of all recorded data to the nearest interval specified by the setting. Thus, if you set this parameter to J, all of the notes you play will be recorded as quarter notes. If you record pitch bends or other control data with a rough quantization such as Jor J), the control change will produce an unnatural stepped sound when played back. To avoid this, record the data at HI, then use the Quantize function on page 6 of the Backing Sequence mode display to correct the timing of the note data only. 'S Page 2-20 | — | Backing Sequence Mode M (Metronome) [ON, OFF, REC] setting the Metronome This setting is used to turn the metronome ON or OFF. sound ON............ The metronome will sound while recording and playing. REC.......... The metronome will sound during recording only. OFF .......... The metronome will sound during the introduction part while recording. CURSOR TEMPO/VALUE - » DOWN up Recording Tempo Change in Realtime @ () 00 To record tempo changes to the Tempo Track, first press the BACKING SEQ REC key. Next, move the cursor to the tempo display and simultaneously press the UP/DOWN key. The REC indication will appear in the tempo setting area. Now press the START/STOP key to begin recording. The REC indication will change back to the tempo setting, allowing you to adjust it with the TEMPO/ VALUE controls. The i5M will record all changes you make to the Tempo setting. When you press the START/STOP key again to stop recording, the Tempo setting will automatically change to AUT, allowing you to hear the tempo changes you recorded the next time you play the backing sequence. External Clock Control Controlling the i5M tempo EXT will appear in place of a tempo value when the Global Mode Clock Source from the external device parameter is set to HOST or MIDI. This indicates that the tempo of the i5M is being controlled by MIDI clock messages from an external sequencer that is connected to the ¿SM MIDI input. You will not be able to change the tempo setting from the front panel when EXT is displayed. Time Signature Change Changing the time signa- If you want to change the time signature in the middle of a track, you must stop ture in the middle of the recording and adjust the beat parameter (time signature) using the Event Edit track function. When you record the data to another empty track, the iSM will record the new data using the same beat as the existing tracks. If the existing tracks contain time signature changes in the middle of a backing sequence, the new track will follow these changes. Be aware that any changes in the beat will apply to all tracks that contain data. If you change the beat for one track, the change will be reflected in the other tracks, as well. If the tempo is set to AUT when the time signature is changed, the backing sequence will be played back in the new beat. To set the beat to AUT, set the cursor to the tempo display and press the UP/DOWN keys of the TEMPO/ VALUE at the same time. Don't worry about making a mistake in cutting the measure too short when changing the beat parameters. The Event Edit function can be used to restore the previous beat, which will also restore the parameters for the other tracks, as well. The beat parameter cannot be changed during recording or playback functions. Punch-in Recording The punch-in method can be used to re-record one part of the backing sequence Re-recording a part in the when it is being recorded. middle of the track The Backing Sequence mode display contains parameters for eight extra tracks. This lets you take several recordings for each track, so you can select the best take and insert it later. This is done by setting the recording method at the top of the display to the right of the extra track. 15 Page 2-7 2-8 © Backing Sequence Mode | — Autopunch Recording Manual Punch Recording If you know from the beginning to end measures that you want to redo, you can use the Autopunch Recording (AUTP) setting. By designating the first and the last measures, you can automatically switch into the REC status when you reach that portion during playback. The recording will automatically end after you replay the correction on the iSM. Manual Punch Recording allows realtime designation of the portion that you want to redo. To use this feature, press the BACKING SEQ REC key when you reach the portion that you want to redo while playing back the sequence. The ISM will immediately switch to the REC mode and allow you to record the new measure. Pressing the BACKING SEQ REC key again will stop recording. It is sometimes difficult to press the BACKING SEQ REC key while playing (or preparing to play) the instrument. In this case, you can control punch in recording using a footswitch or ECS external controller. To use this feature, you need to assign a PUNCH IN/OUT setting with the assignable pedal or ECS external controller in Global mode, before you do the punch-in. 1% Page 5-20 Step on the pedal switch or controller assigned for PUNCH IN/OUT when you reach the portion that you want to redo when you are playing back the sequence. The i5M will immediately switch to the REC mode, and what you play will be recorded. The REC function will be canceled by stepping on the switch again. [| Backing Sequence Mode Track Editing Pages 2 through 8 of the Backing Sequence mode contain functions that let you record data in steps, and edit individual events within the backing sequence data that you have recorded. These display pages also contain utilities that you can use to delete, erase, copy, or insert measures, and bounce whole tracks (merge multiple tracks into one). Page 2 Step Recording mavs SABES BEANE NEP + BB & A ] \ Recording Track Measure Number The Step Recording function lets you enter note, control, or chord data, one step at a time. If you use this method to record any measures that already contain data, the old data will be replaced by the new data that you record. Recording Track [KBTr, CNTL, CHRD, ETr1...ETr8] This setting is used to select the track for step recording. KBTr: The keyboard tracks will be step recorded. CNTL: The control track will be step recorded. This setting is used to record arrangement, variations or other front panel control changes used in the backing sequence. CHRD: The chord tracks will be step recorded, creating the chord progression of the backing sequence. To create a chord progression, you can input the chord detected from the notes you played on the connected instrument using the Chord Scanning function. You can also enter the chords using the chord keys. Refer to “What happens when you press? List of keys” on page 2-1 of User’s Guide. ETr1-ETr8: Eight of the extra tracks will be step recorded. The following display will appear when you press the BACKING SEQ REC key, and then the START/STOP key. Select the parameter using the cursor and enter the data using the TEMPO/VALUE UP/DOWN keys. Refer to the illustrations of the keys on the outer margins of the page which explains the parameters. Please note that data that can be input will vary depending on the track that you select. Note Data Measure Number Location — 1 — ) el ей PEL В в БНП Я неее Дени / | .. N * a" DA | _L N Beat Step Velocity Gate 2-10 BBEAT 4 BIG BAND 3 O + BOSSA 1 WALTZ 4 O BACKING O SEQ Selecting the track to record TEMPO/VALUE DOWN UP START/STOP BACKING O O SEQ REC O O (during keyboard track or extra track) TEMPO/VALUE CURSOR > DOWN Up OOO о Ed Backing Sequence Mode | J Using the ARRANGEMENT SELECT keys as a keyboard OCTAVE WN up CHORD O HOLD SOUND O HOLD VARIATION 0000 FILL INTRO/ENDING SD BASS © Му. TIE OENSEMBLE REST TRANSPOSE +1 Note Data (Keyboard Track, Extra Track only) This indicates the note that was recorded. To input note data, you can play notes one by one on the connected instrument. You can also use the ARRANGEMENT SELECT keys on the front panel. ES User's Guide page 2-15 T5 LCHIROCKI MID SHFFLE COUNTRY 2 COUNTR ARRANGEMENT traossA 1 BOSSA 1 Y | MAMBO 2 MERENGUE 1 CUMBLA 3 MENEAJIC | BG AND | BG BANO 3 NIG BAND 4 CHARLESTON 6/8 BAN ND ATNBBAND] FOXTROT | FOOT 2 ALTZÍ WALTZ 4 ВО ЖАН! JALWALTZI — MARCHI rota ron? PARTYPLCAT OOO O eMe sa 1 TS BEAT 2 té BEAT3 BALLAD PRALLAD 2 ie se. NA mo ot peri 2 LATIN POF SAMBA o 1 CALYPSO FAST SWING SLOW SWING SWHNG SHFLT — TANGO) STEP1 GAMCK STEP2 PASODORLEL PASODROBIEZ CHA CHA POP CLASS] HULLY 1 RAS SHFFLI BLUES 7 OUNES + SIMPLEROCK HAWAIIAN 06060600 0 00600066 Measure Number This displays the current measure. Location - This indicates the current location in which data can be recorded. The numerical figure following the colon indicates the beat number within that measure. The double-digit figure on the right side indicates the length at 96 pulses per quarter note. * Use the CHORD/HOLD/<« key and SOUND HOLD/D> key to change the measure number and location. Beat (Keyboard Track, Extra Track only) This displays the current time signature that is set. Step (Keyboard Track, Extra Track only) | [o dh DANA] This setting is used to set the length of the step to advance for every data input. The step is displayed as a musical note. You can specify from semibreves , (whole notes) to demisemiquaver Л (1/32 notes). Furthermore, they can each be played at 1.5 times the time signature of that note ( .) or 2/3 the time signature of that note (4). The step can be set using the UP/DOWN keys of the TEMPO/VALUE or directly recorded using the style element key on the main panel. ES User's Guide page 2-9 Velocity (Keyboard Track and Extra Track only) [002...127, KEY] This is used to set the velocity of the sound. The strength with which you hit the iSM keyboard will automatically be used for the velocity. Gate (Keyboard Track and Extra Track only) [001...100%] This setting is used to determine the length of the note. A value of 100 means that the note will sustain for the entire value of the step setting. Decreasing this value will give you a rhythmical staccato. Increasing this value will give you a lingering tenuto. Pressing the BASS INV/TIE key will extend the gate time of the note data you just entered. Pressing the ENSEMBLE/RESET key will insert a rest. 2-11 AYE CT | Backing Sequence Mode Measure Number Location Event Data Event (Control and Track only) This is used to select the type of data to be input in the control track. The usable events are as follows. Set the type and value of the event using the CURSOR key and the TEMPO/VALUE UP/DOWN keys, and press the RESET/YES key to enter the data. Pressing the SOUND HOLD/D key will advance the location. Pressing the CHORD HOLD/« key will move the location backward. Event Type Setting Arrangement U11-88, A11-88, B11-88 Style Element OFF, VAR1-VAR4, INT1, INT2, END1, END2, FIL1, FIL2 Keyboard Assign SINGLE, LAYER SPLIT DRUM Chord Scanning OFF, LOWER, UPPER, FULL Chord Hold OFF, ON Bass Inversion OFF, ON Transpose -11...-1,00, +1...+11 DRUM Mute PERC Mute BASS Mute ACC1 Mute ACC2 Mute ACC3 Mute PLAY, MUTE Drum Map 1-8 KB1 Program KB2 Program A11-A88, B11-B88, C11-C88, U11-U88, D11-D88, E11-E88, DR11-DR28 KB1 Octave KB2 Octave —2, — 1, 0+1, +2 Drum Map This is a collection of templates which allow you to replace some drum sounds in a drum kit with alternate drum sounds. For example, you can switch from snare drum and hi-hat to sidestick and ride cymbal by selecting a different drum map. There are a total of 8 drum map templates available. Refer to the Drum Map Table for more details on the sounds that you can replace with respective drum maps. All event data will be input with a resolution of an eighth note during step recording on the control track. If you want a finer resolution, first finish entering the data, then use the Event Edit function on page 8 to adjust the location. 18% Page 2-22 2-12 (control track event edit screen) CURSOR TEMPO/VALUE DOWN UP «4 > RESET YES CHORD SOUND O HOLY © HOW e Backing Sequence Mode | — (chord track event edit screen) CURSOR TEMPO/VALUE ч » DOWN UP OU JU RESET YES CHORD SOUND O HOLD O HOLD End step recording Measure Number Location | "a LL] \ т Chord Tension Bass Sound To enter chords, play the connected instrument directly, or set the chord, tension, and bass using the CURSOR keys and the TEMPO/VALUE UP/DOWN keys, and press the RESET/ key. Pressing the SOUND HOLD/D key will advance the location. Pressing the CHORD HOLD/« key will move the location backward. Chord (Chord Track only) This 1s used to select the chord to input in the chord track. Tension (Chord Track only) This is used to select the tension to add to the chord. Bass Sound (Chord Track only) This is used to select the bass sound separate from the chord route. To create a chord progression, you can input the chord detected from the keys you played using the Chord Scanning function. You can also enter the chords using the chord keys. US Page 2-14 of User's Guide dim/ dimM7 aug/ augM7 mar CHORD _ » PROGRAM BANK USER О ево à a с o € user or IÓ dretrertcdo 2 3 4 3 # 7 8 O та 1 2 3 a 5 6 7 8 M / M7b5 | M7/ 7sus4| m6/ mM7 | 7/ aug7 9th #9th #11th b13th 6/M7sus4 m/ m7b5 m7/7b5 sus4/ sus2 b9th 11th 13th TENSION As with the input of other data, this can also be input using the UP/DOWN keys of the TEMPO/VALUE setting. Always turn ON the CHORD HOLD key when inputting chords using the chord key. A All chord data will be input with a resolution of an eighth note during step recording on the chord track. If you want a finer resolution, first finish entering data, then use the Event Edit function on page 8 to adjust the data location. 1 Page 2-22 The step recording function can be canceled by pressing the START/STOP key after recording. H | Backing Sequence Mode B BEAT 5 BIG BAND 4 Page 3 Erase Backing Sequence wre () = + GIPSY } Erase Backing Sequence SO WALT! This feature will erase all data from the current backing sequence. O) Erase Backing Sequence | TEMPO/VALUE DOWN UP fe ges у. Na : : gene a : q pes Li в ПИН: | | | RESET E Backing sequence to erase . (ERFISE) Specify the backing sequence to erase, then press the RESET/ key. The iSM will ask you if it is okay to go ahead with the erase operation, and then it will erase the backing sequence. Page 4 Copy Backing Sequence somo CHARLESTON BACKING Q ко U + = JAZ WALTZ] Copy Backing Sequence This operation copies the current backing sequence to another backing sequence. e Copy Backing Sequence ООВ т “EE, = # pmb Li | | Backing sequence source Backing sequence destination Use the TEMPO/VALUE keys to select which backing sequence to copy to the Ea ar current backing sequence. After specifying the backing sequence copy destination, press the RESET/(YES) key. The i5M will ask you if it is okay to go ahead with the copy operation, and then it will copy the backing sequence. | If you specify the same backing sequence to be copied from and to се to, the соРу) E copy operation will not be executed, even if you press the RESET/ key. YES 2-14 Backing Sequence Mode | TJ CURSOR POP 6/8 BBAND BACKING O SEG + MERENGUE 1 MARCH 1 Delete Measure CURSOR TEMPO/VALUE DOWN up Page 5 Edit 1 This page is used to select three functions: DELETE measure, INSERT measure or ERASE data from measure. Bring the cursor to the operation intended then press the RESET/ key to open the sub-page to execute each command. | | | DELETE INSERT ERASE data measure measure from measure Page 5-1 Delete Measure Delete Measure This operation will delete a measure from the specified track. | | Track selection First and last measure to be deleted To use this function, select a track using the cursor. Choose ALL to cut measures from all tracks, including the chord, control, and tempo tracks. Next, select the first and last measures to be deleted using the TEMPO/VALUE keys. (Set the same number for both to delete only one measure.) When you are sure of your choice press RESET/[YES). The i5M will delete the specified measures. <If the backing sequence includes changes in time signature> Any measures following the deleted measure will be moved forward. If you delete measures from one track, the measures that are moved forward will use the same time signature as the corresponding measures of other tracks. The renumbered measures may thus be truncated or expanded as a result of the deletion. 2-15 LE | Backing Sequence Mode Page 5-2 Insert Measure Insert Measure This operation lets you insert measures at a specific portion of the track. , + = » ... ви . - a a я “ .. = "" a. . MW ve + 255 | = Track selection Measure number Number of Beat of insertion measures to insert First, specify the track to insert measures in using the TEMPO/VALUE UP/ DOWN keys. Choose ALL to insert measures in all of the tracks, including the chord, control, and tempo tracks. Next, specify the number of the measure where you want to insert the new measure after. You can also specify a time signature for the new measures but read the following precautions before doing so. Press the RESET/ key if the setting is okay. The ¿SM will insert the specified measures. <If the backing sequence includes measures with varying time signatures> You new time signature will take effect when the tempo is set to J= AUT. When varying time signatures are chosen, the measures of all tracks will be truncated or expanded to match the time signature. Time signature = insert two 7/8 measures Betore insertion Tr1 | 144) | 2(2/4) | 3(2/4) | 4 (4/4) | 5(3/4) | + _J Teo || [Vay | 2(2/4) | 3(2/4) | 4 (4/4) | 504) | | l (Data is not changed, but the time signature y is changed) Y Y | 1(4) | T4 4(a/4) ] 5(3/4) ] 6 (3/4) | 7 (3/4) |} (Data is not changed, but the time signature is changed) Tr1 [T4(aa ] 20e) | 3(7/6) | 4 (4/4) | 5 (3/4) | After insertion Tr 2 If you set **/** for this parameter, the new measures will use the same time signature as the corresponding measures of other tracks that already contain data, or of the following measures if all other tracks are empty. wk hE Time signature = Before insertion Tr1 | 1(4/4) | 2(2/4) | 3(24) | 4(4/4) | 5(3/4) | Tr2 [| 144) | 2024) | 3(2/4) | 4(4/4) | 5 (3/4) | (Data is not changed, Insert but the time signature is changed) aaa) | 534) | 6(3/4) | 7(3/4) | Alter insertion Tr1 [1(4/a) | 2(2/4) | 3(2/4) | 4(44) | 56/4) | Whether you select a new time signature or not, any measures following the inserted measures will be pushed back. If you insert measures to one track only, the measures that are pushed back will use the same time signature as the corresponding measures of other tracks, as shown in the illustrations. The renumbered measures may thus be truncated or expanded as a result of the insertion. 2-16 POP 1 6/8 BBAND BACKING O SEQ + MERENGUE 1 MARCH 1 Insert Measure o CURSOR TEMPO/VALUE > UP СООО | (IHS) RESET YES POP 1 6/9 BBAND BACKING O sea О + MERENGUE | MARCH 1 Erase Measure O) CURSOR TEMPO/VALUE 4 DOWN UP do Backing Seguence Mode | — Page 5-3 Erase Measure Erase Measure This operation erases some or all data from one or more measures. | | x | | \ < Track selection — First and last measure of Specification of data to erase data type to erase To use this function, first select a track using the TEMPO/VALUE keys. Choose ALL to erase data from all tracks, including the chord, control, and tempo tracks. Next, set the first and last measures to be erased using the VALUE +/- keys. (Set the same number for both to erase data from only one measure.) Setting Data Erased ALL All data. NOTE All note messages. CTRL All control change messages. AFTT All channel and polyphonic aftertouch messages. BEND All pitch bend messages. PROG All program change messages. Press the RESET/(YES) key if the settings are okay. The iSM will erase the data from the specified measures. | <Erasing control changes> Some control changes such as damper changes or pitch bends, may “stick” if you erase the messages that turn them off. If this happens, you should either erase the messages that are sticking, or use the Event Edit function to correct the data. (See page 2-22 of this Reference Guide). 1 | Backing Sequence Mode Page 6 Edit 2 This page is used to select three functions: COPY measure, BOUNCE tracks or QUANTIZE timing of recorded data. Bring the cursor to the operation intended then press the RESET/ key to open the sub-page to execute each command. | | ] COPY measure BOUNCE tracks QUANTIZE timing of recorded data Page 6-1 Copy Measure Copy Measure This operation copies measures, either within a track or between tracks. To use this function, first specify the copy source track using the TEMPO/ VALUE UP/DOWN keys. Choose ALL to copy the data from all tracks, including the chord, control, and tempo tracks. Next, set the first and last measures to be copied using the TEMPO/VALUE UP/DOWN keys. (Set the same number for both to copy data from only one measure.) | | ~ Copy source First and last Destination Destination measure measure to copy track number Next, select the destination track. (The i5M will select the ALL setting automatically if you have selected ALL using the TEMPO/VALUE UP/DOWN keys.) Finally, enter the number of the measure where the ¿SM should place the first of the duplicate measures. The copy operation will not take effect if the destination track and the copy source vary when CTRL (CTL) or CHORD (CHD) is specified. Press the RESET/(YES) key if the settings are okay. The :5M will copy the data. All data already existing in the measures of the destination tracks will be replaced with these newly copied measures. <If the backing sequence includes changes in time signature> If tracks other than the destination track contain data for measures corresponding to the destination measures, the copied measures will use the same time signature as the other tracks. The copied measures may thus be truncated or expanded as a result of the copy operation. 2-18 BACKING O SEQ + Copy Measure CURSOR < > MID SHFFLE (TN BBAND1 O SALSA 1 POLKA 1 O TEMPO/VALUE DOWN up y (CORY) RESET Backing Sequence Mode — MID SHFFLE С Page 6-2 Bounce Track BACKING O SEQ F mn Bounce Track POLKA 1 Bounce Track This function merges the backing sequence data for one track with that of another. The resulting combined track will use the program assignment, MIDI channel, and other track settings of the destination track. All backing sequence data will be erased from the source track. If both tracks contain pitch bends, damper changes, or other control change data, this data may create unexpected results when combined. You may want to use the Erase Measure function, described on page 2-17 of this Reference Guide, to delete all control change data from one of the tracks before combining them. O voue | Bounce source track Bounce destination track q CURSOR oc EMPO/VALUE To use this function, select the source track at the bottom left of the LCD dis- (OO) DO) play. Then select the merge destination track on the right. (You can select only the keyboard track or one of the extra tracks for both of these parameters.) Press | — “he > RESET/(YES) key if the setting is okay. The iSM will merge the two tracks into one. EDUHCE) YES 2-19 1 | Backing Sequence Mode Page 6-3 Quantize You can use the Quantize function to adjust the timing of data you have already recorded. nd — - . > a naman tefl. — SE = а = - ana | | | | Source track First and last Datatype Accuracy measure to NOTE be quantized era PROG This function is more flexible than the Quantize parameter on the Realtime Recording Page of the Backing Sequence Mode in that it lets you select a range of measures and a data type to quantize, leaving other measures or data types unaffected. To use this function, first set the track to be quantized. (Select CHRD, CTRL, or TEMPO to quantize the chord, control, or tempo tracks, respectively.) Next set the first and last measure to quantize. If you have selected any track other than the chord, control, or tempo tracks, you can specify the type of data to be quantized. The table below lists your options. Setting Data quantized ALL All data. NOTE All note messages. CTRL All control change messages. AFTT All channel and polyphonic aftertouch messages. BEND All pitch bend messages. PROG All program change messages. Finally, set the Quantize value. The Quantize parameter is the same as that used in realtime recording. Refer to page 2-7. - Press the RESET/[YES) key if the settings are okay. The iSM will quantize the data. 2-20 MID SHFFLE LTN BBANDI BACKING + SALSA 1 POLKA | O The timing of the recorded data is corrected CURSOR TEMPO/VALUE DOWN UP dE Backing Sequence Mode [I= COUNTRY 2 FOXTROT 1 BACKING O SEQ + CUMBIA 1 POLKA 2 O Shift notes within a specific range CURSOR TEMPO/VALUE < UP Page 7 Shift Note Shift Note y RESET YES 0 This operation shifts notes up or down. You can use 1t to transpose either a specified range of notes, or all notes. 7 { < Track on which The first and last measure of the Shift amount the pitch is shifted part in which the pitch is shifted To use this function, first select the track whose notes you want to shift. (You can select the keyboard track or any of the extra tracks.) Then set the first and last measures to be affected. Finally, set the amount by which the notes will be shifted. You can shift notes up or down in semitones up to a maximum of two octaves. Press the RESET/(YES) key if the settings are okay. The i5M will shift the notes in the specified range after asking for confirmation. 2-21 LT | Backing Sequence Mode Page 8 Event Edit Event Edit This function lets you modify the characteristics of individual musical events, such as notes or MIDI control changes. Specify track to edit Use the TEMPO/VALUE UP/DOWN keys to select an editing track, and press the BACKING SEQ REC key. Then, press the START/STOP key. A display similar to the following appears. Press the TEMPO/VALUE UP/DOWN keys simultaneously, and use the CUR- SOR key to select a parameter. Enter data using the TEMPO/VALUE UP/ DOWN keys. Refer to the Step Recording Section (page 2-10) for more details on the event type. You can also use other keys in addition to the UP/DOWN keys to enter data. Refer to the key illustrations in the outside column of the sections explaining each parameter. Measure Event number number Location _ 1 J ee A — I i 5 Data type Velocity Length of note (gate) (NOTE DATA) Measure number Event number | L bas Las "" au 7, 5 Faq i the 4 + _ | Lo Type of control data (Refer to the table on the next page) 2-22 Bank number ON/OFF, etc. COUNTRY 4 FOXTROT 2 BACKING O sEQ + MENEAITO ! PARTYPLICA] O CURSOR << > START/STOP BACKING o O SEQ REC o O) (Keyboard track and extra track only) CURSOR TEMPO/VALUE DOWN up COCO INS DEL (for control track) CURSOR TEMPO/VALUE P GOSH RESET PLi O SUSTAIN POINT INS DEL YES Backing Sequence Mode | — Event Type Setting Arrangement 11-88 Style (Refer to “Style Parameter” in Appendix D) Style Element OFF, VAR1-VAR4, INT1, INT2, END1, END2, FIL1, FIL2 Keyboard Assign SINGLE, LAYER, SPLIT, DRUM Chord Scanning OFF, LOWER, UPPER, FULL Chord Hold OFF, ON Bass Inversion OFF, ON Transpose -11...