i40M Interactive Music Module
Interactive Music Module
i40M
User’s
Guide
AI2 Synthesis System
IMPORTANT SAFETY INSTRUCTIONS
WARNING — When using electrical products, basic precautions should be followed, including the following:
1. Read all the instructions before using the
product.
2. Do not use this product near water — for
example, near a bathtub, washbowl, kitchen sink,
in a wet basement, or near a swimming pool, or
the like.
3. This product should be used only with the cart or
stand that is recommended by the manufacturer.
4. This product, either alone or in combination with
an amplifier and headphones or speakers, may
be capable of producing sound levels that could
cause permanent hearing loss. Do not operate
for a long period of time at a high volume level or
at a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you
should consult an audiologist.
5. The product should be located so that its location
or position does not interfere with its proper
ventilation.
6. The product should be located away from heat
sources such as radiators, heat registers, or
other products that produce heat.
7. The product should be connected to a power
supply of the type described in the operating
instructions or as marked on the product.
8. The power-supply cord of the product should be
unplugged from the outlet when left unused for a
long period of time.
9. Care should be taken so that objects do not fall
and liquids are not spilled into the enclosure
through openings.
10.The product should be serviced by qualified
personnel when:
A. The power-supply cord or the plug has been
damaged; or
B. Objects have fallen, or liquid has been spilled
into the product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate
normally or exhibits a marked change in
performance; or
E. The product has been dropped, or the
enclosure damaged.
11.Do not attempt to service the product beyond
that described in the user-maintenance
instructions. All other servicing should be
referred to qualified service personnel.
SAVE THESE INSTRUCTIONS
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The lightning flash with the arrowhead symbol
within an equilateral triangle, is intended to alert
the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence
of
important
operating
and
maintenance (servicing) instructions in the
literature accompanying the product.
GROUNDING INSTRUCTIONS
This product must be grounded (earthed). If it should malfunction or breakdown, grounding
provides a path of least resistance for electric current to reduce the risk of electric shock.
This product is equipped with a cord having an equipment-grounding conductor and a
grounding plug. The plug must be plugged into an appropriate outlet that is properly installed
and grounded in accordance with the local codes and ordinances.
DANGER – Improper connection of the equipment-grounding conductor can result in a risk
of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to
whether the product is properly grounded. Do not modify the plug provided with the product
– if it will not fit the outlet, have a proper outlet installed by a qualified electrician.
THE FCC REGULATION WARNING (FOR THE U.S.A. AND CANADA ONLY)
This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
•
•
•
•
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
CANADA
THIS APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS
FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE
CANADIAN DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES
DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B”
PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of AC mains operated apparatus until December
31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive
(89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company’s products of Battery operated apparatus means it
conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Warning-THIS APPARATUS MUST BE EARTHED
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured
markings identifying the terminals in your plug,proceed as follows:
• the wire which is coloured green and yellow must be connected to the terminal in the plug which is marked with
the letter E or by the earth symbol
,or coloured green or green and yellow.
• the wire which is coloured blue must be connected to the terminal which is marked with the letter N or coloured
black.
• the wire which is coloured brown must be connected to the terminal which is marked with the letter L or coloured
red.
Data Handling
Data in memory may sometimes be lost due to incorrect user action. Be sure to save important
data to floppy disk. Korg will not be responsible for damages caused by data loss.
LCD Display
Some pages of the manuals show LCD screens along with an explanation of functions and
operations. All sound names, parameter names, and values are merely examples and may not
always match the actual display you are working on.
Trademarks
Macintosh is a registered trademark of Apple Computer, Inc. MS-DOS and Windows are
registered trademarks of Microsoft Corporation. All trademarks or registered trademarks are the
property of their respective holders.
Disclaimer
The information contained in this manual has been carefully revised and checked through. Due to
our constant efforts to improve our products, the specifications might differ to those in the manual.
Korg is not responsible for any eventual differences found between the specifications and the
contents of the instruction manual - the specifications being subject to change without prior notice
Liability
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.
Service and User’s Assistance
For service, please contact your nearest Authorized KORG Service Center. For more information
on KORG products, and to find software and accessories for your piano, please contact your local
Authorized KORG distributor.
Web servers
•
•
•
•
Home page Korg Italy: “http://www.korg.it”
Home page Korg.net: “http://www.korg.net”
Home page Korg USA.: “http://www.korg.com”
Home page Korg Inc.: “http://www.korg.co.jp”
Copyright © 1999 Korg Italy Spa. Printed in Italy.
How to…
How to...
Demo
Listening
☞P. 20
Programs (single sounds)
MIDI
Connecting a master keyb.
Connecting a sequencer
Connecting a digital piano
Connecting an accordion
Connecting a MIDI guitar
Connecting other instrum.
MIDI channel programming
☞P. 129
Creating new arrangements ☞P. 56
Loading from disk
☞P. 47
☞P. 53
☞P. 48
☞P. 49
☞P. 52
☞P. 54
☞P. 109, ☞P. 137
Selecting
Assigning to the keyboard
Editing (Perf. Edit)
Standard MIDI Files (SMF, Songs)
Loading
Saving
Listening
Arrangements and automatic
accompaniments
Selecting
Starting & stopping
Fill, intro, ending
Changing the volume
☞P. 25
☞P. 26
☞P. 27
☞P. 3
☞P. 30
☞P. 29
☞P. 42, ☞P. 154
Erasing from memory
☞P. 22
☞P. 35, ☞P. 124
☞P. 22
☞P. 120
Disk
Loading files
Saving files
Formatting a disk
☞P. 128
☞P. 131
☞P. 133
v
Summary
Summary
Introduction . . . . . . . . . . . . . . . . . . . 2
User’s guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Safety Instructions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Changing the sounds of the real time tracks . . . . . . . . . . . . . . . . . . 30
Transposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Selecting a Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Recording a Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Before you begin.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
The backing sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Connecting an external amplifying system. . . . . . . . . . . . . . . . . . . . .2
Connecting the power cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Turning on the power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Adjusting the general volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Adjusting the volume of the Vocal/Guitar section . . . . . . . . . . . . . . .3
The headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Connecting a MIDI controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
The Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Front and Rear Panels . . . . . . . . . . . 6
Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
What are the backing sequences? . . . . . . . . . . . . . . . . . . . . . . . . . 32
Recording the Backing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 32
Saving the Backing Sequences on disk . . . . . . . . . . . . . . . . . . . . . . 33
Deleting the Backing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
What are the Songs? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Recording a song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Saving the Song as Standard MIDI File (SMF) . . . . . . . . . . . . . . . . 35
Editing Standard MIDI Files (SMF) . . . . . . . . . . . . . . . . . . . . . . . . . 36
The Vocal/Guitar section . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Connecting a microphone or a guitar. . . . . . . . . . . . . . . . . . . . . . . 39
Using the Vocal/Guitar section. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Changing the settings of the Vocal/Guitar section . . . . . . . . . . . . . 40
Programming the Vocal/Guitar section . . . . . . . . . . . . . . . . . . . . . 40
The programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Editing the programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Operative modes . . . . . . . . . . . . . . 15
Arrangement Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Backing Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Program mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Song Play mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Song Edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Disk/Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Display pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Recording a display page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Subpages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Programming a parameter value. . . . . . . . . . . . . . . . . . . . . . . . . . 19
Tutorial . . . . . . . . . . . . . . . . . . . . . 20
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Listening to the Demo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The Backing Sequence demo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Listening to the songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
What are styles and arrangements . . . . . . . . . . . . . . . . . . . . . . . .
How to program the MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting an arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Starting the accompaniment . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Synchro start e stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Intro/ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
All the tracks, at once! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fade in/out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Varying the tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
25
25
26
26
27
27
27
27
27
28
The real time tracks (Upper 1, Upper 2, Lower) . . . . . . . . . . . 29
What are the real time tracks? . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Assigning the real time tracks to the keyboard . . . . . . . . . . . . . . . .
Activating and deactivating the real time tracks . . . . . . . . . . . . . . .
Blocking the programs of the real time tracks. . . . . . . . . . . . . . . . .
vi
29
29
29
30
MIDI . . . . . . . . . . . . . . . . . . . . . . . 44
What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
The special channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Chord 1 and Chord 2 channels. . . . . . . . . . . . . . . . . . . . . . . . 45
The Keyboard Set channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
The Arrangement channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
What is General MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
What are Standard MIDI Files? . . . . . . . . . . . . . . . . . . . . . . . 46
Connecting the i40M to a MIDI keyboard . . . . . . . . . . . . . . . 47
Connecting the i40M to a digital piano . . . . . . . . . . . . . . . . . 48
Connecting the i40M to a MIDI accordion . . . . . . . . . . . . . . . 49
Connecting the i40M to a MIDI guitar . . . . . . . . . . . . . . . . . . 52
Connecting the i40M to an external sequencer . . . . . . . . . . . 53
Controlling another instrument with the i40M. . . . . . . . . . . . . 54
Arrangement Play mode. . . . . . . . 56
Tempo and chord scanning . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Page 1: Performance monitor . . . . . . . . . . . . . . . . . . . . . . . . 57
Page 2: Style select. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Page 3: Track settings (1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Page 4: Track settings (2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Page 5: Ensemble/Variation change. . . . . . . . . . . . . . . . . . . 61
Page 6: Drum Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Page 7: Kick & Snare Designation . . . . . . . . . . . . . . . . . . . . . 62
Page 8: Keyboard scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Page 9: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 10: Effect modulation . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 11: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 12: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 13: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Page 14: Vocal/Guitar mode/ Assigned parameters . . . . . . 65
Summary
Page 15: Vocal effects (1) (Vocal mode). . . . . . . . . . . . . . . . . 66
Page 16: Vocal Effects (2) (Vocal mode). . . . . . . . . . . . . . . . . 66
Page 17: Mixer (Vocal mode) . . . . . . . . . . . . . . . . . . . . . . . . 67
Page 18: Tone programming (Vocal mode). . . . . . . . . . . . . . 67
Page 19: Drive programming . . . . . . . . . . . . . . . . . . . . . . . . 68
Page 20: FX1 programming (Vocal mode) . . . . . . . . . . . . . . 69
Page 21: FX2 programming (Vocal mode) . . . . . . . . . . . . . . 70
Page 15: Guitar effects (1) (Guitar mode). . . . . . . . . . . . . . . . 71
Page 16: Guitar effects (2) (Guitar mode). . . . . . . . . . . . . . . . 72
Page 17: Mixer (Guitar mode) . . . . . . . . . . . . . . . . . . . . . . . . 72
Page 18: Tone programming (Guitar mode) . . . . . . . . . . . . . 73
Page 19: Drive programming (Guitar mode) . . . . . . . . . . . . . 73
Page 20: Modulation programming (Guitar mode) . . . . . . . . 75
Page 21: Ambience programming (Guitar mode) . . . . . . . . . 77
Page 22: NR and CR programming (Guitar mode) . . . . . . . . 78
Page 23: Rename Arrangement. . . . . . . . . . . . . . . . . . . . . . . 79
Page 24: Write Arrangement. . . . . . . . . . . . . . . . . . . . . . . . . 79
Page 25: Write Keyboard Set . . . . . . . . . . . . . . . . . . . . . . . . 80
Backing Sequence mode . . . . . . . . 81
• Saving the backing sequences before turning off. . . . . . . . . 81
Page 1: Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Page 1: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Recording all the tracks in one go in real time. . . . . . . . . . . . . . . . . 82
Recording a track at a time in real time . . . . . . . . . . . . . . . . . . . . . 85
Page 8: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Page 9: Song Play Harmony . . . . . . . . . . . . . . . . . . . . . . . . 112
Song Edit mode . . . . . . . . . . . . . . 113
• Saving a song before turning off. . . . . . . . . . . . . . . . . . . . 113
Page 1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Page 2: Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Page 2: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Page 3: Track parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Page 4: Event edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Event filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Event types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Page 5: Shift notes (Transposition) . . . . . . . . . . . . . . . . . . . . 120
Page 6: Erase song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Page 7: Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
7-1. Delete measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
7-2. Insert measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
7-3. Erase measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
Page 8: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Page 9: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Page 10: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Page 11: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Page 12: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Page 13: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Page 2: Step recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Page 3: Erase Backing Sequence . . . . . . . . . . . . . . . . . . . . . . 92
Page 4: Copy Backing Sequence . . . . . . . . . . . . . . . . . . . . . . 92
Page 5: Edit 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Disk/Global mode . . . . . . . . . . . . 125
5-1. Delete measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
5-2. Insert measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
5-3. Erase measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Write protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Inserting a disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Removing a disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Cleaning the heads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Possible problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
The disk supplied with the instrument. . . . . . . . . . . . . . . . . . . . . . .127
Page 6: Edit 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
6-1. Copy measures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
6-2. Bounce tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
6-3. Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Page 7: Shift note (Transposition) . . . . . . . . . . . . . . . . . . . . . . 97
Page 8: Event edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Page 9: Extra Track settings (1). . . . . . . . . . . . . . . . . . . . . . .101
Page 10: Extra Track settings (2). . . . . . . . . . . . . . . . . . . . . .102
Page 11: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Page 12: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . .103
Page 13: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . .103
Page 14: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Page 15: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Page 16: Next Backing Sequence . . . . . . . . . . . . . . . . . . . .104
Page 17: Rename Backing Sequence. . . . . . . . . . . . . . . . . .105
Page 18: SMF converter. . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Song Play mode . . . . . . . . . . . . . 106
Page 1: Performance monitor. . . . . . . . . . . . . . . . . . . . . . . .107
Page 2: Channel settings . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Page 3: Transpose position. . . . . . . . . . . . . . . . . . . . . . . . . .110
Page 4: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Page 5: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . .111
Page 6: Effect placement. . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Page 7: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
• “Parameter modified - Write?” message. . . . . . . . . . . . . . 125
Introduction to disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Page 1: DISK functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
1. Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
1-1. Load all . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
1-2. Load one . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
1-3. Load global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
1-4. Load keyboard set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
2. Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
3. Utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Compatibility with Korg i30 data . . . . . . . . . . . . . . . . . . . . . . . . .133
Page 2: Echo Back / MIDI IN Octave. . . . . . . . . . . . . . . . . . 135
Page 3: MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Page 4: Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . 137
Page 5: MIDI channel settings (1) . . . . . . . . . . . . . . . . . . . . . 139
Page 6: MIDI channel settings (2) . . . . . . . . . . . . . . . . . . . . . 139
Page 7: MIDI channel settings (3) . . . . . . . . . . . . . . . . . . . . . 140
Page 8: MIDI filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Page 9: Arrangement Harmony. . . . . . . . . . . . . . . . . . . . . . 142
Page 10: Backing Sequence Harmony. . . . . . . . . . . . . . . . . 142
Page 11: Song Play Harmony . . . . . . . . . . . . . . . . . . . . . . . 143
Page 12: Assignable pedal/switch . . . . . . . . . . . . . . . . . . . 143
Setting quarter tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Page 13: EC5 external controller . . . . . . . . . . . . . . . . . . . . . 145
Page 14: Lower memory . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
vii
Summary
Page 15: Chord recognition mode. . . . . . . . . . . . . . . . . . . . 147
Page 16: Auto chord scanning/Damper polarity. . . . . . . . . 148
Page 17: Main scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Page 18: Sub scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Page 19: User scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Page20: MIDI data dump. . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Page 21: Joystick settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Page 22: Write Global. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Page 23: Assignable pedal/footswitch calibration . . . . . . . . 152
Program mode. . . . . . . . . . . . . . . 153
How to recover lost changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Page 1: Program play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Performance Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Page 2: Oscillator basic/Oscillator 2 relative . . . . . . . . . . . . 155
Page 3: Oscillator tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Page 4: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Page 5: VDF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Page 6: VDF EG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Page 7: VDF keyboard tracking . . . . . . . . . . . . . . . . . . . . . . 161
Page 8: VDF velocity sensitivity . . . . . . . . . . . . . . . . . . . . . . . 163
Page 9: VDA EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Page 10: VDA keyboard tracking . . . . . . . . . . . . . . . . . . . . 165
Page 11: VDF velocity sensitivity. . . . . . . . . . . . . . . . . . . . . . 167
Page 12: Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Page 13: Vibrato controller . . . . . . . . . . . . . . . . . . . . . . . . . 169
Page 14: VDF MG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Page 15: VDF MG controller/VDA level . . . . . . . . . . . . . . . 171
Page 16: Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Page 17: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Page 18: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . 173
Page 19: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Page 20: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Page 21: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
viii
Page 22: Rename program . . . . . . . . . . . . . . . . . . . . . . . . . 174
Page 23: Write program . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Effects. . . . . . . . . . . . . . . . . . . . . 175
Effect type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
“Effect select” pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
“Effect modulation” pages . . . . . . . . . . . . . . . . . . . . . . . . . . 176
“Effect placement” pages . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Effect 1 settings pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Effect 2 settings pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Dynamic modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Shelving equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Settings for each effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Appendices. . . . . . . . . . . . . . . . . 194
Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
General problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Floppy disk related problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
List of detected chords. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
MIDI Implementation chart . . . . . . . . . . . . . . . . . . . . . . . . . . 202
MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Multisamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Drum kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Drum samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Index . . . . . . . . . . . . . . . . . . . . . 222
GETTING STARTED
Getting Started • Introduction
1. Introduction
Thank you for choosing Korg i40M, the interactive
music workstation created for even the most demanding musicians! Given the legendary Korg sound and
the most sophisticated automatic accompaniment
functions, the i40M is the ideal instrument for those
who play professionally and those who play just for
pleasure.
The i40M is not only an instrument with great sound,
great design and easy to use, it is also a flexible instrument that allows you to read and save Standard MIDI
Files, program new arrangements, and create new
sounds. On the whole, it is a complete instrument
which enhances the musician’s creativity!
We wish you years and years of great music with the
i40M!
User’s guide
The quickest and easiest way to obtain the best from
your new instrument is to read the instruction guide.
This guide is divided into two parts:
Getting Started - For those who want to start playing
straight away without too much theory. Follow the
instructions step by step and start playing now!
Reference - This is a more detailed look at the instrument and is for those who want to exploit all its potentiality to the full and become a real music programmer.
Safety Instructions
Before turning the instrument on, read carefully the
“Safety Instructions” on the inside cover. Done that?
Then let’s make way for the music!
Before you begin...
Accessories
The following accessories are supplied with the instrument. Check that you have all of them and if any are
missing contact your retailer.
√ User’s guide
√ Floppy disk “Accessory Disk”
√ Power cable
Connecting an external
amplifying system
You can connect the i40M to a professional amplifying
system (mixer or amplified speakers) or to a hi-fi system. For more information see “Rear panel” on
page 13.
2
Connecting the i40M to a mixer (or to
two amplified diffusers)
Connect the OUTPUT jacks of the i40M to two mono
inputs of the mixer (or to the speaker inputs) using
two audio cables with mono jacks. To take the signal in
mono, connect the LEFT/MONO output only and one
channel of the mixer using an audio cable. For more
information refer to the user’s guide of the mixer (or
the speakers).
Getting Started • Introduction
Connecting the i40M to a hi-fi system
Adjusting the general volume
Connect the OUTPUT jacks of the i40M to the AUX or
TAPE inputs of the amplifier using two audio cables
with a mono jack at one end and an RCA connector at
the other end (do not use the PHONE or TUNER
inputs).
● Use
the MASTER VOLUME knob
to adjust the general volume of
the internal sound generation.
Moving the knob towards “10” will
increase the volume, and moving it
towards the “0” will decrease the
volume. In the “0” position the instrument will be
mute.
If you are connected to an external amplifying system, you should at this point turn the volume of the
mixer or the speakers up and then adjust both the
volume of the i40M and that of the speakers.
The MASTER VOLUME knob controls the level of
the internal sound generation both of the OUTPUT
jacks and the headphones.
Connecting the power cable
● Plug
the power cable into
the power socket.
Make sure that the mains
voltage is suitable for the
instrument (the voltage is
indicated next to the AC
power inlet).
Note: This knob does not control the volume of the
VOCAL/GUITAR section (input signal from the INPUTIN jack). Use the VOLUME knob to adjust the level of
this section.
Warning: At the maximum volume the sound can be
distorted. Should this happen, decrease the volume of
the i40M.
Turning on the power
● Press
the POWER
switch to turn the
instrument on.
On turning on, the
instrument will be in
the
Arrangement
Play mode. If you
are connected to an
external amplifying
system, turn the speakers on only after having
switched on the i40M.
● To
turn the instrument off, press the POWER
switch again.
In order to save on electricity, turn the instrument
off when you are not using it. Do not turn the
power off while the disk indicator is lit or while a
message such as “Loading”, “Saving” or “Formatting” is shown on the LCD display.
Note: When the instrument is turned off, all the data
contained in the RAM memory will be lost (e.g. backing sequence and song). On the contrary, USER styles,
USER arrangements and USER programs are
retained. Before turning the instrument off, save backing sequence (☞P. 33) and song (☞P. 35) on disk.
Adjusting the volume of the
Vocal/Guitar section
The VOCAL/GUITAR section takes the input signal
from the INPUT-IN jack and process it with dedicated
effects. The processed signal is combined with the
sounds generated by the internal sound generation
and comes out from the OUTPUT jacks.
● Use the VOLUME knob to adjust
the volume of the section.
Moving the knob towards “10” will
increase the volume, and moving it
towards the “0” will decrease the
volume. In the “0” position the VOCAL/GUITAR
section does not reach the OUTPUT jacks.
The VOLUME knob controls the level of the
VOCAL/GUITAR section both of the OUTPUT
jacks and the headphones.
Note: Use the GAIN knob located next to the INPUTIN jack to adjust the input level at best. Connect the
instrument, start playing and check the color of the
SIGNAL led on the control panel: if it is red, distortion
is present and the gain must be decreased; if it is
orange, distortion is close and the gain should be
3
Getting Started • Introduction
decreased slightly; if it is green, the level is correct. If
the led does not light up, the input level is too low and
the gain must be increased.
page 44. Let’s now illustrate two of the most common
situations: connecting a MIDI keyboard and connecting a MIDI accordion.
Suggestion: If the INPUT-IN jack is not used, set the
volume on zero to avoid any interference or residual
noise.
Connecting a MIDI keyboard
The headphones
● Connect
the headphones to the PHONES jack
located on the rear panel.
Use stereo headphones with a standard jack. Adjust
the volume with the MASTER VOLUME knob.
The i40M can be controlled with any MIDI keyboard,
such as a master keyboard or a synthesizer with MIDI
OUT jack.
1 Connect the MIDI OUT jack of the MIDI keyboard to the MIDI IN 1 jack of the i40M using a
standard MIDI cable.
2 Program the keyboard to transmit over the MIDI
1 channel.