-1,00, +1...+11 DRUM Mute PERC Mute BASS Mute ACCT Mute PLAY, MUTE ACC2 Mute ACC3 Mute Drum Map 1-8 KB1 Program KB2 Program A11-A88, B11-B88, C11-C88, D11-D88, E11-E88, U11-U88, DR11-DR28 KB1 Octave KB2 Octave —2, —1, O0, +1, +2 Aa You can edit the style assignment on the control track. This function was introduced on the assumption that sometimes you may want to load Back- ing Sequence data that was created on an i2/13/i4S/i1. You cannot play back those styles, nor can you play black styles from a RAM card. Refer to Page LT | 1-6 for information on the relationship between styles and arrangements. | Refer to “Style Parameter” in Appendix D for information on styles that can be assigned. Measure Event number number Location | | L |. ol | К (for chord track only) i iii CURSOR TEMPO/VALUE ad om < > DOWN UP e i. x | “OU | | | Type of Chord ~~ Tension Base note © SUSTAIN POINT RESET After editing press the START/STOP key again to exit the EVENT Edit func- INS DEL YES tion. 2-23 % — | Backing Sequence Mode Page 9 Extra Track Page 9 of the Backing Sequence Mode contains parameters for the eight extra tracks from ETr1 to ETr8, allowing you to select the MIDI channel used by each track. You can also transpose or detune each track. Extra track Program bank number Name \ | Z \ | 7 E m1 Коса” HI E e al td 13.0 REE Sou DEE Ё | L |- | | MID! Channel Transpose Detune This page does not let you make any transpose settings for the keyboard track. Instead, the current setting of the TRANSPOSE keys will be used to transpose the keyboard timbres. Track Use the Track Volume/Mute key to select an extra track for which you wish to change the setting. [ETr1...ETr8] Program This parameter lets you select the program to be played by the corresponding track. To change the current program selection, press the corresponding track key to display the track on the LCD. Then, use the TEMPO/VALUE UP/DOWN keys to select a program. Select “OFF” if you do not want to use that track. If the Arr. Select parameter is set to 8key in Global mode, you can also use the PROGRAM SELECT Bank keys, and 1-8 keys to specify a program. 15" Page 5-9, User's Guide Page 2-14 Ch (Channel) This parameter sets the MIDI channel for each track. The track will use this channel to receive and transmit MIDI data. [1...16] 2-24 16 BEAT 1 QUICK STEP) BACKING + LATIN POP CLASS] O Eight extra tracks can be used to record other musical parts or control information CURSOR TEMPO/VALUE DOWN UP ODO Backing Sequence Mode | IZ Setting the pitch range for each track Fine tuning the pitch of each track Xpose (Transpose) [-24...+24] This parameter lets you transpose tracks up or down in steps of one semitone, to a maximum of two octaves. A setting of 0 produces the standard pitch for the selected program. < а track won't play high notes...> Since every program has an upper limit to its pitch range, some tracks may not produce any sound if you transpose them up and play notes in the higher ranges of the keyboard. DT (Detune) [-50...+50] These parameters adjust the pitch of corresponding tracks in one-cent steps, to a maximum of 50 cents (one half-note). They are most effectively used to detune two tracks playing in unison, for a thicker sound. To achieve this effect, set the Channel parameter for two tracks to the same value, but record data on only one of these tracks. Then adjust the Detune parameters for both tracks in inverse proportion, by raising one and lowering the other by the same amount. (If you detune only one track, the pair of tracks will produce an off-key sound.) 2-25 — | Backing Sequence Mode Page 10 Track Sound The parameters on this page let you set the program (timbre), stereo position, and send levels of the sound input in the two channel effect systems assigned to the eight extra tracks. Track Program number and name | i E e 3 в Ho $ i ll Le CURE 1 Stereo position Stereo effect send level Track [ETr1...8] This parameter lets you choose which track’s settings to adjust. You can use this function by pressing the corresponding track key. Program This field lets you select the program (timbre) to be played by the corresponding track. To change the current program selection, press the corresponding track key to display the track on the LCD. Then, use the TEMPO/VALUE UP/DOWN keys to select a program. Select “OFF” if you do not want to use that track. If the Arr. Select parameter is set to 8key in Global mode, you can also use the PROGRAM SELECT Bank keys and 1-8 keys to specify a program. IS Page 5-9, User's Guide Page 2-14 Pan: [OFF, L15...L01, CENT, R01...R15, PROG] This parameter is used to set the stereo position (pan) of each track. It does this by adjusting the levels of channel A and B. The CENT setting centers the track. L settings will move the stereo position to the left, while R settings will move it to the right. The sound moves farther from the center as the numerical value of the setting increases. The OFF setting lets you turn off the track’s output to Channels A and B. The PROG setting will maintain the panning specified by the program. Effect Send Level C, D [0...9, P] These parameters determine the levels of all track signals that are sent to the effects system through channels C or D. You can set the level from 0 to 9 (maximum) for each channel. If you set these parameters to P, the iSM will use the effect send levels specified by the program’s parameters. The i5M effect system has a total of 4 output channels for every arrangement depending on how the two stereo effect processors are set up and the combination of the output signal path. For more details on the output channels refer to page 4-12 “Effect Placement (Output Channels)”. 2-26 16 BEAT 2 QUICK STEPZ BACKING O SEQ 0 POP SAMBA + HULLY 1 O CURSOR TEMPO/VALUE > DOWN UP OO Stereo position of each track Levels sent to effects processors y Backing Sequence Mode | L_ 16 BEAT 3 voue С) Page 11 Effects Q SEQ + се Page 11 details information on the effect settings of the backing sequence mode Twist that allow you to add a professional touch to your arrangements. Effect 1 Type Balance of effect CURSOR TEMPO/VALUE > оо НД que COOD SEE ter wih ow laid ioe Effect 2 Type Balance of effect Here, you will use two digital signal processors to apply effects to your backing sequence. Since both processors can apply two effects simultaneously, you can apply a variety of different effects to the programs playing the backing sequence. Selecting the effect type - EFFECT TYPE The i5M comes with two independent effect types for selection. The selected effect can be adjusted by the Dry/Wet balance parameter, and also switched on/off via a connected foot switch. ES Page 5-20 Determining the level of Dry/Wet (Effect level) [00...99, FX] effect This parameter balances the volume of the sounds assigned with and without effect settings. When the parameter 1s set to 00, there will be no effect output. The effect volume increases (increasing the effect intensity) as the numerical value gets higher. Setting the parameter to FX will result in effect sound only. If you want to add a certain amount of reverb or reflection, it is best to audition the programs while changing the numerical values. If you want to change the overall sound characteristics with chorus, flanger, enhancer or exciter, it is advised that the effect parameter be switched to FX to maximize the effect output to bring out the clearest effect results. Refer to page 4-1 “Effects” section for more details on the effect types. 2-27 ||] Backing Sequence Mode Page 12 Next B. Sequence Next Backing Sequence This function lets you specify a backing sequence to be played after the currently selected backing sequence ends. Specify next backing sequence Play/Stop (next parameter) This function is composed of a pair of parameters. The Next parameter identifies the number of the backing sequence that you want to select when the i5M has finished playing the current backing sequence (BSEQ0-BSEQ9). (The name of each backing sequence will be displayed next to its number.) If you turn this parameter OFF, the current backing sequence will remain selected and stop. The Play/Stop parameter indicates whether the ¿5M should start playing the specified backing sequence when the current backing sequence ends. If you set this parameter to STOP, the ¿SM will select the next backing sequence, but it will not play it back. If you set it to PLAY, the i5M will begin playback of the next backing sequence automatically. Playback will be ended when the Next parameter is turned OFF. | This function lets you set a chain of backing sequences that will play automatically. To create a continuous loop of backing sequences, just set the last backing sequence’s Next parameter to the number of the first backing sequence in the’ chain, and set the Play/Stop parameter to PLAY for all the backing sequences. For example, if you want the loop to repeat backing sequences 0 through 9, set backing sequence 9’s Next parameter to BSEQO. 2-28 BALLAD PASODOBLE? O + CALYPSO 1 RAS SHFFL! O Continuousiy play several backing sequences BACKING O SEQ CURSOR COOD TEMPO/VALUE . P Backing Sequence Mode LE P BALLAD 2 CHA CHA BACKING + FAST SWING BLUES 1 O Change backing seguence name CURSOR TEMPO/VALUE « > DOWN UP OU JUDO SPLIT O SUSTAIN POINT INS DEL Page 13 Rename Backing Sequence Rename Backing Sequence You can use this function to change the name of the backing sequence you are editing. The backing sequence name can consist of up to ten characters. Current Select a character backing sequence using the cursor Change name When the Rename Backing Sequence function is selected, the name of the current backing sequence will appear at the bottom row of the LCD display. Move the cursor to the character you wish to change using the CURSOR </> keys, and change the character using the TEMPO/VALUE UP/DOWN keys. IS See page 2-5 of User's Guide. Pressing the SUSTAIN/INS key allows you to copy the character on the cursor and insert it after the cursor. Pressing the SPLIT POINT/DEL key will delete the character on the cursor. 15’ See page 2-5 of User's Guide. 2-29 CT | Backing Sequence Mode RCK BALLAD Page 14 Conversion into a Standard MIDI File wos © O SEQ This function is used to convert an i5M backing sequence into a standard MIDI | (J + owswno file. OLDIES 1 As a result, all data created on this system can be read and played back by O) models compatible with standard MIDI files. Using ¿SM data on an SMF device ema TERETE TTY URED CURSOR TEMPO/VALUE DOWN UP File name Extension Add bank number | RESET By selecting RESET/(YES), the ¿SM will display a confirmation message and then convert the backing sequence into a MIDI file. = <Standard MIDI File> Sequence data created with an electronic instrument was previously saved to disk according to the maker’s original format. For this reason, it was not possible to playback sequences that were not made with the same model. The Standard MIDI File was created as a text format to read all types of sequence data. Currently, many systems are compatible with Standard MIDI Files, and thus sequence data created on a certain musical instrument can now be played back on various models. PB: BANK A bank is added to the program change message. Use this feature to playback Standard MIDI Files on i-Series and X-Series Korg instruments. PB: NUM A bank is not added in the program change message. Use this feature when using another GM sound source. However, timbre compatibility is lost when using arrangements, keyboard timbres and extra tracks with programs other than bank A and B. A This feature is used to create a Standard MIDI File with sequence data of one backing sequence. The i5SM will save the backing sequence data by extending all Style data into general sequence data. | The file name on this page display will use the first 8 characters of the backing sequence name. Though you may use small letters for the backing sequence name, they will all appear in capital letters here. All symbols other than alphanumerics will be changed to an underline. The file name can be renamed to a new name with up to 8 characters, if necessary. A standard MIDI File extension (.MID) will appear to the right of the file name. Please note that the backing sequence can only be saved in Standard MIDI File format 0. The i5M will assign the DRUM, PERC, BASS, ACC1, ACC2 and ACC3 tracks to the channel specified in page 6 of the Global Mode display. The extra tracks will be assigned to the channels specified in page 9 of the Backing Sequence display. KBD1 data will be assigned to the channel set in page 5 of the Global Mode display. The KB2 MIDI channel parameter in this display can be used to assign the channel of KBD2 data. However, it is important to note that the ISM will automatically assign the track to a channel that is not in use, if this channel is set to the same channel as other selected tracks. 2-30 Song Play Mode e Song Play Mode What can the Song Play Mode do? The i5M Song Play Mode lets you play songs that are stored in the Standard MIDI File format, directly from a floppy disk. (For more information regarding standard MIDI files, see page 8-4 of the User's Guide.) Song Play Mode contains settings for program selection, volume, panning, and effect send level for each of the channels. Settings for tempo, transposition, and effect selection are provided as well. —— Switching Page Displays Parameter functions in Song mode are broken down into four display pages, as listed on the following page. Use the PAGE+/PAGE- keys to switch through display pages. If you wish to go to a certain display page, keep the SONG PLAY key held down, and press the ARRANGEMENT SELECT key or the PRO- GRAM SELECT key of the corresponding page number. Also refer to the explanation on the keys on Page 2-16 and the explanation on Page 4-2 of the User’s Guide. The general procedures for editing parameters are outlined on page 5-1 “Watch the screen and operate the 15M” of the User's Guide. 3-1 Song Play Mode Functions in Song Play Mode The table below shows the layout of the i5M Song Play Mode. For each display page we list the page title, a brief outline of the page’s contents, and the numbers of the pages in this manual where you will find these contents described. Display Ref. Guide Page Page Program selection, tempo and measure to start 1 Basic Settings performance 3-3 2 Channel Setting Program, Stereo position, effect send level 3-5 3 Transpose Position 3-6 4 Effect Setting Which effects are selected and the amount of each effect | 3-7 Y [] [] Volume/Mute The volume and mute settings for each track 3-8 A If you should encounter an error message while using one of these functions, see Appendix A for the meaning of the message and remedies. Also refer to the cautions on page 7-1 of the User’s Guide regarding proper care and handling of floppy disks. da MIDI Output of a Program Bank You can output the program bank through the MIDI system by selecting the PROGRAM filter in the MIDI FILTER Settings of the Global Mode. ES Page 5-18 Set the MIDI FILTER to “o” when connecting the system to a Korg MIDI system. Set the parameter to “s” or “n” if the data is not sent correctly to other MIDI machines. An “n” setting invalidates the program bank specification and thus, the bank number will not be output via the MIDI system. ОНО DOWN UP Song Play Mode UC Basic Settings Pages 1 and 2 of the Song Play Mode display let you choose a standard MIDI file to play, and set its tempo, measure number, and the program, stereo position, and effect send level of each channel. Page 1 PLAY — —— 12178 ME 31 | | | Name of song file Tempo Measure number File Name To play all the songs on the disk one after another, press the START/STOP key when the dashed lines are displayed. The songs will play in the order that they appear in the directory. To start playing from a specific song, select the song using the UP and DOWN keys of the TEMPO/VALUE and then press the START/STOP key to start the song. You can pause the song by pressing the START/STOP key again. By pressing the RESET key when the song is stopped, you will return to the beginning of the song and the tempo will return to the initial value (J =120). Format 1 and 0 standard MIDI files are different in that the former requires time to load all the data. When you press the START/STOP key and start the Format 1 standard MIDI file you will see the “Please wait a moment” message appear. The tempo LED will rapidly flash during loading operations to indicate that data is being loaded. The performance will begin when all the song data has been loaded. The Song Play Mode will playback Format 1 standard MIDI files. Therefore it will operate using the memory of the Backing Sequence Mode. If Backing sequence data exists in the memory, the i5M will display a message asking whether it is okay to erase the data in the backing sequence memory. If YES if selected at this time, the song in the backing sequence memory will be erased, and the {SM will start playing the song that - has been selected. If you do not want to erase the data in the backing sequence, save it to a floppy disk. Refer to page 5-7 of this manual for more details on how to save the backing sequence. If you select NO, the song will not be loaded. - W the file size is larger than the memory buffer size (max. 156 K), you will see a warning message indicating “Can't play all tracks” appear when the loading operations are completed. If YES is selected, the system will play the loaded data. If NO is selected, the system will stop. 3-3 Song Play Mode <Can’t find a file?> The Song Play Mode will only recognize files with a MID extension. If the 15M doesn’t show the file name of a standard MIDI file that was created on another instrument or computer, chances are that the file was not created with a MID extension. Tempo [20...250] This adjusts the song’s playback tempo. The song will generally start playback with the tempo that was saved in the standard MIDI file. However, the tempo can only be set between J=40-240 when using the TAP TEMPO function. The tempo will reset to J=120 when you press the RESET key or when the song is Over. Start playing from the middle of a song Measure This specifies the measure number that the song will start playback from. This can be changed either when the file is playing back or when it is stopped. Select the measure setting with the cursor key and then select the corresponding measure with the UP/DOWN key. If this is done during playback, the tempo LED will rapidly flash while it looks for that measure. If a number that is larger than the last measure number of the song is selected during playback, the system will stop after the last measure and then indicate a prompt “Measure does not exist? Continue?” If YES is selected, playback will continue into the next song. If NO is selected the song will stop after the current song. If tempo change or program change are included in the song when you specify a measure, the tempo setting and the program settings of each channel will be updated to those values. However, muted channel settings will not be updated. If you want to update this setting, switch the MUTE setting of the channel to PLAY. 34 Song Play Mode 6 8 BEAT 4 BIG BAND 3 SONG O PLAY 0 + BOSSA ] WALTZ 4 \ Change the timbre for each channel CURSOR TEMPO/VALUE Р COCO Page2 Channel/Sound When playing a song file, the settings for each channel on this page will change to the values that were saved with the standard MIDI file. They will reset when the song has finished playing. Channel Program Stereo position setting Stereo Effect send level Ch (Channel) [1...16] This parameter lets you choose which channel’s settings to adjust using the VOLUME/MUTE keys 1 to 8. By pressing the SONG PLAY key the PLAY LED will flash, allowing you to select channels 9 through 16. Pressing the SONG PLAY key again will put you back in the mode to select channels 1 to 8. The channel program currently shown on the LCD will become the sound that can be played on the i5M Global channel. Program This parameter lets you select which program will be played by the corresponding channel. To change the current program selection, press the corresponding track key to display the track on the LCD. Then, use the TEMPO/VALUE UP/DOWN keys to select a program. Select “OFF” if you do not want to use that track. If the Arr. Select parameter is set to 8key in Global mode, you can also use the PROGRAM SELECT Bank key and 1-8 keys to specify a program. 15° Page 5-9, User’s Guide Page 2-14 AL Ch10 will always play the DRUM bank program. (Change the program when playing back standard MIDI files that contain a program other than DRUM in Chl0.) Pan: [OFF, LEFT 15...LEFT1, CENTER, RIGHT1...RIGHT15, PROGRAM] This parameter sets the stereo position of each channel. It does this by adjusting the levels of channel A and B. The CENTER setting centers the channel. Settings preceded by LEFT move it to the left, whereas those preceded by RIGHT move it to the right. The sound moves farther from the center as the numerical value of the setting increases. The OFF setting lets you turn off the channel’s output to stereo channels A and B completely. A PROGRAM setting tells the ¿5M to use the panning specified by each respective program. Song Play Mode Effect Send Level C, D [0...9, P] These parameters determine the amount of effects that each Standard MIDI File channel will get. You can set the level from 0 to 9 (maximum) for each channel. If you set these parameters to P, the i5M will use the effect send levels specified by the program’s parameters. The i5M effect system comes with a total of 4 output channels for every routing including Serial, Parallel 1, Parallel 2, and Parallel 3. For more details on the output channels refer to page 4-12 “Effect Placement (Output Channels)”. Page 3 TRANSPOSE POSITION Transpose Position [KBD/MIDI, ALL/MIDI, ALL/INT] The setting of the TRANSPOSE key will always effect the connected MIDI instrument, however, it must be set in order to take effect on a playback sound or to be output from the MIDI OUT jack. This setting is valid only in the Song Play Mode, and the Xpose position set in the Global Mode at this time will be 1g- nored. MIDI IN Song Play Sequencer >> Transpose Г Scale Sound MIDI OUT When the parameter is set to ALL/MIDI, both the sounds of the connected MIDI instrument and those reproduced by the sequencer will be transposed. Trans- posed sound will be sent to the internal sound source and the MIDI OUT jack. The sound received from the MIDI IN jack will not be transposed. MIDI IN Song Play - Sequencer Scale p=» Transpose | Sound MIDI QUT When the parameter is set to ALL/INT, the sound will be transposed immediately before it enters the internal sound source. The notes sent from the MIDI OUT jack will not be transposed. All notes received from the MIDI IN jack will be transposed. In Song Play mode, using the OCTAVE UP/DOWN keys will have no affect on the octave setting. 3-6 8 BEAT 5 SIG BAND 4 SONG O PLAY + GIPSY | SLO WALTZ] TEMPO/VALUE P ere SONG O PLAY CURSOR Selecting the effect type Determining the level of effect LIGHTROCK} CHARLESTON O MAMBO 2 JAZ WALTZ O TEMPO/VALUE COWN UP al > Song Play Mode 5 Page 4 Effects Page 4 contains the effect settings, which you can use to add a professional touch to your songs. Effect 1 Type Depth of effect | | ) Effect 2 Type Depth of effect The effect feature is applied to songs by using the two digital signal processors. Since the processors can apply two effects simultaneously, you can apply a variety of different effects to the programs that the song is playing. EFFECT TYPE The i5M comes with two independent effect types. The Dry/Wet level of the selected effect can be adjusted and switched ON/OFF. v& Page 5-20 Dry/Wet (Effect level) [00...99, FX] This parameter determines the output level of the effects. When the parameter is set to 00, there will be no effect output. The effect volume increases (increasing the effect intensity) as the numerical value gets higher. Setting the parameter to FX will allow for effect sound only. If you want to add a certain amount of reverb or reflection, it is best to audition the programs while changing the numerical values. If you want to change the overall sound characteristics with chorus, flanger, enhancer or exciter, it is advised that the effect parameter be switched to FX to maximize the effect output to bring out the clearest effect results. * Refer to Chapter 4 “Effects” section for more details on the effect types. Song Play Mode Volume/Mute This parameter is used to set the channel program and its volume and mute settings. This display will appear if you press any of the 8 VOLUME keys while in any of the song play mode pages. Channel Program number and name Volume Bar graph Activity (Mute) Channel [Ch01...16] This parameter lets you choose which channels volume, mute and program settings to adjust. Press the VOLUME A or Y key corresponding to the channel number. If you want to select channels 9 through 16, press the SONG PLAY key again. The SONG PLAY LED will flash. If the A or Y key is pressed again, you will be able to select channels 9 through 16. Program This parameter lets you select the program to be played on the corresponding channel. Use the TEMPO/VALUE UP/DOWN keys to select a program. Select “OFF” 1f you do not want to use that track. If the Arr. Select parameter is set to 8key in Global mode, you can also use the PROGRAM SELECT Bank key and 1-8 keys to select a program. IS Page 5-9, User's Guide Page 2-14 Volume [000...127] The volume will increase by 1-step every time you press the VOLUME 4 key. The volume will continuously increase if this key is held down. The volume will decrease by 1-step every time you press the VOLUME VW key. The volume will continuously decrease if this key is held down. The volume is displayed in a numerical figure and as a bar graph to the right of the numerical figure. A KB1 program and volume will be displayed on the LCD even if KB2 is pressed when the keyboard assign mode is in SINGLE or M.DRUM. Channel Activity [- — =, PLAY] You can switch between MUTE and UNMUTE channel every time you simultaneously press the VOLUME A/V keys that correspond to that track. PLAY will appear if the channel is unmuted. A bar (—— —)will be displayed for muted tracks. Playing along with songs While a song file is being played back or 1s stopped, the Global channel MIDI messages are sent to the channel indicated on this display. Therefore, you can play the specified channel from the MIDI master keyboard connected to the i5M. In this case, the volume and other control settings are not affected. If song playback is stopped, the i5M will play the MIDI channel messages that are being sent from the connected keyboard. 