According to the factory settings, the MIDI 1 channel is the channel used by the i40M to receive most
information. For example, channel 1 corresponds to
Global that allows for using all the functions
related to the split point (Keyboard Mode section).
For more information on Global programming, see
“MIDI” on page 44 and the “GLB (Global)” on
page 139.
Connecting a MIDI controller
Note: If the keyboard transmits over the MIDI channel dedicated to the i40M Global, the keyboard
becomes the integrated keyboard of the i40M. The
i40M becomes virtually your keyboard instrument.
For live performances the i40M must be connected to a
MIDI controller, such as a MIDI keyboard, a digital
piano, a MIDI accordion, a guitar controller, a wind
controller, a set of percussion pads or an external
sequencer. For detailed information see “MIDI” on
Suggestion: If the keyboard does not transmit over
the Global channel, see “MIDI” on page 44 for more
information.
4
Getting Started • Introduction
Connecting a MIDI accordion
You can connect a MIDI accordion and play a track of
the i40M with each section.
1 Connect the MIDI OUT jack of the MIDI accordion to the MIDI IN 1 jack of the i40M using a
standard MIDI cable.
2 Press DISK/GLOBAL.
• “Accordion 1” is designed for those who have an
accordion with three fixed channels. This setup is
also suitable for backing sequence recording.
• “Accordion 2” is designed for those who have an
accordion with two channels on the right hand and
do not want to play the bass of the i40M.
• “Accordion 3” is designed for those who have an
accordion with two channels on the right hand,
want to play the bass of the i40M and have another
channel to change the Arrangements of the i40M
with Program Change.
For more information on the MIDI Setups, see
“MIDI” on page 44 and the “Page 3: MIDI Settings”
on page 136.
6 Press ENTER/YES twice to confirm the MIDI
Setup selection.
3 Press the PAGE [+] button repeatedly to access
the MIDI Settings page.
MIDI SETTINGS
(Yes)
<PROTECT>
<SETUP>
The configuration of the MIDI channels and of the
other parameters selected with the MIDI Setup will
be retained until the configuration is manually
changed.
7 Press REC/WRITE/LYRICS and then ENTER/YES
twice.
The automatic settings of the MIDI Setup are saved
in Global and will be available also after turning
the instrument off and on again.
4 Press CURSOR [>] to select <SETUP>.
Connecting other MIDI controllers
MIDI SETUP (Yes)
Setting:DEFAULT
The MIDI configuration may vary according to the
type of controller connected to the i40M. To automatically re-configure the i40M select a MIDI Setup (see
“MIDI” on page 44 and the “Page 3: MIDI Settings” on
page 136).
5 Press the TEMPO/VALUE [+] to select one of the
MIDI “Accordion” setups.
There are three “Accordion” setups.
5
Getting Started• Front and Rear Panels
2. Front and Rear Panels
Front Panel
4
6
1
5
7
@
8
9
B
A
C
D
E
F G
H
3
I J K L
M N
W
X
O P Q
Y
1 Display
The editing pages, parameters and messages for the
user will appear in this display.
2 Floppy disk drive slot
3.5 inch double-sided double density (2DD) or double-sided high density (HD) floppy disks can be
inserted in this drive. You can use Korg i-series formatted floppy disks and standard Ms-Dos® formatted floppy disks.
The i40M incorporates a disk drive without auditory
feedback (i.e. the “click” when the disk has been
pressed all the way in).
3 Disk eject button
Press this button to remove a floppy disk from the
drive. If pressing this button does not eject the disk,
6
R S T
Z
[
U
V
2
\
do not try to force it out. Contact your dealer or
nearest Korg Service Station.
4 MASTER VOLUME knob
Output level of internal sound generation (OUTPUT
outlets and headphones).
This control does not adjust the level of the VOCAL/
GUITAR section (input signal through INPUT-IN).
Warning: Volume that is too high can cause serious
harm to your hearing. Keep the volume at a moderate
level.
Note: At higher volumes the sound can be distorted.
Getting Started • Front and Rear Panels
5 ACC.VOLUME knob (Accompaniment Volume)
Automatic accompaniment volume. In Song Play
and Song Edit modes it controls the volume of all
tracks, except the one selected (whose volume
remains constant).
PROGRAM/ARRANG to light up the ARRANG led,
and press a NUMBER 1-8 button.
To select a demo from 9 to 16, press PROGRAM/
ARRANG to light up the PROGRAM led and press a
NUMBER 1-8 button.
6 MODE section
The buttons in this section activate the operating
modes of the instrument (see chapter “Operative
modes” on page 15).
• ARR. PLAY (Arrangement Play) button
This button accesses the Arrangement Play mode.
(The instrument is automatically in this mode when
it is turned on). With this mode you can use the automatic accompaniments.
• B.SEQ (Backing Sequence) button
This button accesses the Backing Sequence mode.
With this mode you can record or playback musical
performances played with automatic accompaniments.
• SONG PLAY button
This button accesses the Song Play mode. With this
mode you can directly playback musical performances in Standard MIDI File (SMF) format without
loading them from disk.
You can also read the SMF lyrics in the display (Lyrics function). The display mode can be selected with
the REC/WRITE/LYRICS button.
• SONG EDIT button
This button accesses the Song Edit mode. With this
mode you can record, playback, edit and save a Standard MIDI File (SMF).
• DISK/GLOBAL button
This button accesses the Disk/Global mode. With
this mode you can load and save data from a floppy
disk, and program some of the instrument’s general
settings (e.g. pedals and MIDI channels).
• PROGRAM button
This button accesses the Program mode. With this
mode you can play and edit the single programs
(single sounds).
Press START/STOP to stop the demo playback.
How to exit the Demo mode. To exit the Demo
mode either press EXIT/NO or the button of one of
the operating modes (MODE section).
7 CHORD SCANNING section
Arrangement Play and Backing Sequence modes:
this section specifies which area of the keyboard will
be used to detect chords for the automatic accompaniment. To activate the FULL mode it is necessary to
light the leds of both LOWER and UPPER buttons.
• LOWER button
Chords will be detected in the Lower range (below
the split point). The chord recognition mode is
defined by the “ChordRecog (Chord recognition
mode)” parameter of the Disk/Global mode (see
page 147).
• UPPER button
Chords will be detected in the Upper range (above
and including the split point). The recognition mode
is automatically set at Fingered 2 (see page 147).
• FULL (LOWER + UPPER) buttons
Chords will be detected in the entire range. The recognition mode is automatically set at Fingered 2 (see
page 147).
• OFF (unlit leds)
Chords are not detected. If the leds are off, when
pressing START/STOP to start the accompaniment,
you can only listen to the Drum and Perc tracks. The
other accompaniment tracks do not play.
8 KEYBOARD MODE section
If the i40M is connected to a keyboard through the
Global channel, these buttons can be used to select
the set-up of the tracks on the keyboard in the
Arrangement Play e Backing Sequence modes.
• DEMO buttons
Press both ARR.PLAY and B.SEQ to access the Demo
mode where you can listen to 16 demo pieces.
How to listen to all demos consecutively. To listen
to all demo pieces consecutively access the Demo
mode and press START/STOP. To stop the demo
playback press START/STOP.
How to listen to a single demo. To listen to a single
demo, access the Demo mode and select it. The
demo playback starts immediately.
To select a demo use the buttons of the PROGRAM/
ARRANG section. To select a demo from 1 to 8, press
Note: This section is particularly dedicated to the connection of the i40M to a MIDI keyboard. It only works if
the MIDI controller transmits over the special Global
channel (see page 45).
•
M.DRUM button
A different percussion sound is assigned to each
note of the keyboard.
• SPLIT button
The right hand (Upper 1 and Upper 2) and the left
hand (Lower) play different sounds and are separated by the split point. The Upper 2 and Lower
tracks are alternative, one excludes the other on the
keyboard.
7
Getting Started• Front and Rear Panels
• FULL UPPER button
One or two tracks (Upper 1 and/or Upper 2) play on
the entire keyboard.
9 KEYBOARD ASSIGN section
These buttons select the realtime tracks (Upper 1,
Upper 2, Lower) in the Arrangement Play and Backing Sequence modes. The Upper 2 and Lower are
alternative, one excludes the other on the keyboard.
10 VOCAL/GUITAR section
The VOCAL/GUITAR section applies effects to the
signal of a microphone, a guitar or a line source
(mono) coming to the INPUT-IN connector. The signal is then mixed with the sound of the internal
sound generation and sent to the OUTPUT outlets.
In Vocal mode it harmonizes the voice with the notes
received over the MIDI channel dedicated to harmonisation. According to the factory settings, the
notes are received over channel 5.
The VOCAL/GUITAR section works in the Arrangement Play, Backing Sequence and Song Play modes.
The settings are saved in the Keyboard Set. See “The
Vocal/Guitar section” on page 39.
• VOLUME knob
It controls the level of the VOCAL/GUITAR section
on the OUTPUT outlets.
• SIGNAL led
The SIGNAL led changes color according to the signal level. If it is off, there is no signal or the signal
level is very low. If it is green the signal is present. If
it is orange, the signal is close to saturation. If it is
red, the signal is saturated.
Warning: The signal cannot be saturated. If the led is
red, adjust the input gain with the GAIN knob in the
control panel.
• A/B switch button
It selects the operating mode of the A/B switch
between A and B.
• A/B knob
Programmable knob. It controls the value of the
parameter assigned to the A or B function (see
page 65). The A or B operating mode can be selected
with the A/B switch button.
Note: The knob does not work until the last value of
the controlled function is reached. For example, if the
knob is on “0” and the current parameter value is “5”,
the knob will not work until it reaches “5”.
• C button
Programmable button. It can act as “mute” for the
VOCAL/GUITAR section, the effects or the harmonisation.
8
Note: When you turn the instrument on, the VOCAL/
GUITAR section is deactivated. Select one of the Keyboard Sets to activate it. If you have connected a microphone, choose a Keyboard Set in the bank A. If you
have connected a guitar, choose a Keyboard Set in the
bank B (clean settings) or C (overdrive settings).
11 PROGRAM/ARRANGEMENT section
These buttons are used to select programs and
arrangements.
To select a program (single sound) press PROGRAM/ARRANG to light the PROGRAM led. Press
one of the BANK (A, B, C, D, E, F) buttons to choose
the bank, then select a two-digit number between 11
and 88 using the NUMBER buttons to choose the
program.
To select the DRUM bank press twice the F(USER/
DRUM) button until the abbreviation “Dr” shows in
the display. The Drum programs range from Dr11 to
Dr28.
To select an arrangement, press PROGRAM/
ARRANG to light the ARRANG led. Press one of the
BANK (A, B, USER) buttons to choose the bank, then
select a two-digit number between 11 and 88 using
the NUMBER buttons to choose the arrangement.
If the program or arrangement to be selected belongs
to the same bank of the selected program or arrangement, only select the two-digit number without
pressing the BANK button.
In the Arrangement Play mode you can use the
Arrangement Preview and Program Preview functions to show the program or arrangement name in
the display before selecting it.
Press a BANK button, if necessary press a NUMBER
button to select the tens, then select the program or
arrangement using the TEMPO/VALUE buttons
and press ENTER/YES to confirm.
12 VOLUME/PROGRAM buttons
These buttons are normally used to adjust the track
volume of the tracks and to mute it. To raise the volume press the upper button, to lower it press the
lower button. To mute a track press the upper and
lower button together. To take off the mute, press
one of the buttons briefly.
Arrangement Play mode: these buttons select the
tracks and change the volume. When a track has
been selected you can set a different program for
that track (see PROGRAM/ARRANG section).
Backing Sequence mode: these buttons select the
tracks and change the volume. To select the Extra
Tracks first press the TRACK SELECT button and
then the VOLUME buttons.
Song Play mode: these buttons select the MIDI channels (tracks) of the SMF and change the volume. To
Getting Started • Front and Rear Panels
go from channels 1-8 to channels 9-16 (and vice
versa) press the TRACK SELECT button.
Song Edit mode: these buttons select the tracks and
change the volume. To go from tracks 1-8 to tracks 916 (and vice versa) press the TRACK SELECT button.
Program mode: these buttons modify the value of
the parameters indicated under each button.
13 TRACK SELECT button
Arrangement Play mode: mutes the ACC1, ACC2,
ACC3 tracks.
Backing Sequence mode: switches between the
arrangement tracks and the Extra Track.
Song Play mode: switches between the channels 1-8
and the channels 9-16 of the SMF. (In Song Play
mode channels and tracks are the same).
Song Edit mode: switches between tracks 1-8 and
tracks 9-16.
14 CURSOR buttons
These buttons move the cursor among the parameters that appear in the display. Before modifying the
value of a parameter, the cursor must be positioned
on the value that needs to be modified (flashing
text).
15 TEMPO/VALUE buttons
These buttons modify the tempo or the parameter
value selected in the display. The TEMPO or VALUE
indicators show up in the display when they are
functioning.
16 EXIT/NO button
This button is used to go back to Page 1 of the current operative mode and to return to the higher level
from the subpages (pages in which the indication of
previous or next page is not shown next to the number page).
The second function (NO) is to be used to give a negative reply to questions that may appear in the display.
Arrangement Play, Backing Sequence and Song
Play modes: takes you back to Page 1 of the mode.
Page 1 of the Arrangement Play mode: calls up the
settings of the realtime tracks saved in the Arrangement.
Song Play mode: takes you back to the previous
page after pressing a VOLUME/PROGRAM button
to choose a track.
Song Play-JukeBox mode: makes you exit from the
JukeBox mode.
Song Edit mode: calls up Page 2 of the mode.
Disk/Global mode subpages: takes you back to the
top page.
17 ENTER/YES button
By pressing this button you can give a positive reply
to questions that may appear in the display and to
start some operations in the Disk/Global mode
(Load, Save, Format, MIDI Setup…).
Song Play mode: by pressing this button when the
cursor is on the name of a song, the song will be
inserted in the JukeBox list and the JukeBox mode
activated.
18 PAGE buttons
These buttons select the previous (-) or the next (+)
page in the current mode. The page number appears
on the right of the display. Two arrows appear before
or after the number to indicate the presence of previous (<) or next (>) pages.
If no arrows appear before and after the page number, you are in a subpage of the Disk/Global mode.
To exit press EXIT/NO (see page 19).
19 MEMORY-CHORD/TIE button
Arrangement Play and Backing Sequence modes:
keeps the accompaniment chord after taking your
hand off the keyboard.
Backing Sequence-Step Recording mode: inserts a
tie (ties the last note played to the next note that is
going to be played).
20 MEMORY-LOW/HAR/REST button
Arrangement Play and Backing Sequence modes: if
the Lower track is controlled by the Global channel,
this button keeps the Lower track notes after taking
your hands off the keyboard. (See “Page 14: Lower
memory” in the Disk/Global mode).
Arrangement Play, Backing Sequence, Song Play
modes: keeps the harmonization notes coming over
the Harmony channel (see page 142 and following).
Backing Sequence-Step Recording mode: creates a
pause.
21 BASS INV./< (Bass Inversion/backwards) button
Arrangement Play and Backing Sequence modes:
with this function the lowest note of a chord played
in inverted form will always be detected as the main
note of the chord. Thus, you can specify to the
arranger composite chords such as Am7/G or “F/
C”. When the Chord Scanning is FULL, the bass note
will not change until another bass note is played.
Backing Sequence-Step Recording mode: this button is used to go to the previous step.
22 SPLIT POINT/> (Split Point/Forward) button
Arrangement Play and Backing Sequence modes:
selects the split point (division of the keyboard).
Hold down the button and play the note you wish to
become the split point. This note and all the notes to
the right of it are part of the Upper range, the notes
to its lefts are part of the Lower range.
9
Getting Started• Front and Rear Panels
The split point can be saved in the Global in order to
remain available also after you turn the instrument
off and on again. (See “Page 22: Write Global” on
page 152).
Note: The split point is particularly useful when the
i40M is connected to a MIDI keyboard. It only works if
the MIDI controller transmits through the special Global
channel (see page 45).
Backing Sequence-Event Editing mode: goes to the
next step.
23 FADE IN/OUT button
If the accompaniment is not playing, this button
fades it in (the volume gradually increases from zero
to the maximum value). If the accompaniment is
playing, this button fades it out (the volume gradually decreases from the maximum value to zero). You
do not need to press START/STOP to start or stop
the accompaniment.
24 TEMPO (Tempo Lock) button
Led lit up: when you change the arrangement the
tempo will not change. The tempo can be manually
changed by using the TEMPO/VALUE buttons.
25 RESET/INS button
Backing Sequence, Song Play, Song Edit modes:
this button returns the sequencer to the first measure.
Arrangement Play and Backing Sequence modes:
restarts the chord scanner and returns to the beginning of the measure.
The second function of the (INS) button is to insert a
Step Recording event, or an empty space where the
cursor is positioned when you wish to write a name.
Note: In any situation this button can be used as “MIDI
Panic”. Press it when a note gets stuck to unblock it.
26 TAP TEMPO/DEL button
You can set the tempo with this button. The tempo is
updated in the display.
The second function of the (DEL) button is to cancel
the event that has been selected in Step Recording,
or to cancel a letter where the cursor is positioned
when you wish to write a name.
27 REC/WRITE/LYRICS
(Recording/Writing/Lyrics) button
Backing Sequence and Song Edit modes: this button enters the record mode.
Arrangement Play and Program modes: this will
access the Write page where you can save your modified Arrangement, Keyboard Set o program.
10
Song Play mode: switches through the display
modes Lyrics 1 (lyrics 1), Lyrics 2 (lyrics 2), Play
(standard execution information).
Note: The Lyrics modes are only available if the SMF
contains the lyrics. The Lyrics 2 mode is only available
with some SMF.
Global mode: recalls the Write Global page.
28 SINGLE TOUCH button
Led lit up: when an arrangement is changed, the
programs of Upper 1, Upper 2 and Lower tracks are
recalled and saved in the new arrangement.
29 SUSTAIN button
Arrangement Play, Backing Sequence, Program,
Song Play modes: increases the length of the notes
(by extending the program sustain).
30 ENSEMBLE button
Arrangement Play and Backing Sequence modes:
harmonizes the melody played with your right hand
with the chords played with your left hand. The
Chord Scanning must be LOWER.
31 TRANSPOSE buttons
These buttons change the transposition (in semitones) of the instrument. The transposition value
temporarily appears on the right side of the display.
In order to cancel the transposition you must press
both buttons together.
32 OCTAVE buttons
These buttons change the transposition (in octaves)
of the track selected in the display. In order to cancel
the transposition you must press both buttons
together.
33 VARIATION 1, 2, 3, 4 buttons
Arrangement Play and Backing Sequence modes:
these buttons select one of the four style variations.
Backing Sequence-Step Recording mode: these button are used to specify the length of the note being
input (the value of the notes is shown under the buttons).
34 FILL 1/2 (Fill-in) buttons
Arrangement Play and Backing Sequence modes:
pressing one of these buttons during performance
will add a fill-in.
Backing Sequence-Step Recording mode: these buttons are used to specify the length of the note being
input (the value of the notes is shown under the buttons).
35 INTRO/ENDING buttons
Arrangement Play and Backing Sequence modes:
pressing one of these buttons before you begin playing will cause an introduction to be played after you
press START/STOP. Pressing one of these buttons
during a performance will cause an ending to be
Getting Started • Front and Rear Panels
played, after which the performance will end automatically.
Backing Sequence-Step Recording mode: these buttons are used to specify the length of the note being
input (the value of the notes is shown under the buttons).
select the set-up of the realtime tracks (Upper 1,
Upper 2 and Lower), the effects and the settings of
the VOCAL/GUITAR section.
In Song Play mode the Keyboard Set only select the
settings of the VOCAL/GUITAR section (and not
the track set-up).
36 START/STOP button
Arrangement Play, Song Play and Demo modes:
this button starts or stops the automatic accompaniment or playback.
To choose a Keyboard Set you have to press once, or
repeatedly BANK to choose bank A, B or C, then you
must press one of the number buttons to choose the
Keyboard Set.
Backing Sequence and Song Edit modes: it starts or
stops playback. If the REC/WRITE/LYRICS led is lit
up, it starts or stops recording.
In Arrangement Play you can save the current setup of the realtime tracks, the effects and the settings
of the VOCAL/GUITAR section in a Keyboard Set.
37 SYNCHRO-START and SYNCHRO STOP buttons
The SYNCHRO-START button makes the accompaniment start when you play a note or chord in the
chord detection area of the keyboard, without having to press START/STOP.
The SYNCHRO-STOP button makes the accompaniment stop when the hand playing the notes in the
chord detection area of the keyboard is taken off the
keyboard.
38 KEYBOARD SET section
By pressing only one button in Arrangement Play
and Backing Sequence modes the Keyboard Set
1. Press REC/WRITE/LYRICS.
2. Press one of the buttons in the KEYBOARD SET
section to recall the Write Keyboard Set page.
3. Press once, or repeatedly BANK to choose the
bank (A, B or C).
4. Press the number button which corresponds to
the Keyboard Set where you wish to save the setup.
5. Press ENTER/YES twice to confirm.
11
Getting Started• Front and Rear Panels
Display
1
3
6
4
2
5
7
8
9
10
1 Mode
The first line of the display indicates the operative
mode: ARR.PLAY, BACKING SEQ., SONG PLAY,
SONG EDIT, DISK/GLOBAL, PROGRAM.
2 Tempo/Value
The two indicators TEMPO and VALUE show in
alternation. They show the functioning of the
TEMPO/VALUE buttons. If these buttons act as
tempo controls the display shows TEMPO. If they
act as modifiers of the selected parameter the display
shows VALUE.
3 Split
Indicates that the SPLIT POINT button is currently
pressed, and the note shown below in the display is
the currently selected split point.
4 Transpose/Octave
The two indicators TRANSPOSE and OCTAVE show
in alternation. According to which one shows, the
value below indicates the transposition value by
semitones or octaves.
5 Page
Indicator of the current page. If [>] shows, there are
pages to follow. If [<] shows there are previous
pages. Go through the pages with the PAGE [+] and
[-] buttons.
6 Tempo
Current tempo. If the TEMPO indicator is showing,
you can vary the tempo with the TEMPO/VALUE
buttons.
7 Tempo mode/Clock (synchronization)
Tempo mode and type of synchronization.
12
AUTO means that the sequencer is reading the
tempo recorded in the song.
EXT means that the i40M is synchronized with the
metronome of an external device connected to its
MIDI IN. Only one of the MIDI IN connectors of the
i40M can receive the synchronism (see page 137).
You can choose the kind of synchronism you require
on “Page 4: Global MIDI parameters” of the Disk/
Global mode.
8 Chord name
9 Modifiable parameters
Two lines of characters that show the parameters of
the various edit pages. You can move through the
parameters with the CURSOR buttons and modify
the values with the TEMPO/VALUE buttons.
10 Volume indicators
Track volume. The tracks that are selected are shown
at the top and on the left:
none = accompaniment and realtime tracks shown
above the PROGRAM/VOLUME buttons
(Arrangement Play, Backing Sequence)
ET = Extra Track (Backing Sequence)
ch = channels (Song Play)
1-8 = tracks/channels 1-8 (Song Play, Song Edit)
9-16 = tracks/channels 9-16 (Song Play, Song Edit)
To select the hidden tracks press TRACK SELECT. If
all the indicators are off, the realtime and accompaniment tracks indicated above the VOLUME/PROGRAM buttons are shown.
Getting Started • Front and Rear Panels
Rear panel
9@
1
2
3 4 5 6
7
8
MIDI IN
EC5
MIDI OUT
1 PHONES jack
You can connect a stereo headphones here.
2 OUTPUT connectors
Audio outlets. You can connect an amplifier here.
You can connect the i40M to a mixer, two amplified
speakers or the AUX/TAPE inlet of an hi-fi system.
If the amplifier is mono, only connect the L/MONO
connector.
Warning: Volume that is too high can cause serious
damage to your hearing. Keep the volume at a moderate level.
3 INPUT-IN connector
Audio inlet for microphone, guitar or mono line signal. The signal goes through the effects and the harmonizer of the VOCAL/GUITAR section, and comes
out from the OUTPUT outlets (together with the
sounds of the internal sound generation of the
i40M).
Set the input level with the GAIN knob. The presence of the signal lights up the green SIGNAL led. If
the signal is close to saturation, the led becomes
orange. If the signal is saturated, the led becomes
red.
The signal can never be saturated. If the red led
lights up, adjust the GAIN knob in order to reduce
the input gain.
4 GAIN knob
Adjusts the gain of the INPUT-IN inlet. Turn it
towards the left to reduce the gain (e.g. when the
SIGNAL led is orange or red), and towards the right
to increase it.
5 DAMPER connector
You can connect a damper pedal here, such as Korg
DS-1 or similar. The damper pedals can have a different polarity; choose the polarity of your pedal on
“Page 16: Auto chord scanning/Damper polarity” in
the Disk/Global mode (see page 148).
6 ASSIGNABLE PDL/SW connector
You can connect an expression pedal here, such as
Korg XVP-10 or EXP-2, or a PS-1 or PS-2 type footswitch. You can program the function assigned to
the pedal on “Page 12: Assignable pedal/switch” in
the Disk/Global mode (see page 143).
7 MIDI connectors
You can connect other MIDI devices (keyboards or
computers) here. For the connection you need the
special MIDI cables which you can purchase from
your Korg dealer. (See chapter “MIDI” on page 44).
13
Getting Started• Front and Rear Panels
• MIDI IN 1 and MIDI IN 2 connectors
Receive MIDI data from external devices. The two
connectors are identical and can be used, for
instance, to simultaneously connect a keyboard to
MIDI IN 1 and an accordion to MIDI IN 2. The synchronism signal (MIDI Clock) can only be received
by one connector at a time (see “Clock (Clock
source)” on page 137).
• MIDI OUT connector
Transmits the MIDI data generated by the i40M to
other devices.
• MIDI THRU connector
Re-transmits the MIDI data received by the MIDI IN
1 and 2 ports.
14
8 EC5 connector
You can connect an optional Korg EC5 external controller here. You can program the EC5 on “Page 13:
EC5 external controller” in the Disk/Global mode,
assigning a function to each of the five pedal
switches.
9 POWER switch
On/off switch.
10 Power supply connector
Plug the power cable supplied with the instrument
here.
Warning: Always connect the instrument to a power
socket with ground.
Getting Started • Operative modes
3. Operative modes
The instrument can function in different “modes”,
each of which groups together functions that are for its
own particular use. In order to choose a mode you
need to press a button in the MODE section.
Arrangement Play mode
Arrangement Play is the main operative mode. When
the instrument is turned on, it is always in this mode,
where you can select the arrangements and the Keyboard Set you wish to use.
There are 192 arrangements in total, organized as 64
arrangements in each of the three banks A, B, and
USER. The arrangements in the USER bank are freely
modifiable and can be used to load new data from a
disk.
The 15 Keyboard Set are all freely modifiable and
divided in three banks with 5 Keyboard Set each. The
Keyboard Set are designed to immediately change the
programs of the real time tracks and the settings of the
VOCAL/GUITAR section.
Each arrangement is composed of a style and three
real time tracks (Upper 1, Upper 2, and Lower). The
real time tracks can be played “live” with the accompaniment of the style tracks.
The way in which the real time tracks are arranged on
a MIDI keyboard and their activation/deactivation
state are set in the KEYBOARD MODE and KEYBOARD ASSIGN sections.
The styles are made up of patterns (musical structures)
used to create the automatic accompaniments. Each
style contains four variations, two intros (introductions), two endings and two fill-ins (passages).
The style selected by the arrangement detects the type
of chord played in a section known as “chord detection section” and adapts its pattern to that chord. For
example, if the pattern is in C major, playing a F major
chord in the chord detection section will cause the pattern transposition to F major.
The way in which patterns are affected by chords is of
course more complex than what indicated above. Korg
instruments are renowned for their refinement in
detecting the chords.
The styles consist of six tracks: drums, percussion,
bass, accompaniment tracks ACC1, ACC2 and ACC3.
These six tracks are referred to as the Backing Tracks,
since they provide the rhythmical and harmonic backing of the song.
Whilst playing you can modify several arrangement
parameters (e.g. the volume of the instrumental parts),
however if you stop the accompaniment, or decide to
select a different arrangement, your edits will be lost.
To save the changes in the USER bank use the Write
Arrangement of the “Page 24: Write Arrangement”
(see page 79).
To save the changes in the Keyboard Set use the Write
Keyboard Set function of the “Page 25: Write Keyboard Set” (see page 80).
The following scheme shows the parameters that are
automatically changed when selecting an arrangement
or Keyboard Set:
• if the SINGLE TOUCH led is on, the arrangement
can also change the parameters of the real time
tracks;
• if the SINGLE TOUCH led is off, the arrangement
can only change the parameters of the accompaniment tracks.
15
Getting Started • Operative modes
SINGLE
TOUCH
ON
Style
Acc. tracks (prog, vol,
pan, fx send, octave)
Outputs
Wrap around
Drum map
Snare/kick designation
Ensemble
Fill mode
Tempo
Arrangement
Keyboard assign
Keyboard mode
Chord scanning
Keyboard scale
Master fx
Vocal/Guitar
Upper 1 (prog, vol, pan, fx send, octave)
Upper 2 (prog, vol, pan, fx send, octave)
Lower (prog, vol, pan, fx send, octave)
Keyboard Set
SINGLE
TOUCH
OFF
Arrangement
Style
Acc. tracks (prog, vol,
pan, fx send, octave)
Outputs
Wrap around
Drum map
Snare/kick designation
Ensemble
Fill mode
Tempo
Keyboard assign
Keyboard mode
Chord scanning
Keyboard scale
Master fx
Vocal/Guitar
Upper 1 (prog, vol, pan, fx send, octave)
Upper 2 (prog, vol, pan, fx send, octave)
Lower (prog, vol, pan, fx send, octave)
Keyboard Set
Backing Sequence mode
The Backing Sequence mode allows you to create a
song in a simple way, by recording it in real time with
the arrangements. You can playback the song in this
way or convert it in SMF and playback it in Song Play
or Song Edit mode.
The main parts of a backing sequence are the three
arrangement tracks (keyboard track, controls track
and chord track). The controls track records the button
16
selections of the front panel; the chord track records
the sequence of the chords; the keyboard track records
whatever is played in real time. Of course, you can
leave the keyboard track empty and play it live.
In addition to the arrangement tracks, there are eight
tracks referred to as Extra Tracks that can be used to
record other free parts for a customized arrangement.
Getting Started • Operative modes
Program mode
The individual sounds played on the i40M are called
programs. The instrument has a total of 384 programs,
organized into six banks (A, B, C, D, E, F-USER) with
64 programs each, plus a DRUM bank which contains
16 Drum programs (14 ROM + 2 USER).
In the Program mode you can edit previously recorded
programs in order to create new programs and save
them in the USER locations. You can then use the new
programs in the arrangements, songs and backing
sequences.
The programs are based on a multisample and are processed with an envelope (EG) and a digital filtering
(VDF) stage.
In the Program mode only the special Global channel
is enabled to receive messages from an external MIDI
controller.
Song Play mode
The Song Play mode allows you to listen to songs in
Standard MIDI File format (SMF), by directly reading
them from disk, with no waiting time for loading.
The Song Play mode allows you to listen to songs
made up of 16 MID channels and is perfectly compatible with the General MIDI (GM).
This operative mode allows you to listen to new songs,
not to record them. You can change the program of the
MIDI channels, and adjust the volume, pan, effects,
effect send, tempo and transpose settings. However,
the changes are not saved in memory or on disk.
In this operative mode you can read the lyrics of the
SMF in Solton, M-live (Midisoft), Tune1000 and compatible (Roland Edirol, GEM GMX, KAR, HitBit, and
Yamaha XF) format on the display. You can also read
the chord abbreviations of the SMF in Solton, M-live
(Midisoft), and GEM GMX format.
Song Edit mode
This operative mode allows you to record a new song
with the typical functions of a sophisticated sequencer.
The Song Edit mode is basically a sequence with 16
tracks. The produced SMF can be compatible with the
General MIDI (GM).
The new song can be saved on disk in Standard MIDI
File (SMF) in format 0. You can use this operative
mode to convert an SMF in format 1 into an SMF in
format 0 (that is faster to load in Song Play mode).
In addition, the Song Edit mode allows you to load
into memory, modify and save any existing SMF.
When you turn the instrument off, the song will be
canceled from memory. Therefore, before turning off
you need to save any modifications on disk (see
page 124).
17
Getting Started • Operative modes
Disk/Global mode
The Disk/Global mode allows you to load or save
data, and modify the parameters which affect the
operation of the instrument. The operations you can
carry out are:
• Save on disk data contained in memory and load
into memory data from disk
• Tune the keyboard
• Modify MIDI settings
• Program pedals and external controllers
• Calibrate the pedal/footswitch
• Program the MIDI channels of the VOCAL section.
Apart from the Local Control and Clock Source
parameters, all the settings (including the split point)
can be saved in Global (with the Write Global function,
see page 152) and will be retained when the instrument is turned off.
Global can be saved on disk and will be saved with
each Save All and Save Global operation. The split
point is not saved or loaded.
• Program Lower Memory
• Select a Scale (temperament)
• Control transmission/reception of MIDI messages
(data filtering)
Note: The i40M can read disks from other Korg i-Series
instruments, of which it can re-use the data (see
page 133).
Display pages
The parameters and functions of the various operative
modes are grouped into several pages, which appear
on the display. The page number is always indicated
on the right-hand side of the display. To move through
the display pages use the PAGE [+] and [–] buttons.
BER button combination from number [1] to number
[8]. To record these pages under different numbers,
use the following procedure.
If you wish to go directly to a page number you know,
hold down the operative mode button the page which
you wish to go to belongs to and enter the number
using the buttons of the PROGRAM/ARRANG. section.
2 Hold down the current operative mode button
To go directly to a page from 1 to 8, press the PROGRAM/ARRANG button to light up the ARRANG led
and then press a NUMBER button from number [1] to
number [8].
4 Press in sequence the button combination where
To go directly to a page from 9 to 16, press the PROGRAM/ARRANG button to light up the PROGRAM
led and then press a NUMBER button from number [1]
to number [8].
Recording a display page
When the instrument is new, pages from 1 to 8 are
assigned to the ARRANG + NUMBER button combination from number [1] to number [8], and the pages
from 9 to 16 are assigned to the PROGRAM + NUM-
18
1 Access the display page that you wish to record.
and press the REC/WRITE/LYRICS button.
3 Release the REC/WRITE/LYRICS button (continue
pressing the operative mode button).
you want to record the current display page.
Press the PROGRAM/ARRANG button to light up
the PROGRAM or ARRANG led and then a NUMBER button from [1] to [8].
5 Release the operative mode button and the button that you have recorded.
You may find it convenient to record the same type
of page in the various operative modes to the same
button. For example, the effect selection page could
be found under the PROGRAM + NUMBER button
number [7] both in the Song Play and Arrangement
Play mode.
Getting Started • Operative modes
Subpages
Some of the display pages allow you to select secondary pages, referred to as “subpages”. The subpages are
indicated by two round brackets ( ) which contain the
option. In the display shown below, the (LOAD),
(SAVE) and (UTIL) items access the relative subpages.
Programming a parameter
value
In order to modify the value of a parameter that
appears on the display, first of all you need to select
the value with the cursor. The cursor is indicated by
the flashing of the value or the text line selected. Move
the cursor in the display with the CURSOR buttons
and modify the value with the TEMPO/VALUE. buttons.
MODE
DISK/GLOBAL
VALUE
PAGE
Use the CURSOR buttons to place the cursor on the
name of the desired page and press the ENTER/YES
button to access the selected subpage. To return from a
subpage to the higher page press the EXIT/NO button.
Cursor
19
Getting Started • Tutorial
4. Tutorial
This chapter is a practical guide to the use of the i40M
that illustrates some real examples. All you need to do
is follow these simple “lessons” and you will master
the main functions of the instrument in a very short
time.
Whilst using the instrument you may find yourselves
in trouble, without knowing how to get out of a particular situation or edit page you have accessed by mistake. Remember that:
• EXIT/NO returns to the main pages of the various operative modes;
• START/STOP stops the accompaniments;
• RESET interrupts all the notes you are playing;
• turn the instrument off and on again to return to
the initial situation (songs and backing
sequences in memory are lost).
The names of the programs, styles and arrangements
that appear in the next pages may be slightly different
from those of the actual instrument—Don’t worry,
they are only examples!
Demo
Listening to the Demo
2 Press START/STOP again to stop the demo.
The Demo is a selection of demonstrative songs contained in memory that cannot be erased (ROM). Let’s
listen to them to get an idea of the sound capabilities
of the instrument.
To listen to a single demo
1 Select the demo with the buttons of the PROGRAM/ARRANG section.
Entering the Demo mode
● Press the ARR.PLAY and B.SEQ (DEMO) buttons
together
The “Demo” page will appear.
To listen to all the demo
1 Press START/STOP.
The demo songs will playback one after the other.
If you wish to select a demo from number 1 to 8,
press the PROGRAM/ARRANG button to light up
the ARRANG led and then a button [1]–[8] of the
NUMBER section. If you wish to select a demo
from number 9 to number 16 press the PROGRAM/ARRANG button to light up the PROGRAM led and then a button [1]–[8] of the
NUMBER section.
ARRANGEMENT NO.
PROGRAM NO.
1
Synth World
1
Classic Piano
2
Jazz
2
Contemp. Piano
3
Latin
3
Bolero
4
Rock
4
Dance
5
Gospel
5
Jungle
6
Quick Step
6
Garage
7
German Polka
7
Progressive
8
Valzer
8
Modern Beat
2 Press START/STOP again to stop the demo.
20
Getting Started• Tutorial
To exit the Demo mode
● Press
EXIT/NO or one of the buttons of the
MODE section.
5 Move the cursor on (BSQ), and press ENTER/
YES view the files contained in the disk.
By pressing EXIT/NO you go back to the Arrangement Play mode. by pressing a button of the MODE
section you go to the selected mode.
The Backing Sequence demo
The Accessory Disk supplied with the instrument contains the demonstration backing sequences. Reading
them on disk will help us understand how the backing
sequences work.
1 Insert the Accessory Disk into the disk drive.
2 Press DISK/GLOBAL to enter the Disk/Global
mode.
The DISK/GLOBAL led will light up. The DISK/
GLOBAL indicator will appear on the display.
Filename
Backing sequence in
the file
Memory location
The display shows the name of the file which contains the backing sequence to be loaded, the backing sequence number and the location number in
the memory where to load it.
6 Use the TEMPO/VALUE buttons to select the file
you wish to load.
7 Select the backing sequence you wish to load
and the memory location where to load it.
In the figure the backing sequence 00 will be loaded
in location 00. Each file can contain up to ten backing sequences and there are ten backing sequence
locations in the memory, numbered from 00 to 09.
To select a different backing sequence or load it in a
different location, move the cursor to the “BS00”
parameters and select different numbers and locations.
3 While the cursor is on (LOAD), press ENTER/YES
to enter the “Load” subpage.
We do not need to make any change in the example, since we want to load the backing sequence 00
in location 00.
8 Press ENTER/YES to load the selected backing
Load
(KBSET)
(ALL) (ONE) (GLOBAL)
4 Move to cursor on (ONE), and press ENTER/YES
to enter the “Load One” subpage.
sequence.
9 When “Completed” appears on the display,
press B.SEQ to enter the Backing Sequence
mode.
The B.SEQ button led will light up. The BACKING
SEQUENCE indicator will appear on the display.
0 Use the CURSOR buttons to move the cursor to
the back sequence name. Use the TEMPO/
VALUE buttons to select the backing sequence
you wish to listen to.
We do not need to make any change in the example, since the backing sequence 00 is already
selected when switching to the Backing Sequence
mode.
1 Press START/STOP to start the playback.
21
Getting Started • Tutorial
0 Press START/STOP again to stop the playback.
Note: When the instrument is turned off, the backing
sequences in memory will be canceled.
Listening to the songs
The songs are musical pieces with sixteen tracks available in the form of Standard MIDI Files (SMF). The
i40M is able to playback SMF format 0 without having
to load them in memory, and SMF format 1 after a
short loading.
If the SMF is in Solton, M-live (Midisoft), Tune1000 or
compatible (Edirol, GMX, KAR, HitBit, XF) format and
contains lyrics, the lyrics are viewed in time with the
music.
If the SMF is in Solton, M-live (Midisoft), or GMX format and contains chord abbreviations, the abbreviations are viewed in time with the music.
You can playback a single song, or create a list to playback with just one command (for example with the
JukeBox function).
To listen to a song
1 Insert the disk containing the song into the disk
drive.
2 Press SONG PLAY to enter the Song Play mode
(Lyrics 1 mode).
The SONG PLAY led and the REC/WRITE/LYRICS led will light up.
If the file has a number between 1 and 8, press the
PROGRAM/ARRANG button to light up the
ARRANG led, then press the BANK [A] button and
a NUMBER button from [1] to [8].
If the file has a number between 9 and 16, press the
PROGRAM/ARRANG button to light up the
ARRANG led, then press the BANK [B] button and
a NUMBER button from [1] to [8].
If the file has a number between 17 and 24, press
the PROGRAM/ARRANG button to light up the
ARRANG led, then press the BANK [USER] button
and a NUMBER button from [1] to [8].
4 After selecting the song, press START/STOP.
If the selected song is in M-live (MidiSoft), Solton,
or Tune1000 or compatible (Edirol, GMX, KAR,
HitBit, XF) format and contains lyrics, the lyrics
appear on the display in time with the music. If not,
the display shows the standard information.
If the song is format 1, the red START/STOP led
will flash for a few seconds, while the data is being
loaded from the disk. When loading ends, playback
will begin. If some backing sequences or songs are
already loaded in the Song Edit mode, a message
will appear asking you if it is OK to erase this data.
If you don’t mind losing the data in the memory,
press ENTER/YES to start playback.
If you wish to retain the data, press EXIT/NO to
cancel loading. Switch to the Disk/Global mode
and save the song and backing sequences on
another disk (see page 131). Then go back to the
Song Play mode and repeat the operation.
● If the song is in Tune1000 or compatible (Edirol,
GMX, KAR, HitBit, XF) format, press REC/
WRITE/LYRICS to switch to the Lyrics 2 mode.
If the song is in a different format, pressing REC/
WRITE/LYRICS will display the executive information page (Play mode).
With the Tune1000 and compatible (Edirol, GMX,
KAR, HitBit, XF) format there are two ways to view
the lyrics:
• Lyrics 1 (the whole line will appear at once on
the display);
Note: In the Song Play mode the REC/WRITE/LYRICS led will automatically light up to indicate that you
are in the Lyrics 1 mode and that the lyrics of the song
can be viewed. If the led is off, you are in Play mode
(standard executive information).
3 Select the song with the TEMPO/VALUE buttons.
You can also select the song by entering its position
number on the disk.
22
• Lyrics 2 (the words appear one at a time, in time
with the music). Press REC/WRITE/LYRICS to
switch to the Lyrics 2 mode.
● Press REC/WRITE/LYRICS to change the viewing
mode from the lyrics (Lyrics modes) to the standard executive information (Play mode).
The REC/WRITE/LYRICS led will go off.
● Press REC/WRITE/LYRICS again to view the lyrics (Lyrics 1 mode).
Getting Started• Tutorial
The REC/WRITE/LYRICS led will light up.
5 To stop the song, press START/STOP.
Listening to all the song on a disk
1 Insert the disk containing the songs in SMF format 0 or 1.
2 Press SONG PLAY to enter the Song Play mode.
The SONG PLAY and REC/WRITE/LYRICS leds
will light up.
● If the played song is in Tune1000 or compatible
(Edirol, GMX, KAR, HitBit, XF) format, press
REC/WRITE/LYRICS to switch to the Lyrics 2
mode.
● Press REC/WRITE/LYRICS to change the viewing
mode from the lyrics (Lyrics modes) to the standard executive information (Play mode).
● Press REC/WRITE/LYRICS again to view the lyrics (Lyrics 1 mode).
5 Press START/STOP to stop the playback.
JukeBox
The JukeBox allows you to create a list of songs to
be played back with just one command, choosing
among the songs contained on the disk.
1 Insert the disk containing the songs in SMF format 0 or 1 into the disk drive.
3 If the name of a song appears on the display,
press EXIT/NO to display “ALL SONGS”.
2 Press SONG PLAY to enter the Song Play mode.
The SONG PLAY led will light up.
Now all the songs contained in the disk are
selected. Press EXIT/NO to go back to ALL SONG
after selecting a single song.
4 Press START/STOP to start the playback of all
songs.
The songs in SMF format 0 are played back at once.
If the song is in M-live (MidiSoft), Solton, or
Tune1000 or compatible (Edirol, GMX, KAR, HitBit,
XF) format and contains lyrics, the lyrics appear on
the display in time with the music. If not, the display shows the standard information.
If the song is in M-live (MidiSoft), Solton, or GMX
format and contains chord abbreviations, the
abbreviations appear on the display in time with
the music.
3 Choose the first song with the TEMPO/VALUE
buttons.
4 Press ENTER/YES to insert the song in the list.
The name of the song, alongside its position number on the list, will appear on the display. Number
1 will appear after you have inserted the first song.