3-8 TEMPO/VALUE DOWN UP Adjusting the volume of the entire track 20 To mute the channe! J С Effects Effects This chapter will explain the details of each effect type. The arrangement, backing sequence and song modes all have their respective pages to set the effects parameters. You will find the effects to be a powerful tool that can help you achieve precisely the sound you need to create a “total sound”. Effects refers to the effects that are applied to the sounds. Digital processing of individual sounds or the entire sounds played back will add depth or contour, or even dynamic character to finish your sound production. The i5M comes complete with 47 effects, including reverb, chorus, exciter, enhancer and more. Since the i5M is complete with a independent 2-channel effect processor, it is possible to simultaneously apply up to a maximum of two effects. You can also use the foot pedal to switch between effect ON/OFF while you perform. (These parameters are set in the assignable pedal parameters in the Global Mode.) Effects The Effects Pages There are a total of 47 effects available with the i5M, categorized into the following 25-types. Effect Type Effect Number No Effect 0 Reverb 1-9 Early Reflection 10-12 Stereo Delay 13-14 Dual Delay | 15 Multitap Delay 16-18 Chorus 19-20 Quadrature Chorus 21-22 Harmonic Chorus 23 Symphonic Ensemble 24 Flanger 25-27 Exciter 28 ) Enhancer 29 Distortion 30-31 Phaser 32-33 Rotary Speaker 34 Tremolo 35-36 7 Equalizer 37 Chorused/Flanged Delay 38-39 Delay & Reverb 40-41 Delay & Chorus 42 Delay & Flanger 43 Delay & Distortion 44-45 Delay & Phaser 46 Delay & Rotary Speaker 47 Dynamic Modulation The effects can be controlled using a foot pedal by connecting an optional pedal controller, Korg XVP-10 or EXP-2 to the ASSIGN PDL/SW jack. The effect parameters that can be controlled include the balance between the dry and effected sounds, the speed of the sound depth, the frequency to be emphasized and others depending on the effect type. The dynamic modulation effect may not be as prominent depending on the effect setting. The dynamic modulation can be selected from the assignable pedal on page 7 of the Global Mode. 13 Page 5-20 4-2 CURSOR TEMPO/VALUE > DOWN UP OC Eftects Effect 1 Type Balance of effect Effect 2 Type Balance of effect EFFECT TYPE The i5M comes with two independent effect types for selection. The selected effect can be adjusted by the Dry/Wet level or switched ON/OFF with the assignable pedal or EC5 external controller. 5 Page 5-20 Dry/Wet (Effect level) [00...99, FX] This parameter balances the volume of the sounds assigned with and without effect settings. When the parameter is set to 00, there will be no effect output. The effect volume increases (increasing the effect intensity) as the numerical value gets higher. Setting the parameter to FX will allow for effect sound only. There is a need to find the optimal effect point by auditioning the programs through the numerical values if you want to add a certain level of reverb or reflection, if the optimal balance varies according to the effect type selected in 11. If you want to change the overall sound characteristics with chorus, flanger, enhancer or exciter, it is advised that the effect parameter is switched to FX to maximize the effect output to bring out the clearest effect results. Switch This turns the effect On and OFF while performing, using a footswitch. To use this function, set the assignable parameter EFF 1 ON/OFF in the Global Mode or assign the EFF2 ON/OFF switch to the footswitch. At this time, you must also set the ON/OFF features of the two effects. ES Page 5-20 The effect ON/OFF can also be switched even when control change messages are sent from the MIDI sequencer. Control change message 92 controls Effect 1 and 94 controls Effect 2. Effects Details of Each Effect Type The following details the 25-types of effects available. No Effect 00: No Effect This setting lets you turn the i5M effects OFF during a performance. This setting is useful when you want to perform with a dry unprocessed sound. Reverb Reverb effects add ambience by simulating varied acoustic environment. This is the most commonly used effect type. The i5M has nine reverb effects. 01: Hall This simulates the acoustic ambience of a small concert hall where you might hear a string quartet or live jazz band. 02: Ensemble Hall This simulates a larger hall suitable for string and brass ensembles. 03: Concert Hall This gives you the setting for a full-fledged orchestra, with emphasized early reflections. 04: Room This simulates the ambience of a typical room. 05: Large Room This simulates a bigger room with emphasized density to produce results similar to gated reverb. | 06: Live Stage This produces sound like you would hear in a gymnasium, and is useful for recreating the sound of a live rock band. 07: Wet Plate 08: Dry Plate This is commonly used to emphasize vocals and solo instruments to simulate the plate reverb unit. The difference between the two is that the Wet Plate is applied heavily and the Dry Plate only lightly. 09: Spring Reverb This reproduces the sounds of the spring reverb device commonly used in guitar amplifiers. 4-4 Effects Early Reflections This reproduces only the early reflections of the natural reverb effects. Early reflections play an important role in determining the acoustics of a given room and can be used to add depth to sounds, create echo-like reflections, or finish sounds with a unique and interesting touch. 10: Early Ref 1 This creates a gated reverb effect that emphasize the bass contents. It is an ideal effect for drum sounds. 11: Early Ref 2 The reflections will fade out slower. 12: Early Ref 3 This creates reflections that increase in volume (fade in), instead of fading out. Applying this effect to strong attack sounds will give you the results of playing a tape in reverse. Stereo Delay This effect is used to create echo patterns. 13: Stereo Delay Feedback is applied independently to the left and right channels. 14: Cross Delay The delay feedback is alternated from the right to left channel or vice versa, to obtain effects where the delay sounds shift between the left and right channels. 4-5 Effects Dual Delay 15: Dual Delay The dual delay effect runs the right and left channel signals through independent mono delays. Multitap Delay The multitap delay effects run the signals from each effect input through two independent delays. They create a multiple-echo effect that produces a pair of echoes in response to each note you play. 16: Multitap Dly 1 This is the standard multitap delay. 17: Multitap Dly 2 The signals are cross-panned, reversing the right and left channel signals with each echo. 18: Multitap Diy 2 Feedback signals cross between the channels, reversing the right and left channel signals with a pair of echoes. Chorus Chorus effects thicken signals by running them through a short delay and the delay length is modulated by an LFO (low frequency oscillator). This delay creates minute fluctuations in pitch, that when combined with the original signal, produce the impression of two or more instruments playing in unison. As with the reverb effect, chorus is also indispensable for music production using electronic music instruments. It is commonly used with strings, voice, chorus, synthesizer-pads etc. Chorus adds width to a sound, but it may create a flat sound that lacks expression. Therefore, it is important that the player selects this effect according to the musical style. 19: Chorus 1 This modulates the delay of the right and left channels with the opposite phase, giving the sound a shimmering stereo motion. 20: Chorus 2 This modulates the delay for both channels with the same phase. 4-6 Effects Quadrature Chorus Quadrature chorus effects are similar to the stereo choruses described in the previous section. They differ mainly in that the LFO modulates the delays for the right and left channels 90 degrees out of phase with each other. 21: Quad Chorus This is the basic type that processes the left and right channels independently. 22: XOver Chorus This mixes the chorused signal for each channel into the output of the other channel, producing a crossover effect. Harmonic Chorus 23: Harmonic Cho. The harmonic chorus effect is a type of quadrature chorus that uses a filter to split the input sound into high and low frequency ranges, then applies two choruses to the high range only. It works especially well with low frequency instruments such as basses. Symphonic Ensemble The symphonic ensemble effect works on the same basic principle as the chorus effect described in the preceding sections. It is particularly effective when used with large ensemble sounds such as orchestra string sections. 24: Symphonic Ens. This effect mixes the input from the right and left channels, then applies the ensemble effect to the mixed input. The effect signals are evenly output from both channels. The following modulated effects cannot be used in combination with the Sym- phonic Ensemble. Effect Type Effect Number Chorus 19-20 Quadrature Chorus 21-22 Harmonic Chorus 23 Symphonic Ensemble 24 Flanger 25-27 Phaser 32-33 Rotary Speaker 34 Tremolo 35-36 Chorused/Flanged Delay 38-39 Delay & Chorus 42 Delay & Flanger 43 Delay & Phaser 46 Delay & Rotary Speaker 47 Effects Flanger The flanger effect uses the same basic principle as chorusing, but adds a loop that feeds the output back into the delay. Flanging can create chorus-like effects, and also adds a sense of pitch to non-pitched sounds. It is effective when used to process sounds that contain a lot of high frequency energy, such as cymbals. 25: Flanger 1 This modulates the delays applied to the right and left channels in the same phase. 26: Flanger 2 This modulates the delays in the opposite phase, resulting i in a wider stereo motion. 27: XOver Flanger This also modulates the delays in inverse phases, but each flanger sends its feedback to the other channel. Exciter The exciter effect adds harmonics which emphasize a certain frequency of the sound, giving it greater definition and presence. You can use it most effectively with solo instruments such as electric guitars and lead synths, to bring them to the forefront. 28: Exciter This excites the signals for the right and left channels individually. Enhancer The enhancer effect excites sounds by adding harmonics that make them clearer and more defined. It also applies a short inverse-phase delay to each channel, giving the sound a greater sense of width. 29: Enhancer This enhances the signals for the right and left channels individually. It also runs the right and left channel signals through a two-level shelving equalizer before applying the exciter and delay effects. 4-8 Effects Distortion Originally devised for use with guitars, distortion effects simulate the distortion that occurs when a signal’s gain exceeds an amplifier’s input capacity. Distortion is often used with solo instruments, as it adds thickness to single notes. It produces a muddy sound when applied to an instrument playing chords and is ideal for those that love its rock-like effects. This also adds a wah-effect by slightly distorting the sounds. 30: Distortion This creates a hard, solid-state distortion frequently used in hard rock and heavy metal. It is especially effective with solo instruments. 31: Overdrive This simulates a warmer tube amp distortion. It produces a nice bluesy effect when used with guitar and organ sounds. Phaser Whereas chorus and flanger effects modulate delays, phasers modulate the phase of the input signal itself, creating an even clearer modulation effect. Phasers are formally called phase shifters. They are effective for electric pianos and guitars. 32: Phaser 1 ~ This modulates the signals of the right and left channels in opposite phases, making the sound shift back forth in stereo. 33: Phaser 2 This modulates the right and left channel signals with the same phase. Rotary Speaker This effect simulates the sound produced by the rotary speakers used with electric organs. These rotary speakers have a motor which rotates the high range speaker horn at one of two speeds. There are many ways to use the rotary speaker however, the most common way is to shift the rotary speaker speed from low to high speed during the part of an organ timbre performance in which you want to create an exciting effect. 34: Rotary Speaker This mixes the input from the right and left channels, then modulates the mixed input using a completely independent LFO (low-frequency oscillator). It does not equalize the input signal for either channel. Tremolo The tremolo effect uses an LFO (low-frequency oscillator) to modulate the volume of output sounds. It is extremely effective when applied to instruments playing languid melodies and broad chords. However, it is not as effective when used with detailed phrases. 35: Auto Pan This modulates the volume of the right and left channels inversely, so that the sound moves as if it were being panned back and forth. 36: Tremolo This modulates both channels with the same phase, for a common tremolo effect. | Effects Equalizer 37: Equalizer This is used to adjust and emphasize the audio frequencies. Chorused or Flanged Delay These are dual effects connected in series. Select from a mono-in, stereo-out chorus or flanger each with a stereo delay, to both the right and left channels. These effects are particularly useful with solo instruments. 38: Chorus-Delay This serially connects a chorus with a delay. 39: Flanger-Delay This connects a flanger with a delay. Both the chorus and the flanger use quadrature modulation. That is, the right and left channels are modulated 90 degrees out of phase with each other. Delay & Reverb This effect is a dual effect in which a mono-delay and mono-reverb are arranged in parallel. 40: Delay/Hall This combines a delay with a hall reverb. 41: Delay/Room This combines a delay with a room reverb. Delay & Chorus This combines a mono delay and a mono chorus in a parallel routing. 42: Delay/Chorus This combines a mono delay and a mono chorus in a parallel routing. Delay & Flanger This combines a mono delay and a mono flanger in a parallel routing. 43: Delay/Flanger This combines a mono delay and a mono flanger in a parallel routing. 4-10 Effects Delay & Distortion These effects combine mono delay and a mono distortion or overdrive in parallel routing. You can use them, for example, to apply a delay to a lead synth on one channel, and distortion to guitars on the other. 44: Delay/Dist This combines delay with distortion. 45: Delay/Overdrv This combines delay with overdrive. Both distortion and overdrive include a wah effect. Delay & Phaser This combines a mono delay and a mono phase in a parallel routing. 46: Delay/Phaser This combines a mono delay and a mono phase in a parallel routing. Delay & Rotary Speaker This combines a mono delay and a rotary speaker in a parallel routing. 47: Delay/Rotary The mono rotary speaker produces a more intense tremolo than the stereo rotary speaker effect (34: Rotary Speaker). Effects Effects Placement (Output Channels) The output channels, including effects, of the i5M vary depending on the effect routing. Each channel can be set with the following four output channels. Refer to the Arrangement List of the Performance Notes for more details on the settings. (D Serial A Pi Pan Arrangement | Send |c | Send jo The Serial setting applies both signal processors Effect 1 and Effect 2 to channels A and B, in that order. Signals routed to channels C and D are mixed in after Effect 1, and so are processed by Effect 2 only. © Parallel 1 A Pl Pan |, Arrangement | Send |c | Send |0 The Parallel 1 setting applies Effect 1 to channels A and B, and effect 2 to channels C and D. It mixes the signals from the two processors for final output L/MONO @ Parallel 2 Arrangement The Parallel 2 setting is the opposite of the Serial setting indicated in (1). It applies effect 2 to channels C and D. It then mixes these output signals with the unprocessed signals of the Dry signals of channels A and B. The resulting signals are then processed by effects 1 before final output. (1) Parallel 3 The Parallel 3 setting applies Effect 1 to channel C and Effect 2 to channel D. It then mixes the output of these channels with the unprocessed signals of channels A and B. 4-12 Global Mode Y | | y 1 * | Global Mode In Global mode you will find several settings that affect the overall performance of the iSM. * Save and write i5M data on a floppy disk * Choosing how you select an arrangement * Loading the factory default arrangement data * Keyboard tuning parameters * MIDI function settings * Connected foot pedal settings * External controller settings ' * Sound hold settings | * Velocity curve settings * Scale settings * MIDI information send/receive control * Miscellaneous Switching Page Display Parameter functions are broken down into 16 display pages, as listed on the following page. Use the PAGE+/PAGE- keys to switch through display pages. If you have a certain display in mind, keep the GLOBAL key held down, and press the ARRANGEMENT SELECT key or the PROGRAM SELECT key of the corresponding page number. Also refer to the explanation of the keys on Page 2-16 and the explanation of the page on Page 4-2 of the User's Guide. The general procedures for editing parameters are outlined on page 5-1 “Watch the screen and operate the i5M” of the User's Guide. Unlike program or arrangement data, you do not have to write Global Mode settings into memory. Exceptions are the Local Control and Clock Source parameters explained on page 5-14 of this manual. The (SM will remember all other Global Mode settings, even when the power is turned off. The ¿5M also saves its global settings to disk whenever you create a program file using the ALL or PROGRAM save functions described on page 5-7. Y | Global Mode Functions in Global Mode The table below shows the layout of the i5M Global Mode. For each display page we list the major contents of the page and the number of the corresponding page in this manual where you will find these contents described. Display Ref. Guide Page Page Write disk data (ALL data, 1 Data) | 5-3 1 DISK Parameter Write data in disk. 5-7 Erase disk data, erase style, format disk. 5-8 2 Arrangement select, Echo back 5-9 3 Preset load, MIDI setting 5-11 4 Master tuning, MIDI local control, MIDI clock source 5-14 5 Global, keyboard track, chord track 5-15 8 MIDI channel settings Backing tracks 517 7 MIDI data filter . 5-18 8 Assignable pedal settings 5-20 9 ECS external controller settings 5-20 10 | Sound hold function, velocity curve 5-23 11 Main scale selection 5-25 12 | Sub-Scale selection 5-25 13 | User scale setting 5-27 14 | MIDI isM data dumping 5-28 15 | Pitch bend switch 5-30 16 Damper switch polarity 5-31 Data saved on disk Almost all data created on the ¿SM can be saved on a 3.5 inch 2DD (double density) or 2HD (high density) floppy disk. The disk needs to be initialized in MS-DOS format and each disk can contain up to 112 files within a maximum “memory space of 720k (2DD) or 1.44 M (2HD) bytes. Since the i5M separates various files to save them, each file may contain varying data types. To identify these file types, a period is placed after the file name, followed by 3 letters. The following table is a list of extension types, file types and memory size. Data Type Extension Size (kB) Arrangement ARR 9 Style STY 64 (max.) Backing sequence .BSQ 132 (max.) Standard MIDI file MID 720 (max.) Program PCG 14 These extensions will appear on the LCD display during delete file operations. 15 Page 5-8 The i5M is complete with functions to create various files and to write data from these files. File erase and disk formatting are part of the utility functions. 8 BEAT 1 BIG BAND ¥ OGLOBAL 0) 0 + LT BOSSA 1 WALTZ 1 O CURSOR < > (GA) RESET Load data from the floppy disk to the ¿5M CURSOR LOAD ALL) Global Mode Y ! Page 1 DISK PARAMETER In this page you can select the disk load (LOAD), save (SAVE), and utility (UTIL) functions. Move the cursor to the function you wish to use, and press the RESET/ key. If an error message appears while you are using one of these functions, refer to the error message list and countermeasures in Appendix A. Also, refer to the notes on page 7-1 of the User’s Guide for handling the floppy disk. Load data from disk Save data to disk Utility Page 1-1 LOAD Functions The functions on the first display page in Disk mode load all of the data from the file you select into the ¿SM. The arrangement, style, backing sequence, or drum kit programs can be loaded. There are two types of LOAD: ALL and LOAD ONE. Select the type of LOAD on the first page using the cursor key and then press the RESET/ key to finalize the command. а - = = e : : i “ EJ 1 | | Load ALL data from disk Load ONE data from disk Page 1-1-1 LOAD ALL Be sure to insert a disk in the floppy disk drive (FDD) before using any of these functions. The iSM will display a “No disk in drive” message if you attempt to select a file without first placing a disk in the FDD. - CEL ERE CPRE (RSE L | ] ^^ Z | | e Load ALL data Load ALL Load ALL Load ALL arrangement data program data backing sequence data i | Global Mode ALL This function loads a complete set of data files into the iSM. Insert a disk containing data in the FDD. Then select ALL. The i5M will indicate the names of the files that have program, arrangement, style, and backing sequence data on the disk. The extension will not appear at this time. When you have made your file selection with the UP/DOWN key of the TEMPO/VALUE function, press RESET/(YES). The ¿5M will then load that file. Always make sure the iSM does not contain any data that you want to keep before you load, as all your current data will be permanently lost when the new file is loaded. If the i5M contains any — data, save the data to the disk before loading. ¥ Page 5-7 Press the TAP TEMPO/ key to cancel loading. This feature can come in handy when you want to load two or more related files (set of arrangements and the programs and styles they use or the backing sequence used to create the data) with only one load operation. To do this, you must first save the data using the SAVE ALL function on the SAVE display. (See page 5-7 of this manual for more details.) ARR (ARRANGEMENT) This function loads an arrangement file that contains a complete set of data for 64 arrangements. Also, it can load up to 4 styles in the user style memory, if there are style files of the same file name. The procedure for using this function is the same as that described for the ALL load function, above. The i5M will display the names of only the arrangement files on the disk. A You may sometimes see the message “Not enough Memory” on the LCD when you carry out this function. This means that the free memory space for user styles is insufficient. (However, the arrangement data will be loaded correctly.) In this case, first use the Erase style function (Page 5-8) to erase other styles, and try the load operation again. PROG (PROGRAM) This function loads all 64 program files and the two user drum programs in Dr. 17 and Dr. 18. It also loads the Global parameters that contain two user drum kits. The procedure for using this function is the same as that described for the ALL load function, above. The i5M will display the names of only the program files on the disk. | BSQ (BACKING SEQUENCE) This function loads a backing sequence file which contains a complete set of data for ten backing sequences, into the SM. The procedure for using this function is the same as that described for the ALL load function, above. The ¿SM will display the names of only the backing sequence files on the disk. 5-4 CURSOR A т RESET (НЕЕ) CURSOR ч > Р 5) RESET CURSOR < > RESET (ESG) () CURSOR 4 > RESET (LOAD CNE) CURSOR CURSOR TEMPO/VALUE < > DOWN UP LOO) Global Mode 7 Page 1-1-2 LOAD ONE > in - : ul emma? ete HC к HE — L J N Arrangement Program Backing sequence Drum kit data data data data The functions on the sub-page of the Disk parameter pages load a single program, arrangement, style, backing sequence, or drum kit from the file you select into the iSM. To load entire files, use the functions on page 1-1 LOAD ALL, described in the previous section, & Be sure to insert a disk in the disk drive before using any of these functions. The i5M will display a “No disk in drive” message if you attempt to select a file without first placing a disk in the disk drive. PRG (PROGRAM) This function loads a single program from a program file into the ¿SM. It does not load any global parameters or drum Kit settings. After inserting a data disk in the disk drive, select the program file name using the UP/DOWN keys of the TEMPO/VALUE setting. All the program files on the disk will appear. = i ña Name of loaded file Program number Program number loaded from disk of load destination in ¿SM user bank Next, select the bank, program number and the load destination program number using the UP/DOWN keys of the TEMPO/VALUE setting. Press RESET/(YES) if the selection is correct. The iSM will start loading the data after doing so. Make sure the destination you've selected doesn’t contain any data you want to keep, as its current data will be lost forever when the new program is loaded. If the ¿5M contains any data, save the data to the disk before loading. "= Page 5-7 Æ This function does not load any global data. If you have changed the Scale parameters since you saved the program data, the resulting change in keyboard temperament could make the program you load sound different than it originally did. In this case, you should adjust the scale parameters to the settings you were using when you created the program file. IS Page 3-25 Likewise, a user drum program that you load may require different user kit settings than those currently available. If you load a drum program, you may also need to load the appropriate user drum Kit using the DRUM load function, described on the following page. i! Global Mode ARR (ARRANGEMENT) This function loads a single arrangement from an arrangement file into the iSM. If a user style is used for an arrangement, the corresponding style will be read from the style file with the same name as the arrangement file, and then written in the empty user style number. If there is no style file with the same file name a “Can’t find file” message will appear, indicating that the corresponding style was not available. : - The procedure for using this function is the same as that described above for the PROGRAM load function. The i5M will display the names of only the arrangement files on the disk. BSQ (BACKING SEQUENCE) This function loads a single