The songs in SMF format 1 must be loaded in memory first, then after a few seconds wait they are
played back. If some backing sequences or songs
are already loaded in the Song Edit mode, a message will appear asking you if it is OK to erase this
data. If you don’t mind losing the data in memory,
press ENTER/YES to start playback.
If you wish to retain the data, press EXIT/NO to
cancel loading. Switch to the Disk/Global mode
and save the song and backing sequences in
another disk. Then go back to the Song Play mode
and repeat the operation.
Position on the list
Selected song
23
Getting Started • Tutorial
5 Choose the second song to be added in the list
with the TEMPO/VALUE buttons.
6 Press ENTER/YES to confirm the second song on
the list.
7 Add other songs to the list by following steps 56.
8 Once the list is complete, press START/STOP to
play back all the selected songs.
The songs in SMF format 0 are played back at once.
If the song is in M-live (MidiSoft), Solton, or
Tune1000 or compatible (Edirol, GMX, KAR, HitBit,
XF format and contains lyrics, the lyrics appear on
the display in time with the music. If not, the display shows the standard information.
If the song is in M-live (MidiSoft), Solton, or GMX
format and contains chord abbreviations, the
24
abbreviations appear on the display in time with
the music.
The songs in SMF format 1 must be loaded in memory first, then after a few seconds wait they are
played back. If some backing sequences or a song
are already contained in the Song Edit mode, a
message will appear asking you if it is OK to erase
this data. If you don’t mind losing the data in memory, press ENTER/YES to start playback.
If you wish to retain the data, press EXIT/NO to
cancel loading. Switch to the Disk/Global mode
and save the song and backing sequences on
another disk. Then go back to the Song Play mode
and repeat the operation.
9 Press START/STOP to stop playback.
0 Press START/STOP again to re-start playback.
A Press EXIT/NO to exit the JukeBox mode.
Getting Started• Tutorial
The arrangements
What are styles and
arrangements
The i40M features an automatic accompaniment system based on styles and arrangements. Playing with
this system is just as if you had a real band backing
you with six instruments: three harmonic instruments,
bass, drums and a percussion set.
The styles provide the musical structure of the accompaniment, while the arrangements provide the
sounds, effect and some general parameters. Generally
speaking, the style is the “music style”, while the
arrangement is its “instrumentation”.
During the playback you can select the arrangements
and play live with the three real time tracks Upper 1,
Upper 2 and Lower (two tracks at a time: Upper 2 and
Lower exclude one other).
How to program the MIDI
The i40M need to receive the chords from a controller
(MIDI keyboard, digital piano, MIDI accordion, MIDI
guitar etc.). Then the arranger will transform the
chords in accompaniment patterns according to the
selected arrangement and style.
The chords must get at least to one of these special
MIDI channels: Global, Chord 1, and Chord 2. For
information on the connection of the MIDI controller
see the detailed description contained in “MIDI” on
page 44.
1 Press ARR. PLAY to enter the Arrangement Play
mode.
The ARR.PLAY led will light up. The ARR.PLAY
indicator will appear on the display.
2 Press the PROGRAM/ARRANG button to light
up the ARRANG led.
3 Press one of the BANK [A], [B] or [USER] buttons.
4 Enter a two-digit number between 11 and 88
using the buttons of the NUMBER section.
If the arrangement is contained in the same bank as
the selected arrangement, you only need to enter a
two-digit number, without pressing a BANK button.
Arrangement Preview. In the Arrangement Play
mode the Arrangement Preview function allows
you to view the arrangement name on the display
before selecting it.
Press a BANK button, use a NUMBER button to
select the tens – if necessary – then select the
arrangement with the TEMPO/VALUE buttons
and confirm with ENTER/YES.
Once the selection has been completed, the name of
the selected arrangement will appear on the display:
Tempo of selected arrangement
The KEYBOARD MODE section of the control panel
works only if the controller is connected through the
Global channel. This channel is generally used when
connecting a master keyboard. For more information
on the Global channel see “The Global channel” on
page 45.
Selected arrangement
Selecting an arrangement
The i40M includes 192 arrangements divided into
three banks of 64 each (64 in bank A, 64 in bank B, and
64 programmable in bank USER).
The arrangement families are listed in the top section
of the control panel. The complete list of the arrangements is contained at the end of this guide (see
page 205).
The style (and the accompaniment patterns)
changes and:
• if the SINGLE TOUCH led is on, also the real
time programs (Upper 1, Upper 2, and Lower
tracks) change;
• if the TEMPO led is off, also the metronome
time changes.
25
Getting Started • Tutorial
Note: The arrangement can memorize the status of
the control buttons. Therefore when changing the
arrangement, you can also select one of the two fills,
one of the two intros or one of the four variations.
Starting the accompaniment
Once the chord has been detected, the rhythm will
be joined by the bass and the other accompaniment
tracks that play following the detected chords.
If the MEMORY-CHORD button led is on, the
chords will remain in memory also after releasing
the notes.
The chord name is shown on the display:
Recognized chord
After selecting an arrangement, you can start the automatic accompaniment.
1 Press RESET/INS to reset the values.
RESET erases the chords that are still in memory.
2 Press START/STOP.
Rhythm play will start. The START/STOP red led
will light up on the first beat, the green led on the
other beats, according to the time signature of the
style.
3 Play a progression of chords.
The keyboard area and the way in which chords are
detected will depend on the type of connection, on
the split point, on the status of the CHORD SCANNING section, and on the “ChordRecog (Chord
recognition mode)” parameter of the Disk/Global
mode (see page 147).
ody.
5 Press START/STOP to stop the accompaniment.
Synchro start e stop
You can make the accompaniment start or stop without pressing START/STOP.
When the i40M is connected with a MIDI keyboard through the special Global channel,
1 With the accompaniment stopped, light up the
• if the CHORD SCANNING is LOWER, the
chords played with the left hand below the split
point will be detected;
The Synchro Start makes the accompaniment start
when the notes for the chord recognition chords are
played.
• if the CHORD SCANNING is UPPER or FULL,
the chords played above the split point or with
two hands on the entire keyboard will be
detected.
2 Play a chord in the chord recognition area to
Note: If the option assigned to the “ChordRecog
(Chord recognition mode)” parameter is “Fingered
1”, you only need to play a note to detect a major
chord.
The Synchro Start makes the accompaniment stop
when the notes for the chord recognition chords are
released.
When the i40M is connected with a MIDI controller
through channels other than Global (for example,
when a MIDI accordion is connected), chords must
come through the Chord 1 and Chord 2 channels
with no extension limits.
The MIDI Setup (see page 136) selected when connecting the controller will always create the suitable condition to send the chords in the correct way
through the appropriate channels.
26
4 Continue playing the chords and play the mel-
SYNCHRO-START led.
start the accompaniment.
3 Light up the SYNCHRO-STOP led.
4 Release the chord recognition notes to stop the
accompaniment.
The accompaniment stops at once.
5 Play a chord again in the chord recognition
area to restart the accompaniment.
6 Turn off the SYNCHRO-STOP led.
If the SYNCHRO-STOP led is off and the MEMORY-CHORD led is on, the accompaniment will
continue playing also when the chord recognition
notes are released.
Getting Started• Tutorial
7 Continue playing, then press START/STOP to
stop the accompaniment.
Fill
The fill is an interlude that breaks the rhythm continuity. Each style of the i40M has two different fillins.
1 Start the automatic accompaniment (with
START/STOP or SYNCHRO-START + played
notes).
2 Whilst playing press one of the FILL [1] or [2]
keys.
A fill-in will be played. When the fill finishes, a different variation may be selected (see “Page 5:
Ensemble/Variation change” in the Arrangement
Play mode).
3 Press START/STOP to stop the accompaniment.
1 Start the accompaniment (with START/STOP,
INTRO/ENDING + START/STOP, or SYNCHROSTART + played notes).
2 Press one button in the VARIATION section.
The led of the selected variation will start flashing.
At the end of the measure the pattern will change.
The led of the new variation will stay lit.
3 Press one of the FILL buttons and straight away
afterwards one button in the VARIATION section.
The fill-in will play. The led of the variation that is
going to play at the end of the fill-in will flash. At
the end of the fill-in the new variation will play.
4 Press START/STOP or INTRO/ENDING to stop
the accompaniment.
Note: On “Page 5: Ensemble/Variation change” in
the Arrangement Play mode, you can connect each
FILL button to a variation that will be selected automatically after the fill-in has finished.
Intro/ending
“Intro” means introduction, “ending” means end.
Each style has two intros and two endings, which are
selected by one of the two buttons in the INTRO/
ENDING section.
1 With the accompaniment stopped, press one of
the INTRO/ENDING [1] or [2] buttons.
2 Start the automatic accompaniment with START/
STOP (or SYNCHRO-START + played notes).
The introduction will be played, then the normal
accompaniment pattern will begin (“Variation”).
All the tracks, at once!
1 With the SYNCHRO-START led off, play a chord
in the chord recognition area.
2 Press START/STOP (or INTRO/ENDING +
START/STOP) to start the accompaniment.
The accompaniment tracks (Drum, Percussion,
Bass, Acc1, Acc2, Acc3) will start playing.
3 Press START/STOP or INTRO/ENDING to stop
the accompaniment.
Note: The Intro 1 can play different chords, while the
Intro 2 only plays with the recognized chord.
3 Play normally, then press one of the INTRO/
ENDING [1] or [2] buttons.
The ending will be played and the accompaniment
will stop.
Note: The Ending 1 can play different chords, while
the Ending 2 only plays with the recognized chord.
Fade in/out
1 With the accompaniment stopped, play a chord
in the chord recognition area, then press FADE
IN/OUT to start the accompaniment.
The accompaniment will start. The volume of the
accompaniment tracks and the real time tracks will
be set at zero, and will gradually increase to full.
2 While the accompaniment is playing, press
FADE IN/OUT to stop the accompaniment.
Variations
Variations are different versions of the same style Each
style has four variations.
The volume of the accompaniment tracks and the
real time tracks will gradually decrease to zero. At
the end, the accompaniment will stop and the volume will come back to full.
27
Getting Started • Tutorial
Varying the tempo
● With
the accompaniment stopped, use the
TEMPO/VALUE buttons to vary the tempo.
In order for these controls to work as tempo controls, the TEMPO indication must appear on the
left-hand side of the display.
There is an easier way to vary the tempo, which is
as follows:
28
1 Set (beat) the tempo on the TAP TEMPO button.
The tempo shown on the display will change
according to the tempo beaten.
2 Start the accompaniment.
3 Vary the tempo with the TEMPO/VALUE buttons.
4 Stop the accompaniment with START/STOP or
INTRO/ENDING.
Getting Started• Tutorial
The real time tracks (Upper 1, Upper 2, Lower)
What are the real time tracks?
The real time tracks (Upper 1, Upper 2 e Lower) can be
used to play “live” over the automatic accompaniment
tracks.
You can have two tracks at the same time, since Upper
2 and Lower exclude one other.
If the real time tracks are managed through the special
Global channel, the split point – and the KEYBOARD
MODE section in general – are taken into consideration. In this case:
• if the Keyboard Mode is SPLIT, the Upper tracks
can play above the split point and the Lower
track below the split point;
• if the Keyboard Mode is FULL UPPER, the
Upper tracks can play on the entire extension.
Note: If notes are received from channels other than
Global, the tracks will ignore the split point. If the
channel assigned to the track coincides with Global,
Global has the priority and the split point is taken into
consideration. For the assignation of the MIDI channels to the tracks and Global, see page 139.
Assigning the real time tracks
to the keyboard
3 Press FULL UPPER to play the Upper 1 and/or
Upper 2 tracks on the entire keyboard.
Use the buttons in the KEYBOARD ASSIGN section to activate or deactivate the tracks.
4 Press SPLIT to split the keyboard in two parts
again.
Activating and deactivating the
real time tracks
The real time tracks can be activated or deactivated in
two ways:
• using the buttons in the KEYBOARD ASSIGN
section (the led lights up when the track is playing);
• using the UP1 and UP2/LOW buttons in the
PROGRAM/VOLUME section (press two buttons together to mute the track; press one button
to activate it again).
Note: The Upper 2 and Lower tracks exclude one other.
When UPPER 2 is selected, LOWER is automatically deactivated, and vice versa.
1 Light up the UPPER 1 led (KEYBOARD ASSIGN
section) to activate the Upper 1 track.
Press the button to select the Upper 1 track.
If the i40M is connected to a MIDI keyboard through
the special Global channel (see pages 45 and 47), you
can assign the real time tracks to the keyboard areas
with the buttons in the KEYBOARD MODE section.
2 Light up the UPPER 2 led (KEYBOARD ASSIGN
1 Press M.DRUM to play the drum kit on the key-
Press the button to select the Upper 2 track. The
Lower track is deactivated.
board.
2 Press SPLIT to split the keyboard in two parts.
The Upper 1 and/or Upper 2 tracks can play on the
right-hand side of the split point, while the Lower
track can play on its left-hand side.
Use the buttons in the KEYBOARD ASSIGN section to activate or deactivate the tracks.
Note: The Upper 2 and Lower tracks exclude one
other.
section) to activate the Upper 2 track.
3 Light up the SPLIT led (KEYBOARD MODE section) to split the keyboard, then light up the
LOWER led (KEYBOARD ASSIGN section) to activate the Lower track.
Press the button to select the Lower track. The
Upper 2 track is deactivated.
Note: The Lower track can only be activated when
the KEYBOARD MODE is SPLIT.
29
Getting Started • Tutorial
Blocking the programs of the
real time tracks
When you change an arrangement, you usually
change also the programs assigned to the real time
tracks. If you wish to change the accompaniment, but
not the programs of the real time tracks, turn off the
SINGLE TOUCH button led. With the SINGLE
TOUCH led on, the arrangement will also change the
programs and the volume of the real time tracks.
Changing the sounds of the
real time tracks
You can assign one of the i40M programs to each real
time track.
1 If the i40M is connected to a keyboard, press
the SPLIT button to split the keyboard in two
parts.
2 Select the Upper 1 track by pressing one of the
UPP1 buttons in the PROGRAM/VOLUME section.
The abbreviation “UP1” will appear on the second
text line of the display, followed by the bank number, name and number of the program assigned to
the Upper 1 track.
loaded from disk or directly programmed by the
user.
5 Using the buttons of the NUMBER section select
a two-digit number between 11 and 88.
To select a drum kit, press the [F/USER/DRUM]
button twice, until the abbreviation “Dr” appears
on the display.
If the program you wish to select is in the same
bank as the selected program, you only need to
select the two-digit number, without pressing a
BANK button.
After selecting the bank and indicating a two-digit
number, the program will be selected and assigned
to the Upper 1 track.
Program Preview. In the Arrangement Play mode
you can use the Program Preview function to view
the name of the program on the display before
selecting it.
Press a BANK button, use a NUMBER button to
select the tens – if necessary – then select the program with the TEMPO/VALUE buttons and confirm with ENTER/YES.
6 Select the Upper 2 track by pressing one of the
LOW/UPP2 buttons in the PROGRAM/VOLUME
section and activating UPPER 2 in the KEYBOARD ASSIGN section.
If active, the Lower track will be deactivated. The
abbreviation “UP2” will appear on the display, followed by the bank number, name and number of
the program assigned to the Upper 2 track.
7 Select a program with the procedure illustrated
for the Upper 1 track.
8 Select the Lower track, by pressing one of the
Bank
Number
Name
3 Press the PROGRAM/ARRANG button to light
up the PROGRAM led.
4 Press one of the BANK [A], [B], [C], [D], [E],
[F(USER/DRUM)] buttons.
The A and B banks contain the 128 programs of the
General MIDI standard. The A bank contains the
first 64 programs, the B bank contains the other 64
programs. The C and D banks contain programs
that are more or less organized as in the General
MIDI banks, however there are some differences.
The E bank contains layered programs and fantasia
sounds, while the F(USER) bank contains programs
30
LOW/UPP2 buttons in the PROGRAM/VOLUME
section and activating LOWER in the KEYBOARD
ASSIGN section.
If active, the Upper 2 track will be deactivated. The
abbreviation “LOW” will appear on the display,
followed by the bank number, name and number of
the program assigned to the Lower 2 track.
9 Select a program with the procedure illustrated
for the Upper 1 track.
0 Select the Upper 1 track again (press one of the
UPP1 buttons in the VOLUME section).
The abbreviation “UP1” will appear on the display.
All the next selections of programs will be assigned
to the Upper 1 track.
Getting Started• Tutorial
Transposition
You can change the pitch of the real time tracks with
the semitone transposition.
Note: If the accompaniment is playing during the modification, the transposition will enter at the beginning of the
next measure.
● To
lower the real time track pitch by one or
more semitones press the TRANSPOSE [ ] button
once or more.
1 Press the BANK button in the KEYBOARD SET
section a few times, to turn on the C bank led.
Each time you press the BANK button, one of the
banks is selected in cyclic mode:
A ⇒ B ⇒ C ⇒ A…
2 Press button 1 of the KEYBOARD SET section.
Keyboard Set 1 of the C bank will be selected. The
programs of the real time tracks will change and
the status of Chord Scanning, Keyboard Assign,
Keyboard Mode, the effects, etc. could change, too
(depending on the data saved in the Keyboard Set).
The sound pitch will be lowered by a semitone
each time the button is pressed.
● To raise the real time track pitch by one or more
semitones press the TRANSPOSE [ ] button
once ore more.
The sound pitch will be raised by a semitone each
time the button is pressed.
● To
cancel the transposition press both TRANSPOSE buttons together.
Recording a Keyboard Set
It is possible to record the status of the real time tracks,
the effect and the VOCAL/GUITAR section in a Keyboard Set. Let’s try to record the current status in Keyboard Set 5 of the B bank.
1 Press REC/WRITE/LYRICS and press one of the
buttons in the KEYBOARD SET section.
The Write Keyboard Set page will appear.
Selecting a Keyboard Set
By selecting a Keyboard Set in the Arrangement Play
mode, you can select the programs of the real time
tracks, the Keyboard Mode, the Keyboard Assign, the
Chord Scanning, the effects, as well as other characteristics that would otherwise have to be programmed
one at a time.
In Arrangement Play and Song Play, the Keyboard Sets
also recall the settings of the VOCAL/GUITAR section.
There are three banks (A, B, C) with five Keyboard Sets
each (1, 2, 3, 4, 5). Let’s try to select Keyboard Set 1 of
the C bank.
2 Press a few times the BANK button in the KEYBOARD SET section to light up the B led.
3 Press button 5 in the KEYBOARD SET section.
4 Press ENTER/YES twice to save (or EXIT/NO to
cancel).
The status of the real time tracks, the effects and the
VOCAL/GUITAR section is saved in Keyboard Set
5 of the B bank. You can save the Keyboard Sets
with the Save functions in the Disk/Global mode
(see page 131).
Note: To retrieve the original Keyboard Sets, load the
Keyboard Set contained in the Accessory Disk supplied.
31
Getting Started • Tutorial
The backing sequences
What are the backing
sequences?
The backing sequences are musical pieces created by
playing the real time tracks and the arrangement
accompaniment.
The creation of a new song in the Backing Sequence
mode consists in recording a standard playing with
the arrangements, just like if you were playing normally in the Arrangement Play mode.
Apart from the tracks available in the Arrangement
Play mode, the Backing Sequence mode contains other
eight tracks (Extra Tracks) where you can record freely.
The backing sequences can be saved on disk as backing sequences or Standard MIDI File (see “Page 18:
SMF converter” on page 105).
2 If the i40M is connected to a keyboard or to
another controller, program it to transmit over
the special Global channel.
Note: The backing sequence must receive the real
time tracks over the Global channel and the chords
over the Global and/or the Chord 1 and Chord 2
channels.
3 Press B.SEQ to enter the Backing Sequence
mode.
The B.SEQ led will light up. The following display
will appear.
Tempo
Measure number
Recording the Backing
Sequences
With the i40M you can create new songs exploiting the
wealth of material in the automatic accompaniment.
This type of songs is known as Backing Sequence.
Arrangement
Backing Sequence name
4 Select the backing sequence you wish to record
Note: While recording, you cannot select some of the
buttons, e.g. the Keyboard Sets.
1 If the i40M is connected to a MIDI accordion,
with the TEMPO/VALUE buttons.
For this example, let’s select BSQ3. (If BSQ3 is
recorded, select another backing sequence).
switch to the Disk/Global mode and select the
MIDI Setup “Accordion 1”.
5 Select an arrangement with the buttons of the
See “Connecting the i40M to a MIDI accordion” on
page 49. “Accordion 1” allows you to transmit the
right hand over the special Global channel and the
chords over the Chord 1 and Chord 2 channels.
Press the PROGRAM/ARRANG button to light up
the ARRANG led, then one of the BANK [A], [B] or
[USER] buttons to select the bank. Finally, press
two NUMBER button in sequence to choose a twodigit number between 11 and 88.
Note: The backing sequence must receive the real
time tracks over the Global channel and the chords
over the Global and/or the Chord 1 and Chord 2
channels.
6 If necessary, change the split point, the Key-
PROGRAM/ARRANG section.
board Mode, the Keyboard Assign and the
Chord Scanning.
Split point: hold down SPLIT POINT and play the
note that you wish to be the new split point. Keyboard Mode: use the buttons in the KEYBOARD
MODE section. Keyboard Assign: use the buttons
of the KEYBOARD ASSIGN section. Chord Scanning: use the buttons of the CHORD SCANNING
section.
32
Getting Started• Tutorial
7 Press REC/WRITE/LYRICS to enter the recording
mode.
The REC/WRITE/LYRICS led will light up and the
recording page will appear. If the “ATr” (arrangement tracks) tracks are selected, you can record
both the real time and the accompaniment tracks in
real time.
Tempo
Real time track
non-copy protected and must have space enough to
contain the new data.
2 Press Disk/Global to enter the Disk/Global
mode.
The following display will appear:
Control track
Chord track
3 If you have inserted a blank disk, you need to
format it.
Selected track(s)
Quantize value
Metronome
8 Press START/STOP (or one of the INTRO/END-
1. Move the cursor to (UTIL) using the CURSOR
buttons. Press ENTER/YES to enter the “Utilities” subpage.
ING buttons + START/STOP) to start the accompaniment.
2. Move the cursor to (FORMAT) using the CURSOR buttons. Press ENTER/YES to enter the
“Format disk” subpage.
After a two-measure pre-count, recording will
begin and the accompaniment will start playing.
3. Press ENTER/YES to start formatting. After a
couple of minutes the disk will be ready to use.
9 You can now play freely. During the recording
4. Press EXIT/NO to go back to the main page in
the Disk/Global mode.
you can use the FILL, VARIATION, ENDING buttons freely.
0 Press START/STOP (or one of the INTRO/ENDING buttons) to stop the accompaniment and
the recording.