backing sequence from a backing sequence file into the iSM. The procedure for using this function is the same as that described above for the PROGRAM load function. The iSM will display the names of only the backing sequence files on the disk. DRM (USER DRUM KIT) This function loads a single user drum kit from a program file into the i5M. The procedure for using this function is the same as that described above for the PROGRAM load function. The iSM will display the names of only the program files on the disk. | | 5-6 CURSOR 4 > (FRA) (С) ESET CURSOR «4 > E ei ) RESET CURSOR « » RESET (GR) o (YES) 3 CURSOR «4 (SALE) RESET YES This function creates a complete set of :5M data files on a disk CURSOR TEMPO/VALUE -4 > DOWN UP Global Mode Y ! Page 1-2 SAVE < — ] ~ Save ALL Save All Save All backing data arrangement data sequence data Save All program data ALL This function creates a complete set of 15M data files on a disk. When you select this function, the ¿SM will display the most recently entered file name (or a default file name of NEW_FILE). If you wish, you can change this file name to any name consisting of up to eight characters using the cursor keys and the TEMPO/VALUE UP/DOWN keys. Press the RESET/(YES] key after inputting the file name. The i5M will save the data on the disk. | If the ¿SM finds a file on the disk with the same name as the one it is about to save, it Will warn you that it is about to replace that file. Make sure the old file does not contain any data you need, then go ahead with the operation. You are required to save the original file since failure to do so will erase all the data on that file. ARR (ARRANGEMENT) This function creates an arrangement file and style file containing data for a complete set of 64 arrangements. The procedure for using this function is the same as that described for the ALL save function, above. The i5M will save the arrangement file (with extension ARR) and style file (with extension .STY) under the file name that you input. BSQ (BACKING SEQUENCE) This function saves a backing sequence file which contains a complete set of data for ten backing sequences, to a file on the disk. The procedure for using this function is the same as that described for the ALL save function (with extension .BSQ) under the file name that you input. PRG (PROGRAM) This function saves all 64 program files and the two user drum programs in Dr. 17 and Dr. 18. a It also saves the Global parameters in this file. The procedure for using this function is the same as that described for the ALL save function (with extension .PCG) under the file name that you input. Aa To use data created on the ¿SM on the i2/i3/i4S/i1 systems, there is a need to set the data mode on the data dump display of page 14. Y | Global Mode Page 1-3 UTILITIES Delete Data Erase Data Disk Format DEL (Delete File) You can use this function to delete old files that you no longer need. This may come in handy when you need to make space on the disk to save new data. Select the file to delete using the UP? DOWN keys of the TEMPO/VALUE setting. The 15M will also display each file name (including extensions) on the disk. Select the file name and then press RESET/(YES). The ¿SM will display an “Are you sure?” message before deleting the file. Be sure to confirm that there is no data that you need on the file to be deleted. All the data will be lost forever once it’s deleted. E.STYLE (Erase Style) The Erase Style function can be used to erase styles from the user-style memory. This 1s useful 1f the ¿5M presents you with a “Not enough memory” message when you try to load arrangements using new user styles. | FORMAT (Format Disk) You should use this function to initialize all new disks for use by your i5M. You can also use it to erase and reformat old disks whose contents you no longer need. Insert a disk in the disk drive, then press the RESET/ key. The iSM will check the disk and notify you of the presence of a file. It will prompt a message to go ahead with the function and then initialize the disk. Be sure to confirm that there 1s no data that you need on the disk being initialized. All data will be lost forever once the disk is 1nitial- ized. 5-8 CURSOR A У RESET (LITIL) O CURSOR A Y RESET (DEL) CURSOR A Y RESET (E. ST) © YE CURSOR si (FERMAT) < fa 8 BEAT 4 BIG BAND 3 = () + BOSSA ] WALTZ 4 O CURSOR TEMPO/VALUE > DOWN UP ele Global Mode W J Basic Parameter/MIDI Parameter The first parameter group of the Global mode includes the parameters used for the entire iSM settings and the parameters that control the operations when other MIDI devices are also used. Page 2 ARRANGEMENT SELECT/ECHO BACK Arrangement select | | Echo back status Arrangement Select ОЕ [8key, 32key] You can choose either of the following methods to select an arrangement using the keys on the front panel. (+].(- ET To choose an arrangement when this option is | selected, specify the bank and the arrangement number by pressing the corresponding bank key and two digit number keys. You can select any arrangement from Bank A and B. You can select programs in the same way. You can also specify chords using the CHORD key. BB ARRANGEMENT BANK CHORD P PROGRAM BANK A в USER OO eus © A в с р E USER DRUM NOSODDO Ú @®O®E EEO ug I ARRANGEMENT NUMBER 1055 HUD» PROGRAM NUMBER 1 2 1 4 5 4 7 в Qe Te 1 2 a 4 $ $ 7 в M MIBS $ венка вой Рина m/m?bS mö6/mM? m7/7bs Taug7 — Susa Sui? C/oth 0/b9th в/о Е слать AUT B/bIdth TENSION 32key ............ nnrencanenereeeoceene. To choose an arrangement when this option 1s selected, press the key of the corresponding arrangement name printed on the front panel (or on the overlay sheet). You can select an arrangement only from the User bank. POP § ti SAFF = oor Y 4 PTA 1 T BOSSA 1 Ta MAMEO 2 — MERENGUE $ CLAM A MENEANO 1 MI ANO | oro ис NADO 4 CHARLEST SIÓN 6/0 BRAN 00666666 Ó 00666006 ARRANGEMENT vy ALIS MT PON CLASS POP SAMBA pe Me Sure 6 a” ams ee TANGO | $1 SIMPLERCICK HAWAILAN 66660060 © 5006060665 Refer to the explanation starting on page 2-13 of “What happens when you press...? List of keys” in the User’s Guide. After setting the Arrangement Select parameter, choose the appropriate overlay sheet and place it on the panel. Y | Global Mode Echo Back [DISABLE, IN 1, In 2] This parameter allows you to set the i5M so that the MIDI messages received at the MIDI IN 1 jack or MIDI IN 2 jack will be sent from the MIDI OUT jack as they are (echo back). DISABLE ...................esecccon. MIDI signal is not echoed back. (Default setting) INT. rennen MIDI signal received at the MIDI IN 1 jack is echoed back. IN 2... ens MIDI signal received at the MIDI IN 2 jack is echoed back. A The following data will not be echoed back regardless of the setting here: MIDI messages for which the MIDI filter parameter on page 7 (Page 5-18) is set to DISABLE; System Real-time messages, System Exclusive messages, System Common messages, Program Change messages. If a certain note range of the keyboard timbre has been muted on the 5M, the Global channel note messages for that range will not be echoed back. When you are playing an electronic piano connected to the ¿5M, you can mute the note range set for the Chord Scanning function. In this application, connect the electronic piano’s MIDI IN jack to the iSM’s MIDI OUT jack, the piano’s MIDI OUT jack to the i5M’s MIDI IN jack, and set the piano’s local control to off. 5—10 B BEATS BIG BAND 4 О) + = SLO WALTZ) CURSOR TEMPO/VALUE > DOWN UP < Global Mode 7 Page 3 These pages allow you to load the default arrangements (PRESET LOAD) and select the MIDI settings (MIDI SETTING). Move the cursor to the function that you wish to use, and press the RESET/ key. | ] | Loading the factory MIDI setting default arrangement Page 3-1 PRESET LOAD _ Preset Load This function loads the factory default arrangements into the User Arrangement bank. When the screen shown above is displayed, press the RESET/(YES) key. The iSM Will ask you for confirmation. Press the RESET/ key again to load the factory default arrangement data into the User Arrangement bank. Make sure that no important data is in the User bank before the loading operation. Once the loading function 1s executed, the data that exists in the bank will be erased. The names of the factory default arrangements are printed on the Arrangement (Program) Select key panel. 5-11 rr | Global Mode MIDI Page 3-2 MIDI SETTING | Type of MIDI setting MIDI Setting | [DEFAULT, PIANO, MASTER KB, ACCORDION 1-3] This parameter allows you to select the MIDI settings appropriate for your MIDI instruments, such as MIDI channels, echo back, and restrictions on the Program Change messages. Select any of the following six options: After selecting a desired setting using the TEMPO/VALUE UP/DOWN keys, press the RESET/ key. The display shows the message “Are you sure?”, asking you for confirmation. Press the RESET/ key again. The specified MIDI setting will be effective. DEFAULT ........................ ..... This sets the parameter to the default setting. PIANO... MIDI signal received at the MIDI IN 1 jack will be echoed back. On Channel 1, however, the note range that is muted for the i5M’s keyboard timbre will not be echoed back. This is useful when you wish to mute a note range that is specified for the Chord Scanning function on the connected electronic piano. Refer to Page 5-9 “MIDI Echo Back.” MASTER KB ........................ You can switch arrangements by sending Pro- gram Change messages on Channel 1. This 1s suitable when you are using a MIDI master keyboard connected to the 15M. ACCORDION 1 .................... This is suitable when you use a MIDI accordion connected to the i5M. You can specify chords for the i5M using the chord buttons on the accordion. Usually the right hand keyboard on the accordion will produce the KB1 sounds, although some accordions may produce the KB2 sounds as well. The bass button on the accordion will produce the BASS track sounds. ACCORDION 2.................... This is also suitable when you use a MIDI accordion connected to the iSM. You can specify chords for the i5M using both the chord buttons and bass buttons. Usually the right hand keyboard on the accordion will produce the KB1 sounds, although some accordions may produce the KB2 sounds as well. The bass button on the accordion will produce the BASS track sounds. ACCORDION 3........................ As ACCORDION 1 and 2, this is suitable for connecting a MIDI accordion. The right hand part will produce the KB1 sound, and the bass buttons will produce the BASS track sound. The Chord button will be assigned to the Global channel. These settings do not indicate the current iSM status. For example, if you load data from a disk, these settings will be overridden by the settings in the loaded data. In this case, you need to reset this MIDI setting. Refer to the table on the next page for details about each setting option. 5-12 Global Mode 7 If you select ACCORDION 1, the Backing Sequence will produce the bass track and extra track 2 sounds simultaneously when the i5M receives Ch3 data. In this case, set the extra track to OFF. If you select ACCORDION 2, the Backing Sequence will produce the following: + No sound is produced from the accordion keyboard (Chl). If the keyboard transmits Ch4 data, the sound on the extra track 3 will be heard. * Pressing the chord buttons will produce the sound of the extra track 1. * Pressing the bass buttons will produce the bass track (ACCORDION 1) and extra track 2 sounds. * If you wish to record a performance of the accordion keyboard to the i5M, set the keyboard channel to Ch16. Option GLOBAL | KB1 | KB2 | BASS [CHORD | Echo Back | Program Change DEFAULT Ch1 Ch1 | Ch1 | Ch12 G DISABLE | ENABLE PIANO Ch1 Ch1 | Ch1 | Ch12 G IN 1 DISABLE MASTER KB Ch1 Ch16 | Ch16 | Ch12 G DISABLE ENABLE ACCORDION 1 Ch16 Ch1 Ch4 | Ch3 M DISABLE ENABLE ACCORDION 2 Ch16 Ch1 | Ch4 | Ch12 M DISABLE ENABLE ACCORDION 3 Ch2 Ch1 | Ch2 | Cha | в DISABLE ENABLE Those channels not listed here will be set to the default setting. Y | Global Mode Page 4 MASTER TUNE/LOCAL/CLOCK Pitch variation Ï T Local Control MIDI Clock Source Master Tune [-50...+50] This parameter adjusts the pitch of all the notes played by the i5M. You can raise or lower the tuning up to 50 cents (1/2 a semitone) so you can tune it to other instruments. | This pitch adjustment will not affect the pitch of notes transmitted from the MIDI OUT jack. Local Control [OFF, ON] This parameter determines whether the i5M tone generator will respond to messages from local controllers. That is, this parameter is used when you wish to determine whether the i5M tone generator will produce sound or only MIDI data is output. | When the parameter is set to OFF, the ¿5M will not produce sound and Will output only MIDI data. The i5M will set this parameter to ON whenever you turn the power ON. Clock Source [INT, IN 1, IN 2] This lets you synchronize the i5M to another MIDI sequencer. When this parameter is set to IN, the i5M will follow its own tempo. It will also transmit MIDI clock messages from the MIDI OUT jack whenever it is in a sequencing mode, so you can synchronize other MIDI sequencers to the i5M. Switching this parameter to IN 1 or IN 2 will tell the i5M to synchronize to the MIDI clock data it receives from another sequencer that is connected to the MIDI IN 1 jack or MIDI IN 2 jack. The iSM will also respond to start, stop, continue, song select, and song position pointer messages. The ¿SM tempo settings will have no affect when you use the IN 1 or IN 2 setting. This means the i5M will not be able to play sequence data on its own. You should not select IN 1 or IN 2 if you have not connected a MIDI sequencer to the iSM MIDI IN 1 or MIDI IN 2 jack. The i5M will automatically set this parameter to INT whenever you turn the power ON. Æ In Song Play mode, the iSM will always operate as if “INT” is selected for this parameter. LIGHTROCK] CHARLESTON OGLOBAL + mo: JAZ WALTZ) CURSOR TEMPO/VALUE < > DOWN UP Adjusting the pitch of the * iSM Turning the Local control off Controlling start, stop, and tempo externally POP | 6/8 BBAND = 0) B + = MERENGUE 1 MARCH O CURSOR TEMPO/VALUE al > DOWN UP = Global Mode Page 5 MIDI CHANNEL [GLOBAL, KBD1, KBD2, CHORD] |; There are a total of ten MIDI channel parameters that let you select which channels the ¿SM will use to send and receive MIDI messages. You may want to adjust these settings to match those of other instruments connected to the ¿5M т order to ensure proper communication. These settings will be changed when the MIDI setting on page 3-2 becomes effective Please note that these settings are primarily for the Arrangement Play Mode and Backing Sequence Mode. Global channel вв 8 = TEO в пя ой OB Eva HEUSE | | À | | N Keyboard timber 1 Keyboard timbre 2 Chord setting channel channel MIDI channel GL [01...16] This selects the ¿SM Global MIDI Channel. It is normally set to channel 01 The channel set in this Global parameter will be used when MIDI 1s used to perform the operations on the ¿5M's front panel, in the Arrangement Play and Backing Sequence modes. The MIDI receive channel of the ¿5M keyboard track is set with the KB1 and KB2 parameters mentioned below, when in the Arrangement Play mode. The i5M will receive data on this channel when you play the connected instrument while the keyboard assign mode is set to SINGLE, LAYER, or M.DRUMS while in Backing Sequence mode. This will also take place when the high notes are played on the connected instrument while in Split Mode. If system exclusive messages are not filtered, the iSM will receive them on the Global channel. System exclusive messages received on other channels will be ignored. If the Global MIDI channel differs from KB1 or KB2, you can select arrangements using program change messages on this channel while in the Arrangement Play mode. KB1 (KBD1) | [01...16] If the keyboard assign mode parameter has been set to Single, Layer, or Manual Drum in Arrangement Play mode, this parameter allows you to specify the iSM MIDI receive channel. If the keyboard assign mode parameter has been set to Split, this parameter allows you to specify the MIDI receive channel for higher- range notes. KB2 (KBD2) [01...16] If the keyboard assign mode parameter has been set to Split in Arrangement Play mode or Backing Sequence mode, this parameter allows you to specify the MIDI receive channel for lower-range notes. 5-15 Y | Global Mode CHRD (CHORD) — GM] This parameter is used to select what channel to use for the chord information received through MIDI in the Arrangement Play and Backing Sequence modes. If “G” is selected, the Global MIDI Channel will be used. If “M” is selected, all channels that are not assigned in Global mode, as well as the Global MIDI Channel will be used to specify chords. On all the channels except for the Global channel, the entire note range will be used for chord assignment regardless of the Split Point setting. | MID SHFFLE iTN BBAND1 OGLOBAL Global Mode Y ! Page 6 MIDI CHANNEL DRUM, PERC, BASS, ACC1, ACC2, АСС) | & + SALSA 1 — Drum track Percussion track Bass track O MIDI channel MIDI channel MID! channel ~ | Lo pis Ed PE CE E Pb uña L A Accompaniment 1 Accompaniment 2 Accompaniment 3 MIDI channel MIDI channel MIDI channel This parameter applies only to the Arrangement Play and Backing Sequence modes. Use this parameter to select the backing track whose MIDI channel you - want to set, using the Backing Track Channel parameter. Jor, aera Backing Track Channel [01...16] This parameter applies to only the Arrangement Play and Backing Sequence modes. Use this parameter along with the Backing Track parameters of these modes to select the channels the i5M will use to transmit/receive data for the backing tracks. The backing tracks are normally set to channels 10 through 15. The iSM will also respond to note information and program change messages it receives on these channels when it is in Arrangement Play or Backing Sequence mode. For details on the backing tracks, please see the chapters describing the Arrange- ment Play and Backing Sequence modes. i! Global Mode Page 7 MIDI FILTER = OGLOBAL O This display page contains four settings that let you filter incoming and outgoing | MIDI data. You can use these filters to prevent the ¿5M from responding to Tc certain types of MIDI data, such as program change and system exclusive рами messages. You may also find them useful when recording, if you need to screen out memory-consuming messages, such as aftertouch and control change data that you don’t need. You can filter out a particular data type by setting the appropriate parameter to x. TEMPO/VAIUE The i5M will neither receive nor transmit the data type that you disable with this setting. When playing back sequence data that has already been recorded in the backing sequence mode or backing track data playing an arrangement, the data will be transmitted regardless of this filter setting. O UE _ assum Uéé A. ... uta Te... } . 1 "a 4 EB . ве LL a . в че a . .. = .. LLL] = . En ... . » жа ... a а LS - - E... a. » . a o Rapa я » a . » » a... = aw а + > ay 8 = Pp... x. я вов a a bw OE + LJ wa LJ = + = .. " “ " um в » ° * . .. | * - / / _— _ 7 x ~— Program Change After Touch Control Change Exclusive Message receive/transmit receive/transmit receive/transmit receive/transmit Program Change [X, 0, n, S] This parameter controls the program change message filter. Program change messages will be handled normally when this parameter is set to o. Setting 1t to x will prevent the {5M from receiving or sending program changes on any channel. Setting it to n will ignore MIDI Bank Change messages. Setting it to s will send Bank A and B via MSBO/LSBO and the DRUM bank via MSBO/LSB2. Aftertouch [X, o] This controls the response to aftertouch. Aftertouch will be handled normally when this parameter is set to 0. You can set it to x to filter out aftertouch messages sent from another MIDI device. Control Change [x, 0] This controls the response to control changes such as pitch bend, volume, sustain pedal and other controller messages. These messages will be handled normally when set to o. You can set it to x to filter out control changes sent from the 15M or another MIDI device. Doing so will also prevent the i5M from transmitting these messages to another device. . 5-18 = Global Mode Exclusive [x, 0] This controls the i5M’s handling of system exclusive messages. These messages are used mainly by personal computer software designed to facilitate editing of the i5M program data. The i5M will accept such messages, allowing the computer to change the i5M's data, when this parameter is set to o. Setting it to x will prevent your i5SM parameters from being changed. The setting here will not affect the MIDI data dump operation on page 14 (Page 5-28) as long as the data dump screen is displayed. 5-19. Y | Global Mode Pedal Parameters The parameters on page 7 and 8 let you assign functions to a footswitch or foot pedal, and an ECS External Controller connected to the appropriate jacks on the rear of the 15M. The setting on page 9 governs the operation of a damper pedal connected to the DAMPER jack on the rear panel of the iSM. PEDAL FUNCTION When you press a switch on the front panel while one of these pages 1s displayed, you can assign the function of that switch to the pedal, if applicable. The TEMPO/VALUE UP/DOWN keys can be used to assign the functions. Page 8 Assignable Pedal Assignable pedal function The ASSIGN PDL/SW jack on the rear of the i5M lets you control a variety of i5M functions with a footswitch or expression pedal. If you connect a pedal to this jack, you can set its function using the ASSIGNABLE PEDAL setting. Select pedal functions from the tables on the next page. It is advised that you use a Korg XVP-10 or EXP-2 to control the parameters in the expression pedal functions table. Always check to see that the pedal is properly connected before changing these settings. Page 9 EC5 EXT CONTROLLER A...E EC5 Switch A...E a $... BE ne OGLOBAL + COUNTRY 4 FOXTROT 2 O MENEAITO 1 PARTYPLKA] O TEMPO/VALUE DOWN UP OGLOBAL + 16 BEAT 1 QUICK STEP] LATIN POP CLASS] O ECS footswitch These five settings assign functions to the corresponding pedals on the EC5 External Controller. Select functions from the Footswitch Functions table on the next page. The ECS External Controller is an optional control device consisting of five footswitches, which Korg has made available especially for use with the i-Series such as the ¿SM. Be sure to plug your ECS into the ECS jack before using any of Functions assigned to footswitch the parameters on this display page. By stepping on footswitches A to E of the EC5 while in this display, you can assign the selected parameter to the desired footswitch, (A-E). 5-20 CURSOR TEMPO/ VALUE > DOWN up Footswitch/Pedal Functions Global Mode © Setting Functions OFF None START/STOP Same as START/STOP key. SYNC START/STOP Same as SYNCHRO START/STOP key. RESET Same as RESET key. TAP TEMPO Same as TEMPO key. KBD LOCK Same as KBD LOCK key. INTRO/ENDING 1 Same as INTRO/ENDING 1 key. INTRO/ENDING 2 Same as INTRO/ENDING 2 key. FILL 1 Same as FILL 1 key. FILL 2 Same as FILL 2 key. VARIATION 1 Same as VARIATION 1 key. VARIATION 2 Same as VARIATION 2 key. VARIATION 3 Same as VARIATION 3 key. VARIATION 4 Same as VARIATION 4 key. CHORD HOLD Same as CHORD HOLD key. BASS INVERSION Same as BASS INVERSION key. SCALE CHANGE Switches between main and sub scales. ARRANGEMENT UP Selects next arrangement. ARRANGEMENT DOWN Selects previous arrangement. PROGRAM UP Selects next program. PROGRAM DOWN Selects previous program. VARIATION UP Selects next variation. VARIATION DOWN Selects previous variation. PUNCH IN/OUT Punch-in recording switch. EFFECT 1 ON/OFF Turns EFFECT t ON/OFF. EFFECT 2 ON/OFF Turns EFFECT 2 ON/OFF. DRUM MUTE Mutes drum track. PERC MUTE Mutes percussion track. BASS MUTE Mutes bass track. ACC1 MUTE Mutes accompaniment track 1. ACC2 MUTE Mutes accompaniment track 2. ACC3 MUTE Mutes accompaniment track 2. SOUND HOLD ON/OFF Same as SOUND HOLD key. SUSTAIN ON/OFF Same as SUSTAIN key. FADE IN/OUT Same as FADE IN/OUT key. ‘ENSEMBLE ON/OFF Same as ENSEMBLE ON/OFF key. 5-21 i! Global Mode Expression Pedal Functions Setting Functions KB VOLUME Standard volume of program or selected track. MASTER VOLUME Master volume output from the iSM. | EXPRESSION Relative volume of program or selected track. VDF CUTOFF VDF cutoff frequency (brightness). EFFECT CONTROL Dynamic modulation of effects. DATA ENTRY Entry of parameter values. 5-22 16 BEAT 2 QUICK STEP2 + POP SAMBA HULLY 1 O q CURSOR DOTE MPO/ VALUE COCO Global Mode К ! Page 10 SOUND HOLD/VELOCITY CURVE Sound Hold Velocity Curve Sound Hold [ACTUAL; AUTO; BASS] Set this parameter when the SOUND HOLD switch is ON. This function can be used to sustain the sound of the lower keyboard when playing an arrangement or backing sequence. (The sound of the lower keyboard can be either one or two programs, depending on the current keyboard assign mode.) When the i5M is stopped, the sound of the program assigned to the bass track will also play. The bass sound will play the root or bass inversion note of the scanned chord. This feature is particularly useful for song introductions. There are three possible settings for this parameter: ACTUAL, AUTO and BASS. - When ACTUAL or AUTO is selected, the sound of the lower note range will sustain (as will the bass sound if the i5M is stopped). The ACTUAL setting allows you to play your own chord voicing on the connected instrument, whereas AUTO provides full chords, regardless of the actual notes you play in the lower note range. For example, if you play a C (single note) in the ACTUAL setting, only this C note will be sustained. If this is done in the AUTO setting, you will hear a C-E-G chord. (In either case, the iSM music processor will interpret this single note as a C major chord for the purposes of chord recognition.) Note that when using the ACTUAL or AUTO settings, the bass and lower range sounds will only sustain when the LOWER chord scanning mode is used. Furthermore, the LOWER mute button on the Mute page must be canceled for the sounds to sustain. If this parameter is set to BASS, only the bass sound will sustain when the i5M is stopped. The sound of the lower note range will not sustain, whether the iSM is stopped or playing. The bass sound will sustain if you use the LOWER, UPPER, or FULL chord scanning modes. It will also sustain regardless of the setting of the LOWER mute button. When the CHORD HOLD function is OFF (CHORD HOLD key LED is unlit), operation is the same as described above, except that the sounds sustain only when you hold keys in the note range of the chord scanning function. & The sound hold function will have no effect during Intro 1 and Ending 1 performances. 5-23 i! Global Mode <Regarding the Sound Hold Function and Backing Sequences> If you are using either ACTUAL or AUTO, the notes in the lower range you play on the connected instrument (or those that the iSM plays automatically) will be recorded to the Keyboard track as standard note data. Changing the setting of the Sound Hold parameter after recording a backing sequence will have no effect on this data. Due to the nature of the Sound Hold function, the sound of the program assigned to the bass track will only sustain when the i5SM is stopped, and therefore cannot be recorded into the backing sequence. You can re-create this effect by recording the bass part into one of the extra tracks. Velocity Curve [1, 2] This parameter allows you to set the effect of key velocity on the volume and tone of the program you are playing. When this parameter is set to 1, the iSM will follow the velocity value sent in the MIDI messages. - When this parameter is set to 2, all MIDI Note-on messages will sound at a velocity of 100. 5-24 14 BEAT 3 PASODOBLE + SAMBA 1 TWIST O BALLAD PASODOBLE? + (Main Scale) CALYPSO 1 R&B SHFFL] (Sub-scale) CURSOR TEMPO/VALUE < > DOWN UP | Global Mode 7 Scales The parameters on pages 11, 12 and 13 let you specify the basic tuning temperaments used by the i5M tone generator. You can select main and sub scales, then switch between them using a footswitch or EC5 External Controller, or through MIDI. | | In addition to a variety of traditional temperaments, many of which let you optimize the i5M tuning for playing in a selected key, the {5M lets you create your own scale. \ Scale type Key Ha Pia. 550 $, Bocas Y nn LA | | 5 Scale type Key Page 11, 12 MAIN SCALE/SUB SCALE To select the temperaments the ¿SM will use, first choose which scale you want to set using the MAIN SCALE/SUB SCALE setting. Then select the temperament using the Temperament setting, described below. Temperament This parameter lets you select which temperament the ¿SM will use for the main scale and the sub scale. The range of settings available is the same for both scales. The key parameter appearing at the bottom right of the display should be set when the temperament of main and sub scales vary. EQUAL TEMPERAMENT ........ This 1s the most widely used temperament, and every semitone consists of an equal change in pitch. EQUAL TEMPERAMENT 2 ........ This adds slight, random pitch variations to an equal temperament. It 1s useful when simulating acoustic instruments with natural irregularities in pitch. PURE MAJOR This setting perfectly tunes major chords in the selected tonic key. PURE MINOR ........................... This setting perfectly tunes minor chords in the selected tonic key. 5-25 fi | Global Mode ARABIC... This setting perfectly tunes major chords in the selected tonic key. | | PYTHAGOREAN ......... неее This setting simulates an ancient Greek tuning that is useful for playing melodies. Classic Tunings ...............ec......e. WERCKMEISTER is an essentially equal temperament used in the later Baroque period. KIRNBERGER is a harpsichord tuning devel- oped in the 18th century. Gamelan Tunings ...................... SLENDRO and PELOG simulate Indonesia gamelan tunings. The former uses C, D, F, G, and while the key parameters of the latter only use the white keys when the key parameter is set to C. (Other notes are set to standard pitches of the EQUAL TEMPERAMENT.) USER SCALE .............2.rreee.... This setting lets you adjust the pitch of each key over a range of +50 cents. See the description of the following User Scale parameters. Key [C...B] You can use this parameter to choose a tonic key for the temperament you have selected. | <To switch between the main scale and sub scale> | You can select the scales with the footswitch or MIDI controller messages. To use a footswitch, set the Assignable Pedal parameter to SCALE CHANGE (see page 5-21 of this manual). If you have an ECS, select this setting for the appropriate EC5 SWITCH parameter (see page 5-22). To select the scales via MIDI, use MIDI controller 4. Values from 0 to 63 will select the main scale, while values from 64 to 127 will select the sub scale. 5-26 Global Mode 7 ax Раде 13 USER SCALE yr O) Use the parameters on this page to adjust the settings of the User Scale. Note that tT rsa you will not hear the effect of the settings you make here unless you have и selected USER SCALE for the Temperament setting on page 12. CURSOR TEMPO/VALUE < > DOWN UP - L RUE à .... « * * a |] | | © © i - | | - | - faust veus" ‘ваза : *s e..." "ana" : 5 Cone. Luena Composition of scale Pitch adjustment B Ч E Note [C...B] Use this parameter to select the note whose pitch you want to change. Tuning [-50...+50] This parameter is used to adjust the tuning of the note selected with the key parameter. You can raise or lower the pitch of each note as much as 50 cents, or 1/2 semitone, from their standard (equal temperament) pitches. The i5M will apply these settings to the entire note range. 5-27 gt Global Mode MIDI Data Dump The functions on page 14 of the Global mode display let you transmit data from the i5M internal memory to another MIDI device. This bulk dump capability lets you share your i5M data with another i5M, or store it in a computer or MIDI data filer that is capable of receiving exclusive data. When this display page is showing, the i5M can transmit and receive MIDI data dumps regardless of the Exclusive filter setting on page 7 of Global mode. You should make a note of the Global/Kbd channel setting on page 5 for future reference. The ¿5M will recognize a data dump only if this channel setting is set to the same value as when the dump was originally sent. The i5M can receive data dumps at any time in any mode, as long as the Exclu- sive filter parameter mentioned above is set to o. For details on the exclusive message data format, refer to the end of this manual. Page 14 DATA DUMP па a ая == бана ав. - - Le кая BERR Type of data transmitted Dump Type Data mode [ALL DATA, GLOBAL, ARRANGEMENT, BACKING SEQUENCE, PROGRAM] ALL DATA CC... ‚ex. GLOBAL AFAR RAR PRR ERR PEAR RENAN RRR ARRANGEMENT LE BACKING SEQUENCE PROGRAM 5-28 This setting transmits a complete set of all data transmitted by the dump settings described below. Press the RESET/ key to execute data dump. The i5M will transmit the data without a confirmation. This setting transmits all global parameters, except for the Local Control and Clock Source settings. (Some parameters may not be transmitted.) Press the RESET/(YES) key to execute data dump. The ¿SM will transmit the data without a confirmation. This setting transmits data for 64 arrangements. Press the RESET/(YES) key to execute data dump. The ¿SM will transmit the data without a confirmation. This setting transmits data for 10 backing sequences. Press the RESET/(YES] key to execute data dump. The i5M will transmit the data without a confirmation. This setting transmits the data for the 64 user programs, 2 drum programs, and the user drum kit. RCK BALLAD LAMBADA O SLOW SWING OLDIES 1 CURSOR TEMPO/VALUE DOWN UP DO OGLOBAL Global Mode 7 Dump Type Size (bytes) Approximate Transmission time (sec.) All Data 35166-155274 11.3-48.6 Program 13331 4.3 Global 32 — Arrangement 14949-84462 4.8-27.1 Backing Sequence 2620-185477 0.8-58.0 Data Mode [i5M, CMP] ISM ........nnnccreeccccceccerrenanners Dump data saved on disk or received from other MIDI devices can be accepted on the ¿SM and the 155. СМР ..............eiieinener enero Dump data saved on disk or received from other CMP mode. * Arrangement * Style * Programs (D11-E88, Dr21-Dr28) MIDI devices can be used on other i-series systems (i2/i3/i4S/il). However, Korg will not guarantee the operation. Ma The following data (that is internally included in the i5M and the iSS) will not be compatible on the i2/i3/i4S/il even if they are dumped or saved in Using such data on the i2/i3/i4S/il models may cause a malfunction. It 1s advised that you provide proper care when using dump data in CMP mode on i-series systems other than the i5S. 5-29 Y | Global Mode 6/8 BALLAD Page 15 PITCH BEND SWITCH e OGLOBAL This page allows you to determine (for each of KB1 and KB2 keyboard timbres 0 + separately) whether the pitch bend wheel on a connected MIDI master keyboard A will function. O EA $F = dr 3 + s. . в. apna a "ees a "a = ENTE aes >... = a N A я ACÁ SEAN » » . " ва " 2 ee а в ав в. a a ян » ” a » .. = » . + a Half Sen ива я «а . = a. =. nad » + | KBD2 pitch bend KBD1 pitch operation bend operation KB2 (KB2 pitch bend switch) [ENA, DIS] When ENA is selected, operating the pitch bend wheel will change the KB2 pitch. When DIS is selected, the pitch bend wheel will be disabled. KB1 (KB1 pitch bend switch) [ENA, DIS] When ENA is selected, operating the pitch bend wheel will change the KB1 pitch. When DIS is selected, the pitch bend wheel will be disabled. With the ENA setting, some programs may not be affected by the pitch bend wheel operation. 5-30 REGGAE RHUMBA OGLOBAL + TANGO | HAWANAN O TEMPO/ VALUE DOWN UP Global Mode Y | Page 16 DAMPER Polarity Damper SW. Polarity [REVERSE (+), KORG (-)] You can connect a footswitch to the DAMPER jack on the rear of the iSM for use as a sustain pedal. This resembles the damper pedal on an acoustic piano. When the switch is pressed prior to releasing a note, the note will continue to play as though you had not released it. To use this effect, there is a need to set the polarity of the footswitch in this page. DS-1 and PS-1 Korg footswitches use an open polarity system. Select the KORG (=) setting when using one of these pedals. Some pedals made by other manufacturers use the opposite, or normally closed polarity. Select the REVERSE (+) setting for these pedals. If you use one of the Korg PS-2 pedals as a damper, select KORG (-) for the right-hand jack and REVERSE (+) for the left-hand jack of each pedal. If you have a pedal whose polarity you are not sure of, try using it with one setting, then switch it to the other if the i5M holds notes when you're not pressing the pedal. 5-31 w | Global Mode 5-32 Appendix A Error Messages Appendix A Error Messages [Jr TD TD TE TT CGR mm m,n, mm fn Sn НИНЫ МЫ НН М НЫ АНН НН НН НН НЫ НН НН = position setting. Various types of displays appear on the ¿5M” LCD, which include settings and the status of certain modes. Pop-up displays also show for several seconds when changing a program, volume or trans- indicating that a selection is being processed. If a warning message appears, you should immediately correct the condition or confirm the procedure before executing the function. Continuing operations when a warning message appears may | | Prompt messages also appear. These include warning of an operation, confirmation and messages | | | result in loss of data. ! | шея ши ша наш oe a oS SE ES EM ES SEE SER EE SEE ниш Ш НН Ш EE a A =) Backing Seq. Troubleshooting Empty measure, Empty track. Source is empty. Empty B. Sequence. Not enough memory. Measure won't fit. Measure overlaps. There is no data in this measure. Therefore, the operation is invalid. Check to see that you have selected the correct measure. There is no data in this track. Therefore, the operation is invalid. Check to see that you have selected the correct track. If this message appears during COPY MEASURE... Make sure you are not trying to copy an empty measure to another measure. Select the proper measure and track. If this message appears during BOUNCE TRACK... Make sure you are not trying to bounce an empty track to another track. Select the proper track. There is no data in this track. Therefore, the operation is invalid. There is not enough memory in the iSM to execute the command. Therefore, this operation is not valid. If the measure is copied or inserted as specified, there will be more than 999 measures in this track. The iSM cannot contain more than 999 measures on one track. Please check the length of the measure that you want to copy or insert, the number of times you want to copy the measure and the length of the destination track. The measures you are trying to copy overlap with the destination measures. Confirm the length and number of times the measures will be copied , as well as the destination measures. &5° Page 2-18 “Copy Measure” Appendix A Error Messages INTERACTIVE COMPOSITION (B. SEQ) Replay (Yes/No)? Erase Other (Yes/No)? Not enough memory. Keyboard Track Empty. This message will appear immediately after recording or when you press the START/STOP key. It is asking whether you want to change the chord on the chord track using the interactive composition function. If you select YES, the chord will be replaced and playing will continue. If NO is selected, the system will stop. There is not enough memory available to change the chord on the chord track using the interactive composition function. Erase backing sequence data on the i5M to free memory space. If there is data on the iSM that you do not want to lose, it is advised that you save that data on a disk using the Save All B. Sequence function in the sub page of the Global Mode's disk page. 1 Page 5-7 “Saving Backing Sequence Data” Even after the backing sequence data was saved or erased, there is still not enough memory for the i5M to operate properly. Therefore, the chord change was not executed. There is no data in the keyboard track. Therefore, the specified operation 1s not possible. Either record or load data into the track. SONG PLAY MODE Troubleshooting... More memory needed. Okay to erase B. Seg? There is not enough memory for the i5M to perform the data in SMF format 1. Erase backing sequence data on the i5M to free necessary memory? If there is data on the i5M that you do not want to lose, it is advised that you save that data on a disk using the Save All B. Sequence function in the sub page of the Global Mode disk page. 1° Page 5-7 “Saving Backing Sequence Data” Can't play all track. Continue? There is not enough memory for the i5M to play all the tracks in the performance data specified. If you continue the command, you will not hear all the tracks. Measure does not exist. Continue? Please wait a moment. Not SMF. SMF Format 2 Corrupt SMF А-2 Have you specified the correct measure? The measure number specified does not exist. Song data is being accessed from the floppy disk. The designated file is not a Standard MIDI File. Therefore, this data cannot be loaded into the i5M. Check to see that you have selected the correct file. The designated file is not a format 2 Standard MIDI File. Therefore, this data cannot be loaded into the iSM. Check to see that you have selected the correct file. The data in the Standard MIDI File that was selected is damaged. Therefore, this data cannot be loaded into the iSM. Others Battery Low Appendix A Error Messages The memory backup battery level within the iSM is low. Please have it replaced with a new battery as soon as possible. Otherwise, when you turn ON the i5M, the arrangement, program, user styles and other data in the user bank may be lost. Contact your local Korg dealer or an authorized Korg service center. Never attempt to replace the battery yourself, Disk Troubleshooting Messages Completed. No disk in drive. Can’t read disk. Can’t find file. Directory full. Empty file. Corrupt file. Disk protected. File protected. Can’t replace dir. The command has been completed. Now, you can start the next operation, There is no floppy disk in the floppy disk drive. Insert a disk into the drive and continue. The inserted floppy disk is not an iSM disk format. You cannot continue the current operation. Check to see that the correct disk is inserted. This message may appear due to unstable current or voltage conditions. Have you changed disks after selecting a file during the load, delete or rename operations? The necessary file does not exist on the floppy disk currently in the disk drive. Therefore, you cannot continue the function. Check to see that the correct disk is inserted. 15 Page 5-2 “Data saved on disk The directory is full and will not allow you to create another directory on that floppy disk. The command cannot be executed. Either erase unnecessary files from the disk, or replace the disk with another disk that has more memory available. There is no data available on the chosen file. The command cannot be executed. Erroneous disk operations will result in creating an empty file on a disk. If you find such a file on a disk, erase the file using the delete file (DEL) function in the utilities of the sub page in the Global Mode's disk page. ES Page 5-8 “DEL (Delete File)” The data on the chosen file is destroyed. The command cannot be executed. Check to see that the proper disk is inserted. If you have a backup of the file, load the copy. The write protect tab of the disk is open. The command cannot be executed. First, check to see if the proper disk is inserted. If you confirm that the disk can be overwritten, close the tab and resume the function. The selected file is a read only file. The command cannot be executed. First, check to see that the proper disk is inserted. The file’s protect status can be changed using a computer. However, it cannot be changed on the iSM. Confirm that the file can be overwritten and insert the disk in the disk drive of a computer to change the file's protect status. Insert the disk back into the i5M and continue the procedure. Refer to the owner’s manuals for the computer and operating system (basic software) of the computer to change the file category. The file name specified is already used as a directory on the disk. The command cannot be executed. Specify another file name and try the operation again. Appendix A Error Messages Can’t replace system. The file name specified is already used as a system file on the disk. The command cannot be executed. Specify another file name and try the operation again. Not i5M file format, The file specified is not an iSM file. The command cannot be executed. Specify the proper file name and try the operation again. Not enough memory. There is not enough memory available for the iSM to execute the operation. You must erase backing sequence data to attain more memory. If there is data on the ¿SM that you do not want to lose, it is advised that you save that data on a disk using the Save All B. Sequence function in the sub page of the Global Mode’s disk page. IF" Page 5-7 “Saving Backing Sequence Data” Erase the backing sequence data using the Erase B. Sequence page of the Back- ing Seq Mode to attain enough memory. Then, try the operation again. for another file on the disk. Do you want to replace the file on the disk with the contents of the new file? When the replace function is executed, all details of the old file will be lost from the disk. Empty B. Sequence There is no data in the backing sequence specified. The current command cannot | be executed. Missing Arrangement, There is no arrangement file on the inserted disk. Missing B. Sequence. There is no Backing Sequence file on the inserted disk. Missing some files. There are several files missing on the inserted disk. Wait a moment... Now loading... Now saving... Now formatting... These messages indicate that the disk drive is currently engaged. Please wait a moment until the command is completed. Already formatted. Continue? The disk specified to be formatted is already formatted and the prompt is request- ing whether you want to format the disk. Executing the formatting command will erase all files on the disk. Check to see that the proper disk is inserted. Disk has ??? file(s). Continue? The message is asking for confirmation whether to continue formatting the disk since it already contains ??? files. If you proceed with the format disk operation, you will lose all the data in these files. Check to see that the proper disk is inserted before executing the command. A-4 Appendix B Appendix B General Troubleshooting Trouble What to do The power cannot be turned on. Check that the AC adapter is connected to a suitable AC socket. Is the iSM power switch ON? Contact your local Korg dealer if the above remedies will not correct the problem. The i5M does not produce any sound. If you are using a sound system, check to see that the amp and mixers are connected properly. If you are using a sound system, check to see if the amp and mixer are ON and properly connected. Is the MASTER VOLUME slider of the ¿SM up? Does the MIDI channel of the iSM match that of the connected MIDI device? Is the local control OFF? If so, turn it ON. The wrong sounds are produced when playing an arrangement, backing sequence or song. Have you changed any user bank (Bank U) programs or Dr17-Dr18 drum programs? Load the appropriate data. Have you modified either of the two user drum kits? Load the appropriate data. Have you modified the arrangement? Load the appropriate data. The arrangement or backing sequence is playing the wrong song. Does the arrangement or backing sequence use one of the user styles? If so, have you loaded different styles from the disk? Load the appropriate data. The sound cannot be stopped. Make sure that the damper switch polarity parameter is set correctly. The selected arrangement or backing sequence cannot be played. Make sure that the MIDI Clock source is set to INT. If you are using an external clock source, make sure that the MIDI Clock Source parameter is set to EXT, and the external device is sending the MIDI Clock data correctly. The i5M does not respond to the incoming MIDI data. Check to see that all MIDI cables are connected properly. Make sure that the ¿5M is set to receive MIDI data on the channel that the sending device is using. Make sure that the i5M is not set to filter out the incoming MIDI data. Cannot write a program. Write programs only to Bank U or programs Dr27-Dr28. Some drum sounds do not play. Check the panpot and effect send level. Keys do not play the specified drum sounds. Check to see that the transpose function is set to +00. Appendix B Floppy Disk Troubleshooting Trouble What to do Cannot format the floppy disk. Are you using a 3.5 inch 2DD or 2HD floppy disk? Use only these types of disks. Is the disk inserted correctly? Make sure that the disk is not write protected with the tab set to protect. | Cannot save data to a floppy disk. ls the disk inserted correctly? Make sure that the disk is not write protected with the tab set to protect. Cannot load data from a floppy disk. Is the disk inserted correctly? Does the disk contain any data? Appendix C Appendix C ;. 64:65; = Middie C 575960 Ca Middle C | | | | | | 5960 Middle C os A ¡1 keyboard (88 keys) 45, ¡SS keyboard (61 keys) 52/53: | | | | 13, 1 1850 12 keyboard (76 keys) C3 a | | 45: a3 C4 0'41 I al | > C2 - numbers: 36 MIDI note a © N o aN о ha Ф a Е = с Lodo E1 bo 24 MIDI note MIDI note numbers: 21 Appendix C Recognized Chords All chords are shown in root position, with a root of C. Please note that in order for the i5SM to correctly recognize major 6th and minor 6th chords, you must play them in root position. This is necessary because these chords are made up of the same notes as minor 7th and minor 7th flat 5 chords in the relative minor (for example, C—E-G-A can be either C6 or Am7). Major 3-note 2-note у (O) ml 2-note 1-note | of [ Major 6th 4-note 2-note © © Major 7th 4-note 3-note — oO © (®)=chord tone [T]=available tension C-2 mn o 1 Sus 2 — — нии | LE —— pm [+] On O 3-note nl (®)| 0 |®) Dominant 7th Sus 4 4-note X (@)=chord tone [T]=available tension an Appendix C Appendix C Minor 3-note Ш Jam 4-note 4-note Ш _ a EER ай = E or © 4-note it pres | Minor-Major 7th 4-note O E ne ALE (6)=chord tone [T]=available tension C4 Appendix C Diminished Diminished Major 7th 3-note 4-note Rall gh Augmented Augmented 7th | 3-note 4-note ПОНИ ome | | oa | | Augmented Major 7th ~~ 4-note I | M | | © Major 7th "5 Major 7th Sus 4 4-note 4-note || || e | | ojo Dominant 7th 5 EL al (e) =chord tone [T|=available tension 4-note С-5 Appendix C Drum Map Tables These tables show how the specified drum sounds are changed when you select the drum maps. Drum sounds unaffected by the drum maps do not appear here. For this reason, drum map 5 is not listed, as all of the drum sounds remain unaffected when using this map. Drum Map 1 (percussion) Drum Map 2 (no snare) Original note data Re-mapped to: Snare 1, 2, 3, 4 (D2, E2, At, F1) Pedal Hi-hat Sidestick (C#2) Closed Hi-hat Snare Roll/Reversed Snare (A#1) Closed Hi-hat Original note data | Re-mapped to: Original note data | Re-mapped to: Original note data | Re-mapped to: Kick 1 (C2) Clave Sidestick (C#2) Hi Woodblock Crash 1 (C#3) Vibrastap Kick 2 (81) Low Woodblock Snare Roll/Reversed Bongo Slap Crash 2 (A3) Bell Tree Kick 3 (G1) Hi Agogo Snare (A#1) China Crash (E3) | Bell Tree Kick 4 (E1) Hi Bongo Closed Hi-hat (F#2) | Shaker 7 Splash (G3) Jingle Snare 1 (D2) Cowbell Accent Hi-hat (F#1) | Tambourine Hi Tom 1 (D3) Hi Bongo Snare 2 (E2) Castanets Open Hi-hat (A#2) | Cabasa Hi Tom 2 (C3) Lo Bongo Snare 3 (A1) Low Agogo Pedal Hi-hat (G#2) | Maracas Mid Tom 1 (B2) Mute Conga Snare 4 (F1) Low Bongo Ride 1 (D#3) Muted Triangle Mid Tom 2 (A2) Hi Conga Ride 2 (B3) Maracas Low Tom 1 (G2) Low Conga Ride Bell (F3) Open Triangle Low Tom 2 (F2) Low Timbale Drum Map 3 (sidestick and hi-hat) Original note data Re-mapped to: Snare 1, 2, 3, 4 (D2, E2, A1, F1) Sidestick Sidestick (C#2) *Спаге 1, 2, 3, ог 4 Snare Roll/Reversed Snare (A#1) Sidestick * The snare sound you hear will be determined by the current arrangement. Drum Map 4 (sidestick and ride) Original note data Re-mapped to: Snare 1, 2, 3, 4 (D2, E2, A1, F1) Sidestick Sidestick (C#2) *Snare 1, 2, 3, or 4 Snare Roll/Reversed Snare (A#1) Sidestick Closed Hi-hat (F#2) Ride 1 Accent Hi-hat (F#1) Ride 2 Drum Map 6 (snare and ride) Original note data Re-mapped to: Open Hi-hat (A#2) Ride Bell Ride 1 (D#3) Closed Hi-hat Ride 2 (B3) Accent Hi-hat Ride Bell (F3) Open Hi-hat * The snare sound you hear will be determined by the current arrangement. Original note data | Ве-тарреа to: Original note data | Re-mapped to: Closed Hi-hat (F#2) | Ride 1 Ride 1 (D#3) Closed Hi-hat Accent Hi-hat (F#1) | Ride 2 Ride 2 (B3) Accent Hi-hat Open Hi-hat (A#2) | Ride Bell Ride Bell (F3) Open Hi-hat C—6 Drum Map 7 (open hi-hat) Original note data Re-mapped to: Original note data Re-mapped to: Drum Map 8 (crash) Closed Hi-hat (F#2)| Open Hi-hat Ride 1 (D#3) Open Hi-hat Accent Hi-hat (F#1) | Open Hi-hat Ride 2 (B3) Open Hi-hat Ride Bell (F3) Open Hi-hat Original note data Re-mapped to: Accent Hi-hat (F#1) Crash 2 Open Hi-hat (A#2) Crash 1 Appendix C Appendix C MIDI Implementation Chart Function Transmitted Recognized Remarks Default 1-16 1-16 Basic Channel Memorized Changed 1-16 1-16 Default 3 Mode Messages X X Altered VE e AAA AE A eee AAA Note 24-108 0-127 When sequencer