The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to
measure 001.
4 Move the cursor to (SAVE) and press the ENTER/
YES button to enter the “Save” subpage.
5 Move the cursor to (BSQ) and press the ENTER/
YES button.
The following display appears:
A Press START/STOP to listen to the song that you
have just recorded.
Saving the Backing Sequences
on disk
The backing sequences contained in memory will be
lost when you turn the instrument off, therefore you
need to save them on disk. The following procedure
allows you to save all the back sequences contained in
memory (max 10) in a new file.
Note: If you have used arrangements and programs
from the USER bank, choose (ALL) instead of (BSQ).
This operation will save the entire contents on memory, including the USER arrangements and the USER
programs used by the backing sequence.
1 Insert an empty disk into the disk drive.
The i40M uses 3.5” 2DD/HD (double density or
high density) disks. The disk must be formatted in
MS-DOS® format, compatible with Windows™,
Macintosh® and other systems. The disk must be
6 Assign a new filename.
1. Select the character you wish to change with the
CURSOR buttons.
33
Getting Started • Tutorial
2. Change the character using the TEMPO/
VALUE buttons.
3. Press INS to insert a new character and DEL to
delete the character indicated by the cursor.
7 Press ENTER/YES to save the file on disk.
To cancel the operation press EXIT/NO.
8 When the message “Completed” appears on
the display, press the B.SEQ button to go back
to the Backing Sequence operative mode.
Deleting the Backing
Sequences
If you don’t mind losing the backing sequence and
you need space in memory, you can delete it. The
backing sequences use up space in memory, taking it
away from other data (e.g. songs in Song Edit, other
backing sequences).
1 Press B.SEQ to enter the Backing Sequence
mode.
2 Press PAGE [+] repeatedly to get to “Page 3:
Erase Backing Sequence” in the Backing
Sequence mode.
3 Press ENTER/YES twice to delete the backing
sequence from memory.
4 Press EXIT/NO to go back to the first page of
the Backing Sequence mode.
The Songs
What are the Songs?
1 Press SONG EDIT to enter the Song Edit mode.
The songs are musical pieces with sixteen tracks that
can be saved on disk in the form of Standard MIDI File
(SMF). There are two operative modes dedicated to the
songs: the first one is used to read the songs live (Song
Play) and the second one is used to create new songs
or edit the existing songs (Song Edit).
2 Press PAGE [+] to go to Page 2.
Unlike the backing sequences, the songs are made up
of completely free tracks that cannot be created with
the arrangements. You can however convert a backing
sequence into a standard song (see “Page 18: SMF converter” on page 105).
The i40M is compatible with most of the songs found
on the market. You can convert songs created with the
computer sequencer into songs that can be read by the
i40M, and vice versa.
Recording a song
In the Song Edit mode you can record a new song
freely and save it on disk as a Standard MIDI File
(SMF).
34
Track
Tempo mode
Recording mode
Quantize
Starting measure
Metronome
Ending measure
Getting Started• Tutorial
3 Whilst on Page 2, press REC/WRITE/LYRICS to
enter the recording mode.
4 Select the track you wish to record with the buttons of the PROGRAM/VOLUME section. Use the
TRACK SELECT button to switch between the 1-8
and 9-16 tracks.
5 Program the MIDI controller to transmit over the
channel of the track you wish to record.
The tracks need to receive channeled information
and not over the special Global channel. Each track
of the song usually corresponds to a MIDI channel
with the same number as the track. For example,
track 1 usually corresponds to channel 1, track 2 to
channel 2 and son on.
8 Move the cursor to the Q parameter and select
a quantize value.
The quantize corrects the rhythmical mistakes
made during the recording. The quantize value is
expressed in musical values. Very high values can
deeply change the recording.
9 Move the cursor to the M parameter and activate or deactivate the metronome.
OFF means that the metronome is deactivated. ON
means that it is active both during the recording
and playback. REC means that it is active only during the recording.
0 Press START/STOP to start the recording.
Play freely.
Suggestion: if it is not possible to change the MIDI
channel used by the MIDI controller for transmission, follow this procedure:
A At the end press START/STOP to stop the record-
1. Go to “Page 3: Track parameters” in the Song
Edit mode.
B Repeat the procedure with the other tracks.
2. Modify the “Ch” parameter by assigning the
number of the MIDI channel used by the MIDI
controller for transmission.
3. Go back to the recording page and record the
track.
4. Go to “Page 3: Track parameters” in the Song
Edit mode and assign the original MIDI channel
to the “Ch” parameter.
5. Select a different track and repeat the procedure,
assigning the MIDI channel used by the controller for transmission to the track you wish to
record.
6 Move the cursor to the Recording Mode param-
ing.
Saving the Song as Standard
MIDI File (SMF)
The songs and backing sequences contained in memory will be lost when you turn the instrument off,
therefore you need to save them on disk.
1 Insert a new disk into the disk drive.
The disk must be formatted, non copy-protected,
and must have space enough for the song you are
saving. To format the disk see “FORMAT (Format
disk)” on page 133.
eter and select the recording mode.
2 If you are not already in the Song Edit mode,
You can select the OVRW option to delete the old
data and record the new data of the track.
3 Press repeatedly PAGE [+] to get to “Page 13:
Otherwise, in particular to record the drum track
one instrument a time, you can select OVDB, where
you can add new notes to existing notes.
press SONG EDIT.
Save” in the Song Edit mode.
The more complex AUTOP and MANP modes are
described on page 115
7 Move the cursor to the Tempo parameter and
program the metronome tempo.
If you select the AUT option, the tempo is the current one indicated by TEMPO/VALUE. If you
select the TEMPO-REC option, the tempo variations during the recording are recorded.
4 Assign a name to the song.
Move the cursor with the CURSOR buttons and
change the character indicated by the cursor using
the TEMPO/VALUE buttons.
35
Getting Started • Tutorial
Be careful: If you are saving a file that was previously loaded from the disk, you need to change the
name of the file to avoid overwriting the existing file
on disk. A disk cannot contain two files with the same
name (in the same directory). A message will inform
you that you are overwriting an existing file.
5 Press PAGE [+] to get to “Page 2: Playback”.
5 Press ENTER/YES twice to confirm and the name
and save.
After pressing ENTER/YES the “Are you sure?”
will appear. Press ENTER/YES again to save the
Standard MIDI File on disk. When finished, the
message “Completed” will appear.
Editing Standard MIDI Files
(SMF)
A SMF can be modified, for example by adding a solo
or changing the program played by the track. Let’s try
to edit the song “iS-Lands” contained in the disk supplied with the instrument.
6 Press START/STOP to listen to the song.
The song will be played from beginning to end.
When it stops, the sequencer will go back to measure number 001. You can stop playback halfway
through the song by pressing START/STOP; in this
case, press RESET to get back to measure number
001.
Changing the sound of a track
Let’s replace the pan flute of the melody line with an
alto sax.
1 Press PAGE [+] repeatedly to get to “Page 4:
Event edit”.
Loading and listening to the song
1 Insert the disk supplied with the instrument into
the disk drive.
2 Press SONG EDIT to enter the Song Edit mode.
3 Select the file “ISLANDS” with the TEMPO/
VALUE buttons.
Selected track
2 Select track 6 (Tr06) using the TEMPO/VALUE
buttons.
The pan flute is to be found in track 6 (Tr06).
3 Press REC/WRITE/LYRICS, then START/STOP to
access Event Edit.
4 Press ENTER/YES twice to load the song.
The message “Now loading” will appear. When
finished, the message “Completed” will appear.
36
Getting Started• Tutorial
4 Use the CURSOR buttons to move the cursor to
M001#00.
M001#00 indicates the measure number and the
step inside the measure (001 = measure 1, #00 =initial step of the measure).
Deleting parts of a song
In this example we will delete the marimba accompaniment from the first four measures.
1 Press PAGE [+] repeatedly to get to “Page 7:
Edit”.
5 Press TEMPO/VALUE [UP/+] to select M001#01.
The #01 step is the first measure step that contains
performable data (for example, notes). There will
be a message showing the change of program on
the second line of the display text.
2 Move the cursor to (ERASE) using the CURSOR
buttons,
3 Press ENTER/YES.
Message type
(“status”)
Bank
Select LSB
Program
Change
Program
6 Move the cursor to “075” using the CURSOR
buttons.
Number “075” is the value of the MIDI Program
Change message. A program can be selected
through the combination of two Bank Select (usually abbreviated in BS MSB and BS LSB) and Program Change (usually abbreviated in PC). In the
i40M the message sequence BS MSB=000, BS
LSB=000 and PC=075 corresponds to program B24
(bank B, program 24) which is the pan flute.
7 Change the number to “065” using the TEMPO/
VALUE buttons.
The program change number “65” corresponds to
the B12 program (Alto Sax).
8 Press START/STOP to exit Event Edit.
9 Press EXIT/NO to get back to page 2 (Play).
0 Press START/STOP to listen to the edited song.
The melody will now be played by an alto sax.
4 Move the cursor to “Tr01”.
5 Press TEMPO/VALUE [UP/+] to select “Tr05”.
The marimba part is on track 5 (Tr05).
6 Moves the cursor to “001” located at the right
of the arrow.
As we want to delete the first four measures, measure 001 should be to the left of the arrow and measure 004 to the right of it.
7 Press TEMPO/VALUE [UP/+] repeatedly to select
measure number “004”.
8 Press ENTER/YES twice.
The message “Completed” will appear on the display. The first four measures of the marimba part
will be deleted.
9 Press EXIT/NO to get to page 2 (Play).
0 Press START/STOP to listen to the song.
The marimba part will not play at the beginning of
the song anymore.
37
Getting Started • Tutorial
Adding parts to a song
In this example, we shall add a counterpoint melody
to the song, recording it onto track 7 (Tr07).
1 If you are not already at page 2 (Play), press
with the same number as the track. For example,
track 1 usually corresponds to channel 1, track 2 to
channel 2 and son on.
6 Press PROGRAM/ARRANG to light up the PRO-
EXIT/NO, or hold down SONG EDIT and press
ARRANGEMENT NUMBER [2].
GRAM led, then press BANK [A], and finally
NUMBER [7] and [1].
(This is a shortcut to get directly to a page – see
page 18).
This will assign the “A71 Strings” program to track
7 (Tr07).
2 Press REC/WRITE/LYRICS.
7 Press START/STOP to start recording. Play the
new part.
3 Move the cursor to “Tr01” using the CURSOR
buttons.
4 Press TEMPO/VALUE [UP/+] repeatedly to select
“Tr07”.
5 Program the MIDI controller to transmit over the
channel of the track you wish to record.
The tracks need to receive channeled information
and not over the special Global channel. Each track
of the song usually corresponds to a MIDI channel
38
After a two-measure precount, recording will
begin.
8 When finished press START/STOP to stop the
recording.
If you have made any mistakes, press RESET and
begin recording again, following the instructions
from step 2 to step 7.
9 Press START/STOP to listen to the song.
Getting Started• Tutorial
The Vocal/Guitar section
Connecting a microphone or a
guitar
You can connect a microphone or a guitar to the
INPUT-IN jack. You can also connect a mono instrument with output at line level (such as a synthesizer).
The input level of the signal can be adjusted with the
GAIN knob located next to the INPUT-IN jack. After
you connected the instrument or the microphone, play
or sing and adjust the knob until you obtain the
desired level. Check the level with the assistance of the
SIGNAL led situated in the VOCAL/GUITAR section.
The input signal is processed by the harmonizer and
the effect processors of the VOCAL/GUITAR section.
The processed signal is sent to the OUTPUT audio
jacks of the i40M, together with the sounds generated
by the internal sound generator.
The signal level is indicated by the SIGNAL led,
located in the control panel of the VOCAL/GUITAR
section. If it is off, the signal is not present; if it is
green, the signal is present, if it is orange, the signal is
close to saturation; if it is red, the signal is saturated.
The presence of the signal will light up the green
SIGNAL led. If the signal is close to saturation the
led will turn orange. If the signal is saturated, the
led will turn red.
2 If necessary, press ARR.PLAY to go to the
Arrangement Play mode.
3 Select Keyboard Set A1 to activate the VOCAL/
GUITAR section.
When you turn the instrument on, the VOCAL/
GUITAR section is inactive. To activate it you need
to select a Keyboard Set.
4 Adjust the general volume of the VOCAL/GUITAR section with the VOLUME slider.
5 Use the A/B button to select the operating mode
A of the A/B knob.
Be careful: the signal must never be saturated. If this
happens, reduce the input gain with the GAIN knob.
Light up the led A of the A/B button and knob.
Note: When you turn the instrument on, the VOCAL/
GUITAR section is deactivated. Select one of the Keyboard Sets to activate it. If you have connected a microphone, select a Keyboard Set in the A bank; if you have
connected a guitar, select a Keyboard Set in the B (clean
settings) or C (overdrive settings) bank.
6 Start singing and adjust the Harmony volume
(parameter A) with the A/B knob.
el
Using the Vocal/Guitar section
In this example we will see how to use the settings of
the VOCAL/GUITAR section saved in Keyboard Set
A1 (if it was not modified).
1 Connect the guitar or the microphone to the
INPUT-IN jack of the i40M.
Connect the guitar using a cable ending with mono
jacks. Connect the microphone with a cable ending
with a mono jack.
7 Use the A/B button to select the operating mode
B of the A/B knob.
Light up the led B of the A/B button and knob.
Adjust the input level with the GAIN knob. The
correct adjustment will optimize the background
noise caused by the connections with the microphone or the guitar.
39
Getting Started • Tutorial
8 Start singing and adjust the effect level (parameter B) with the A/B knob.
9 Press the C button to mute the entire VOCAL/
GUITAR section.
0 Press the C button again to cancel the mute.
Changing the settings of the
Vocal/Guitar section
The Keyboard Sets contain the settings of the
VOCAL/GUITAR section. Select a Keyboard Set to
automatically change the settings. The default settings
of the Keyboard Sets supplied with the instrument are:
Bank
Type of settings
A
Vocal
B
Guitar clean
C
Guitar distorted
4 According to the connected device, assign the
Guitar (for the guitar) or the Vocal (for the
microphone) option to the “VOC/GTR MODE”
parameter.
Note: Each mode offers effects that are especially
dedicated to the guitar or vocal. For example, the harmonizer is only available in the Vocal mode, while the
amplifier simulator only works in the Guitar mode.
Other effect with the same name, such as the compressor, work differently in each mode.
5 Go to the next pages to select the effects.
You can have different effects according to the
selected mode (Vocal or Guitar). Now it is important to select the effects, to assign the control of two
of their parameters to the A/B knob, and the mute
to the C button.
6 Go back to “Page 14: Vocal/Guitar mode/
As the Keyboard Sets are modifiable, you can edit and
save the settings of the section. You only need to make
the modifications as described in the following paragraph and save the Keyboard Set as described on a
page 31.
Assigned parameters”. Move the cursor to “A”
to select the parameter assigned to the A/B
knob. Select the parameter you wish to control
with the A/B knob in A mode.
MODE ARR.PLAY
CHORD
TEMPO
M7
VOC/GTR MODE=Guitar
A:CHORUS Depth
OCTAVE
PAGE
Programming the Vocal/Guitar
section
1 If necessary, press ARR.PLAY to go to the
Arrangement Play mode.
7 Press CURSOR [<] to select the “A” parameter.
Press TEMPO/VALUE [+] to change the “A”
parameter to “B”.
2 Select a Keyboard Set to activate the VOCAL/
GUITAR section.
MODE ARR.PLAY
When you turn the instrument on, the VOCAL/
GUITAR section is deactivated. You need to select a
Keyboard Set to activate it.
CHORD
TEMPO
M7
VOC/GTR MODE=Guitar
B:DIST Depth
OCTAVE
PAGE
3 Press PAGE [+] repeatedly to get to “Page 14:
Vocal/Guitar mode/ Assigned parameters”.
8 Press CURSOR [>] to select the parameter
MODE ARR.PLAY
CHORD
TEMPO
40
M
7
VOC/GTR MODE=Guitar
A:CHORUS Depth
OCTAVE
PAGE
assigned to the A/B knob. Select the parameter
Getting Started• Tutorial
you wish to control with the A/B knob in B
mode.
0 Press CURSOR [>] to select the parameter
assigned to the C button. Select the parameter
you wish to control with the C button.
MODE ARR.PLAY
CHORD
TEMPO
M7
VOC/GTR MODE=Guitar
B:DIST Depth
MODE ARR.PLAY
OCTAVE
PAGE
9 Press CURSOR [<] to select the “B” parameter.
Press TEMPO/VALUE [+] to change the “B”
parameter to “C”.
M7
VOC/GTR MODE=Guitar
C:Vocal/Guitar Mute
OCTAVE
PAGE
The C button is used to mute the effects, the harmonization or the entire VOCAL/GUITAR section.
A Save the settings of the VOCAL/GUITAR section
in a Keyboard Set.
MODE ARR.PLAY
CHORD
TEMPO
CHORD
TEMPO
M7
VOC/GTR MODE=Guitar
C:Vocal/Guitar Mute
OCTAVE
PAGE
To save the settings, save the Keyboard Set as
described in “Recording a Keyboard Set” on
page 31.
41
Getting Started • Tutorial
The programs
Editing the programs
1 Program the MIDI controller to transmit over the
special Global channel of the i40M.
The i40M has a vast selection of Korg sounds, the same
sounds that you hear on records and in concerts of
many famous artists. However, it is also your creativity that needs suitable sounds, these you can create in
Performance Edit by changing the fundamental
parameters of the sounds. You can start from a program that is close to what you wish to create, perform
the changes and save the program in the F(USER)
bank. In this example we shall start with a digital
piano.
For information on the Global channel, see page 45.
For information on programming the Global channel, see page 132.
2 Press PROGRAM to enter the Program mode.
In this situation the PROGRAM/VOLUME buttons
are used to select the editable parameters of the
selected program. The upper button of each pair
increases the value of the parameter, while the
lower button decreases it. In the display the volume indicators change to indicators of the parameter value.
VOLUME
DRUMS
PERC
BASS
ACC1
ACC2
ACC3
LOW/UPP2
UPP1
PROGRAM
MUTE
Vibrato intensity
Makes the sound brighter or mellower
VIBRATO
INT.
VDF
CUTOFF
VDF EG
INT.
ATTACK
TIME
RELEASE
TIME
VDA
LEVEL
VELOCITY EFFECT
SENS. BALANCE
Effects intensity
Modifies the sound quality over the time
Modifies the sound quality during time
Makes the sound disappear faster or
more slowly, after a key has been
3 Select the program you wish to edit.
In this case, we want to select the A16 program, so
press PROGRAM/ARRANG to light up the PROGRAM led, then BANK [A], and finally NUMBER
[1] [6].
4 Press the upper PROGRAM [VIBRATO INT.] button to increase the vibrato.
5 Press the lower PROGRAM [VDF CUTOFF] button for a few moments to make the sound less
brilliant.
If you have closed the sound too much, press the
upper button to reopen the filter. VDF means Variable Digital Filter.
42
Keyboard touch responsiveness
Program volume
6 Press the upper PROGRAM [ATTACK TIME] button for a few moments to make the sound
attack slower.
7 Press the upper PROGRAM [RELEASE TIME] button for a few moments to make the sound disappear more slowly when releasing the note.
If the sound lasts too long, press the lower button
to slightly shorten the release time.
8 Adjust the program volume using the PROGRAM [VDA LEVEL] buttons.
VDA means Variable Digital Amplifier.
Getting Started• Tutorial
9 Adjust the effect level using the PROGRAM
[EFFECT BALANCE] buttons.
0 If you wish to save the program you have
edited, press REC/WRITE/LYRICS to go to “Page
23: Write program” (see page 174).
0 Using the TEMPO/VALUE buttons select the location in the F(USER) bank where you wish to save
the program.
A Press ENTER/YES to save the program.
Press EXIT/NO if you wish to cancel the operation.
Warning: The program you are saving will substitute and therefore delete the existing program. Don’t’
press ENTER/YES if you are not sure that you want to
lose the program.
Selected USER location
43
Getting Started • MIDI
5. MIDI
What is MIDI?
The MIDI protocol. The MIDI is a standard protocol
that defines the hardware and software for the communication between musical instruments and computers. The hardware is represented by the interface with
multipolar connectors located on the back of the i40M.
The connectors are:
Some important controllers are:
CC#
Name
Notes
00
Bank Select MSB
In combination with CC#32 selects
the program bank. In the i40M its
value is always 0.
• MIDI IN (to receive data),
01
Modulation
Activates modulation.
• MIDI OUT (to send data)
07
Volume
Selects volume.
10
Pan
Selects the pan value.
32
Bank Select LSB
In combination with CC#00, selects
the program bank. In the i40M the
possible values are:
Banks A-B = 00
Banks C-D = 01
Bank E = 02
Bank F = 03
Bank Dr = 04
91
Effect 1 send
Effect 1 send
93
Effect 2 send
Effect 2 send
• MIDI THRU (to re-transmit the data received over
the MIDI IN).
The MIDI IN 1 and MIDI IN 2 connectors of the i40M
are identical. As a rule, if only one instrument is connected, it is recommended to use the MIDI IN 1 connector.
The software of the MIDI protocol is represented by a
series of “messages” that the controller instrument
(master) sends to the controlled instrument (slave) to
“instruct” it to emit a sound or somehow modify it.
For example, if a MIDI keyboard is connected to the
i40M, pressing a key on the keyboard will cause the
transmission of a note activation message (Note On).
The message will go through one of the MIDI channels
and reach the i40M, that will convert the note message
into a sound.
The list of the messages sent via MIDI can be found in
the Appendix.
The same occurs with other messages: fox example,
pressing the sustain pedal will cause the transmission
of the Sustain/Damper message; editing the volume
will cause the transmission of the Volume message,
and so on.
Each cable must be used to connect two connectors of
different instruments. Never connect two connectors
of the same instrument with the same cable.
The MIDI messages. There are “general” MIDI messages (metronome tempo, Start/Stop, Local Off) and
“channel” messages that only refer to one of the sixteen MIDI channels.
The channel messages include the Note On (note activation), Program Change (selection of program,
arrangement, Keyboard Set), and Control Change.
Most of the control messages, such as Sustain/Damper
and Volume, is sent in the form of a Control Change
message. This message consists in two parts: the Control Change number (0-127), that determines the control type, and the control value (0-127).
For instance, the activation of the Sustain/Damper
pedal is a Control Change #64, with value 127. A
“standard” volume is a Control Change #07, with
value 90.
44
Connections. In order to connect two musical instruments, you need standard MIDI cables that can be
found in any musical instrument store.
The simplest connection is the connection between the
MIDI OUT connector of the controller and the MIDI
IN connector of the controlled instrument.
The MIDI channels. The MIDI messages are sent from
one instrument to the other over 16 separate channels.