data is Number: True Voice el e M M He de A 0-127 sent: 0 - 127 Note On O 9n, V=1 - 127 O 9n, V=1 - 127 Wh data i . en sequencer data is Velocity Note Off X X sent: 2- 126 Polyphonic (Key) O O Sequencer can record and *A Aftertouch Monophonic , ; (Channel) O O play polyphonic aftertouch *A Pitch Bend O O *C 0,32 | O O Bank Select (MSB, LSB) *P 1,2 | О O Modulation (pitch, cutoff) *C 4,64 | O O Pedal (scale, damper) *C 6,38 | O O Data Entry (MSB, LSB) *E 7,11 | O O Volume, Expression *C 10, 91,93 | О O A:B panpot, send C, D *C Control 12,13 | O O Effect controller 1, 2 *C Change EG time (Release, Attack), 9 72, 73,74 | O О Brightness *С 92,94 | O O Effects 1, 2 on/off *C 96,97 | O O Data Inc, Dec "E 100, 101 | X O RPN (LSB, MSB) *2 120,121 | X O All sound off, Reset all Cntrls 0-101 | © O (Sequencer data) 00-127 00-127 "P Change Variable Range oA WP ok EA ATA ok 0 _ 127 System Exclusive O O "3 "E Song Position O O *1 System * Common Song Select 00-9 00-9 1 Tune X X Clock О O "1 System Real Time Command О О +1 Local On/Off X O AUX All Notes Off X O (123 - 127) Messages Active Sense O O Reset X X *C, *P, *A, *E: Sent and received when MIDI Fiiter (Controller, Program Change, Aftertouch, System Exclusive) is set to ENA. Notes *1: When clock is set to internal, sent but not received. When set to external, received but not sent. *2: LSB, MSB = 00,65: pitch bend range, =01,65: fine tune, =02,65: course tune *3: Includes Inquiry, GM Mode On/Off, Master Balance, and Master Volume messages. Mode 2:OMNI ON, MONO O: Yes Mode 4:OMNI OFF, MONO X: No Mode 1:OMNI ON, POLY Mode 3:OMNI OFF, POLY C-8 Mi DI IMPLEMENTATION 1. TRANSMITTED DATA 1-1 CHANNEL MESSAGES Status (Hex) | Second (Hex) Third (Hex) Description ENA 1000 nann (8n) | Okkk kkkk (kk) | 0100 0000 (40) | Note Off A kkk kkkk=24~108 ( BlKeystTranspose ) 1001 annn (9n) | Okkk kkkk CKK) | Ovvv vvvwv (vv) | Note On A kkk kkkk=24~108 ( E6lKeys!Transpose ) vw vvww:l--127 1010 nnnn (And | Okkk Kkkk (kk) | Ovvv vvvv (чу) | Poly Key Pressure ( Recorded Seg Data ) T. Q 1011 nnnn (Bn) | 0000 0000 (00) | Omma mmem (mm) | Bank Select(USB) ( BANK Key. etc ) *i | P 1011 annn (Bn) | 0000 0001 (01) | Ovvv vvvv (vv) | Modulation | ( Joystick(+Y) ) C 1011 'nnnn (Bn) | 0000 0010 (02) | Ovvv vvyv (vv) | Modulation 2 ( Joystick(-Y) ) C 1011 nnnn (Ba) | 0000 0100 (04) | 0000 0000 (00) | Foot Pedal ( Select Main Scale ) C 1011 nnan (Ba) | 0000 0100 (04) | 0111 1111 (7F)| Foot Pedal ( Select Sub Scale ) С 1011 nann (Bn) | 0000 0111 (07) | Ovvv vvvv (yv) | Volume ( Assign Pedal, etc) С 1011 nnnn (Bn) | 0000 1010 (0А) | Омуу vvvv (vv) | Panpot ( by A:B Panpot ) C 1011 gggg (Bg) | 0000 1100 (0C) | Ovvv vvvv (vv) | Effect Control { Assignable Pedal ) С 1011 nnnn (Bn) | 0010 0000 (20) | 0111 1111 (11) | Bank Select(LSB) ( BANK Key, etc) * | P 1011 nnnn (Bn) | 0100 0000 (40) | 0000 0000 (00) | Hold 1 Off ( Damper Pedal ) C 1011 nnnn (Bn) | 0100 0000 (40) | 0111 1111 (7F) | Hold 1 On ( Damper Pedal ) С 1011 nnnn (Ва) | Оссе сссс (сс) | Ovvv vvvv (vv) | Control Data ( Recorded Seq Data ) C. Q eee ecec=00--127 1100 nann (Cn) | Oppp pppp (pp) | ---- ---- Program Change ( Prog Change) *1 | P 1101 nnnn (Dn) | Qvvv vvwy (yv) | ---- ---- Channel Pressure ( Aftertouch ) T 1110 nonp (En) | Obbb bbbb (bb) { Obbb bbbb (bb) | Pitch Bend { Joystick(X) ) С 1-2 SYSTEM COMMON MESSAGES Status (Hex) Second (Hex) Third (Hex) Description 1111 0010 (F2) 1111 0011 (F3) 0555 5555 (ss) 0000 ssss (ss) | - Ottt tttt (tt) Song Position Pointer 555 $555 : Least significant (LSB) ttt tttt : Most significant (MSB) Song Select _ssss_: Song No. = 0-9 *2 *2 Transmited when in Song mode (Internal Clock) When the number is changed, the iSM transmits [ Song Select], then [ Bank Select], (Program Change]. [Volume]. and [Panpot] for each track whose Status = EXT or BOTH. Then [Song Position Pointer]. ¥2 : For Example Time Signature = 4/4, 8/8 tt.ss = 00.10 / Measure 1-3 SYSTEM REALTINE MESSAGES Status (Hex) Description 1111 1000 (F8) Timing Clock *3 1111 1010 (FA) Start *3 1111 1011 (FB) Continue *3 1111 1100 (FC) Stop *3 1111 1110 (FE) Active Sensing nnan : MIDI Channel No. (0~~15) Usually Global Channel. When using sequencer. each track’ s channel. gegg : Always Global Channel No. (0-15) VVVV - ENA x] : = А : С: P : T : Q : Value Always Enabled Enabled when Control Filter in GLOBAL Node is ENA Enabled when Program Filter in GLOBAL Mode is ENA Enabled when Aftertouch Filter in GLOBAL Mode is ENA Enabled when sequencer is playing (trapsmitting) or recording (receiving) T.Q: T and Q С, 9: С and Q Program : MIDI Out (Hex) ALÍ--A88: mm, 11. pp = 38.00, 00-3F 38. 00, 40-7F 00.01, 00--3F 00, 01, 40--7F 00.03, 00--3F 00, 03, 40--7F 3E, 00, 00 3E, 00.10 JE, 00.19 ЗЕ. 00. 20 ЗЕ, 00, 28 ЗЕ, 00, 40 JE, 00, 18 3£.00.30 . 3E. 00, 78~7F B11--B88: C11--C88: U11--U88: D11--D84: El1--E88: Drii : Dr12 Dr13 Dr 14 Br15 Dri6 Dr17 : Dr18 : Dr2i~28: Arrangement 0117-0188: ALL ABB: B11--B88: mm, 11 pp = 00.00. 00--3F 00. 01. 00--3F 00. 01, 40--7F *3 : Transmits when in Song or Backing Sequence mode (internal Clock) 1-4 UNIVERSAL SYSTEN EXCLUSIVE MESSAGES (DEVICE INQUIRY REPLY) Byte (Hex) Description 1111 0000 (FO) | Exclusive Status ” 0111 1110 (7E) | Non Realtime Message 0000 gggg (0g) | MIDI GLOBAL CHANNEL € DEVICE iD) 0000 0110 (06) | INQUIRY MESSAGE 0000 0010 (02) | IDENTITY REPLY 0100 0010 (42) { KORG ID ( MANUFACTURERS ID ) 0011 1001 (39) i-series ID © FAMILY CODE (LSB)) 0000 0000 (00) ( " # (HSB)) 0000 010! (05) ( MEMBER CODE (LSB)) 0000 0000 (00) ( " ” (XSB)) O4ER XKEX (AX) | ROM No. 1~~ ( Minor Ver. (LSB)) 0000 0000 (00) ( " ” (MSB)) O%kx AER (ЖЖ) | SOFT VER. 1~ ( Major Ver. (LSB)) 0000 0000 (00) ( " ” (WSB}} 1111 0111 (F7) | END OF EXCLUSIVE Transmits when INQUIRY MESSAGE REQUEST Received 1-5 STRUCTURE OF Ist Byte 2nd Byte 3rd Byte 4th Byte 5th Byte 6th Byte LastByte KORG SYSTEM EXCLUSIVE MESSAGES 1111 0000 (FO) : 0100 0010 (42): 0011 ggeg (3g) 0011 1100 (3C) : Offf ffff (ff) : Oddd dddd (dd) : 1111 0111 (F7) Exclusive Status i KORG ID : Format ID g:Global ch. EX. Header iSMID Function Code (See Func Code List) Data : End of Exclusive EOX | yewio4 eyeq ICIN 7 xipusddy 1-6 Transmited Function Code List Func Descríption RIDI(EI € 42 | MODE DATA O 4E | MODE CHANGE Ox 53 | DRUM KIT PARAMETER CHANGE Ox5 40 | ALL PROGRAM PARAMETER DUMP O 64 | ALL ARRANGEMENT PARAMETER DUMP O|O 65 | ALL STYLE DATA DUMP O 66 | ALL BACKING SEQUENCE DATA DUNP O!O 5} | GLOBAL DATA DUMP O1O 52 | DRUMS DATA DUMP OO 50 | ALL DATA(GLB. DRE. PRG. ARR. STY, SEG, BSO)DUNP | O | O 26 | RECEIVED MESSAGE FORMAT ERROR O O 93 | DATA LOAD COMPLETED (ACK) O 24 | DATA LOAD ERROR (NAK) O 67. | CHORD Transmitted when R : Request message is received Data dump from Global mode ( Doesn't respond to Exclusive ENA, DiS) BD: E : Exclusive message is received С: Some Request Nessages are not received in some modes. * When transmiting a series of exclusive messages to the 15М, wait until [ DATA LOAD COMPLETED ] or [WRI Kode or No. is changed by switch TE COMPLETED] is received. *4 : Transmited when Node is changed. See 2-6. *5 : Transmited when editing drum kit's parameters in GLOBAL mode. 2. RECOGNIZED RECEIVE DATA 2-1 CHANNEL MESSAGES 1000 1001 1001 1010 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 1011 i011 1011 1011 1011 101 1011 1011 1011 1011 1011 1011 1100 1101 | 1110 nnnn REEE * Хх: Status (Hex) nnnn (En) | Obbb bbbb (bb) | Obbb bbbb (bb) | Bender Change : MIDI Channel No. (0~15) +++) Usually Global Channel. Second (Hex) nnnn (8n) { Okkk kkkk (kk) | Oxxx xxxx (xx) | Note Off nnnn (9n) | Okkk kkkk (kk) 1 0000 0000 (00) Note Off nann (9n) | Okkk kkkk (kk) | Ovvv vvvv (vv) | Note On nnnn (Bn) | 0000 0100 (04) | OOvv vvvv((40) | Foot Pedal Off nnnn {Bn) | 0000 0100 (04) | Olvv vvvv()3F) | Foot Pedal On nann (Bn) | 0000 011t (07) | Ovvy vvvv (vv) | Volume nnnn Вл) { 0000 1010 (OA) { Ovvy vvvv (vv) | Panpot nnnn (Bn) | 0000 1011 COB) | Ovvv vvvv (vv) | Expression ggeg (Bg) | 0000 1100 (OC) | Ovvy vvvv (vv) | Effect Control ggeg (Bg) { 0000 1101 COD) | Qvvv vvvv (vv) | Effect Control nann (Ba) | 0100 0000 (40) | 00хх хххх( (40) | Holdl Off annn (Bn) | 0100 0000 (40) ) Olxx xxxx()3F) ” On nnnn (Bn) | 0100 1000 (48) | Ovvv vvvv (vv)! Release Time nann (Bn) | 0100 1000 (49) | Ovvv vvvv (vv) | Attack Time nann (Bn) { 0100 1000 (4A) | Ovvv vvvv (vv) | Brightness попа (Bn) | 0101 1011 (58) | Ovvv vvvv (vv) | Reverb Level gege (Bg) | 0101 1100 (5C) | DODO 0000 (00) | Effect] Level gege (Bg) | 0101 1100 (5C) | Oxxx xxxx()00) d " nnnn (Bn) } 0101 1101 (59) | Ovvv vvvv (vv) | Chorus Level gegg (Bg) | 0101 1110 (5E) | 0000 0000 (00) | Effect? Level gggg (Bg) | 0101 1110 (5B) | Oxxx xxxx()00) " " nnnn (Ba) { 0110 0000 (60) | 0000 0000 (00) | DATA Increment nnan (Bn) | 0110 0001 (61) | 0000 0000 (00) | DATA Decrement nann (Ba) | 0111 1000 (78) | 0000 0000 (00) | All Sound Off nnnn (Bn) | Оссс сссе (сс) | Ovvv Муту (vv) | Control Data nana (Bn) { 0111 1011 (7B) | 0000 0000 (00) | All Notes Off nnnn (Ba) | OLLA LITO C7E) | 000m mmam( (11) | Mono Mode On nnan (Bn) | 0111 1111 C7F) | 0000 0000 (00) | Poly mode On nnnn (Cn) | Oppp pppp (pp) | =--- ---- nnnn (Dn) | Ovvv vvvv (yv) | ---~ --~- Third (Hex) Description ENA о А A A vvv veyy=1~127 nnnn (An) | Okkk kkkk CkK) | Ovvv vvvv (vv) | Poly Key Pressure ( For Seq. Recording ) T.Q nnnn (Bn) | 0000 0000 (00) | Ommm mmmm (mm) | Bank Select (KSB) *1| P nnnn (Bn) { 0000 0001 (01) | Ovvy vvvv (vv) | Modulationl Depth ( Pitch Modulation ) С плоп (Ba) | 0000 0010 (02) | Ovvv vvwv (vv) | Nodulation2 Depth ( Cutoff Modulation ) С ( Select Main Scale ) С ( Select Sub Scale ) С annn (Ba) | 0000 0110 (06) | Qvvv vvvv (уч) | Data Entry (MSB) ( For RPN Edit ) С С { А:В Рапро! › С С ( Dyna Nod Src: PEDAL ) С ( Dyna Mod Src- PEDAL2 ) С anan (Bn) | 0010 0000 (20) | 0111 1111 (11) | Bank Select(LSB) x] P nnnn (Bn} | 0010 OL10 (26) | Ovvv vvyv (vv) | Data Entry (LSB) ( For RPN Edit ) С ( Damper Off ) C ( Damper On ) С ( Perf Edit Rel Time 3x4 | C (o # Atk Time )*4 С (м # Cutoff ) »*4 С { Send C Level ) С ( FX1 Off) С ( FX! On) С ( Send D Level ) С { FX2 Off ) С ( FX2 On } С ( Рог RPN Edit ) С ( For RPN Edit ) С nnnn (Bn) | 0110 0100 (64) | 0000 OOrr (Or) | RPN Parameter No. (LSB) *3 | A onan (Bn) | 0110 0101 (65) 1 0000 0000 (00) | RPN Parameter No. (NSB) *3| A С nana (Ba) | 0111 100! (79)! 0000 0000 (00) | Reset All Controllers С ( For Seq. Recording ) С, @ ccc cccc=00~127 gege (Bg) | 0111 1010 (ТА) | 0000 0000 (00) | Local Control Off A ggeg (Bg) 1 0111 1010 C7A) | OLL1 1111 C7F) | Local Control On A A поло (Bn) | 0111 110x (7x) | 0000 0000 (00) | Omni Mode Off/On ( All Notes Off) A ( All Notes Off } A m mopn=0~-16 ( All Notes Off) A Program Change { Prog. Comb CHG > *1,2{ P Channel Pressure X Aftertouch ) T ( Pitch Bend ) с Then in SONG Mode. each track's channel. Always Global Channel No. (0-15) Random 9 xipueddy 11-0 *| : MIDI In (Hex): Program am 11, pp = 00. 00, 00~3F : ALL—A88 2-3 SYSTEM REALTINE MESSAGES 00, 00, 40~7F : B11--B88 Status (Hex) Description 00. 01, 00--3F : Cl11--C38 1111 1000 CF8) | Timing Clock *5 00. 01, 40~7F : UL1--U88 1111 1010 (FA) | Start *5 00, 02, 00--0F : Drill 1111 1011 (FB) | Continue *5 00, 02, 10~17 : Dri? 1111 1100 (РС) | Stop *5 00, 02, 18 © Del? 1111 1110 (РЕ) | Active Sensing 00. 02. 19 : Dri3 *5 : Received when in SONG mode (External Clock) 00, 02, 1A~1F : Dri? 2-4 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE ( NON REALTIME ) 00, 02. 20~27 : Drl4 Byte (Hex) Description 00. 02, 28-2F : Dri5s 1111 0000 (FO) | EXCLUSIVE STATUS 00, 02, 30-37 : Dr18 0111 1110 (7E) 1 NON REALTIME MESSAGE 00. 02, 38~3F : Drill Oggg ggee (gg) | MIDI CHANNEL *6 00, 02. 40—47 : Dri6 0000 anaa (0a) | SUB ID ! *7 00, 02, 48-77 : Drll 0000 00bb (0b) | SUB ID 2 *7 00. 02, 738--7F : Dr21--Dr28 1111 0ill (F7) | END OF EXCLUSIVE 00, 03, 00~3F : DI1--D88 *6 : gg = 0~F : Received if Global Channel 00. 03, 40~TF : El1--E88 = 7F : Received on any Channel 38. xx, 00~3F : All~A88 *7 : a,b = 06.01 : INQUIRY MESSAGE REQUEST 38, xx, 40~7F : Bl1~-B88 - 09.01 : GENERAL MIDI MODE ON 39. xx, 00~3F : All~-A88 ( Received anytime except when Seq playing/recording. or when DATA FILER page is 39, xx, 40~7F : Bl11~~B88 selected) 3E, xx, 00~OF : Drll 3E, xx, 10~17 : Drl2 2-5 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE ( REALTIME ) 3E, xx. 18 : Dri? Byte (Hex) Description 3E. xx, 19 - Drig 1111 0000 (FO) EXCLUSIVE STATUS 3E, xx, LA-1F : Dri? 0111 t111 (7F) | REALTIME MESSAGE JE, xx, 20-27 : Dri4 Oggg eggg (gg) | MIDI CHANNEL *6 3B. xx. 28~2F : Drl5 0000 0100 (04) | SUB 1D 1 3E. xx. 30-37 : Dr18 0000 00bb (0b) | SUB ID? *8 JE. xx, 38~3F : Drill Ovvv vvvv (vv) | VALUE(LSB) *8 JE. xx, 40-47 : Drl6 Ommm mmmm (am) | VALUE(MSB) *8 JE, xx, 48-77 : Drll 1111 0111 (F7) | END OF EXCLUSIVE JE, xx, 78-7F : Dr21--Dr28 *8 : b = Ol : MASTER VOLUME € mm. vv = 00, 00--7F, 7F : Min Max ) 3F, XX, XX : OFF = 02 : HASTER BALANCE ( mm. vv = 00. 00-—40, 00~7F.7F : lL~Center~R ) xx : Random *2 : After processing (while Exclusive = ENA) transmits exclusive message [DATA LOAD COMPLETED] or [DATA LOAD ERROR]. *3 - rr = 0 : Pitch Bend Sensitivity = | : Fine Tune ( When Received Ch = Global Ch. Master Tune ) = 2 : Coarse Tune ( Transpose ) 40: Fast or Dark 40: No change 40: Slow or Bright ЖА с чу et em 2-2 SYSTEM COMMON MESSAGES Status (Hex) | Second (Hex) | Third (Hex) Description 1111 0010 (F2) | Osss ssss (ss) | Ottt tttt (tt) | Song Position Pointer 1111 0011 (F3) | 000s ssss (ss) | ---- ---- Song Select Received when in SONG mode (External Clock) 7 xipueddy C) 2-6 SYSTEM EXCLUSIVE MESSAGES JL N * Not received when Sequencer is playing, recording. or when the DATA FILER page is selected. Function Code List Func Description СТА No. 12 MODE REQUEST OlO| 42 1C | ALL PROGRAM PARAMETER DUMP REQUEST © | О! 4c 30 | ALL ARRANGEMENT PARAMETER DUMP REQUEST © | О} 64 31 | ALL STYLE DATA DUMP REQUEST OIOL 65 32 | ALL BACKING SEQUENCE DATA DUMP REQUEST © | O; 66 0E { GLOBAL DATA DUMP REQUEST QO}; 51 0D | DRUMS DATA DUMP REQUEST ©|O| 5 OF ALL DATA(GLB. DRM. PRG. ARR. STY., SEQ. BSQ)DUNP REQ | © { O | 50 4C | ALL PROGRAM PARAKETER DUMP elo: 23 64 | ALL ARRANGEMENT PARANETER DUMP © | O| 23 65 | ALL STYLE DATA DUXP © |O| 23 66 | ALL BACKING SEQUENCE DATA DUMP 91071 23 51 | GLOBAL DATA DUMP ФО 10| 23 52 | DRUMS DATA DUMP © | O1 23 50 | ALL DATA(GLB. DRN, PRG. ARR. STY. SEQ, BSQ) DUMP © |O| 23 4E | MODE CHANGE Oi1O| 23 41 | PARAMETER CHANGE 23 53 | DRUM KIT PARANETER CHANGE O 23 87 | CHORD OLO Received when in G : GLOBAL Mode (© Does not respond to Exclusive ENA. DIS on DATA DUMP page) A :any other mode No. : MIDI Qut Function No. (transmitted after the message has been received.) 3. MIDI EXCLUSIVE FORMAT (R : Receive. T : Transmit) See 1-5 “STRUCTURE OF KORG SYSTEM EXCLUSIVE MESSAGES’ (1) MODE REQUEST R Byte Description FO. 42, 3g. 39 EXCLUSIVE HEADER 0001 0010 (12) NODE REQUEST 12H 1111 0111 (F7) EOX Receives this message, and transmits Func=42 message. (2) ALL PROGRAN PARAMETER DUMP REQUEST R Byte Description FO. 42. 3g. 39(3C) 0001 1100 (iC) EXCLUSIVE HEADER ALL PROGRAM PARAMETER DUMP REQUEST 1CH 1111 0111 (F7) EOX Receives this mess age, and transmits Func=4C or Func=24 message. (3) ALL ARRANGEMENT PARAMETER DUNP REQUEST R Byte Description FO. 42, 3g. 39(3C) 0011 0000 (30) 1111 Oil (F7) EXCLUSIVE HEADER ALL ARRANGEMENT PARAMETER DUMP REQUEST 30H EOX Receives this mess age. and transmits Func=64 or Func=24 message. (4) ALL STYLE DATA DUMP REQUEST R Byte Description FO, 42. 3g, 39(3C) EXCLUSIVE HEADER 0011 0001 (31) ALL STYLE DATA DUMP REQUEST 31H 1111 0111 (F7) EOX Receives this mess age, and transmits Func=685 or Func=24 message. (5) ALL BACKING SEQUENCE DATA DUMP REQUEST R Byte Description FO. 42, 3g, 39(3C) 0011 0010 (32) 1111 0111 (F7) EXCLUSIVE HEADER ALL BACKING SEQUENCE DATA DUMP REQUEST 32H EOX Receives this message. and transmits Func=66 or Func=24 message. (6) GLOBAL DATA DUMP REQUEST R Byte Description FO, 42, 3g. 39(3C> EXCLUSIVE HEADER 0000 1110 (OE) GLOBAL DATA DUMP REQUEST OEH 1111 0111 (FT) EOX Receives this message. and transmits Func=51 or Func=24 message. (7) DRUNS DATA DUKP REQUEST R Byte Description FO. 42. 3g, 39(3C) EXCLUSIVE HEADER 0000 1101 (0D) DRUMS DATA DUMP REQUEST ODH 1111 0111 (F7) EOX Receives this message. and transmits Func=52 or Func-24 message. (8) ALL DATA(GLB. DRM, PRG. ARR, STY, SEQ, BSQ ) DUMP REQUEST R Byte Description FO. 42, 3g, 39(3C) EXCLUSIVE HEADER 0000 1111 (OF) ALL DATA DUMP REQUEST OFH [111 0111 (FT) EOX Receives this message, and transmits Func:50 or Func=24 message. 7 xipueddy €1-0 (9) ALL PROGRAM PARAMETER DUMP R, T | Byte Description FO, 42. 3g. 39(3C) | EXCLUSIVE HEADER 0100 1100 (4C) | ALL PROGRAM PARAMETER DUMP 4CH Oddd dddd (dd) Data (NOTE 1.3) 1111 0111 (F7) | EOX Receives this message 4 data, and transmits Func=23 or Func=24 message. Receives Func=1C message. and transmits this message 4 data. (10) ALL ARRANGEMENT PARAMETER DUNP R, T Byte Description FO, 42, 3g, 39(3C) EXCLUSIVE HEADER 0110 0100 (64) ALL ARRANGEMENT PARAMETER DUMP 64H Oddd dddd (dd) Data (NOTEL. 4) 1111 0111 CF?) EOX Receives this message & data, and transmits Func=23 or Func=24 message. Receives Func=30 message. and transmits this message & data. Transmits this message & data when DATA DUMP is executed (11) ALL STYLE DATA DUMP К, т ‚Byte Description FO. 42. 3g. 39(3C) EXCLUSIVE HEADER 0110 0101 (65) ALL STYLE DATA DUNP 65H (NOTE 1. 5-1) 0ddd dddd (dd) 0ddd dddd (dd) 1111 0111 (FD) Style Header Style Data EOX (NOTE 1,5-2) Receives this message & data. and transaits Func=23 or Func=24 message. Receives Func=3] message. and transmits this message & data- (12) ALL BACKING SEQUENCE DATA DUNP R, T Byte Description FO. 42, 3g, 39(3C) EXCLUSIVE HEADER 0110 0110 (66) ALL BACKING SEQUENCE DATA DUMP 66H 0565 5555 (ss) Backing Sequence Data Size (NOTE 7-1) 0ddd dddd (dd) Control Data (NOTE 1, 7-2) 0ddd dddd (dd) Backing Sequence Data (NOTE 1, 7-3) 1111 0111 (F7) |_ EOX Receives this message & data. and transmits Func=23 or Func=24 message. Receives Func=32 message. and transmits this message 4 data. Transmits this message & data when DATA DUNP is executed. (13) GLOBAL DATA DUMP_ Byte Description R, T FO. 42. 3g. 39(3C) 0101 0001 (51) 0ddd dddd (dd) (111 0111 (F7) EXCLUSIVE HEADER GLOBAL DATA DUMP Data EOX 51H (NOTE 1.8) Receives this message & data. and transmits Func=23 or Func=24 message. Receives Func-0E message, and transmits this message & data. Transmits this message & data when DATA DUMP is executed. (14) DRUMS DATA DUMP Byte FD. 42. 3g, 39(30) 0101 0010 (52) Oddd dddd (dd) 1111 0111 (FT) R. T Description EXCLUSIVE HEADER DRUMS DATA DUKP 52H Data (NOTE 1.9) EOX Receives this message & data. and transmits Func=23 or Func=24 messsage. Receives Func=0D message. and transmits this message & data. Transmits this message 4 data when DATA DUMP is executed. (15) ALL DATACGLB, DRK, PRG, ARR. STY, SEQ, BSQ) DUMP Byte FO. 42, 3g. 39“ 3C) 0101 0000 (50) 0Osss ssss (ss) 0sss ssss (ss) 0ddd dddd (dd) 1111 0111 (F7) R, T Description EXCLUSIVE HEADER ALL DATA DUMP 50H 12/13 Sequence Data Size (NOTE 6-1) Backing Sequence Data Size (NOTE 7-1) Data | (NOTE 1. 10) EOX Receives this message & data, and transmits Func:=23 or Func=24 message. Receives Func=0F message. and transmits this message & data Transmits. this message & data when DATA DUMP is executed. (16) MODE CHANGE R, T Byte Description FQ. 42. 3g. 39 EXCLUSIVE HEADER 0100 1110 C(4E) MODE CHANGE 4EH 0000 mmmm (Om) Node Data (NOTE 11) 1111 0111 (F7) EOX Receives this message & data. changes the Node, and transmits Func=23 or Func=24. Then the mode is changed by switch, this message 4 data is transmitted. (17) PARAMETER CHANGE R | — Byte Description FO, 42. 3g, 3C EXCLUSIVE HEADER 0100 0001 (41) PARAMETER CHANGE 41H Oppp pppp pp) | Parameter No. (TABLE 3) Ovvv vvvv (vv) Value (LSB bit6--0) (NOTE 12) Ovvv vvvv (vv) Vaiue (NSB bit13~7) (NOTE 12) 1111 0111 CF?) EOX Receives this message & data. and transmits Func=23 or Func=24 message. When the Parameter No. is changed by switch. this message & data is transmitted 7 xipueddy © | «= pa (18) DRUM KIT PARAM Byte FO. 42. 3g, 39(3C) 0101 0011 (53) 0000 000k OK) 00ss ssss (ss) 0000 pppp (Op) Ovvy vvvv (vv) Ovvv vwwv (vv) 1111 0111 (F7) EOX ETER CHANGE R, T Description EXCLUSIVE HEADER DRUN KIT PARANETER CHANGE 53H Drum Kit No. (NOTE 14) Index No. ( ss:00--59 ) Parameter No. (TABLE 9) Value (LSB bit6~0) (NOTE 12) Value (NSB bit13~7) (NOTE 12) Receives this message & data. and transmits Func=23 or Func=24 message. (19) KODE DATA T Byte Description FO. 42, 3g. 39 EXCLUSIVE HEADER 0100 0010 (42) NODE DATA 42H 0000 mmmm (Om) Node Data (NOTE 11) 0000 0000 (00) 1111 0111 (F7) EOX Receives Func=12 message. and transmits this message 4 data. (20) MIDI IN DATA FORMAT ERROR T Byte Description FO. 42, 3g. 39(3C) EXCLUSIVE HEADER 0010 0110 (26) MIDI IN DATA FORMAT ERROR 26H 1111 0111 (F7) EOX Transmits this mes qgse when there is an error in the MIDI ¡N message (for example. if data length is an expecte (21) DATA LOAD COMPLETED ( ACK ) T Byte Description FO. 42, 3g. 39(3C) EXCLUSIVE HEADER 0010 0011 (23) DATA LOAD COMPLETED 23H 1111 0111 (FT) EOX Transmits this message when DATA LOADING and PROCESSING have been completed. (22) DATA LOAD ERROR € NAK ) T Description F0. 42, 3g. 39(3C) EXCLUSIVE HEADER 0010 0100 (24) DATA LOAD ERROR 24H EOX [1111 0111 (F7) Transmits this nesgage when DATA LOADING and PROCESSING have not been completed (for example. if memory 1S pro (23) CHORD T Byte Description FO. 42. 3g. 39 EXCLUSIVE HEADER 0110 0111 (67) | CHORD 67H 0000 rrrr (Or) | Root (C=0) 0000 bbbb (0b) Bass (C=0) ; 0ccec cece (ec) | Chord type (LSB) (NOTE 14) 000c cccc (cc) | Chord type (NSB) (NOTE 14) Ottt tttt (tt) | Tension note(s) (LSB) (NOTE 15) 000t tttt (tt) | Tension note(s) (KSB) (NOTE 15) 1111 OL14 (F7) | EOX NOTE 7 7-1: T-2: 7-3: NOTE 8 NOTE 9 NOTE 10 NOTE 11 NOTE 12 : : GLOBAL DATA DUMP FORMAT ( See TABLE 2, NOTE 1 : ALL BACKING SEQUENCE DATA DUMP FORMAT Backing Sequence Data Size (2Byte) AS tep(16Byte)/1Size ( See 7-3) [Data Size (bit6—0)], [Data Size (bit13—7)] Control Data Dump Format (2292Byte) ( See TABLE 7-1, NOTE 1) [Control Data (BSQ Size(195) x 10 = 1950Byte)], (BSQ0-Tr.1 Addr (2Byte)], -*-, [BSQ0-Tr. 16 Addr], [BSQ0-Tempc Track Addr], {BSQ1-Tr.1 Addr ].--», [BSQ9-Tr. 16 Addr], [BSQ9-Tempo Track Addr] (340Byte), {End Addr (2Byte)] Backing Sequence Data Dump Format { See TABLE 7-2, NOTE 1) [B. Sequence 1st Data (4Byte)],---, [BSQ nth Data] L J п: BSQ Data Step = 0 ~ 40000 2292Byte+4x{BSQ Data Step]Byte = 7xA+B — 8xA+(1+B)Byte e. 1-1,7-2,1-3 = 2+BxA+(1+B)Byte ( 0.8—58.0Sec — Sopa (Global Data (28Byte)] 28 = Tx4+0 — Bx4 = 32Byte : DRUMS DATA DUMP FORMAT ( See TABLE 3, NOTE 1) [Drum Kit Data (7x60x2Byte)] 840Byte = 7х120+0 — Bx120 = 960Byte ( 0.3Sec ) : ALL DATA (GLB, DRM, PRG, ARR, STY, SEQ, BSQ) DUMP FORMAT ( See NOTE 1) [Global Data], { See NOTE 8 } {Drums Data], ( See NOTE $) [Ail Program Parameters], { See NOTE 3) (Ali Arrangement Parameters], ( See NOTE 4) [AN Style Data], ( See NOTE 5 ) [AIT i5M SONG Data ] ( See NOTE 6-2, 6-3 ) {All Backing Sequence Data] ( See NOTE 7-2, 7-3) 28+840+10824+8384+sty+3702+4x[S5eq. Data Step]Byte+2292+4x{BSQ Data Step] = TxC+D — 8xC+(1+D)Byte ( 10. 5-- 90. 0Sec ) : mmmm = 4 : GLOBAL 6 : SONG 10 : ARRANGEMENT 11 : BACKING SEQUENCE VALUE DATA FORMAT (Use with PARAMETER CHANGE, DRUM KIT PARAMETER CHANGE) Bit15-13 of Value Data is the Sign Flag, and each bit has the same value Value Data | | | || MIDI Data | 0 | | | NOTE 13 : kk = 00: DrumKitl 01: v2 7 xipuaddy eutteeeee eee eee see etes eee sense ee eee eee eee eee eee eee eee eee ee ee eee eee eee eee eee ? NOTE 14 : CHORD TYPE ' NOTE 1 : DUMP DATA CONVERT n=0~ for NOTE 2, 3, 4, 5-1, 5-2, 6-2, 6-3, 7-2, 7-3, 8, 9. 10; Type MSB LSB ; Н No Chord | 0000 0000 | 0000 0000 1 DATA ( 1set = 8bit x TByte ) dim 0000 0000 | 0100 1001 UT) III 1 О: : 0000 0001 | 0001 0001 ' N ! major 0000 0001 | 0001 0001 1п+0 nel ant2 ета +6 susi 0000 0001 | 0010 0001 ' | JL © ! aug 0000 0010 | 0001 0001 "MIDI DATA ( Iset = Tbit x 8Byte ) & € mó 0000 0101 | 0000 1001 b7b7b7b7b7b1b7 b6___— bd bé bo b6__— №: 6 0000 0101 | 0001 0001 .. m7b5 0000 1000 | 0100 1001 L 0] | | | | | | | | 0 || | | | Li | 0| | | _ | | | | | | о] | | | | | | | ' 765 0000 1000 | 0101 0001 1. Tn46,5,4, 3,210 11... WO... ott IM Tes ; я 0000 1001 | 0000 1001 7 0000 1001 { 0001 0001 NOTE 2 + PROGRAM PARAMETER DUMP FORMAT ( See TABLE 1. NOTE 1) Tsus4 {0000 1001 {0010 0001 [Parameter No. 00], +++ ‚ [Parameter No. 163} aug? 0000 1010 {0001 0001 164Byte = 7x23+3 — 8x23+(1+3) = 188Byte dimM7 | 0001 0000 | 0100 1001 MTb5 0001 0000 | 0101 0001 NOTE 3 : ALL PROGRAM PARAMETER DUMP FORMAT ( See TABLE 1, NOTE 2) mM? 0001 0001 } 0000 1001 (Prog. D11(164Byte)], +-----. [Prog. DB8 (164By te) ], LL 0001 0001 | 0001 0001 (Prog. Dr7(164Byte)], [Prog. Dre(164Byte)) M7susd 0001 0001 | 0010 0001 164x(64+2)Byte = Tx154642 — 8x1546+(1+2) = 12371Byte ( 4.0$ес ) | aught? 0001 0010 | 0001 0001 NOTE 4 : ALL ARRANGEMENT PARAMETER DUMP FORMAT ( See TABLE 5, NOTE 1) NOTE 15 : TENSION NOTE(S) [ARR11(131Byte)], ------ ‚ [ARRES (13185 te) ce Tension MSB LSB 131x64Byte = Tx1197 5 —» 8x1197+(1+5) = 9582Byte ( 3. 1Sec ) b9 0000 0000 0000 0010 | 9 0000 0000 | 0000 0100 NOTE 5 : ALL STYLE DATA DUMP FORMAT 89 0000 0000 | 0000 1000 5-1: Style Header (24Byte) ( See TABLE 6-3, NOTE 1) 11 0000 0000 | 0010 0000 #11 0000 000 „“. MIN= 24+3328Byte = 7x478+6 — Bx478+(1+6) = 3831Byte 13 0000 0100 | 0000 0000 MAX= 24+65496Byte = 7х9360+0 — Bx9360 = 74880Byte ( 1.2—24.0Sec ) NOTE 6 : ALL iSM SONG DATA DUMP FORMAT 6-1: Sequence Data Size (2Byte) AStep(16Byte)/1Size ( See 6-3) (Data Size (bit6—0)], [Data Size (bit13—7)] 6-2: Control Data Dump Format (3702Byte) [Control Data (Song Size(296) x 10 = 2960Byte)l, {Pattern Data (200Byte)]. [Song0-Tr. 1 Addr {2Byte)],--, [Song0-Tr. 16 Addr], [Song0-Tempo Track Addr], [Songl-Tr.1 Addr ], ---. [Song9-Tr. 16 Addr], [Song9-Tempo Track Addr] (340Byte). [Patternd Addr (2Byte)],---., [Pattern99 Addr] (200Byte). [Pattern End Addr{2Byte)] ( See TABLE 4-1, NOTE 1) 6-3: Sequence Data Dump Format ( See TABLE 4-2, NOTE 1) [Sequence 1st Data(4Byte)], +" , [Seq. nth Data] 1 J n : Seq.Data Step = 0 ~ 40000 3702Byte+ix[Seg. Data Step]Byte = 7xA+B — 8xA+(1+B)Byte 1. 