Each message must be sent over a specific MIDI channel.
For example, if the keyboard transmits over channel 1,
the controlled instrument must receive over channel 1.
If not, the controlled instrument will not play or will
play the sound of a different channel.
The special channels. Some MIDI channels of the
i40M can be assigned to “special channels” that are
used for special functions. These channels are Global,
Chord 1, Chord 2, Arrangement and Keyboard Set. A
detailed description of these channels is contained in
the following pages.
Getting Started• MIDI
Other information. The MIDI is a vast, articulated
world. This guide will only refer to the use of the MIDI
with the i40M. For more information, refer to specialized books and magazines.
The special channels
The Global channel
The Global is a special channel that allows you to simulate a keyboard integrated into the i40M. When the
i40M is connected to a keyboard, the keyboard should
transmit over the Global channel of the i40M.
According to the factory settings, the Global is programmed over channel 1 when the instrument is
turned on. Since most of the MIDI controllers transmit
over channel 1 when turned on, if no modifications
have been made, a MIDI controller and the i40M are
immediately connected over the Global channel.
The Global channel has the priority over the other
channels. For example, if the Global is programmed
over channel 1 and a track is programmed over channel 1 as well, the Global (with its settings and characteristics) will control the track, not the standard
channel 1.
The MIDI messages received over the Global and not
over a standard channel are affected by the buttons of
the KEYBOARD MODE section (such as the split
point). Therefore, if the SPLIT button led is lit up, the
notes that arrive to the i40M over this channel will be
divided by the split point into the Upper (above the
split point) and Lower (below the split point) parts.
The notes that arrive to the Global channel are used for
the chord detection of the automatic accompaniment.
If the KEYBOARD MODE is SPLIT, only the notes
below the split point will be used. These notes will be
combined with the ones of the special Chord 1 and
Chord 2 channels.
The Global channel does not work in Song Play, Song
Edit, and Backing Sequence when the Extra Tracks are
selected. The reason is that in these operative mode the
information need to be channeled separately.
The Global channel works in Arrangement Play and
Backing Sequence when the arrangement tracks are
selected. It also works in Program mode, where all the
other channels are deactivated.
For information on the programming of the Global
channel, see “GLB (Global)” on page 139.
The Chord 1 and Chord 2
channels
The notes that go through the Chord 1 and 2 channels
are used for the chord detection of the automatic
accompaniment. The notes will be combined with the
notes that go through the Global channel (under the
split point if the SPLIT led is lit up).
The Chord channels are not affected by the split point
and the KEYBOARD MODE section of the control
panel. All the notes – both above and below the split
point – will be sent to the chord detection.
The buttons of the CHORD SCANNING section have
a particular effect on the Chord channels:
• if you have selected LOWER, the chord detection
mode will be set by the “ChordRecog (Chord recognition mode)” parameter in the Global mode (see
page 147);
• if you have selected UPPER or FULL, the chord
detection mode will always be Fingered 2 (you
need to play at least three notes in order for the
chord to be detected).
These two channels are especially useful for accordion
players to assign a different Chord channel to the
chords and the bass played with the left hand. In this
way, chords and bass will participate to the creation of
chords for the chord detection of the automatic accompaniment.
For information on the programming of the Chord
channels, see “CHORD 1” and “CHORD 2” on
page 140.
The Keyboard Set channel
The Keyboard Set channel is used to receive the program change messages for the Keyboard Sets. The
reception of a program change message over this channel will cause the selection of a Keyboard Set.
For information on the programming of the Keyboard
Set channel, see “KBSET (Keyboard Set)” on page 140.
45
Getting Started • MIDI
The Arrangement channel
reception of a program change message will cause the
selection of an Arrangement.
The Arrangement channel is used to receive the program change messages for the arrangement. The
For information on the programming of the Arrangement channel, see “ARNG (Arrangement)” on
page 140.
What is General MIDI?
General MIDI (abbreviated GM) is a series of added
MIDI specifications, that allow you to play a song on
different instruments without any modifications.
Until General MIDI appeared, there were no standards
that governed the organization of sounds and how to
select them. When a song was played by a different
MIDI instrument to the original, the sound could differ entirely from the original ones. For example, a
snare might play instead of a hi-hat, a crash cymbal
instead of a bass drum, or a synth brass instead of a
piano, and so on.
Therefore, in order to play a song on a different instrument, you needed to prepare a comparison table,
which allowed you to identify the sounds on the new
instrument that corresponded to those on the old one.
In addition to the sounds, you also had to adjust other
parameters, for example the volume and the effects.
General MIDI standardizes the organization of
sounds, in such a way that the piano track is always
played by a piano and the drum kit track by a drum
kit; it also standardizes the setup of the drums in a
drum kit, the main sound parameters (attack, sustain,
release…), volume values and controls for the effects
and effect send functions. The song can be played in
the same way on any General MIDI compatible instrument.
In the i40M the General MIDI sounds are contained in
the A and B banks. There are 128 General MIDI sounds
altogether; the A bank contains programs 0-63,
whereas the B contains programs 64-127. There are
two General MIDI compatible Drum kits (Dr11 and
Dr12).
To program MIDI songs compatible with any GM
instrument, you need to use these programs and these
Drum kits.
What are Standard MIDI Files?
“Standard MIDI File” format (abbreviated as SMF) is a
standard that allows you to exchange songs between
different sequencers, meaning incorporated sequencers in musical instruments, or computer software. SMF
are not necessarily GM compatible.
The i40M sequencer is compatible with SMF 0 and 1
formats. It can read SMF in the Song Play mode (see
page 106) and edit them in the Song Edit mode (see
46
page 113). In the Backing Sequence mode it can save a
backing sequence in standard SMF format 0 (see
page 105).
The i40M can also show on the display the lyrics of the
SMF in Solton, M-Live (Midisoft), Tune1000 and compatible (Edirol, GMX, KAR, HitBit, XF) format (see
page 22).
Getting Started• MIDI
Connecting the i40M to a MIDI keyboard
The easiest way to control the i40M is by connecting a
master keyboard. You only need to connect the MIDI
OUT connector of the keyboard to the MIDI IN 1 connector of the i40M. If the master keyboard transmits
over the Global channel of the i40M, the master keyboard becomes the equivalent of the i40M integrated
keyboard.
1 Connect the MIDI OUT connector of the keyboard to the MIDI IN 1 connector of the i40M.
2 Program the keyboard so that the keyboard
transmits over the Global channel of the i40M
(see “GLB (Global)” on page 139)
3 Press DISK/GLOBAL to go to the Disk/Global
mode.
4 Press the PAGE [+] button repeatedly to get to
“Page 3: MIDI Settings” (see page 136).
MIDI IN
5 Press CURSOR> to select SETUP, then press
ENTER/YES to enter the MIDI Setup page.
MIDI OUT
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
KEYBOARD ASSIGN
MEMORY
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
START/STOP
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
6 Select the desired setup using the TEMPO/
PROGRAM BANK B (GENERAL MIDI)
51 - 58 SYNTH SFX
11 - 18 REED
61 - 68 ETHNIC
21 - 28 PIPE
71 - 78 PERCUSSIVE
31 - 38 SYNTH LEAD
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
BANK
NUMBER
VDA
VELOCITY
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
C
Interactive Music Workstation
iS40
VALUE buttons. Select the “Master keyboard”
setup and press ENTER/YES twice to confirm the
selection.
This setup is illustrated below.
If the keyboard transmits over the Global channel, the
split point and the status of the Keyboard Mode and
Keyboard Assign sections in the control panel will
affect the notes.
According to the factory settings, the Global channel
of the i40M is the MIDI 1 channel when the instrument
is turned on. When turned on, most of the keyboards
will transmit over this channel and therefore no programming is usually necessary.
Connections and settings
To connect the keyboard to the i40M use this procedure:
Note: The settings can change when new data is
loaded from disk. To protect the settings from loading,
use the PROTECT function (see page 136).
7 Press one of the buttons in the MODE section to
go to the desired operative mode.
The MIDI “Master keyboard” Setup
You can automatically configure the i40M for the connection to a MIDI keyboard by selecting the MIDI
“Master keyboard” Setup (see page 136).
This MIDI Setup will configure the i40M for the connection to a master keyboard. The Keyboard Assign,
Keyboard Mode and Chord Scanning Mode sections
will affect the notes played.
The special Global channel is programmed over the
MIDI 1 channel. You can change arrangement or Keyboard Set by sending a program change message to
channel 2 (special Arrangement channel) or 3 (special
Keyboard Set channel), respectively.
The chord detection mode is determined by the status
of the Chord Recognition Mode section and the “ChordRecog (Chord recognition mode)” parameter in the
Global mode (see page 147).
47
Getting Started • MIDI
Connecting the i40M to a digital piano
The digital piano can be used as a MIDI keyboard to
control the i40M. The keyboard is generally divided
into two parts; the left part is muted, to play the piano
with the right hand and the chords for the automatic
accompaniment with the left hand.
If the left part of the keyboard was not muted, the left
hand would have to play very low, compact chords
with a very bad sound. The Echo Back function of the
i40M allows you to divide the keyboard at the split
point of the module.
When the Echo Back function is active, the i40M sends
a Local Off message to the piano. This message disconnects the piano keyboard from its internal sound generator. The notes played on the keyboard are sent to
the i40M that uses the notes below the split point for
the chord detection and retransmits the notes above
the split point to the piano to allow it to play its internal sound. At this stage, the left hand only plays the
accompaniment chords and the right hand plays the
piano sound.
3 Turn the digital piano on.
Note: When the Echo Back function is active, when
turned on, the i40M transmits a Local Off message
over the MIDI OUT connector. Always turn on the
piano before the i40M.
4 Program the piano to transmit over channel 1
that corresponds to the special Chord 1 and (in
“Digital Piano 2”) Global channels in the i40M.
At this stage, the left hand will play the chords for
the accompaniment and the right hand will play
the digital piano. If you have selected “Digital
Piano 2”, you can use the buttons of the Keyboard
Assign sections to add the Upper 1, Upper 2 and
Lower section of the i40M to the piano.
5 Press DISK/GLOBAL to go to the Disk/Global
mode.
6 Press the PAGE [+] button repeatedly to get to
“Page 3: MIDI Settings” (see page 136).
7 Press CURSOR> to select SETUP, the press
ENTER/YES to enter the MIDI Setup page.
CHORD 1
(GLOBAL)
MIDI OUT
Chords
(Lower)
MIDI OUT
Piano
(Upper 1)
(Upper 2)
If you select the “Digital Piano 1” setup, the right hand
will only play the piano. If you select the “Digital
Piano 2” setup, the right hand can also play the Upper
1 and Upper 2 parts, where the left hand plays the
Lower part of the i40M.
Connection and settings
To connect the piano to the i40M follow this procedure:
1 Connect the MIDI OUT connector of the piano to
the MIDI IN 1 connector of the i40M.
2 Connect the MIDI IN connector of the piano to
the MIDI OUT connector of the i40M.
In this way the i40M and the piano are connected in
a “MIDI loop”.
48
8 Select the desired setup using the TEMPO/
VALUE buttons. Select one of the “Digital piano”
setups and press ENTER/YES twice to confirm
the selection.
At this stage the Echo Back function will be activated (see page 135) and a Local Off message will
be sent to the piano. The piano keyboard will be
disconnected from its internal sound generation.
The MIDI messages will be sent to the i40M that
will send again them to the internal sound generator of the piano, taking the split point into consideration.
This setup is illustrated below.
Note: The settings can change when new data is
loaded from disk. To protect the settings from loading,
use the PROTECT function (see page 136).
9 Press a button in the MODE section to go to the
desired operative mode.
Getting Started• MIDI
The MIDI “Digital piano” Setups
You can automatically configure the i40M for the connection to a digital piano by selecting the MIDI “Digital piano 1” or “Digital piano 2” Setup (see page 136).
Digital piano 1. This MIDI Setup allows you to play
the chords of the automatic accompaniment with your
left hand and the sound of the digital piano with your
right hand.
The special Chord 1 channel is programmed over the
MIDI 1 channel. The Lower part of the piano is muted.
The chords for the accompaniment are detected on the
left-hand side of the split point. If the Chord Scanning
selected in the control panel is LOWER, the chord
detection mode is the one indicated by the “ChordRecog (Chord recognition mode)” parameter in the
Global mode (see page 147). If it is UPPER or FULL,
the chord detection mode is always “Fingered 2”.
Digital piano 2. This MIDI Setup allows you to play
the chords of the automatic accompaniment with your
left hand and the sound of the digital piano with your
right hand. Moreover, you can use the buttons of the
Keyboard Assign section to activate or deactivate the
Lower part (left hand) and the Upper 1 and Upper 2
parts (right hand) of the i40M.
Suggestion: If you only wish to play the i40M parts,
and not the piano sound, set the piano volume to zero.
Global and Chord 1 are programmed over channel 1.
The settings of the Global channel have the priority
over the settings of the other channels.
The chord detection mode is determined by the status
of the CHORD SCANNING section in the control
panel and the “ChordRecog (Chord recognition
mode)” parameter in the Global mode (see page 147).
Connecting the i40M to a MIDI accordion
There are different types of MIDI accordion and each
type requires a different configuration of the i40M.
Select one of the MIDI “Accordion” Setups to configure the module properly (see page 136).
Connection and settings
6 Press a button in the MODE section to go the
desired operative mode.
7 Only with “Accordion 1”: if your right hand
plays some notes in the Lower part, or if the
lower part is muted, hold down SPLIT POINT
and play the lowest note of the right hand, then
release SPLIT POINT.
To connect the accordion to the i40M follow this procedure:
1 Connect the MIDI OUT connector of the accordion to the MIDI IN 1 connector of the i40M.
2 Press DISK/GLOBAL.
3 Press PAGE+ twice to get to the MIDI Settings
page.
4 Press CURSOR> to select SETUP, then press
ENTER/YES to enter the MIDI Setup page.
5 Select the desired setup using the TEMPO/
VALUE buttons. Select one of the “Accordion”
setups and press ENTER/YES twice to confirm
the selection.
These setups will be described in the following
pages.
Note: The settings can change when new data is
loaded from disk. To protect the settings from loading,
use the PROTECT function (see page 136).
The different types of MIDI accordion
Programmable / non-programmable. The
MIDI
accordions can be programmable or non-programmable. The programmable accordions offer the possibility
of selecting the MIDI channel assigned to each part of
the accordion, whereas the non-programmable accordions feature a fixed relationship between parts and
MIDI channels.
For example, in the most common case of a non-programmable accordion, the right hand will transmit
over channel 1, the chords over channel 2 and bass
over channel 3.
Number of MIDI channels. Accordions transmit over
a minimum of three MIDI channels. The most sophisticated accordions can transmit over a higher number of
channels, normally five (four plus one special part for
the arrangement change).
In the three-channel type of accordions, the right hand
transmits over channel 2, the chords over channel 2
49
Getting Started • MIDI
and bass over channel 3. In the five-channel type of
accordions (usually programmable) the standard setting is right hand over channels 1 and 4, chords over
channels 2, bass over channel 3, special part dedicated
to the arrangement change over channel 16 or 10.
Dynamics
Bass Inversion
The MIDI “Accordion 1” and “Accordion 2” setups
automatically select a fixed dynamics value. If the
value is not appropriate for your accordion, you can
edit the “Velocity Input” parameter in the Disk/Global
mode (see page 138).
Bass Inversion causes the lowest note sent to the chord
detection to be always detected as the chord root. The
lowest note is usually the note played with bass.
Since in some accordions bass and chords can play in
the same octave in some accordions, bass may not be
the lowest note sent to the MIDI. Therefore this note
would not be recognized as the chord root.
chords
bass
?
˙˙
˙
˙
actually detected bass
real bass
?
?
˙
˙
detected
chord
The following table shows the i40M tracks that correspond to each of the 16 MIDI channels according to the
selected MIDI “Accordion” setup. It also shows the
value of the “Velocity Input” parameter.
With the MIDI programmable accordions, you can
select the MIDI channel used to send the different
parts, that is the correspondence between the i40M
parts and the accordion parts.
bass
?
˙
Track
Track
Track
Chan.
Upper 1
2
Lower + Chord 1 +
Harmony
Lower + Chord 1 +
Harmony
Lower + Chord 1 +
Harmony
3
Bass +
Chord 2
Chord 2
Bass +
Chord 2
chords
4
–
Upper 2
Upper 2
˙˙
˙
5
–
–
–
6
–
–
–
7
–
–
–
8
–
–
–
C/G
detected
chord
Accordion 3
Upper 1
˙
?
Accordion 2
Global
(Upper 1 + Upper
2)
actually detected bass
˙
Accordion 1
1
To solve this problem, you need to transpose an octave
below the accordion bass.
?
The MIDI “Accordion” Setups
C/E
˙˙
˙
real bass
Not all accordions can transmit Velocity messages (e.g.
the dynamics, or intensity, notes are played with).
However, in the i40M you can select the fixed dynamics value used to receive the notes sent by the accordion.
˙˙
˙
˙
9
–
–
–
10
Drum
Drum
Arrangement
11
Perc
Perc
Perc
Bass
Drum
12
13
Acc1
Acc1
Acc1
14
Acc2
Acc2
Acc2
15
Acc3
Acc3
Acc3
16
–
Global
Global
Velocity
Input
110
110
Normal
Accordion 1. The “Accordion 1” setup is dedicated to
those who have an accordion with three fixed channels
(with no assignable MIDI channel). With this setup
you can play Upper 1 and Upper 2 with your right
hand, Lower with the chords and the i40M bass with
the accordion bass.
50
Getting Started• MIDI
The chords for the automatic accompaniment will be
sent by the right hand, chords (Chord 1) and bass
(Chord 2).
Accordion part
Channel
i40M track
Right hand
1
Global (Upper 1 + Upper 2)
Chords
2
Lower + Chord 1 + Harmony
Bass
3
Bass + Chord 2
Use this setup to program the backing sequences
(Backing Sequence mode) and the programs (Program
mode).
Accordion 2. The “Accordion 2” setup is dedicated to
those who have an accordion with two channels on the
right hand and do not want to play the i40M bass.
With this setup you can play Upper 1 and Upper 2
with your right hard, Lower with the chords, but not
the i40M bass.
Since the Upper 1 and Upper 2 parts are controlled by
two MIDI independent channels, you can send different volume, program change, and modulation values,
etc.
The chords for the automatic accompaniment are sent
by the chords (Chord 1) and the bass (Chord 2).
Accordion part
Channel
right hand, want to play the i40M bass and has
another channel to change the i40M Arrangements
with Program Change. With this setup you can play
Upper 1 and Upper 2 with your right hand, Lower
with the chords and the i40M bass with the accordion
bass.
The chords for the automatic accompaniment are sent
by the chords (Chord 1) and the bass (Chord 2). If the
accordion is provided with a special channel to send
the program change message, you can select the i40M
arrangements (with a program change over channel
10).
Suggestion: if you wish to change arrangement, but
not the sounds of the Upper 1, Upper 2 and Lower tracks,
turn the SINGLE TOUCH led off.
Suggestion: if you wish to change the programs of the
Upper 1, Upper 2 and Lower parts in one go, select a
Keyboard Set via MIDI or in the control panel (see
page 140).
This setup does not set a fixed dynamics value. If your
accordion does not transmit dynamics messages, select
a fixed value with the “Velocity Input” parameter (see
page 138).
i40M channel
Right hand 1
1
Upper 1
Accordion part
Channel
i40M track
Right hand 2
4
Upper 2
Right hand 1
1
Upper 1
Chords
2
Lower + Chord 1 + Harmony
Right hand 2
4
Upper 2
Bass
3
Chord 2
Chords
2
Lower + Chord 1 + Harmony
–
12
Bass
Bass
3
Bass + Chord 2
Special
10
Arrangement
Accordion 3. The “Accordion 3” setup is dedicated to
those who have an accordion with two channels on the
51
Getting Started • MIDI
Connecting the i40M to a MIDI guitar
The i40M includes some special functions that allow
you to connect a MIDI guitar and at the same time
send chords for the automatic accompaniment and
melody notes. In order to use this function you only
need a standard footswitch, such as Korg PS-1 or Korg
PS-2. The use of the Korg EC5 pedal keyboard is particularly recommended.
Connection and settings
To connect a guitar to the i40M follow this procedure:
1 Connect the MIDI OUT connector of the guitar to
the MIDI IN 1 connector of the i40M.
2 Press DISK/GLOBAL.
3 Press PAGE+ twice to get to the MIDI Settings
7 Press REC/WRITE/LYRICS to save the Global.
The “Write Global?” message will appear.
8 Press ENTER/YES twice to confirm saving the
Global.
9 Press a button in the MODE section to go to the
desired operative mode.
0 Press FULL UPPER in the KEYBOARD MODE section to extend the Upper 1 and/or Upper 2
tracks to the entire extension of the guitar keyboard.
A Turn off the SINGLE TOUCH led to avoid editing
the Keyboard Mode with an arrangement
change.
page.
4 Press CURSOR> to select SETUP, then press
ENTER/YES to enter the MIDI Setup page.
5 Select the desired setup using the TEMPO/
VALUE buttons. Select the “Guitar” setup and
press ENTER/YES twice to confirm the selection.
This setup is illustrated below.
Note: The settings can change when new data is
loaded from disk. To protect the settings from loading,
use the PROTECT function (see page 136).
6 Activate the “Guitar pedal” function.
• If you have connected a footswitch, go to “Page
12: Assignable pedal/switch” (see page 143) and
select the “Guitar Pedal” option.
• If you have connected a EC5 pedal keyboard, go
to “Page 13: EC5 external controller” (see page 145)
and assign the “Guitar Pedal” option to a pedal.
52
Using the 40M with a MIDI guitar
1 Play the melody.
After selecting the MIDI “Guitar” setup and the
FULL UPPER Keyboard Mode, the guitar will
transmit over the special Global channel on the
entire keyboard. The melody can be played by
Upper 1, Upper 2 or both tracks.
2 Hold down the pedal programmed for the “Guitar Pedal” function and play the chord for the
automatic accompaniment.
When pressing the pedal programmed for the
“Guitar pedal” function, the i40M will receive the
accompaniment chords over the Global channel.
3 Release the pedal and start playing the melody
again.
4 When releasing the pedal, the i40M will receive
the melody notes from the Upper 1 and/or
Upper 2 tracks over the Global channel.
Getting Started• MIDI
Connecting the i40M to an external sequencer
Even though the i40M has a built-in sequencer, there
are computer sequencers that have more powerful
editing functions. In general, it is easier to use the
internal sequencer of the i40M to compose songs that
are based on the automatic accompaniments (i.e. a
backing sequence), and to use a computer sequencer to
make Standard MIDI Files (SMF).