6-1, 6-2,6-3 = 2+BxA+(1+B)Byte ( 1.3~58.5Sec ) Ssi-9 7 xipueddy 91-0 RA PARAMETER PROGRAM NAME (Head) | 20—7F ASSIGN + 0— 7777 : — 0—7??? : INTERVAL START LEVEL WAYEFORM JOYSTICK WAYEFORM bit0—2 4 ATTA BREAK SUSTAI RELEASE 1LLA — Pr — — Ht — — A. EG TÍ SW&POL $ SEND LEVEL : 0— SAME AS OSC-1(40—86) +6 USER SCALE ПУ SUB RESERVE SAME AS DRUM KIT 1-#0(00—06)x(60x2-1) : A11 —A88 : Bil —B88 Dri1—Dr16: C11 —C88 : Uil —U88 : Dr17—Dr18: 00—3F : 40-7F 80-— 85 86—-C5 00~3F 40— 41 +1 : 0 : SINGLE : DOUBLE : DRUMS o = +2 : 0 : TRIANGLE : UP SAW : DOWN SAW : SQUARE! : RANDOM : SQUARE2Z en A 6) Dd — OO #3 : bit0 : ATTACK TIME SW =0:0FF, =1:0N bitl : DECAY TIME SY ” bit2 : SLOPE TIME SW „ bit3 : RELEASE TIME SW ” bitd : ATTACK TIME POLARITY =0:+, bit5 : DECAY TIME os e bité : SLOPE TIME 1 ” bit? : RELEASE TIME ~ ” il — .. | +4 : bit0, 1 ++) VDF 0 : OFF bit4,5 -- VDA 1 : LOW 2: HIGH 45 : 00: L15 OF : CNT 1E : R15 1F : PRG (When in SONG Mode) FF : OFF #7 : bit0 : PROGRAM CHANGE =0:DIS, =1:ENA bit1 : DAMPER ” bit2 : AFTERTOUCH ” bit3 : CONTROL CHANGE ” bit7=1 : Al1 —A88 .: B11 —B88 : Dr11—Dr16 : C11 —CBH =) : U11 —UBB : Dr17~Dri8 # Program is selected by #6 and #7(bit7) 7 xipuaddy Z1-9 i series SEQUENCER CONTROL DATA MIDI Channel (Tr. 1) STATUS (Tr. 1) BEND RANGE (Tr. BEND RANGE (Tr. PROTECT (Tr. 1 PROTECT (Tr. 9) Tr. 16 SONG NAME (Head) EFFECT PARAMETER WINDOW TOP 103 ILTER TRACK 2—16 00~0F : 1~16 00~0C : 00~12 + 28- : ~ 240 bit0=0:0FF, =1:0N bit0=0:0FF, =1:0N bit7 20-7P : 01~1F “я 105 SAME AS TRACK 1(93~104) x 15 Fr 296 SAME AS SONG 0 (00—295) x 9 ( TABLE 4-1) PATTERN 0 PARAMETERS 2960 | BEAT | #12 2961 | LENGTH | 01-63: 1-99 | PATTERN 1~99 PARAMETERS 2962 | SAME AS PATTERN O(2960,2961) «x 98 3159 SONG 0, TRACK 1 DATA ADDRESS e DATA ADDRESSCLSB)....| 0000 (Start Addr) SONG 0, TRACK 2 ~ TRACK 16 DATA ADDRESS 3162 3191 SAME Ay 0. TRACK 1 ADDRESS (4160, 3161) SONG 0, TEMPO TRACK DATA ADDRESS 3192 3193 | | DATA ADDRESS (LSB) | ” # (MS B) SONG 1— 9 TRACK DATA ADDRESS 3194 3499 SAME AS SONG 0 TRACK ADDRESS (3160— 3193) | x 3 PATTERN O DATA ADDRESS 3500 —— DATA ADDRESS (LSB) 3501 PATTERN 1 — PATTERN 99 DATA ADDRESS 3502 SAME AS PATTERN 0(3500, 3501) 3699 | 3700 | End Pattern Addr(L) 3701 ” ” ” (H) 3703 3706 DATA 1 T DATA —— SAME AS SEQUENCE DATA 1(3702~3705) *8 : E ES Y e SD OO =] on On Em Cd DD SOS : OFF : START/STOP : SYNC START/STOP : RESET : INTRO/ENDING 1 : INTRO/ENDING 2 : FILL 1 : FILL 2 : VARIATION 1 : VARIATION 2 : VARIATION 3 : VARIATION 4 : CHORD HOLD : BASS INVERSION : SCALE CHANGE : ARRANGEMENT UP : ARRANGEMENT DOWN : PROGRAM UP : PROGRAM DOWN : VARTATION UP : VARIATION DOWN : PUNCH IN/OUT : EFFECT 1 ON/OFF : EFFECT 2 ON/OFF : DRUM MUTE : PERC MUTE : BASS MUTE : ACCI MUTE : ACC2 MUTE : ACC3 MUTE : KB VOLUME : EXPRESSION : VDF CUTOFF : EFFECT CONTROL : DATA ENTRY : OFF : OFF : KBD LOCK : TAP TEMPO : SOUND HOLD ON/OFF : SUSTAIN ON/OFF : FADE IN/OUT : ENSEMBLE ON/OFF : MASTER VOLUME 9 xipueddy 81-0 $9 : 0 : EQUAL TEMP #15 : SEQUENCE DATA FORMAT ARRANGEMENT PARAMETERS 5 1 : EQUAL TEMP 2 DATA(1-H) DATA(1-L) DATA(2-H) — DATA(2-1) No. PARAMETER DATA (Hex) : VALUE ~ 2 - PURE MAJOR 1 } J 4 00 ARRANGE NAME (Head) 20-7F st) SAME AS DRUMS 3 : PURE MINOR * - 4: ARABIC (ey ote Ar MEA 09 | ARRANGE NAME (Tail) 5 : PYTHAGOREAN Velocity Event Time Key No Length 10 | SYTLE NO. | 007-31: 1188 — $ : WERKMEISTER ; t = 30 :J t = IFE : Tie from previous bar = 85 : SAME AS DRUMS 7 - KIRNBERGER в = 30 5 e = 1PE Tie to next bar 12 | INITIAL VARIATION 00~03 : VAR 1—4 i 8 : SLENDRO Le 13 9 : PELOG #15-2 PITCH BEND 14 | INITIAL TEMPO 0A~D2 : 40-240 | A : USER SCALE [0001 000 t | tttt tete {0 voy vvvy [0 vvv vvvv | 15 | KEYBOARD ASSIGN 00~03 : +16 —1F_: i— Event Time Yalue(H) Yalue(L) 16 SPLIT POINT 24-60 : C2-C7 01~1F : 1127 #10 : bit0—4 = 00 : L15 17_ | OCTAVE FE~02 : -2~+2 : IT ATEM ET сос RENTE e e] 18 | TRANSPOSE F5—0B : -C#~+B TOP 01~TF : 1—127 OF : CNT 19 | MANUAL DRUM KIT 00-07 : Dri—Dr8 : : , Event Time Value SWITCHES ~ : 1127 IE : RIS +15-4 PROGRAM CHANGE 20 | DYNAMIC VELOCITY | bit9=0:0FF, =1:0N EFFECT PARAMETERS +20 IF : OFF [0011 000 t [tttt tttt | 0000 00bb | oppp pprp | | TEMPO LOCK | bit1=0:0FF, =1:0N Event Time Bank Program No. | KBD1_ DAMPER ENABLE __| bit2=0:0FF, =1:0N bit5~7 = 0 : El Off b = 00~02 KBD2 DAMPER ENABLE bit3=0:0FF, =1:0N 1 : EX Groupl p = 00—7F CHORD SCANNING TYPE #16 : 00 : SINGLE Po] 21 | CHORD SCAN LOW bit0=0:0FF, =1:0N 01 : LAYER 6 : EX Groups ¥15-5 CONTROL CHANGE CHORD SCAN HIGH bitl=0:0FF, =1:0N 02 : SPLIT 7. self 0100 000 t | tera tttt | Ovvv vvvy | сес cece | BASS INVERSION | bit2=0:0FF, =1:0N 03 : M. DRUMS Event Time Value Control No. CHORD HOLD | bit3=0:0FF, =1:0N #11 : bit0.1= 0 : OFF ¢ = 00~63 : Same as MIDI Control Change | CHORD LATCH bit4=0:0FF, =1:0N | #17 : BANK = 00, PROG = 00~7F : Al1~A88~ B88 1 : INT = 66 : Assignable Pedal 22 | DEFAULT DRUM MAPPING | 00—07 : Dri—Dr8 =, = 00—7F : C11—C88—U88 2 : EXT +15-6 POLY KEY PRESSURE = 02, = 00—0F : Dril—Dr28 3 : BOTH [0101 000 ¢ [ ittt tttt [O vvv vvvv [0 KKK KKKK | 25 = 03, = 00~7F : DI1~E88 bit2,3= 0 : Play, = 1 : Mute, = 2 : Solo Event Time Value Key No. 26 | RESERVE 00 Cortef _ . _ *15-7 BAR 29 MEG DIOS ar a - os [0110 00bb | bbbb bbbb | xx ss ssss | 0ppp pppp | 30 [FILL 00-00 OFF —DOWR 30~3F : 1/16 ~ 16/16 Bar No. Type Beat Pattern No. 31 bit? = 0 : High Resolution x = 00 : Pattern not used 32 | FILL? 00~0C :OFF~DOWK 1 : Low Resolution = 10 : Pattern continued 33 = 11 : Pattern start DRUM PARAMETERS #13 : bit0—6 = 0 : Song0 5 = 10—18 : 1/4—9/4 34. | PROG #17 : : = 20~2F : 1/8—16/8 35 | BANK 9 : Songs > 30—3F :1/16—16/16 36 | VOL 00—7F : 0127 #14 : When set to Single/Double Mode [0111 000 + | tttt tttt [0000 00bb | bbbb bbbb | 33 {OCTAVE FEOS + 228 0000 : A. Piano 1 Event Tine Last Bar No. 40 | OUT STATUS 411 ; : 41__| WRAP-AROUND FF~0B : STY~11 0153 : DI Kit 2 PERCUSSION PARAMETERS 0154 : A. Piano 3 (i2 only) 12 | SAME AS DRUMS When set to Drum Mode 49 00 : User Kit 1 BASS PARAMETERS 50 | SAME AS DRUMS 07 : Percussion i 57 7 xipueddy 61-0 STYL N DA ~~ SAME AS VARIATION] DATA ADDRESS 00 | STYLE NAME (Head) 20~1F SLR — 10 | SYTLE TYPE 0. USER CREATED SAME AS VARIATION1 DATA ADDRESS — 114 | SAME AS INTROI : SAME AS VARIATION! DATA ADDRESS .. — Lille ENDING 1~2 PARAMETERS 118 { SAME AS INTROI bit2=0:0FF, =1-:0N ! { 7 TA l FILL 1—2 P 126 | SAME AS INTROI ¿ — 99 DATA l SAME AS PATTERN 0 7 VARIATION 1 VARIATION TABLE { { è SAME AS INTRO! RESERVE SAME AS INTRO! — SAME AS INTROI — SAME AS STYLE1 Leja ? er — 42 | SAME AS DRUMS : : 00-05 : I—6 o T : *12| STYLE HEADER ( TABLE 6-3 ) BASS P 00-08 + 1-6 : No. | PARAMETER | DATA(Hex) : VALUE 46 | SAME AS DRUMS he AZ 1-99 TA STYLE 1 | SAME AS PATTERN 0 0 | STYLE! ADDRESS 00-05 : 1-6 Pr + art 3 1-3 P 2~4 CHORD VARIATION TABLE TION1 ACC1 DATA ST 50 | SAME AS DRUMS AS VARTATION1 4 YLE1 SIZE : STYLE 2-4 ~ 6 | SAME AS STYLE1 SAME AS VARIATION1 ACC1 DATA ADDRESS #18 : 00 : C MAJOR OR 23 : 01 : C MINOR ~ 02 : CAMAJOR 54 SAME AS VARTATION1 CHORD VARIATION1 03 : CHHINOR | (0 | SAME AS VARTATIONI DATA ADDRESS 16 : B MAJOR ~ 17 : B MINOR 74 | SAME AS VARIATIONI A i i 7 xipueddy 0-9 BSEQ NAME (Head) ARRANGEMENT NO. STYLE NO. VARIATION ASSIG CHORD SCAN LOW 16 RESERVE SWITCH PAN No. #21-1 : Track Status 00 : MUTE 01 : PLAY #21-2 : Metronome Switch 00 : OFF 01 : ON 02 : REC : 11-88 : 11-68 Ро : VAR 1~4 bit0=0:0FF, bit0=0:0FF 00 *21-3 FF 00 09 21-4 00 01 TROL DATA WI Wi — SAME AS TRACK | EFFECT PARAMETER — SAME AS BSEQ 0 ~~ SAME AS BSEQO TRACK1 DATA ADDRESS DATA SAME AS BSEQO TRACK1 DATA ADDRESS Ld SAME AS BSEQO TRACK DATA ADDRESS : Next BSeq No. : OFF : BSeq 0 : BSeq 9 art : Auto Start : OFF : ON + + + # — SAME AS BACKING SEQUENCE DATA 1 (0~3) #19 : BACKING SEQUENCE DATA FORMAT DATA(1-H) DATA(1-L) DATA(2-H) DATA(2-L) } y | } *19-1 : BACKING CONTROL EVENT [104 iii t Tecree tere |vvww vvv |vwwv vw | Event D EventTime Yalue 2 Yalue 1 te Bass te ACC? Mut *19-1-1 #19-1-2 : *19-1-3 - #19-1-4 : «5 а — OD : 0-55 : P11--P68, Ui~U4, C1--C4 : Variationl : Variationd 0 3 4 : Introl S : 6 7 8 9 Intro? : Endingi : Ending2 : Filli : Fill2 : SINGLE : LAYER : SPLIT : MM. DRUM : OFF : LOWER : UPPER : FULL 7 xipueddy 12-9 *19-2 : CHORD EVENT ARRANGEMENT PARAMETERS ( TABLE 8 ) [tii fii t nm tttt | nnnn nnRn | bbbb rrrr | No. P у #1 : 0 63 = A11 A88 ChordiD EventTime TensionNote Bass Root 64 127 = B11 B88 1 . CHORD LATCH 7 128 191 = C11 C88 ChordID = 0 : No Chord 192 255 = U11 U88 1 : Major 256 319 = D11 D88 2 : Major 6th 320 383 = E11 E88 3 : Major 7th VARTATION BY FILL 2 a 384 399 = Dr11 Dr28 4 : Major Tth Flatted 5th 5 : Suspended 4th FECT 6 : Suspended Znd 7 : Major 7th Suspended 4th 8 : Minor 9 : Minor 6th 10 : Minor 7th 11 : Minor 7th Flatted Sth 12 : Minor Major Tth 13 : Dominant 7th 14 : 7th Flatted Sth 15 : 7th Suspended 4th 18 : Diminished 17 : Dimini shed Major 7th 18 : Augmented 19 : Augmented 7th 20 : Augmented Major 7th TensionNote = 0000 Q00l : Flatted 9th 0000 0010 : 9th 0000 0100 : Sharped 9th 0000 1000 : 11th 0001 0000 : Sharped 11th 0010 0000 : Flatted t3th 0100 0000 : 13th Bass = 0~11 (C~B) Root = 0~11 (C~B) OUTPUT STA 7 xipueddy 69 STATUS YO C LEVEL OCTAVE PROGRAM PANPOT D DRUM KIT PARAMETERS ( TABLE 9) QUTPUT EL CLUSIVE ASSIGN С EL PARAM No. for DRUM PARAM CHANGE n : 0°59 (Index) 7 xipueddy ‘Appendix D Performance Notes Arrangement List (USER BANK) Effect Effect t Program ment Arrangement Program Placement Arrangemer 8B - Band — * rass Ban D12 BigBandPno Parallel 1 51 BigBand 1 Ce Trumpets!! Parallel 1 11 8 Beat 1 C64 AirVoxDbl B18 Clarinet lel 1 E27 12 Strings Parallel 1 52 BigBand 3 A84 Muted Trpt Parale 12 8 Beat 4 D86 Octave Str D11 Piano 8’ llel 1 | D22 New Tine2 Parallel! 1 53 BigBand 4 C63 i3 Strings parate 13 8 Beat 5 C63 i3 Strings B18 Clarinet Parallel 1 ; D15 MIDI Pno2 Parallel 1 54 Charleston C63 i3 Strings ara 14 LightRock1 | C63 i3 Strings D12 BieBandPno Parallel 1 C13 Fresh Air Parallel 1 55 6/8BigBand C63 i3 Strings arate 15 Pop 1 A73 Analog Pad : le] 1 C42 E. Guitars Parallel 1 56 LatnBBand1 D65 Silver Flt Paralle 16 Mid Shífle C45 DirtyMutes D42 JazzOrgan2 | parallel 1 C33 PedalSteel Parallel 1 57 Foxtrot 1 C62 Analog Pad 17 Country 2 C33 PedalSteel D62 Alto Sax2 lel 1 E38 HawaiiGtr2 Parallel 1 58 Foxtrot 2 C63 i3 Strings Paralle 18 Country 4 C31 L&R A.Gtrs D63 Tenor Sax2 Parallel 1 C16 DigiPiano2 |p 13 61 QuickStep1 C63 i3 Strings Ce 21 16 Beat 1 C64 AirVoxDbl D45 Tone Wheel Parallel 1 D15 MIDI Pno2 (parallel 1 62 QuickStep2 C63 i3 Strings ara 22 16 Beat 2 D11 Piano 8’ C76 Trumpets!! Parallel 1 D61 SopranoSx2 {| parallel 1 63 PasoDoble1 A75 Choir aratie 2316 Beat 3 E64 GP Pad D54 Tango Acc Parallel 1 D15 MIDI Pno2 Parallel 1 64 PasoDoble2 D52 Musette 2 24 Ballad C62 Analog Pad C78 Brass Band Parallel 1 D62 Alto Sax2 Parallel 1 65 ChaCha C62 Analog Pad 25 PopBallad2 C63 13 Strings D54 Tango Acc Parallel 1 D17 FM E.Piano Parallel 1 66 Lambada D87 Ana Str 1 ard 26 RockBallad C62 Analog Pad C28 Mando Trem | parallel 1 E71 Vibes 2 Parallel 1 67 RhumbaBeg A75 Choir arate 27 6/8 Ballad A72 SloeString D84 BigStrings Parallel 1 D45 Tone Wheel Parallel 1 68 Rhumba C31 L&R A.Gtrs are 28 Reggae C63 13 Strings D52 Musette 2 Parallel 1 . D62 Alto Sax2 Parallel 1 71 Waltz 1 C13 Fresh Air 31 LiteBossal C64 AirVoxDbl E23 Zither p || | 1 ATT Piano Parallel 1 72 Waltz 4 C25 Akordeon 1 |'aralle 32 BossaNova A24 Vibes D66 SoloClari. Parallel 1 D54 Tango Acc Parallel 1 73 SlowWaltz1 C63 i3 Strings 33 Gipsy 1 C62 Analog Pad FlugelHorn | parallel 1 34 Mambo 2 C76 Trumpets!! Parallel 1 74 JazzWaltz1 ны ST D63 Tenor Sax2 Parallel 1 75 March 1 D68 Whistle2 Parallel 1 35 Merengue 1 C62 Analog Pad D52 Musette 2 Parallel 1 D65 Silver Flt Parallel 1 76 Polka 1 C25 Akordeon 1 | Faralle 36 Salsa 1 A24 Vibes E22 Hackbrett2 Parallel 1 D66 SoloClari. Parallel 1 77 Polka 2 A41 ClassicGtr 37 Cumbia 1 C62 Analog Pad C76 Trumpets!! Parallel 1 , D63 Tenor Sax2 Parallel 1 78 PartyPolk1 C62 Analog Pad 38 Meneaito 1 C62 Analog Pad D84 BigStrings | parallel 1 D72 Bright Trp Parallel 1 81 PopClasic1 D85 Arco Str. 41 Latin C62 Analog Pad D12 BigBandPno | parallel 1 D45 Tone Wheel Parallel 1 82 Hully 1 C63 i3 strings 42 Pop Samba D45 Tone Wheel D63 Tenor Sax2 Parallel 1 D41 JazzOrgan1 Parallel 1 83 Twist C21 60's Organ ° 43 Samba 1 C62 Analog Pad D24 LylerPiano Parallel 1 D73 BrightTrmb Parallel 1 84 R&BShufle1 E14 Doolally 44 Calypso 1 C63 13 Strings D45 Tone Wheel Serial . C35 HollowBody Parallel 1 85 Blues 1 A48 RockMonics en 45 Fast Swing D11 Piano 8’ D43 JazzPerc. Parallel 1 ‚ C35 HollowBody Parallel 1 86 Oldies 1 E14 Doolaily 46 Slow Swing A24 Vibes E33 Shadows Parallel 1 . C23 HamNCheese Parallel 1 87 SimpleRock C62 Analog Pad 47 SwingShfl1 A48 RockMonics E37 HawaiiGtrt . Parallel 1 D54 Tango Acc Parallel 1 88 Hawaiian C62 Analog Pad 48 Tango 1 C62 Analog Pad D-1 Arrangement List (BANK A) Arrangement Program Pl Effect 11 8 Beat 1 DI Pighanchno Parallel 1 12 8 Beat 2 oo oquare Nave Parallel 1 13 8 Beat 3 Cos 3 Stringe Parallel 1 14 8 Beat 4 e OTE Parallel 1 15 8 Beat 5 Ся 3 Strings Parallel 1 16 LightRock1 Ce Seen We Parallel 1 17 LightRock2 er Ful Organ Parallel 1 18 Pop 1 po Analog Pa d Parallel 1 21 Pop 2 of ag 4P Parallel 1 22 Motown Ad Analo Pas 42 Parallel 1 23 Mid Shffle Cd Dirty Mules Parallel 1 24 SlowShffle с ; AnalogPad2 Parallel 1 25 Country 1 = NawaiiGt? Parallel 1 26 Country 2 e Pe ree Parallel 1 27 Country 3 o> > Wir Parallel 1 28 Country 4 ol NN Parallel 1 31 16 Beat 1 ceo DE Parallel 1 32 16 Beat 2 or MIDI Po? Parallel 1 33 16 Beat 3 es ao» Parallel 1 34 16 Beat 4 Wa Voy | Parallel 35 Ballad Ces Analog Pac Parallel 1 36 PopBallad1 Ces DEL Parallel 1 37 PopBallad2 067 A ris Parallel 1 38 RockBallad Ces Analog Pad Parallel 1 41 Latin Con Analoge Pa d Parallel 1 42 Pop Samba Dar Tone whee Parallel 1 43 LiteBossa1 ce 4 Ао Зах Parallel 1 44 LiteBossa2 Aa Slowstring Parallel 1 45 Meneaito 1 co Analog Pad Parallel 1 46 Meneaito 2 ей ; AB prass : Parallel 1 47 Gipsy 1 oo Analog Pad Parallel 1 48 Gipsy 2 Ce pan Flute? Parallel 3 Arrangement Program нес! nt 51 Mambo 1 io yo Ne Parallel 1 52 Mambo 2 C76 Trumpets!! Parallel 1 53 Merengue 1 Ce Analog Pad Parallel 1 54 Merengue 2 B73 Steel Drums Parallel 1 55 Salsa 1 re Silver Flt Parallel 1 56 Salsa 2 Mi Salsabiano Parallel 1 57 Cumbia 1 ces Analog Pa 4 |Parallel 7 58 Cumbia 2 D65 Silver Flt Parallel 1 61 BossaNoval NE o Parallel 1 62 BossaNova2 ads Parallel 7 63 BossaNova3 >> Slowsting Parallel 1 64 Samba 1 or Analog Pad Parallel 1 65 Samba 2 A Cea Parallel 1 66 Calypso 1 ors Se Parallel 1 67 Calypso 2 с ain Parallel 1 68 Reggae Ces trino Parallel 1 71 Fast Swing = HollowBody Parallel 1 72 Mid Swing Ces 3 Strings Parallel 1 73 Slow Swing oa HollowBody Parallel 1 74 SwingShfl1 a FamMCheese Parallel 1 75 SwingShfl2 D76 FlugelHorn Parallel 1 76 6/8 Swing Deo Silver FIt Parallel 1 77 6/8 Ballad 72 slowstring Parallel 1 78 Latin Jazz E62 Poppin'Pad Parallel 1 81 BigBand 1 e os Parallel 1 82 BigBand 2 on FluteClar Parallel 1 83 BigBand 3 o Morea Tro Parallel 1 84 BigBand 4 Ces 3 Strings Parallel 1 85 Charleston ces ía Strings Parallel 1 86 6/8BigBand Ces an © Parallel 1 87 LatnBBand1 D65 Silver Fit Parallel 1 88 LatnBBand2 D62 Alto sax2 Parallel 1 D-2 Arrangement List (BANK B) Arrangement Program pect 11 Foxtrot 1 Cer Analog Pad Parallel 1 12 Foxtrot 2 ces 5 Sims Parallel 1 13 QuickStep1 Ces Y Strimgo Parallel 1 14 QuickStep2 Ces 3 sing Parallel 1 15 PasoDoble1 e Crumpetss Parallel 1 16 PasoDoble2 Dea Jango Acc Parallel 1 17 Tango 1 Ce Analog Pad Parallel 1 18 Tango 2 Ces м Strings Parallel 1 21 ChaCha coo Bre valo Pad Parallel 1 22 SlowChaCha e рН Parallel 1 23 Lambada oo Lange Acc Parallel 1 24 Beguine ce Analog Pa d Parallel 1 25 RhumbaBeg po rando Trem | parallel 1 26 Rhumba с > e. Parallel 1 27 Bolero Dos over ot Parallel 1 28 Hawaiian Ce Analog Pad Parallel 1 31 Waltz 1 са Musetlc 2 Parallel 1 32 Waltz 2 CT ; soloclar Parallel 1 33 Waltz 3 Cos Analog Pa 4 |Parallel 1 34 Waltz 4 = Zither on 1 | Parallel 1 35 SlowWaltz1 ces 3 stes Parallel 1 36 SlowWaltzz | 51272 JEAN | Parallel 1 37 JazzWaltz1 D76 FlugelHorn {Parallel 1 38 JazzWaltz2 ca A ei Parallel 1 41 Dixieland rel ; BrightTrmb Parallel 1 42 March 1 D68 Whiste2 | Parallel 1 43 March 2 or Aros Pa d Parallel 1 44 March 3 oo nom = Ace Parallel 1 45 Polka 1 Doe huselt 4 | parallel 1 46 Polka 2 Ve Hackbrettz Parallel 1 47 PartyPolk1 coo Analos Pad Parallel 1 48 PartyPolk2 co Analog Pad Parallel 1 D44 NoisyOrgan Arrangement Program pect 51 Disco. 1 Ce D Singe 3 Parallel 1 52 Disco 2 E77 BEN Syn [Parallel 1 53 PopClasic1 Dos Bigtrings Parallel 1 154 PopClasic2 o> Silver Flt Parallel 1 55 Dance Pop D26 RussePiano |Parallel 1 56 Hully 1 Ces Ee Parallel 1 57 Hully 2 a oe Or Parallel 1 58 Twist oF ; CO Oran Parallel! 1 61 R&BShufle1 D2 Lyler fv Parallel 1 62 R&BShufle2 826 Shakuhachi parallel 3 63 Funk 1 ora TM Ean Parallel 1 64 Funk 2 of 7 Whitly Parallel 1 65 House Ce Lyle Parallel 1 66 Rap a el 0 Lead Parallel 1 67 Techno 1 ce пел Parallel 1 68 Techno 2 A OR Parallel 1 71 PopShuffle Ces bad Parallel 1 72 Rock&Roll ce Rock Organ Parallel 1 73 Slow Rock с Analog Pa а |Рагане! 1 74 R&B D0 Hot Keys op [Parallel 1 75 Blues 1 a Tone heel Serial 76 Blues 2 on Pit anno Parallel 1 77 Oldies 1 AM Doolally Parallel 1 78 Oldies 2 D67 Pan Flute? [Parallel 1 81 PopRock 1 E pea Parallel 1 82 PopRock 2 ай Stereo Dist Parallel 1 83 RockShuffl Daß seen Parallel 1 84 HardRock 1 Со Dent Parallel 1 85 HardRock 2 Ces 13 Srribos Parallel 1 86 SimpleRock E Analog Pa d Parallel 1 87 Rock 1 Ces So Parallel 1 88 Rock 2 D48 Hot Keys Parallel 1 D-3 Arrangement List (AMERICA) Arrangement Program PI Effect 11 Mick&Keith A47 DistGuitar — | Parallel 1 12 Prog. Rock cer Lead or Parallel 1 13 Shufilin’ C24 Perc&Rotor | Parallel 1 14 Top40 Rock D11 Piano 8' Parallel 1 15 Riffin’ A32 Perc Organ | Parallel 1 16 Rock On! A47 DistGuitar Parallel 1 17 Don’t Stop C11 MIDI Piano | Parallel 1 18 AOR Rock D11 Piano 8’ Parallel 1 21 SouthernRk A33 BX-3 Organ |Parallel 1 22 EasyRockin D11 Piano 8’ Parallel 1 23 love Songs C11 MIDI Piano [Parallel 1 24 OldTimeR&R D11 Piano 8' Parallel 1 25 HalfTime A47 DistGuitar — | Parallel 1 26 Laid Back D11 Piano 8' Parallel 1 27 Unplugged B11 Soprano Sax | Parallel 1 28 Beetoven D11 Piano 8” Parallel 1 31 Doctor D11 Piano 8’ Parallel 1 32 The King B13 Tenor Sax Parallel 1 33 TheFabFour C43 L&R E.Girs ; |Parallel 1 34 Surf City! C21 60's Organ — | Parallel 1 35 The Twist B13 Tenor Sax Parallel 1 36 Pickin"! C41 Strummers — | Parallel 1 37 Nashville! C33 Pedal Steel — | Parallel 1 38 Long Train C11 MIDI Piano — | Parallel 1 41 90's Funk D51 Poppin’ Pad | Parallel 1 42 Songwriter C11 MIDI Piano | Parallel 1 43 Solid Gold C78 Brass Band | Parallel 1 44 Supremely D11 Piano 8’ Parallel 1 45 Motown1968 Car cuits s Parallel 1 46 Soul Bros. C22 Gospel Org | Parallel 1 47 Da Blues A33 BX-3 Organ | Parallel 1 48 Rasta Man C22 Gospel Org | Parallel 1 Arrangement Program нес! nt 51 Boston Boy D58 PowerSynth | Parallel 1 52 Night Jams a MIDI а tano Parallel 1 53 DanceGirls eh Mono Lead Parallel 1 54 VogueHouse £62 Analog Pad Parallel 1 55 Yo!! Rap DE Poppin” Pad Parallel 1 56 Groovin’ C11 MIDI Piano | Parallel 1 57 RaveltUp or Buey Boy Parallel 1 58 MirrorBall C78 Brass Band |Parallel 1 61 1,000 Hits C11 MIDI Piano {Parallel 1 62 2,000 More C15 hard Tines Parallel 1 63 Phil’sSong C11 MIDI Piano | Parallel 1 64 The 1950's D11 Piano 8’ Parallel 1 65 Sad Songs C11 MIDI Piano |Parallel 1 66 Dinkerhump C11 MIDI Piano | Parallel 1 67 When A Man B13 Tenor Sax Parallel 1 68 Baby, Baby D52 The Stings | Parallel 1 71 AfterHours D42 FlugelHorn {Parallel 1 72 The Duke e Be etl Parallel 1 73 The Avalon D11 Piano 8’ Parallel 1 74 Cookin’ B12 Alto Sax Parallel 1 75 OlBlueEyes D11 Piano 8’ Parallel 1 176 Moon Music Da Air Flute Parallel 1 77 SoulfulSax B12 Alto Sax Parallel 1 78 Jammin' Sax B13 Tenor sax Parallel 1 81 Ipanema D44 Air Flute Parallel 1 82 sambaDeSol A24 Vibes Parallel 1 83 Hot Salsa B22 Flute Parallel 1 84 Mambo Mama C73 PerkySaxes | Parallel 1 85 Latin Pop B22 Flute “ | Parallel 1 86 Carnivale C11 MIDI Piano — | Parallel 1 87 StretchOut C47 StereoDist — | Parallel 1 88 Bourbon St A82 Trombone Parallel 1 D4 L = Layer. S = Split. Arrangement List (GERMANY) A32 Perc Organ Effect Arrangement Program Placement 11 Polka 1 DB PEO Parallel 1 12 Polka 2 _ : Mussette AK k Parallel 1 13 PartyPlka1 ce Aile Pa 4 Parallel 1 14 PartyPlka2 282 Analog Pa 4 (Parallel 1 15 Stubenmus1 o> Lither Parallel 1 16 Stubenmus2 oo Hackbrett2 Parallel 1 17 MarschPlka 077 Horn&Akkor Parallel 1 18 2/4 Marsch Ces Aas Dan |Parallel 1 121 Walzer 1 Со Analog Pad Parallel 1 22 Walzer 2 Ce Anolos Pad Parallel 1 23 WinerWiz1 DE, hd Parallel 1 24 WinerWIz2 oc] 3 Sings > Parallel 1 25 Stubenmus3 O Zither eon 1 Parallel 1 26 Stubenmus4 2 MusetteAkk Parallel 1 27 Slow Walz Ces 5 alias Parallel 1 28 MusetteWlz [5 [Co3 ¡y smines — |Parallel1 31 Foxtrot Ce Anjou Pa Parallel 1 32 SlowFox а Anslo Pad Parallel 1 33 BigBd.Swg1 rez pass Band | Parallel 1 34 BigBd.Swg2 O43 Analog Pa y |Parallel 1 35 SlowSwing1 Ces 5 Parallel 1 36 SlowSwing2 Ces Jaz log Pa d |Parallel 1 37 Charleston es E fem bey Parallel 1 38 BigBd.Jive Daa pena |Parallel 1 41 6/8 Oldies oer Analog Pad Parallel 1 42 OldShuffle re ; BX-3 Org 1 Parallel 1 43 Motown Cos Вей A Parallel 1 44 Twist res 59 Oran Parallel 1 45 Rock&roll es xy Organ Parallel 1 46 6/8Shuffle ces Aron Pa d |Parallel 1 47 Rhy.&Blues C1 TE San Parallel 1 48 Blues D83 Harmonica parallel 1 Effect Arrangement Program Placement 51 Open Rock С a Sock Organ Parallel 1 52 Top40 Rock я ; BX-3 Organ Parallel 1 53 RockShuffl 0 Zane | Parallel 1 54 Halft.Rock R32 Perc Organ [Parallel 1 55 RockBalade C6? Analog Pad Parallel 1 56 Pop Balade Ce Aloe P aq | Parallel 1 57 PopShuffle o A ano 2 Parallel 1 58 6/8 Pop A Е reshAir Parallel 1 61 8 Beat 1 Dos 12 on Es 4 |Parallel 1 62 8 Beat 2 С Analog Pa а |Рагайе! 1 63 8 Beat 3 Ce Anales Pa d Parallel 1 64 4/4 Balade oo) Analog Pa d Parallel 1 65 16 Beat 1 Ce Analog Pad Parallel 1 66 16 Beat 2 Ce Ao Parallel 1 67 6/8SlowRock es Analog Pa Parallel 1 68 70's Disco oo Arlo) Pad Parallel 1 71 Bossa Nova CE on d Parallel 1 72 Samba 005 Anilos Pad Parallel 1 73 Lambada Ces on о ра Parallel 1 74 Beguin ce Analog Pad Parallel 1 75 Tango 073 an o Pad Parallel 1 76 Mambo roo yiem. Organ Parallel 1 77 ChaCha C62 Analog Pad | Parallel 1 78 Rhumba Ce aw ce Pad Parallel 1 81 Reggae D31 Rock Organ | Parallel 1 82 Pop Samba e Anales Pa d | Parallel 1 83 Salsa | R13 SalsaPiano Parallel 84 Country D> Analos Pa 4 |Parallel 1 85 Dixieland > pie 2 Parallel 1 86 New Jack De ph Ror Parallel 1 87 Funk DT8 TM Piano 2p. ie 1 88 Fusion oes buzz Or an Parallel 1 | = Layer. S = Split. D-5 Arrangement List (ITALY) Effect Arrangement Program Placement 51 Valzer 1 C25 Akordeon 1 | Parallel 1 C25 Akordeon 1 52 Valzer 2 C63 i3 Strings Parallel 1 53 Valzer 3 A36 Musette Parallel 1 A36 Musette 54 Mazurka 1 C63 i3 Strings Parallel 1 B18 Clarinet 55 Mazurka 2 A24 Vibes Parallel 1 C25 Akordeon 1 56 Polka 1 C62 Analog Pad Parallel 1 57 Polka 2 B12 Alto Sax Parallel 1 A36 Musette 58 Polka 3 C25 Akordeon 1 Parallel 1 61 Tarantella C28 Mando Trem | Parallel 1 . A85 FrenchHorn 62 Marcia C72 Clarn Ens Parallel 1 63 Slow Waltz D11 Piano Parallel 1 64 Tango 1 D27 Last Tango — | Parallel 1 65 Tango 2 Coo Akordeon ? | Parallel 1 66 Beguine A41 ClassicGtr — | Parallel 1 67 RhumbaBeg. C28 Mambo Trem | Parallel 1 Arrangement Program pp ect nt 11 8 Beat 1 Co 3 Strings Parallel 1 12 8 Beat 2 Ce 3 Strings Parallel 1 13 8 Beat 3 al DigiPiano? Parallel 1 14 8 Beat 4 22 e Parallel 1 15 8 Beat 5 со fickedMute Parallel 1 16 16 Beat 1 C16 DigiPiano2 [Parallel 1 17 16 Beat 2 ol AO Dbi Parallel 1 18 16 Beat 3 ce Бато, Parallel 1 21 16 Beat 4 D12 MaxiTine Parallel 1 22 16 Beat 5 Cll MIDI Piano - [Parallel 1 23 Ballad 1 Oca ano db Parallel 1 24 Ballad 2 Ces thane i |Parallel 25 Ballad 3 A11 Piano Parallel 1 26 NewShuffle C11 MIDI Piano |Parallel 1 27 RockShuffl D48 Sueco” -— |Parallel 28 Rock 1 C87 Lead roth Parallel 1 31 Rock 2 Das Hot Keys Parallel 1 32 Fusion DST Poppin Pad Parallel 1 33 Disco 1 o sy Strings. | Parallel 1 34 Disco 2 Ca SynB are Parallel 1 35 House D15 Operators Parallel 1 36 Rock 60 can Stereobist rd Parallel 3 37 Twist Ca tenor Dax Parallel 1 38 Boogie a Hot Keys Parallel 1 41 R.&B. C17 Vi Parallel 1 42 Blues 1 res но Olgan Parallel 1 43 Blues 2 A37 Harmonica — | Parallel 1 44 SlowRock 1 B13 Tenor Sax Parallel 1 45 SlowRock 2 D11 Piano Parallel 1 46 SlowShuffi (33 peut |Parallel1 47 MidShuffle Ces A ar Parallel 1 48 Country C33 PedalSteel Parallel 1 68 Cha Cha A82 Trombone Parallel 1 D41 AltoBreath 71 Bossa 1 C63 i3 Strings Parallel 1 D14 Elec.Ta 72 Bossa 2 C64 AirVoxDbl Parallel 3 73 Mambo C76 Trumpets!! Parallel 1 74 Lambada D27 Last Tango — | Parallel 1 75 Merengue A81 Trumpet Parallel 1 D44 Air Flute 76 Samba 1 C62 Analog Pad Parallel 1 A41 ClassicGtr 77 Samba 2 C31 L&R A.Gtrs Parallel 1 . D42 FlugelHorn 78 Discosamba C62 Analog Pad Parallel 1 81 Salsa C73 PerkySaxes [Parallel 1 82 Reggae C22 Gospel Org | Parallel 1 83 Swing A11 Piano Parallel 1 84 Slow Swing D42 FlugelHorn — | Parallel 1 D11 Piano 85 Fox Trot C63 i3 Strings Parallel 1 86 Charleston B18 Clarinet Parallel 1 87 Dixieland A82 Trombone Parallel 1 . C71 Flute Clar 88 Big Band C74 Mute Ens. Parallel 1 0-6 L = Layer. S = Split. Arrangement List (JAPAN) Arrangement Program Pl Effect t 11 Mick&Keith A47 DistGuitar | Parallel 1 12 Prog.Rock Des Poe Sth Parallel 1 13 Shufflin’ C24 Perc&Rotor — | Parallel 1 14 Top40 Rock D11 Piano 8’ Parallel 1 15 Riffin’ A32 Perc Organ |Parallel 1 16 Rock On! A47 DistGuitar — | Parallel 1 17 Don't Stop C11 MIDI Piano | Parallel 1 18 AOR Rock D11 Piano 8’ Parallel 1 21 Fiber C22 Gospel Org | Parallel 1 22 Eccs A71 Marcato Parallel 1 23 SouthernRk Ne BA ore Parallel 1 24 EasyRockin D11 Piano 8’ Parallel 1 25 Long Train C11 MIDI Piano — | Parallel 1 26 HalfTime e Dito tar Parallel 1 27 Unplugged B11 SopranoSax | Parallel 1 28 OldTimeR&R |5 |3 BX3 Organ Parallel 1 131 Boston Boy D58 PowerSynth | Parallel 1 32 Night Jams a MIDI Fiano Parallel 1 33 DanceGirls e Monolead Parallel 1 34 VogueHouse 602 Analo Pad Parallel 1 35 Yo!! Rap ors Tomes Parallel 1 36 Jammin'Sax B13 Tenor sax Parallel 1 37 MirrorBall C78 Brass Band Parallel 1 38 The Twist cn fenor Sax Parallel 1 41 Phil'sSong C11 MIDI Piano | Parallel 1 42 1,000 Hits C11 MIDI Piano — | Parallel 1 43 2,000 More C15 Hard Tines | Parallel 1 44 Love Songs C11 MIDI Piano {Parallel 1 45 Sad Songs C11 MIDI Piano | Parallel 1 46 SoulfulSax e T6 DigiPiano2 | Parallel 1 47 Passenger C13 Fresh Air Parallel 1 48 The 1950's D11 Piano 8’ Parallel 1 Arrangement Program beato 51 Refrain A71 Marcato Parallel 1 52 Anytime C13 Fresh Air Parallel 1 53 My Wrist C11 MIDI Piano — | Parallel 1 54 Supremely D11 Piano 8’ Parallel 1 55 Motown1968 |L [Coa = oUt | parallel 1 56 Baby,Baby D52 TheStrings | Parallel 1 57 Soul Bros. S яя pe Org | Parallel 1 58 Da Blues S Ne DA ona Parallel 1 61 AfterHours S Ces iri Parallel 1 62 The Duke L e Trampetalt Parallel 1 63 The Avalon D11 Piano 8’ Parallel 1 64 Elec.Jazz B12 Alto Sax Parallel 1 65 OlBlueEyes D11 Piano 8’ Parallel 1 66 The King S er ВХ Organ Parallel 1 67 Moon Music |S Dit Ali Parallel 1 68 Run Out red BX.3 Organ Parallel 1 71 Ipanema D44 Air Flute Parallel 1 72 SambaDeSol |S Aad Ves ano2 Parallel 1 73 Hot Salsa S B22 Flute Parallel 1 74 Mambo Mama C73 PerkySaxes |Parallel 1 75 ChaCha C11 MIDI Piano | Parallel 1 76 Latin C11 MIDI Piano — | Parallel 1 77 Beguine C11 MIDI Piano | Parallel 1 78 Cat Tango B18 Clarinet Parallel 1 81 March2/42 |L ASS Tuba Ens Parallel 1 182 SlowWaltz1 A11 Piano Parallel 1 83 Polka 1 | |236 Мивейе | Parallel : 84 Bourbon St S Nil Trombone Parallel 1 85 Nashville! |s | 533 PedalSteel [Parallel 1 86 RastaMan C22 Gospel Org | Parallel 1 87 ЕпКа1 A36 Musette Parallel 1 88 Enka2 L | B66 Bouzouki | parallel 1 || = Layer. S = Split. D-7 Arrangement List (UK) Arrangement Program PI Effect t 11 Just Billy e Digi Piano Parallel 1 12 Survive ? A11 Piano Parallel 1 13 SlowWaltz1 A11 Piano Parallel 1 14 Rod Re Gus Ce Shakuhachi Parallel 1 15 Maneater. 