MIDI connections
In order to connect the i40M to a computer you need to
have a computer with the MIDI interface.
Connect the i40M, a MIDI keyboard, the computer and
another sound module (expander), if any, as in the following diagram.
in the i40M and /or the additional module. The channel is the one that corresponds to the selected track in
the computer sequencer.
The “MIDI Thru” function of the sequencer causes the
notes to be received by the sequencer on a channel (the
channel on which the MIDI controller transmits). The
notes are sent to the i40M (and/or the additional module) over the channel assigned to the track selected in
the computer.
For instance, if the master keyboard transmits over
channel 1 and you must program the drum track
assigned to channel 10, the data transmission will be
as follows:
• The master keyboard transmits to the sequencer
over the MIDI 1 channel.
• The track selected in the sequencer is the “Drum”
track (or other name), to which the MIDI 10 channel is assigned (see the manual of the sequencer).
MIDI IN
MIDI OUT
MIDI IN
• The sequencer transmits the data received from the
master keyboard to the MIDI 10 channel of the
i40M, that usually corresponds to the drum track
(according to the General MIDI specifications).
MIDI THRU
MIDI IN
MIDI OUT
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
START/STOP
Performing a song from computer
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
PROGRAM BANK B (GENERAL MIDI)
51 - 58 SYNTH SFX
11 - 18 REED
61 - 68 ETHNIC
21 - 28 PIPE
71 - 78 PERCUSSIVE
31 - 38 SYNTH LEAD
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
KEYBOARD ASSIGN
MEMORY
BANK
NUMBER
VDA
VELOCITY
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
C
Interactive Music Workstation
iS40
The notes that are played on the keyboard come from
the MIDI OUT connector and are sent to the MIDI IN
connector of the MIDI interface, which then transmits
them to the computer.
The notes that are generated by the computer (for
example playing back a song by its sequencer) are sent
to the MIDI interface, and transmitted from the MIDI
OUT to the i40M MIDI IN.
The notes that arrive at the MIDI IN connector of the
i40M are played and immediately retransmitted to the
additional sound module, with no modifications;
therefore the module receives the same data received
by the i40M.
1 Press SONG PLAY to enter the Song Play mode.
When in the Song Play mode, the i40M supplies 16
MIDI channels to an external sequencer. There is a
corresponding i40M MIDI channel for every MIDI
channel of a song that is played back by the external sequencer.
Each MIDI channel can play a different program,
has its own effect send and its own panpot (positioning between the stereo channels). You should
imagine every MIDI channel as an instrument in a
band or orchestra: for example, you can have the
piano on channel 1, sax on channel 2, strings on
channel 3… You are free to set them where you like,
except for channel 10 which is reserved for the
drum kit.
It is advisable to mute some of the i40M channels
(tracks) and mute the channels enabled to play in the
i40M in the additional module. In this way you will
avoid the superposition of the sounds coming from the
two instruments.
Along with the notes, a song can contain control
events called MIDI controllers (or Control Change
messages), which can regulate parameters such as
volume, vibrato, pan, pedal, etc. The list of the
MIDI controllers transmitted and received by the
i40M can be found in the Appendix.
If the “MIDI Thru” function is activated in the computer sequencer (normally active; the name can be different according to the sequencer), the notes played on
the keyboard are immediately sent to a MIDI channel
It is possible however, to directly program the general parameters of each channel (program, pan,
effect send) from the i40M control panel. (See
page 109).
53
Getting Started • MIDI
The control data of the VOCAL/GUITAR section
must be received over the channel set on “Page 11:
Song Play Harmony” in the Disk/Global mode (see
page 143).
2 Load the song into the computer sequencer, and
and the third column the i40M selected program number.
Bank Select
No.
put it onto playback.
The external sequencer controls the Start/Stop
functions. At this stage, the i40M will become a
simple expander.
Note: The i40M is a General MIDI compatible instrument. If the song you are playing back is General
MIDI compatible, the correct sounds will be selected, if
not the sounds might not correspond. See the following paragraph.
The programs
The song that is played back by the computer
sequencer can select the i40M programs through the
two MIDI messages Bank Select (bank selection) and
Program Change (program selection). The first column
in the chart indicates the Bank Select number, the second column indicates the Program Change number,
Program Change
No.
i40M Program
0–63
A11–A88
64–127
B11–B88
0–63
C11–C88
64–127
D11–D88
2
0-63
E11-E88
3
0–63
F11–F88
4
0–127
Dr11–Dr28
0
1
In the i40M the Bank Select is represented by the Control Change message #00 with value 0 and by the Control Change message #32 with value from 0 to 4 (see
table above).
A suggestion for those who program songs on computer: Even though it is not essential, you usually set
the bass on channel 2, melody on channel 4, drum kit
on channel 10, control of the i40M voice harmonizer on
channel 5.
Controlling another instrument with the i40M
You can use the i40M as an arrangement module for
other instruments. Connect a MIDI cable to the i40M
MIDI OUT connector to the MIDI IN connector of an
expander or another keyboard.
As regards the sounds, if the controlled instrument
(“slave”) is General MIDI compatible, there will be no
problems with arrangements that only use General
MIDI programs (A and B banks).
54
If the slave is not General MIDI compatible, the name
of the i40M programs does not match the name of the
slave programs. You need to edit the i40M arrangements, by assigning the program change number that
corresponds to the desired sound in the slave to the
tracks.
REFERENCE
Reference • Arrangement Play mode
6. Arrangement Play mode
Tempo and chord scanning
The tempo and recognized chords are always shown
at the top of the display.
Tempo
Chord name
Name of the chords
When the instrument detects a chord, its abbreviation
appears on the display. The chords control the
arrangement patterns.
The notes for chord detection must be received over
the special Global, Chord 1 and Chord 2 channels (see
“The special channels” on page 45).
The notes for the chord detection that arrive on Chord
1 and Chord 2 channels have no extension limits. The
notes that arrive on the Global channel are affected by
the split point and the status of the CHORD SCANNING section.
= (Tempo)
[40…240]
Adjust the tempo using the TEMPO/VALUE buttons.
Alternatively, you can define the tempo by tapping it
on TAP TEMPO.
40-240
Normal metronome tempo expressed
in BPM (Beat Per Minute).
EXT
External Synchronism. Automatically
selected if the Clock Source parameter in the Disk/Global mode is on
MIDI IN 1 or MIDI IN 2. Start/Stop
and tempo are controlled by an
external device connected via MIDI
(sequencer, keyboards).
• Chord Scanning LOWER: detects chords below the
split point. The detection mode depends on the
“ChordRecog (Chord recognition mode)” parameter (see page 147).
• Chord Scanning UPPER: detect chords above the
split point. The detection mode is always “Fingered
2” (see page 147), that requires chords of at least
three notes.
• Chord Scanning FULL: detect chords on the entire
keyboard. The detection mode is always “Fingered
2” (see page 147), that requires chords of at least
three notes.
In order to program the split point, hold down the
SPLIT POINT button and play the note you with to set
as split point.
The detected chord stays in memory, even if you
change the arrangement while the accompaniment is
playing. You can reset the chord scanning by pressing
RESET, or by selecting an arrangement with the
accompaniment stopped.
56
Reference • Arrangement Play mode
Page 1: Performance monitor
Press the ARR.PLAY button to enter the Arrangement
Play mode. In this page you can select the arrangement and assign programs to the tracks.
Track
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
Select the track you wish to edit using the PROGRAM/VOLUME buttons. The buttons are arranged
in pairs and you can use either the upper or lower button to select the track. The track name is indicated
above each pair of buttons.
Arrangement
Note: The Upper 2 and Lower tracks exclude one other.
Track
Program
ARR (Arrangement)
[A11…A88, B11…B88, U11…U88]
The display will show the bank, number and name of
the selected arrangement. Use the buttons in the PROGRAM/ARRANG section to choose an arrangement
(see “Selecting an arrangement” on page 25). Press
PROGRAM/ARRANG to light up the ARRANG led.
First select a bank (A, B, USER), then enter a two-digit
number with the numeric buttons. If the arrangement
is in the same bank, you only need to enter the twodigit number.
Arrangement Preview. Alternatively, you can press
one of the BANK button, enter the tens number if necessary, select the arrangement using the TEMPO/
VALUE buttons and confirm the selection with
ENTER/YES.
If you choose a new arrangement while you are performing, the new arrangement will start playing at the
beginning of the next measure, and the tempo will
change accordingly. If you do not want the tempo to
change when you switch from one arrangement to the
other, press the TEMPO
button to enlighten its led.
If, when selecting an arrangement you wish to change
the keyboard programs as well, press SINGLE
TOUCH to enlighten its led.
You can also select the arrangements by using a footswitch such as Korg PS-1 or PS-2 or an external controller KORG EC5 (optionals). For more information
see “Page 12: Assignable pedal/switch” or “Page 13:
EC5 external controller” in the Disk/Global mode.
• To select the Upper 1 track press one of the UPP1
buttons.
• To select the Upper 2 track press one of the LOW/
UPP2 buttons and activate UPPER2 in the KEYBOARD ASSIGN section.
• To select the Lower track press one of the LOW/
UPP2 buttons, activate SPLIT in the KEYBOARD
MODE section and activate LOWER in the KEYBOARD ASSIGN section.
Program
[A11…U88, Dr11…Dr28]
Before selecting a program, you must select the track
you want to assign the program to (unless it is already
selected). Select the program using the buttons in the
PROGRAM/ARRANG section (see “Changing the
sounds of the real time tracks” on page 30). Press PROGRAM/ARRANG to light up the PROGRAM led.
Select a bank first (A, B, C, D, E, F-USER/DRUM), then
enter a two-digit number, using the number buttons. If
the program is in the same bank, you only need to
select the two-digit number.
Program Preview. Alternatively, you can press one of
the BANK button, enter the tens number if necessary,
select the program using the TEMPO/VALUE buttons
and confirm the selection with ENTER/YES.
In order to select a Drum program (Dr11–28), press the
F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then
select a two-digit number with the number buttons.
57
Reference • Arrangement Play mode
Page 2: Style select
In this page you can select the style played by the
arrangement. The style contains the patterns played
by the arrangement. To change the programs of the
accompaniment tracks, see “Page 3: Track settings (1)”
on page 59.
Arrangement
B), finally enter a two-digit number with the NUMBER
buttons. There are 128 styles in total, in the A and B
banks, so you can select A11-A88 and e B11-B88.
If you want to select a style loaded from disk, choose
the USER bank, and enter a two-digit number using
the number buttons. There are a maximum of 16 USER
styles, so you can only select U11-U28.
If you change the style while the accompaniment is
stopped, the style programs will be assigned to the
accompaniment tracks, transpositions deleted and the
“wrap around” parameter will be set on ORG. For
more information about these parameters, see “Page 4:
Track settings (2)” on page 60.
Style
ARR (Arrangement)
[A11…A88, B11…B88, U11…U88]
For more information about selecting the arrangements, see “Page 1: Performance monitor”.
STY (Style)
[A11…A88, B11…B58, U11…U28]
Select the style using the buttons in the PROGRAM/
NUMBER section. First press PROGRAM/ARRANG
to enlighten the ARRANG led. Then select a bank (A,
58
If you change the style while the accompaniment is
playing, the accompaniment patterns will change,
whereas the programs and the track parameters will
not. If the TEMPO
led is off, the tempo of the new
style will be selected.
In order to create a new arrangement, select a style
that is close to what you have in mind, then change the
programs, volume, pan, tempo, effects. Finally, save
the new arrangement in the USER bank. USER styles
and arrangements will stay in memory even when the
instrument is turned off.
You can also select styles by using an optional footswitch or KORG EC5 external controller. For more
information refer to see “Page 12: Assignable pedal/
switch” or “Page 13: EC5 external controller” in the
Disk/Global mode.
Reference • Arrangement Play mode
Page 3: Track settings (1)
In this page you can choose the program (sound), pan
(stereo position), and effect send (send levels) for each
of the eight tracks in the arrangement.
Track
Pan
Program
Effect sends
Track
Pan (Channels A and B)
[OFF, L15…L01, CENT, R01…R15, PROG]
Track position in the stereo “panorama”. The pan corresponds to the A and B channels of the internal sound
generation (see chapter “Effects”). The A and B channels usually form the direct signal (A=Left, B=Right).
If the effect setup is not Parallel 3, the A and B channels can function as effect send. See see “Page 11:
Effect placement”.
CNT
In the center.
L values
On the left (channel Left, A).
R values
On the right (channel Right, B).
OFF
No output of track from channels A
and B.
PROG
Pan of program used.
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
For more information about selecting the tracks, see
see “Page 1: Performance monitor”.
C=/D= (Effect send, channels C and D)
Program
[A11…U88, Dr11…Dr28]
For more information about selecting programs, see
see “Page 1: Performance monitor”.
[0…9, P]
Signal level sent to the effects. Normally, channel C is
the reverb effect setting, channel D is the modulating
effect setting (chorus, flanger...). If the effect placement
is not on Parallel 3, the C and D channels can function
in different ways. See see “Page 11: Effect placement”.
0-9
Effect level. 0: there will be no output
of the track from channels C/D.
P
The program level will be used.
59
Reference • Arrangement Play mode
Page 4: Track settings (2)
For each track in the arrangement, you can set the
damper pedal and the parameters related to keyboard
range (octave, wrap around) for each arrangement
track. The parameters can be different according to the
selected track.
Track
instrument connected via MIDI. It will only appear if
you select one of the DRUM, PERC, BASS, or ACC1–
ACC3 tracks.
OFF
The track will not play.
INT
Normal setting. The track will only
play the internal tone generator, and
will not transmit data to the MIDI
OUT connector.
EXT
The track will not be played by the
internal tone generator, but will
transmit data to external devices
through the MIDI OUT connector.
BOTH
The track will be played by the internal tone generator, and transmit data
to the MIDI OUT connector.
Program
Wrap-around
Track status
Track
Wrap (wrap-around point)
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
For information about selecting tracks, see “Page 1:
Performance monitor”.
Program
[A11…U88, Dr11…Dr44]
For information about selecting programs, see “Page 1:
Performance monitor”.
[ORG, 1…12]
The wrap-around point is the highest register limit for
the backing track. The accompaniment patterns will be
transposed according to the detected chord. If the
chord is too high, the backing track might play in a
register that is too high, and therefore unnatural. If,
however, it reaches the wrap-around point, it will
automatically be transposed an octave lower. This
parameter will only appear when you select the BASS
or ACC1–3 tracks.
ENA
Enabled.
The wrap-around point can be set for each track in
semitone steps up to a maximum of 12 semitones, relative to the chord keynote. This value will be the interval between the key specified by the Chord Variation
and the wrap-around point. It would be better not to
program all the tracks at the same wrap-around point,
to avoid them all jumping by an octave the same time.
In order to find the best wrap around point for the
track you are editing, mute all the other tracks and try
experimenting on each track.
DIS
Disabled.
ORG
The track will use wrap-around point
of the style.
1-12
Number of semitones relative to the
Chord variation pitch.
Damper
[DIS, ENA]
This enables or disables the damper effect on the keyboard tracks. This parameter will only appear if track
UP1 or LOW/UP2 is selected.
Track status
[OFF, INT, EXT, BOTH]
This determines whether the track should be played
by the internal tone generator and/or an external
60
Reference • Arrangement Play mode
Page 5: Ensemble/Variation change
In this page you can choose the kind of Ensemble you
want, and latch the FILL buttons to a variation.
BRASS ENS
Typical brass section harmonization.
REED ENS
Typical reed section harmonization.
Ensemble
Fill 1/Fill 2
[OFF, →1…→4, 1&2…3&4, UP, DOWN]
These parameters determine the variation to be
selected at the end of the fill-in. Fill 1 will program the
FILL [1] button and Fill 2 will program the FILL [2]
button.
Fill 1
Fill 2
Ensemble
OFF
At the end of the fill-in the initial variation will resume playing.
Values →1 - →4
At the end of the fill-in, the indicated
variation will play. For example, if
the parameter or Fill 1 has been set
on “→2”, after Fill 1, variation 2 will
be selected.
Values 1&2–3&4
Each time a fill-in ends, one of the
two indicated variations will be
selected. For example, if the Fill 1
parameter is set on “2&3”, after the
first Fill 1 playback, variation 2 will
be selected, after the second fill-in
playback, variation 3 will be selected
3.
UP and DOWN
These settings increase or decrease
the variation respectively. For example, if the Fill 1 parameter is set on
UP, starting form variation 1, after
the Fill 1, variation 2 will be selected.
After variation 4, variation 1, before
variation 1, variation 4 will be
selected. Thus the cycle is:
[DUET…REED ENS]
This enables you to set the Ensemble function thus
activating the ENSEMBLE button.
DUET
Add a third to the melody.
CLOSE
“Closed” chord harmonization.
OPEN 1
“Open” chord harmonization.
OPEN 2
The same as the above, but with a
different algorithm.
OCTAVE
Add one or more octaves to the melody.
POWER ENS
Add a fifth and an octave to the melody, typical hard rock harmonization.
4THS
Add a fourth and a minor seventh to
the melody (two layered fourths), typical jazz harmonization.
BLOCK
“Block” harmonization, typical jazz
piano harmonization.
2→3→4→1→2→…
61
Reference • Arrangement Play mode
Page 6: Drum Mapping
The Drum Mapping function allows you to edit the
Drum part of the Style with only one operation. The
Drum Mapping will replace some instruments in the
drum kit without changing the notes.
The settings will only affect the selected Arrangement
and will be memorized by saving the modifications in
a new Arrangement USER.
Drum mapping VAR1…VAR4
[1…8]
Selected Drum Map. You can select a different Drum
Map for each Variation of the Style. There are eight
Drum Maps (1…8). Drum Map 5 corresponds to the
original pattern programming.
Page 7: Kick & Snare Designation
The Kick & Snare Designation function allows you to
replace the programmed Bass Drum (Kick) and the
Snare Drum (Snare) with a different Bass Drum or
Snare Drum from the same drum kit with only one
operation.
The settings will only affect the selected Arrangement
and will be memorized by saving the modifications in
a new Arrangement USER.
Kick designation
[A…D]
Designation for the Bass Drum (Kick). There are four
designations (A…D). Designation A corresponds to
the original pattern programming.
Snare designation
[A…D]
Designation for the Snare Drum. There are four designations (A…D). Designation A corresponds to the
original pattern programming.
62
Reference • Arrangement Play mode
Page 8: Keyboard scale
In this page you can choose the keyboard scale (or
temperament) automatically assigned by the arrangement to the tracks when selected.
Scale type
Key
to G for “rast G/bayati A”, to A# for
“rast B b/bayati C”.
PYTHAGOREAN
Pythagorean scale, based on ancient
Greek theory. It is suitable for playing melodies.
WERCKMEISTER
Late baroque/classical scale.
KIRNBERGER
18th century harpsichord scale.
SLENDRO
Indonesian gamelan scale. The
octave is divided into 5 notes (C, D,
F, G, A). The remaining notes will
play equal temperament notes.
PELOG
Indonesian scale. The octave is
divided into 7 notes (all the white
keys, if the key parameter is assigned
to C tonic). The black keys will play
equal temperament.
Scale type
[EQUAL TEMP…USER SCALE 4]
EQUAL TEMP.
Equal temperament. This scale is normally used nowadays, in traditional
Western music. Consists of 12 absolutely identical semitones.
EQUAL TEMP. 2
The same as the previous setting, but
with some irregularities in pitch, consenting a more realistic imitation of
acoustic instruments.
PURE MAJOR
The major chords of the selected key
will be perfectly tuned.
PURE MINOR
The minor chords of the selected key
will be perfectly tuned.
ARABIC
Arabic scale, with quarter tones. The
Key parameter should be set to C for
“rast C/bayati D”, to D for “rast D/
bayati E”, to F for “rast F/bayati G”,
USER SCALE 1…4 One of the 4 scales that you create
on “Page 19: User scale” of the
Disk/Global mode.
Note: When a scale other than Equal Temperament
or Equal Temperament 2 is selected, the TRANSPOSE
buttons may cause undesired chords to be recognized.
Key (Tonic)
[C…B]
This parameter selects the key for the scales where it is
necessary to indicate the key as well.
63
Reference • Arrangement Play mode
Page 9: Effect select
The instrument has two incorporated digital effect
processors for the sounds produced by the internal
sound generator. In this page, you can choose which
effects you wish to assign to an arrangement and turn
them on or off. For more details, see page 175.
Page 10: Effect modulation
In this page you can connect the effects to controls,
which allow you to dynamically modulate their intensity. For more details, see page 176.
Page 11: Effect placement
In this page you can choose the effect setup of the
arrangement, and program pan and levels for channels C and D. Pan and sending of arrangement tracks
are programmed on “Page 3: Track settings (1)”. For
more details, see page 177.
Page 12: Effect 1 settings
Page 13: Effect 2 settings
These pages contain the effect parameters selected on
“Page 9: Effect select”, that will be used for the
selected arrangement. The parameters contained in
64
these pages will depend on the effects you have
selected. For more information on programming
effects, see page 178.
Reference • Arrangement Play mode
Page 14: Vocal/Guitar mode/ Assigned parameters
This page allows you to select the operating mode of
the VOCAL/GUITAR section. It also allows you to
select the operation of the A/B knob and of the C button in the VOCAL/GUITAR section.
Vocal/Guitar mode
Assigned parameter (A/B, Vocal mode)
[ALL VOCAL PARAMETERS]
Parameter assigned to the A function of the A/B knob
in the Guitar mode.
A/B (Vocal):
MODE ARR.PLAY
CHORD
TEMPO
MIXER Harmony
MIXER Lead
M
7
VOC/GTR MODE=Guitar
A:CHORUS Depth
MIXER FxSend
OCTAVE
PAGE
Assigned parameter (C, Vocal mode)
A/B or C button
Assigned parameter
VOC/GTR MODE
[Guitar/Vocal]
Operating mode of the VOCAL/GUITAR section.
Select “Guitar” when connecting a guitar. Select
“Vocal” when connecting a microphone.
Note: The effects of the VOCAL/GUITAR section will
change if the Vocal or Guitar mode is selected.
[Vocal/Guitar Mute, Effect Mute, Harmony&Fx Mute, Harmony Mute]
Voc/Gtr Mute
Mute of the Vocal/Guitar section
Effect Mute
Effect mute of the Vocal/Guitar section.
Harmony&Fx Mute Harmony and effect mute of the
Vocal/Guitar section.
Harmony Mute
Harmony mute of the Vocal/Guitar
section.
Assigned parameter (A/B, Guitar mode)
[ALL GUITAR PARAMETERS]
A, B, C
[A, B, C]
Selection of the function you wish to program. “A”
and “B” are functions assigned to the A/B knob. You
can switch from mode A to mode B by pressing the A/
B button.