025 Pads Parallel 1 16 WoodyBass D31 Clarinet Parallel 1 17 Pennies AB Clarinet ot Parallel 1 18 Moodie B22 Flute Parallel 1 21 Unchain,Me che ао Parallel 1 22 Without Yo oa Péri axes Parallel 1. 23 Man+Woman. on ¡3Stringe Parallel 1 24 Wheels. B73 ee Drums | Parallel 1 25 1 Got chil C23 cheese |Parallel 1 26 Coward Co C33 PedalSteel Parallel 1 27 Cry Roy. B12 Alto Sax Parallel 1 “128 MillerMoon Blo Mated Trot Parallel 1 31 Yesterday. Во Pan flute Parallel 1 32 Can | Help a BX Oran Parallel 1 33 70's Man C23 Cheese Parallel 1 34 Dire Walk. a cope var Parallel 1 35 Late Night C35 HollowBody | Parallel 1 36 Magic AZ} Analog P ad Parallel 1 37 SimplyBest co Analog, a d |Parallel 1 38 Sun Rising ee Cheese Parallel 1 41 Born Again О piano 8, Parallel 1 42 Lullaby B 2 HollowBody Parallel 1 43 Dont Let. Ne Harmonica Parallel 1 44 Moon River 3 SiowString Parallel 1 45 Bye B Blue C33 Pedadtee] | parallel 1 46 Country Ro C33 PedalSteel |Serial 47 King.Bebe Com NCheese Serial 48 Santa C5 Cheese Serial Effect Arrangement Program Placement 51 COUNT Meln D41 AltoBreath Parallel 1 , C47 StereoDist 52 Carl Vain C62 Analog Pad Serial . D41 AltoBreath 53 1 Triad. D83 RaveVox Parallel 1 C23 54 Sad Russ HamNCheese Parallel 1 55 P Harlum с 605 Ограп Serial . D44 Air Flute 56 Moon Music D11 Piano 8’ Parallel 1 57 Fanfare Co с 3 Thestrings Parallel 1 C63 i3 Strings 58 B+Butter A71 Marcato Parallel 1 D12 MaxiTine 61 Quest of S D35 JewelryBox Parallel 1 D64 DirtySect! 62 Yew To Me D18 Baritone Parallel 1 63 Dont, W Loo B15 Sweet Oboe |Parallel 1 C15 Hard Tines 64 Feel LML C17 Whirly Parallel 1 65 NaK Heater D12 MaxiTine Parallel 1 66 Crazy. C33 PedalSteel Parallel 1 . A71 Marcato 67 Alien C62 Analog Pad Parallel 1 68 Sleepy G. D52 TheStrings — | Parallel 1 D42 FlugelHorn 71 AfterHours C63 i3 Strings Parallel 1 C78 Brass Band 72 The Duke C76 Trumpets!! Parallel 1 73 The Avalon D11 Piano 8' Parallel 1 74 So Modal. A84 Muted Trpt — | Parallel 1 A84 Muted Trpt 75 Skylark. C63 i3 Strings Parallel 1 C14 Piano&Str 76 Heavy A37 Harmonica Parallel 1 . B11 SopranoSax 77 F Valentin C16 DigiPiano2 Parallel 1 78 Fire Door. C21 60's Organ — | Parallel 1 A36 Musette 81 Lambada D27 Last Tango Parallel 1 D52 TheStrings 82 LoveChange C61 StringOct Parallel 1 83 One M Nyte C16 DigiPiano2 | Parallel 1 84 You've Got D11 Piano 8' Parallel 1 85 | Dreamed C14 Piano&Str Parallel 1 . D11 Piano 8’ 86 Beguine D11 Piano 8’ Parallel 1 C23 87 Caravan. HamNCheese Parallel 1 A82 Trombone 88 Bourbon St A11 Piano Parallel 1 D-8 L = Layer. S = Split. Drum Sound List 0 Fat Kick 33 BrushSwish 66 Lo Bongo 99 Scratch Lo 132 Vibe 2 1 Rock Kick | 34 BrushSwirl 67 Hi Bongo 100 ScratchDbl 133 Vibe 3 2 Ambi.Kick 35 Brush Tap 68 Slap Bongo 101 Thing 134 Vibe 4 3 Crisp Kick 36 Side Stick 69 Claves 102 Mute Cuica 135 Pole 4 Punch Kick 37 Syn Rim 70 Syn Claves 103 Open Cuica 136 TubulBell1 5 Real Kick 38 VocalSnr 1 71 Open Conga 104 Vibraslap 137 TubulBell2 6 Dance Kick 39 VocalSnr 2 72 Slap Conga 105 Guiro S 138 TubulBell3 7 Gated Kick 40 Crash Cym 73 Palm Conga 106 Guiro L 139 Gt Scratch 8 ProcesKick 41 Crash LP 74 Mute Conga 107 Castanet 140 Chic 1 9 Metal Kick 42 China Cym 75 Baya 108 FingerSnap 141 Chic 2 10 Syn Kick 1 43 China LP 76 Baya2 109 Timbales 142 Spectrum 1 11 Syn Kick 2 44 Splash Cym 77 Tabla 1 110 Kalimba 1 143 Spectrum 2 12 ‘Syn Kick 3 45 Splash LP 78 Tabla 2 111 Kalimba 2 144 Stadium 13 Orch B.Drm 46 Orch Crash 79 Tabla3 112 Marimba 1 145 BrushNoise 14 Snare1 47 OrchCym LP 80 Maracas 113 Marimba 2 146 Gt Slide 15 Snare 2 48 Tite HH 81 Cabasa 114 Marimba 3 147 Bell Tree 16 Snare 3 49 Open HH 82 SynMaracas 115 Marimba 4 148 Tri Roll 17 Snare 4 50 Pedal HH 83 MuteTriang 116 Xylofon 1 149 JingleBell 18 PicloSnare 51 CloseSynHH 84 OpenTriang 117 Xylofon 2 150 Whistle S 19 Soft Snare 52 Open SynHH 85 Tambourine 118 Xylofon 3 151 Whistle L 20 LightSnare 53 Sagat 86 Cowbell 119 Log Drum 1 152 Timpani 21 TightSnare 54 Ride Edge 87 SynCowbell 120 Log Drum 2 153 Taiko Hi 22 Ambi.Snare 55 Ride Cup 88 R-Timbal 121 Log Drum 3 154 Taiko Lo 23 Rev Snare 56 Ride Cym 1 89 Hi Timbal 122 Log Drum 4 155 Music Box1 24 RollSnare1 57 Ride Cym 2 90 Lo Timbal 123 Log Drum 5 156 Music Box2 25 RollSnare2 58 Tom Hi 91 WoodBlock1 124 Snap 157 Clicker 1 26 Rock Snare 59 Tom Lo 92 WoodBlock2 125 BrightBell 158 Clicker 2 27 GatedSnare 60 ProcessTom 93 WoodBlock3 126 Metal Bell 159 Clicker 3 28 PowerSnare 61 SynTom1 Hi 94 Hand Claps 127 Gamelan 1 160 Crickets 29 Syn Snare1 62 SynTom1 Lo 95 Syn Claps 128 Gamelan 2 161 Orch Hit 30 Syn Snare2 63 Syn Tom 2 96 Zap] 129 Celeste 162 Metronome1 31 Gun Shot 64 Brush Tom 97 Zap2 130 Glocken 163 Metronome2 32 Brush Slap 65 Agogo 98 Scratch Hi 131 Vibe 1 D-9 Drum Kit 11 GM Kit # Inst #00 008:ProcesKick #01 036:Side Stick #02 026:Rock Snare #03 094:Hand Claps #04 020:LightSnare #05 059:Tom Lo #06 048:Tite HH #07 059:Tom Lo #08 050:Pedal HH #09 059:Tom Lo #10 049:Open HH #11 058:Tom Hi #12 058:Tom Hi #13 040:Crash Cym #14 058:Tom Hi #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151: Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 005:Real Kick #48 149:JingleBell #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 014:Snare 1 #54 000:Fat Kick #55 016:Snare 3 #56 001:Rock Kick #57 049:Open HH #58 109:Timbales 459 024:RollSnare1 Key C2 C#2 D2 D#2 E? F2 F#2 G2 G#2 . A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 ES F5 F#5 G5 GRS AS A#5 B1 BS Cs C#6 D6 D#6 Ai G1 Fl E1 F#1 G#1 A#1 Drum Kit Layouts Power Kit # Inst #00 009:Metal Kick #01 036:Side Stick #02 028:PowerSnare #03 094:Hand Claps #04 027:GatedSnare 405 060:Process Tom 406 048:Tite HH #07 060:Process Tom #08 050:Pedal HH 409 060:Process Tom #10 049:0pen HH #11 060:ProcessTom #12 060:ProcessTom #13 040:Crash Cym #14 060:ProcessTom #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085. Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Ореп Сопда #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistie L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 007:Gated Kik #48 149:JingleBeil #49 147:Beil Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 021:TightSnare #54 007:Gated Kik #55 026:Rock Snare #56 002:Ambi.Kick #57 049:Open HH #58 109:Timbales #59 023:Rev Snare Key C2 C#2 D2 D#2 E2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F#4 G4 G#4 A4 A#4 B4 Cs C#5 D5 D#5 ES FS F#5 G5 G#5 AS A#5 B1 B5 Св C#6 D6 D#6 Al Gt F1 E1 F#1 G#1 A#1 Drum Kit 13 Analog Kit # Inst #00 010:Syn Kick 1 #01 037:Syn Rim #02 029:Syn Snare1 #03 095:Syn Claps #04 020:LightSnare #05 062:SynTom1 Lo #08 051:CloseSynHH #07 062:SynTom1 Lo #08 051:CloseSynHH #09 062:SynTom1 Lo #10 052:Open SynHH 411 062:SynTomi Lo #12 062:SynTomi Lo #13 052:Open SynHH #14 062:SynTom1 Lo #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085:Tambourine #19 044:Splash Cym #20 087:SynCowbell #21 040:Crash Cym #22 104:Vibraslap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 061:SynTom1 Hi #27 061:SynTom1 Hi #28 061:SynTom1 Hi #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 082:SynMaracas #35 150:Whistle S 436 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 070:Syn Claves — 440 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 003:Crisp Kick #48 149:JingleBell #49 147:Beli Tree #50 107:Castanet #51 036:Side Stick #52 154. Taiko Lo #53 022:Ambi.Snare #54 006:Dance Kick #55 030:Syn Snare2 #568 012:Syn Kick 3 #57 052:Open SynHH #58 109:Timbales #59 023:Rev Snare Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A#3 B3 C#4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 C5 C#5 D5 D#5 ES F5 F#5 G5 G#5 AS A#5 B1 B5 Св С#6 D8 D#6 A1 G1 F1 E1 F#1 GR Am Drum Kit 14 Jazz Kit # Inst #00 001:Rock Kick #01 036:Side Stick #02 019:Soft Snare #03 094:Hand Claps #04 015:Snare 2 #05 059:Tom Lo #06 048:Tite HH #07 059:Tom Lo #08 050:Pedal HH 409 059:Tom Lo #10 049:Ореп НН #11 058:Tom Hi #12 058:Tom Hi #13 040:Crash Cym #14 058:Tom Hi #15 057:Ride Cym 2 #16 042:China Cym #17 056:Ride Cym 1 #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 054:Ride Edge #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S 436 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 004:Punch Kick #48 149:JingleBell 449 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo 453 025:RollSnare2 454 002:Ambi.Kick 455 017:Snare 4 456 003:Crisp Kick #57 049:0pen HH #58 109:Timbales 459 024:RollSnare1 Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 Cra D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 cs C#5 D5 D#5 ES Fs F#5 G5 G#5 A5 A#5 B1 BS ce C#6 D6 D#8 A1 G1 F1 3 Za G#1 A#1 Drum Kit 15 Brush Kit # Inst #00 001:Rock Kick #01 036:Side Stick #02 035:Brush Tap #03 032:Brush Siap 404 033:BrushSwish 405 064:Brush Tom #06 048:Tite HH #07 064:Brush Tom #08 050:Pedal HH #09 064:Brush Tom #10 049:Open HH #11 064:Brush Tom #12 064:Brush Tom #13 040:Crash Cym #14 064:Brush Tom #15 057:Ride Cym 2 #16 042:China Cym #17 056:Ride Cym 1 #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 054:Ride Edge #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Адодо #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistle L 437 105:Guiro S 438 106:Guiro L 439 069:Claves 440 092:WoodBlock2 441 093:WoodBlock3 442 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 OB4:OpenTriang #48 081:Cabasa #47 004:Punch Kick #48 149:JingleBell #49 147:Bell Tree 450 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 032:Brush Slap #54 002:Ambi.Kick #55 108:FingerSnap #56 003:Crisp Kick #57 049:Open HH #58 109:Timbales #59 024:RoliSnaret Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 Aña B4 C5 С#5 D5 D#5 ES F5 F#5 G5 G#5 A5 A#5 B1 BS C6 C#6 D6 D#6 A1 G1 F1 El F#1 G#1 A#1 Drum Kit 16 Perc Kit 1 # Inst #00 069:Claves #01 092:WoodBlock2 #02 086:Cowbell #03 091:WoodBiocki 404 107:Castanet #05 076:Baya 2 #06 081:Cabasa #07 075:Baya 1 #08 080:Maracas #09 076:Baya 2 #10 081:Cabasa #11 079:Tabla 3 #12 078:Tabla 2 #13 104:Vibraslap #14 077:Tabla 1 #15 083:MuteTriang #16 013:Orch B.Drm #17 084:OpenTriang #18 105:Guiro S #19 149:JingleBell #20 106:Guiro L #21 147:Bell Tree #22 101:Thing #23 080:Maracas #24 094:Hand Claps #25 095:Syn Claps #26 099:Scratch Lo #27 098:Scratch Hi #28 100:ScratchDbl #29 150:Whistle S #30 151: Whistle L 431 072:Slap Conga #32 074:Mute Conga 433 071:Open Conga 434 071:O pen Conga 435 102:Mute Cuica #36 103:Open Cuica 437 109:Timbales #38 088:R- Timbal #39 089:Hi Timbal #40 090:Lo Timbal 441 070:Syn Claves #42 087:SynCowbell #43 108:FingerSnap #44 153:Taiko Hi #45 154: Taiko Lo 446 097:Zap 2 #47 093:WoodBiock3 #48 024:RollSnare1 449 025:RollSnare2 #50 046:Orch Crash #51 046:Orch Crash #52 161:Orch Hit #53 068:Slap Bongo #54 065:Agogo 455 038:VocalSnr 1 #56 065:Agogo #57 067:Hi Bongo #58 066:Lo Bongo #59 085:Tambourine Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 CAS DS D#5 ES FS F#5 GS G#5 AS A#5 B1 B5 Св C#6 Dé A7 A#1 A1 G#1 G1 E1 F1 FA Drum Kit 17 User Kit 1 # Inst #00 006:Dance Kick #01 036:Side Stick #02 030:Syn Snare2 #03 094:Hand Claps #04 022:Ambi.Snare #05 080:ProcessTom #08 048:Tite HH #07 060:ProcessTom #08 050:Pedal HH #09 060:ProcessTom #10 049:Open HH #11 060:ProcessTom #12 060:ProcessTom #13 040:Crash Cym #14 060:ProcessTom #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 054:Ride Edge #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071.0pen Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistie S #38 151:Whistle L 437 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 002:Ambi.Kick 448 149:JingleBell #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 021:TightSnare #54 011:Syn Kick 2 #55 018:PicloSnare #56 003:Crisp Kick #57 049:Open HH #58 036:Side Stick #59 023:Rev Snare Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 CA D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 ES FS F#5 G5 G#5 AS A#5 B1 B5 Ce C#6 D6 D#6 A1 G1 Fi Et F#1 G#1 A#1 Drum Kit 18 User Kit 2 # Inst #00 013:Orch B.Drm #01 036:Side Stick #02 025:RoilSnare2 #03 107:Castanet #04 025:RollSnare2 #05 No Drum Sound #06 No Drum Sound #07 No Drum Sound #08 No Drum Sound #09 No Drum Sound #10 No Drum Sound #11 No Drum Sound #12 No Drum Sound #13 No Drum Sound #14 No Drum Sound #15 No Drum Sound #16 No Drum Sound #17 152: Timpani #18 085:Tambourine #19 044:Splash Сут #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 046:Orch Crash #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Адодо #32 085:Agogo 433 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 441 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica 444 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 005:Real Kick #48 149:JingleBell #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 048:Tite HH #54 049:0pen HH #55 054:Ride Edge #56 050:Pedal HH #57 No Drum Sound #58 No Drum Sound #59 No Drum Sound Key Ca С#2 D2 D#2 E2 F2 F#2 G2 G#2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 CS C#5 DS D#5 ES FS F#5 GS G#5 AS A#5 B1 BS C6 C#6 D6 D#6 D#1 F1 F#1 Et Do G#1 A#1 D-11 “UK” DK WS2 # Inst #00 002 Ambi.Kick #01 028 PowerSnare #02 027 GatedSnare #03 014 Snare 1 #04 058 Tom Hi: #05 059 Tom Lo #06 081 Cabasa #07 058 Tom Hi #08 085 Tambourine #09 059 Tom Lo #10 086 Cowbell #11 037 Syn Rim #12 004 Punch Kick #13 033 BrushSwish #14 032 Brush Slap #15 032 Brush Slap #16 059 Tom Lo #17 059 Tom Lo #18 048 Tite HH #19 059 Tom Lo #20 050 Pedal HH 421 091 WoodBlock1 #22 049 Open HH #23 094 Hand Claps #24 003 Crisp Kick #25 057 Ride Cym 2 #26 019 Soft Snare #27 055 Ride Cup #28 063 Syn Tom 2 #29 063 Syn Tom 2 #30 044 Splash Cym #31 063 Syn Tom 2 #32 041 Crash LP #33 104 Vibraslap #34 040 Crash Cym #35 107 Castanet #36 067 Hi Bongo #37 066 Lo Bongo #38 072 Slap Conga #39 071 OPen Conga #40 076 Baya 2 #41 106 Guiro L #42 103 Open Cuica #43 089 Hi Timbal #44 089 Hi Timbal #45 065 Agogo #46 084 OpenTriang #47 150 Whistle S #48 012 Syn Kick 3 #49 145 BrushNoise #50 030 Syn Snare2 #51 038 VocalSnr 1 #52 038 VocalSnr 1 #53 038 VocalSnr 1 #54 048 Tite HH #55 038 VocalSnr 1 #56 048 Tite HH - #57 088 R- Timbal #58 096 Zap 1 #59 150 Whistle S 0-12 Кеу C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 DS D#5 ES F5 F#5 GS G#5 A5 A#5 BS Ce C#6 D6 D#6 Es F6 F#6 G6 G#6 A6 A#6 B6 Drum Kit 21 Dance Kit # Inst #00 006:Dance Kick #01 036:Side Stick #02 030:Syn Snare2 #03 094:Hand Claps - #04 022:Ambi.Snare #05 060:ProcessTom #06 048:Tite HH #07 060:ProcessTom #08 050:Pedal HH #09 080:ProcessTom #10 049:Ореп HH #11 060:ProcessTom #12 060:ProcessTom #13 040:Crash Cym #14 060:ProcessTom #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 054:Ride Edge #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27. 071:Ореп Сопда #28 071:0pen Conga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo 433 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa 447 002:Ambi.Kick #48 149:JingleBeil #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 021:TightSnare #54 011:Syn Kick 2 #55 018:PicloSnare #56 003:Crisp Kick #57 049:0pen HH #58 036:Side Stick #59 023:Rev Snare Key C2 Cr D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 82 C3 C#3 D3 D#3 F3 F#3 G#3 Drum Kit 22 Orch Kit # Inst #00 013:Orch B.Drm #01 036:Side Stick 402 025:RollSnare2 403 107:Castanet #04 025:RollSnare2 #05 No Drum Sound 406 No Drum Sound 407 No Drum Sound 408 No Drum Sound #09 No Drum Sound #10 No Drum Sound #11 No Drum Sound #12 No Drum Sound #13 No Drum Sound #14 No Drum Sound #15 No Drum Sound #16 No Drum Sound #17 152:Timpani #18 085:Tambourine #19 044:Spiash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 046:Orch Crash #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Conga #29 089:Hi Timbal #30 080:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistie S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBiock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 005:Real Kick . #48 149:JingleBeli #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo #53 048:Tite HH #54 049:Ореп НН #55 054:Ride Edge #56 050:Pedal HH #57 No Drum Sound #58 No Drum Sound #59 No Drum Sound Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 ЕЗ F3 F#3 G3 G#3 A3 A#3 B3 C4 С#4 D4 D#4 E4 F4 F#4 G4 G#4 ha A#4 B4 CS C#5 D5 DAS ES FS F#5 GS G#5 AS A#5 B1 BS C6 C#6 Dé D#6 D#1 F1 F#1 El Do G#1 AM Drum Kit 23 Funky Kit # Inst #00 002:Ambi Kick #01 036:SideStick #02 020:LightSnare #03 094:HandClaps #04 015:Snare 2 #05 059: Tom Lo #06 048:Tite HH #07 059:Tom Lo #08 049:Ореп НН ‚ #09 059:Tom Lo #10 049:Ореп НН #11 058:Tom Hi #12 058:Tom Hi #13 040:Crash Cym #14 058:Tom Hi #15 054:Ride Edge #16 042:China Cym 417 055:Ride Cup 418 085:Tambourine #19 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibraslap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga 428 071:Open Conga 429 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo | #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlock2 #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpeTriang #46 081:Cabasa #47 000:Fat Kick #48 149:JingleBell #49 147:BellTree #50 107:Castanet #51 051:CloseSynHH #52 052:OpenSynHH #53 018:PicoloSnare #54 010:SynKick 1 #55 029:SynSnare 1 456 003:Crisp Kick #57 048:Tite HH #58 109:Timbales 459 023:Rev Snare Key C2 C#2 D2 D#2 E? F2 F#2 G2 G32 A#2 B2 C3 C#3 D3 D#3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 Cs C#5 D5 D#5 ES F5 F#5 G5 G#5 A5 A#5 B1 B5 E6 C#6 F6 G6 F1 G1 A1 El F#1 G#1 A#1 Drum Kit 24 House Kit # Inst #00 010:Syn Kick 1 #01 108:FingerSnap #02 030:SynSnare 2 403 095:SynClaps #04 022:Ambi-Snare #05 060:ProcessTom #06 048:Tite HH #07 052:OpenSynHH #08 050:Petdal HH #09 060:Process Tom #10 052:0penSynHH #11 051.CloseSynHH #12 060:ProcessTom #13 040:Clash Cym #14 060:ProcessTom #15 054:Ride Edge #16 042:China Cym 417 055:Ride Cup 418 085:Tambourine #19 049:Open HH #20 086:Cowbell #21 040:Crash Cym 422 104:Vibraslap #23 054:Ride Edge 424 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga 428 071:Open Conga 429 089:Hi Timbal #30 090:Lo Timbal #31 090:Lo Timbal #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlocke #41 093:WoodBlock3 #42 102:MuteCuica #43 103:OpenCuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 000:Fat Kick #48 052:Open SynHH #49 147:Bell Tree #50 107:Castanet #51 036:Side Stick #52 154:Taiko Lo 453 021:TightSnare #54 002:Ambi-Kick 455 018:Open HH #56 003:Crisp Kick #57 049:0pen HH #58 036:Side Stick #59 023:Rev Snare Key С2 С#2 D2 D#2 E2 F2 F#2 G2 G32 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 ES F5 F#5 GS G#5 A5 A#5 B1 B5 C6 C#6 D6 D#6 A1 G1 F1 Et Za G#1 A#1 Drumkit 25 Rave Kit # Inst #00 010:Syn Kick: 1 #01 002:Ambi.Kick #02 012:Syn Kick 3 #03 007:Gated Kik #04 06:Dance Kick #05 010:Syn Kick 1 #06 011:Syn Kick 2 #07 030:5yn Snare2 #08 029:Syn Snare 1 #09 029:Syn Snare1 #10 060:ProcessTom #11 021:TightSnare #12 144:Stadium #13 018:PicloSnare . #14 015:Snare 2 #15 027:GatedSnare #16 095:Syn Claps #17 086:Cowbell #18 048:Tite HH #19 051:CloseSynHH #20 050:Pedal HH #21 052:0pen SynHH 422 049:Open HH #23 084:OpenTriang 424 040:Crash Cym 425 044:Splash Cym #26 084:OpenTriang #27 085: Tambourine #28 144:Stadium #29 071:0pen Conga 430 071:Open Conga 431 072:Slap Conga #32 049:Open HH #33 074:Mute Conga #34 074:Mute Conga #35 073:Paim Conga #36 066:Lo Bongo 437 087:SynCowbell #38 068:Slap Bongo 439 070:Syn Claves 440 082:SynMaracas #41 098:Scratch Hi #42 108:FingerSnap #43 099:Scratch Lo #44 139:Gt Scratch 445 100:ScratchDbl #46 049:Open HH #47 084:OpenTriang #48 102:Mute Cuica #49 103:Open Cuica #50 096:Zap 1 #51 097:Zap 2 #52 094:Hand Claps #53 135:Poie #54 146:Gt Slide #55 063:Syn Tom 2 #56 063:Syn Tom 2 #57 063:Syn Tom 2 #58 063:Syn Tom 2 #59 030:Syn Snare2 Key Ca C#1 D#5 B1 Ct G1 D2 F1 C#2 F2 G#3 E2 ES D1 A1 D#2 G#4 G#2 G3 A#4 F3 A#2 B3 C#3 D3 A3 Р#3 A#3 C#4 D4 D#4 E4 C#5 F4 F#4 G4 D5 B4 C5 G6 F5 F#5 C#6 A4 C6 A#5 B5 D#3 F#2 D6 D#6 E6 F6 F#6 G2 A2 B2 C3 G8 DrumKit 26 GP Kit # Inst #00 005:Real Kick #01 036:Side Stick #02 026:Rock Snare #03 095:Syn Claps #04 020:LightSnare #05 059:Tom Lo #06 048:Tite HH #07 059:Tom Lo #08 050:Pedal HH #09 059:Tom Lo #10 049:Ореп НН #11 058:Tom Hi #12 058: Tom Hi #13 040:Crash Cym #14 058:Tom Hi #15 057:Ride Cym 2 #16 056:Ride Cym 1 #17 055:Ride Cup #18 085:Tambourine 419 044:Splash Cym #20 086:Cowbell #21 040:Crash Cym #22 104:Vibrasiap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 072:Slap Conga #28 071:Open Conga 429 089:Hi Timbal #30 089:Hi Timbal #31 065:Agogo 432 065:Agogo 433 081:Cabasa #34 082:SynMaracas #35 150:Whistle S #36 151:Whistle L #37 105:Guiro S #38 106:Guiro L #39 070:Syn Claves #40 092:WoodBlock2 #41 092:WoodBlock2 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081:Cabasa #47 000:Fat Kick #48 082:SynMaracas 449 091:WoodBlock1 450 108:FingerSnap 451 144:Stadium 452 147:Bell Tree #53 015:Snare 2 #54 002:Ambi.Kick #55 027:GatedSnare #56 001:Rock Kick #57 049:0pen HH #58 109:Timbales 459 024:RollSnare1 Key C2 С#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2. B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 C4 С#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 ES F5 F#5 ‚ 65 G#5 A5 A#5 B1 BS C6 C#6 D6 D#6 A1 G1 F1 ET F#1 GH A#1 DrumKit 27 Latin Kit # Inst #00 008:ProcesKick #01 036:Side Stick #02 026:Rock Snare #03 094:Hand Claps #04 020:LightSnare #05 059:Tom Lo #06 048:Tite HH #07 059: Tom Lo #08 050:Pedal HH #09 059:Tom Lo #10 049:Ореп НН #11 058:Tom Hi #12 058:Tom Hi #13 040:Crash Cym #14 058:Tom Hi #15 054:Ride Edge #16 042:China Cym #17 055:Ride Cup #18 085:Tambourine #19 044:Splash Cym #20 086:Cowbell 421 040:Crash Cym #22 104:Vibraslap #23 056:Ride Cym 1 #24 067:Hi Bongo #25 066:Lo Bongo #26 074:Mute Conga #27 071:Open Conga #28 071:Open Coriga #29 089:Hi Timbal #30 090:Lo Timbal #31 065:Agogo #32 065:Agogo #33 081:Cabasa #34 080:Maracas #35 150:Whistle S #36 151: Whistle L #37 105:Guiro S #38 106:Guiro L #39 069:Claves #40 092:WoodBlocke #41 093:WoodBlock3 #42 102:Mute Cuica #43 103:Open Cuica #44 083:MuteTriang #45 084:OpenTriang #46 081.Cabasa #47 005:Real Kick 448 149:JingleBell 449 147:Bell Tree 450 107:Castanet 451 036:Side Stick $52 029:Syn Snare1 453 014:Snare 1 454 000:Fat Kick 455 016:Snare 3 #56 004:Punch Kick #57 049:Ореп НН 458 109:Timbales 459 024:RollSnare1 Key C2 C#2 D2 D#2 E2 F2 F#2 G2 G#2 A2 A#2 B2 C3 C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 Ca C#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 C#5 D5 D#5 Es FS FAS G5 G#5 A5 А#5 B1 B5 Ce C#6 D6 DO A1 G1 F1 E1 F#1 G#1 A#1 D-13 DrumKit 28 Perc Kit 2 # Inst #00 069:Claves #01 092:WoodBlock2 #02 086:Cowbell #03 091:WoodBlock1 #04 107.Castanet #05 076:Baya 2 #06 081:Cabasa 407 075:Baya 1 #08 080:Maracas #09 076:Baya 2 #10 081:Cabasa 411 079:Tabia 3 #12 078:Tabla 2 #13 104:Vibrasiap #14 077:Tabla 1 #15 083:MuteTriang #16 O13:Orch B.Drm #17 084:ОрепТпапд #18 105:Guiro S #19 105:Guiro S #20 106:Guiro L 421 147:Bell Tree #22 080:Maracas #23 080:Maracas #24 094:Hand Claps #25 095:Syn Claps #26 099:Scratch Lo #27 098:Scratch Hi #28 100:ScratchDbl #29 150:Whistle S #30 151: Whistle L, #31 072:Slap Conga #32 074:Mute Conga #33 071:Open Conga 434 071:Open Conga 435 102:Mute Cuica 436 109:Timbales 437 109:Timbales 438 088:R-Timbal #39 089:Hi Timbal 440 090:Lo Timbal 441 070:Syn Claves 442 087:SynCowbell 443 108:FingerSnap #44 153:Taiko Hi #45 154. Taiko Lo 446 097:2ap 2 447 093:WoodBlock3 448 024:RollSnare1 #49 025:RollSnare2 #50 046:0rch Crash 451 046:0rch Crash #52 161:Orch Hit #53 068:Slap Bongo #54 086:Cowbell #55 038:VocalSnr 1 456 086:Cowbell 457 067:Hi Bongo #58 066:Lo Bongo 459 085:Tambourine D-14 Key C2 C#2 D2 D#2 E? F2 F#2 G2 G#2 A2 A#2 B2 СЗ C#3 D3 D#3 E3 F3 F#3 G3 G#3 A3 A#3 B3 Ca С#4 D4 D#4 E4 F4 F#4 G4 G#4 A4 A#4 B4 C5 С#5 D5 D#5 ES F5 F#5 G5 G#5 A5 A#5 B1 B5 Excl Style Parameter List Ut User style1 U2 User style2 U3 User style3 U4 User style4 C1 User style5 ( on RAM Card) C2 User style6 ( on RAM Card) - C3 User style7 ( on RAM Card) C4 User style8 ( on RAM Card) E11 8 Beat3 E12 6/8 Pop E13 NewBaroque E14 16 Beat3 E15 Lite Bossa E16 Meneaito E17 Gipsy E18 Merengue E21 Cumbia E22 Calypso E23 Med Swing E24 6/8 Swing E25 SwingShufl E26 LatinBBand E27 Foxtrot E28 HullyGuily E31 Paso Doble E32 Quick Step E33 PartyPolka E34 Rhumba E35 Trad Waltz E36 Jazz Waltz E37 MdnCountry E38 Techno P11 Open Rock P12 Pop Rock2 P13 Hard Rock P14 RockShuffl P15 Half Time P16 Lite Rock P17 60's Dance P18 60's Rock P21 New Jack p22 Dance Pop P23 House P24 Rap P25 70's Disco P26 R&B Shuffi P27 R&B P28 Reggae P31 Big Band P32 Slow Swing P33 Blues P34 Mid Shuffle P35 Pop Shuffle P36 Motown P37 6/8 Oldies P38 Country P41 4/4 Ballad P42 Pop Ballad P43 SlowShuffl~ P44 RockBallad P45 8 Beat1 P46 8 Beat2 P47 16 Beat1 P48 16 Beat? P51 Bossa Nova P52 Samba P53 Salsa P54 Mambo P55 Fusion P56 Latin P57 Pop Samba P58 Beguine P61 Waltz P62 Slow Waltz P63 2/4 March P64 Polka P65 Cha Cha P66 Tango P67 Broadway P68 Dixieland e. Styles P11-P68 are also used on the 12/13/i45/il series. (The size of the introduction part and/or ending part of some styles may have already been edited.) | e Styles El1-E38 have been added only to the ¿$$ and i5M. e Styles C1-C4 are included in the RAM card of the i2/i3/il. These styles cannot be played back on the 155. á NOTICE N KORG products are manufactured under strict specifications and voltages required by each country. These products are warranted by the KORG distributor only in each country. Any KORG product not sold with a warranty card or carrying a serial number disqualifies the product sold from the manufacturer’s/distributor’s warranty and liability. This requirement is for your own protection and safety. N y KORG INC. 15 - 12, Shimotakaido 1 - chome, Suginami-ku, Tokyo, Japan. © 1995 KORG INC. 0902 GH Printed in Japan

Korg i5M Reference Guide

Key Features

Related manuals

Frequently Answers and Questions

How many tracks can I record in the sequencer?

Can I use the Korg i5M with other MIDI devices?

Can I expand the sounds on the Korg i5M?

Does the Korg i5M have an arpeggiator?

Can I use the Korg i5M to create chords?

Korg i5M Reference Guide

Key Features

Related manuals

Korg

C-900

Korg

i3(1993)

Korg

iX300

Korg

i5S

Korg

i30

Korg

i5M

Korg

i30

Korg

i4S

Korg

SG-1

Korg

X5D

Frequently Answers and Questions

How many tracks can I record in the sequencer?

Can I use the Korg i5M with other MIDI devices?

Can I expand the sounds on the Korg i5M?

Does the Korg i5M have an arpeggiator?

Can I use the Korg i5M to create chords?