“C” is the function assigned to the C button, which
acts as “mute” of the entire VOCAL/GUITAR section,
effects or harmonization only.
Parameter assigned to the A function of the A/B knob
in the Guitar mode.
A/B (Guitar):
OFF
Assigned parameter (C, Guitar mode)
[Vocal/Guitar Mute, Effect Mute]
Voc/Gtr Mute
Mute of the Vocal/Guitar section.
Effect Mute
Effect mute of the Vocal/Guitar section.
65
Reference • Arrangement Play mode
Page 15: Vocal effects (1) (Vocal mode)
First page for effect selection in the Vocal mode of the
VOCAL/GUITAR section.
MODE ARR.PLAY
For more information, see
CHORD
TEMPO
The harmony notes must be received over a dedicated
MIDI channel, which is different for each operative
mode.
M
7
Vocal FX
HARMONY:ON TONE:ON
OCTAVE
PAGE
• “Page 9: Arrangement Harmony” on page 142
• “Page 10:
page 142
Backing
Sequence
Harmony”
on
• “Page 11: Song Play Harmony” on page 143.
Harmony
Tone (equalization)
TONE
[OFF/ON]
HARMONY
Activates/deactivates the Tone section (equalizer). For
information about programming see page 67.
[OFF/ON]
Activates/deactivates the harmony of the vocal part,
which can be used in the Arrangement Play, Backing
Sequence and Song Play modes.
Page 16: Vocal Effects (2) (Vocal mode)
Second page for effect selection in the Vocal mode of
the VOCAL/GUITAR section.
FX1
[OFF, CHORUS, DELAY]
MODE ARR.PLAY
CHORD
TEMPO
M7
Vocal FX DRV:COMP
FX1:CHORUS FX2:HALL
OCTAVE
PAGE
Effect type 1 (chorus, delay). This type of effects must
be used to increase the sound depth. The delay creates
a distance between the original sound and its reflection from the walls, whereas the chorus makes the
sound softer and seems to multiply it in the space.
For information about programming see page 69.
FX2
DRV
[OFF, COMP]
Drive effect type, consisting in a compressor. The compressor cuts down the vocal dynamics, reducing on
one hand the background noise and the sibilant
sounds (“s”, “f”), and on the other hand the excessive
dynamics, such as the explosive sounds (“p”, “t”).
For information about programming see page 68.
66
[OFF, HALL, ROOM]
Effect type 2 (reverb). This type of effects inserts the
sound in a particular setting. For example, if you are
singing in a very dry room, with no reverb at all, you
can add one of these effects to give the impression of
singing in a room or concert hall with strong reflections.
For information about programming see page 70.
Reference • Arrangement Play mode
Page 17: Mixer (Vocal mode)
In this page you can program the mixing of the
VOCAL/GUITAR section (Vocal mode).
Harmony
[0…127]
Harmony volume
Level of harmonization notes.
MODE ARR.PLAY
CHORD
TEMPO
M7
OCTAVE
MIXER
Harmony=100
Lead=100 FxSend=060
Lead
PAGE
[0…127]
Microphone level.
Vocal volume
Effects send
FxSend
[0…127]
Effect send. It corresponds to the signal level from the
VOCAL/GTR connector sent to the FX1 and FX2
effects.
Page 18: Tone programming (Vocal mode)
This page contains the programming of the Tone effect
selected in “Page 15: Vocal effects (1) (Vocal mode)”
(see page 66).
Note: These parameters can only be accessed if the
TONE parameter is not set on OFF in “Page 15: Vocal
effects (1) (Vocal mode)”.
The Tone section is composed of an equalizer with
three fixed bands. The bands are Lo, Md, and Hi.
Lo
[-15…0…+15]
Low frequency band. With positive values the band is
boosted (level increase), whereas with negative values
the band is cut (level reduction).
Md
[-15…0…+15]
MODE ARR.PLAY
CHORD
TEMPO
M7
TONE
Lo=-02 Md=+00 Hi=+01
OCTAVE
Medium frequency band. With positive values the
band is boosted (level increase), whereas with negative values the band is cut (level reduction).
PAGE
Hi
[-15…0…+15]
High frequency band. With positive values the band is
boosted (level increase), whereas with negative values
the band is cut (level reduction).
67
Reference • Arrangement Play mode
Page 19: Drive programming
This page contains the programming of the DRV
(Drive) effect selected in “Page 16: Vocal Effects (2)
(Vocal mode)”.
Sens (Sensitivity)
[0…30]
Note: These parameters can only be accessed if the DRV
parameter is not set on OFF in “Page 16: Vocal Effects (2)
(Vocal mode)”.
Sensitivity. With low values, the compressor will only
eliminate the sounds at a low level (background noise,
sibilant and explosive sounds). With high values, the
compressor will also eliminate the sounds at a higher
level (notes in piano or pianissimo).
Compressor
Attack
The compressor cuts down the vocal dynamics, reducing on one hand the background noise and the sibilant
sounds (“s”, “f”), and on the other hand the excessive
dynamics, such as the explosive sounds (“p”, “t”).
CHORD
68
Compressor speed in the activation phase.
Rel. (Release)
MODE ARR.PLAY
TEMPO
[0…10]
M7
COMPRESSOR Sens=15
Attack=05 Rel.=07
OCTAVE
PAGE
[0…10]
Compressor speed in the deactivation phase.
Reference • Arrangement Play mode
Page 20: FX1 programming (Vocal mode)
This page shows the parameters of the FX1 effect
selected in “Page 16: Vocal Effects (2) (Vocal mode)”.
The parameters are different according to the selected
effect.
Note: These parameters can only be accessed if the FX1
parameter is not set on OFF in “Page 16: Vocal Effects (2)
(Vocal mode)”.
Depth
[0…30]
Chorus intensity.
Delay
The delay sends the effected signal in feedback to the
input of the delay, thus creating repetitions of the original note. Each repetition has a lower sound level than
the previous one until the sound dies away.
Chorus
The chorus effect is a delay modulated by an LFO
(Low Frequency Oscillator) and produces a slight variance in pitch. When it is combined with the direct signal, an effect as though multiple instruments were
playing in unison is produced. The chorus effect
makes the sound wider and deeper.
MODE ARR.PLAY
CHORD
TEMPO
M7
DELAY Level=24
Time=21 F.Back=11
OCTAVE
PAGE
MODE ARR.PLAY
CHORD
TEMPO
M7
CHORUS
Level=15
Speed=10 Depth=15
OCTAVE
PAGE
Level
[0…30]
Delay level.
Note: The chorus effect will not be noticed if (1) if the
output signal is taken in mono or (2) the signal is taken in
stereo, but in the external mixer the pan of the two channels has the same setting. In order to notice it, the signal
must be taken in stereo and the pan sliders of the two
channels must be turned in the opposite direction.
Level
[0…30]
Chorus level.
Time
[0…30]
Delay time. It will determine the duration of each repetition.
F.Back (FeedBack)
[0…30]
The feedback (return of the signal sent back in the
delay) will determine the number of repetitions.
Speed
[0…30]
Chorus speed modulation.
69
Reference • Arrangement Play mode
Page 21: FX2 programming (Vocal mode)
This page shows the parameters of the FX2 effect
selected in “Page 16: Vocal Effects (2) (Vocal mode)”.
MODE ARR.PLAY
CHORD
The parameters are different according to the selected
effect.
TEMPO
M7
ROOM Level=18
Time=07
Tone=07
OCTAVE
PAGE
Note: These parameters can only be accessed if the FX2
parameter is not set on OFF in “Page 16: Vocal Effects (2)
(Vocal mode)”.
The FX2 effects in the Vocal mode are reverb effects.
Level
[0…30]
Hall, Room
The Hall reverb simulates the sound refractions in a
concert hall.
Time
MODE ARR.PLAY
CHORD
TEMPO
Reverb level.
M7
HALL Level=15
Time=09
Tone=05
OCTAVE
[0…30]
Reverb duration.
PAGE
Tone
[0…30]
The Room reverb simulates the sound refractions in a
room.
70
Reverb tone. This parameter will determine the high
frequency attenuation. Higher values will give a
higher attenuation.
Reference • Arrangement Play mode
Page 15: Guitar effects (1) (Guitar mode)
First page for effect selection in the Guitar mode of the
VOCAL/GUITAR section.
[OFF, CHORUS, FLANGR, PHASER, TRMOLO, PAN, PITCH,
WAH]
Drive effect
MODE ARR.PLAY
CHORD
TEMPO
M7
Guitar FX DRV:OvDrv
MOD:FLANGR AMB:HALL
Modulation effect
MOD
OCTAVE
PAGE
Ambience effect
DRV
[OFF, OvDrv, DIST, COMP]
Drive effect type. This type of effect simulates the
functions of a guitar preamplifier.
Overdrive is a saturation with warm, dense sounds.
(For information about programming see page 73).
Distorsion is an electronically simulated saturation,
with colder, buzzing sounds. (For information about
programming see page 74).
The compressor cuts down the instrument dynamics.
With low values it will reduce the background noise
and the “dirty” notes. With high values it will also
reduce the notes played in pianissimo. (For information about programming see page 74).
Modulation effect type. This type of effects creates a
modulation that gives more life and space feeling to
the sound.
Chorus increases the sound depth, creating the
impression of a sound multiplication in the space. The
sound becomes softer. (For information about programming see page 75).
Flanger is similar to chorus, but varies the harmonic
contents of the sound in cyclic mode. (For more information about programming see page 75).
Phaser is similar to flanger, but with a faster modulation. The signal becomes slightly out of tune. (For
more information about programming see page 75).
Tremolo varies the volume in cyclic mode, making the
sound tremble. (For information about programming
see page 76).
Pan moves the sound from one stereo channel to the
other in cyclic mode. (For information about programming see page 76).
Pitch modulation varies the pitch in cyclic mode. (For
information about programming see page 76).
The wah enhances the upper harmonics of the sound,
making it more nasal. (For information about programming see page 76).
AMB
[OFF, DELAY, HALL, ROOM]
Ambience effect type (delay/reverb). For information
about programming see page 77.
71
Reference • Arrangement Play mode
Page 16: Guitar effects (2) (Guitar mode)
Second page for effect selection in the Guitar mode of
the VOCAL/GUITAR section.
[OFF/ON]
Noise Reduction
Activates/deactivates the Noise Reduction. For information about programming see page 78.
MODE ARR.PLAY
CHORD
TEMPO
M7
Guitar FX NR:ON
TONE:ON
CR:ON
NR
OCTAVE
PAGE
CR
[OFF/ON]
Tone (equalization)
Cabinet Resonator
(amplifier simulation)
TONE
[OFF/ON]
Activates/deactivates the Tone section (equalizer). For
information about programming see page 73.
Page 17: Mixer (Guitar mode)
(There is no Page 17 in Guitar mode.)
72
Activates/deactivates the Cabinet Resonator (amplifier simulator). For information about programming
see page 78.
Reference • Arrangement Play mode
Page 18: Tone programming (Guitar mode)
This page contains the programming of the Tone effect
selected in “Page 16: Guitar effects (2) (Guitar mode)”
(see page 66).
Note: These parameters can only be accessed if the
TONE parameter is not set on OFF in “Page 16: Guitar
effects (2) (Guitar mode)”.
The Tone section is composed of an equalizer with
three fixed bands. The bands are Lo, Md, and Hi.
Lo
[-15…0…+15]
Low frequency band. With positive values the band is
boosted (level increase), whereas with negative values
the band is cut (level reduction).
Md
[-15…0…+15]
MODE ARR.PLAY
CHORD
TEMPO
M
7
TONE
Lo=-02 Md=+00 Hi=+01
OCTAVE
Medium frequency band. With positive values the
band is boosted (level increase), whereas with negative values the band is cut (level reduction).
PAGE
Hi
[-15…0…+15]
High frequency band. With positive values the band is
boosted (level increase), whereas with negative values
the band is cut (level reduction).
Page 19: Drive programming (Guitar mode)
This page shows the parameters of the DRV (Drive)
effect selected in “Page 15: Guitar effects (1) (Guitar
mode)”. The parameters are different according to the
selected effect.
MODE ARR.PLAY
CHORD
TEMPO
Note: These parameters can only be accessed if the DRV
parameter is not set on OFF in “Page 15: Guitar effects
(1) (Guitar mode)”.
Overdrive
Gain
The overdrive is a distorsion with warm dense sounds,
obtained by simulating the saturation of the preamplification stage of the amplifier.
[0…30]
M7
OVER DRIVE
Gain=10 Level=10
OCTAVE
PAGE
Gain (overdrive saturation).
Level
[0…30]
Effect level.
73
Reference • Arrangement Play mode
Distorsion
The distorsion is obtained by simulating the saturation
of the amplifier distorsion circuit. The sounds are
colder and more buzzing than in the overdrive.
values it will also reduce the notes played in pianissimo.
MODE ARR.PLAY
CHORD
TEMPO
MODE ARR.PLAY
CHORD
TEMPO
M7
DISTORTION
Gain=10 Level=10
M7
COMPRESSOR Sens=05
Attack=03 Level=20
OCTAVE
PAGE
OCTAVE
PAGE
Sens (Sensitivity)
[0…30]
Gain
[0…30]
Gain (distorsion saturation).
Level
[0…30]
Effect level.
Compressor
The compressor cuts down the instrument dynamics,
reducing the signal peaks and increasing the signal
level in the lower level. With low values it will reduce
the background noise and the “dirty” notes. With high
Sensitivity. With low values, the compressor will only
eliminate the sounds at a low level (typically, background noise and “dirty” notes). With high values, the
compressor will also eliminate the sounds at a higher
level (notes in piano or pianissimo).
Attack
[0…10]
Compressor speed in the activation phase.
Level
[0…30]
Compressor level.
Rel. (Release)
[0…10]
Compressor speed in the deactivation phase.
74
Reference • Arrangement Play mode
Page 20: Modulation programming (Guitar mode)
This page shows the parameters of the MOD (Modulation) effect selected in “Page 15: Guitar effects (1) (Guitar mode)”. The parameters are different according to
the selected effect.
Note: These parameters can only be accessed if the
MOD parameter is not set on OFF in “Page 15: Guitar
effects (1) (Guitar mode)”.
Depth
[0…30]
Effect intensity.
Flanger
Flanger is similar to chorus, but has a shorter delay. It
varies its harmonic contents in cyclic mode, with the
feeling of getting closer and farther in cyclic mode.
Chorus
MODE ARR.PLAY
The chorus effect is a delay modulated by an LFO
(Low Frequency Oscillator) and produces a slight variance in pitch. When it is combined with the direct signal, an effect as though multiple instruments were
playing in unison is produced. The chorus effect
makes the sound wider and deeper.
TEMPO
TEMPO
M7
FLANGER F.Back=03
Speed=05 Depth=05
OCTAVE
PAGE
F.Back (Feedback)
MODE ARR.PLAY
CHORD
CHORD
M
7
CHORUS
Level=15
Speed=10 Depth=15
OCTAVE
PAGE
[0…30]
The feedback is the effect quantity that is sent back to
the flanger and modulated again.
Speed
Note: The chorus effect will not be noticed if (1) if the
output signal is taken in mono or (2) the signal is taken in
stereo, but in the external mixer the pan of the two channels has the same setting. In order to notice it, the signal
must be taken in stereo and the pan sliders of the two
channels must be turned in the opposite direction.
[0…30]
Effect modulation speed.
Depth
[0…30]
Level
[0…30]
Chorus level.
Effect intensity.
Phaser
The phaser is similar to the flanger, but with a faster
modulation. The signal becomes slightly out of tune.
Speed
MODE ARR.PLAY
[0…30]
Chorus modulation speed.
CHORD
TEMPO
M7
PHASER F.Back=03
Speed=12 Depth=15
OCTAVE
PAGE
75
Reference • Arrangement Play mode
F.Back (Feedback)
MODE ARR.PLAY
CHORD
[0…30]
The feedback is the effect quantity that is sent back to
the phaser and modulated again.
TEMPO
PAN
Speed=20
M7
OCTAVE
PAGE
Speed
[0…30]
Speed
Effect modulation speed.
[0…30]
Depth
Effect modulation speed.
[0…30]
Pitch modulation
Effect intensity.
MODE ARR.PLAY
Tremolo
CHORD
Tremolo varies the volume in cyclic mode, making the
sound tremble.
TEMPO
M7
PITCH MODULATION :
Pitch=+07 Level=28
OCTAVE
PAGE
MODE ARR.PLAY
CHORD
TEMPO
M7
TREMOLO
Speed=17 Depth=07
OCTAVE
PAGE
Pitch
[-24…0…+24]
Speed
[0…30]
Maximum distance from the base note, expressed in
semitones. With the value +24, the pitch oscillates
between the base note and the two upper octaves.
With the value -24, the pitch oscillates between the
base note and the two lower octaves.
Effect modulation speed.
Level
Depth
[0…30]
[0…30]
Effect level.
Effect intensity.
Wah
Pan
The pan moves the sound from one stereo channel to
the other in cyclic mode.
76
The wah enhances the upper harmonics of the sound,
making it more nasal.
Reference • Arrangement Play mode
Attack
MODE ARR.PLAY
CHORD
TEMPO
M7
WAH Sens=13
Attack=07 Pol.=DOWN
[0…10]
OCTAVE
Attack speed.
PAGE
Pol. (Polarity)
[UP/DOWN]
Wah polarity.
Sens (Sensitivity)
[0…30]
Sensitivity.
Page 21: Ambience programming (Guitar mode)
This page shows the parameters of the AMB (Ambience) effect selected in “Page 15: Guitar effects (1)
(Guitar mode)”. The parameters are different according to the selected effect.
Note: These parameters can only be accessed if the
AMB parameter is not set on OFF in “Page 15: Guitar
effects (1) (Guitar mode)”.
Time
[0…30]
Delay time. It determines the duration of each repetition.
F.Back (FeedBack)
[0…30]
The feedback (return of the signal sent back in the
delay) determines the number of repetitions.
Delay
The delay sends the effected signal in feedback to the
input of the delay, thus creating repetitions of the original note. Each repetition has a lower sound level than
the previous one until the sound dies away.
MODE ARR.PLAY
CHORD
TEMPO
M7
DELAY Level=24
Time=21 F.Back=11
OCTAVE
Hall, Room
The Hall reverb simulates the refractions of a concert
hall.
MODE ARR.PLAY
CHORD
PAGE
TEMPO
M7
HALL Level=15
Time=09
Tone=05
OCTAVE
PAGE
Level
The Room reverb simulates the refractions of a room.
[0…30]
Delay level.
77
Reference • Arrangement Play mode
Time
MODE ARR.PLAY
CHORD
TEMPO
M7
ROOM Level=18
Time=07
Tone=07
[0…30]
OCTAVE
Reverb length.
PAGE
Tone
[0…30]
Reverb tone. This parameter will determine the high
frequency attenuation. Higher values will give a
higher attenuation.
Level
[0…30]
Reverb level.
Page 22: NR and CR programming (Guitar mode)
This page shows the parameters of the NR (Noise
Reduction) and CR (Cabinet Resonator) effects. These
effects can be activated in “Page 16: Guitar effects (2)
(Guitar mode)”.
Note: These parameters will only be accessed if the NR
and CR parameters are not set on OFF in “Page 16: Guitar effects (2) (Guitar mode)”.
NR: Threshold
[0…30]
Level threshold under which the signal must be cut.
With too high values even the guitar sound can be cut.
CR: Size
[0…30]
NR/CR
(Noise Reduction/Cabinet Resonator)
The Noise Reduction reduces the level of the background noise (noise captured by the pick-ups, empty
strings touched by mistake). The Cabinet Resonator
simulates a guitar amplifier.
This parameter determines the size of the simulated
amplifier cabinet.
Depth
[0…30]
Effect intensity.
MODE ARR.PLAY
CHORD
TEMPO
78
M7
NR:Threshold=06
CR:Size=24 Depth=13
OCTAVE
PAGE
Reference • Arrangement Play mode
Page 23: Rename Arrangement
The “Rename Arrangement” page allows you to modify the arrangement name. The name can be made up
of a maximum of 10 characters.
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the
character you wish to change and the TEMPO/
VALUE buttons to choose a character.
Selected
arrangement
Move the cursor to the character you wish to
change
Press INS to insert a new character at the cursor location. Press DEL to delete the character at the cursor
location.
Page 24: Write Arrangement
The “Write Arrangement” page allows you to save the
arrangement in a location of the USER bank. Press
REC/WRITE/LYRICS to directly enter this page while
you are in Arrangement Play mode. Along with the
arrangement, the status of the Chord Scanning and
Keyboard Assign settings will be saved.
Along with the location number, the arrangement
name currently existing in the location you selected
previously will be shown. Make sure that you are
not working with important data without having
first made a copy.
Warning: Once you have saved a new arrangement, it will not be possible to recover the erased
arrangement.
2 Press ENTER/YES.
1 Select the location where the arrangement will
be saved using the TEMPO/VALUE buttons.
The USER arrangements will stay in memory even
when the instrument is switched off. It is possible
to save them on disk or with one of the Save operations in the Disk/Global setting: “Save All”
(page 132) or “Save Arr” (page 132).
It is not possible to use the buttons in the
ARRANGEMENT section to choose a location.
79
Reference • Arrangement Play mode
Page 25: Write Keyboard Set
This page allows you to save the current situation of
the real time tracks, effects and VOCAL/GUITAR section in a Keyboard Set.
1 Press REC/WRITE/LYRICS and one of the buttons in the KEYBOARD SET section.
The Write Keyboard Set page will appear.
2 Press the BANK button repeatedly, in the KEYBOARD SET section, to turn on the led of the
bank you wish to use (A, B,C).
3 Press the button in the KEYBOARD SET that corresponds to the location you wish to use.
Keyboard Set location
80
4 Press ENTER/YES twice to save.
Reference • Backing Sequence mode
7. Backing Sequence mode
• Saving the backing sequences before turning off
Warning: When the instrument is turned off, the backing sequences in memory will be erased. Before turning off the instrument, save the backing sequences on
disk (see “2. Save” on page 131, and “Saving the Backing Sequences on disk” on page 33).
Page 1: Playback
1 Press B.SEQ to enter the Backing Sequence
mode.
This page (Page 1) allows you to select a backing
sequence and play it.
Note: If Page 1 in the Backing Sequence mode is not
displayed, press EXIT/NO to load it.
2 Move the cursor to BSQ and use the TEMPO/
VALUE buttons to select the la backing sequence
you wish to playback.
3 Press START/STOP to start playback.
BSQ (Backing sequence)
[0…9]
Selected backing sequence. In theory, the memory
could contain up to a maximum of 10 backing
sequences; in practice, the number of backing
sequences you can fit into memory depends on their
size and complexity. If a song was loaded in Song Edit,
the free memory available for the backing sequences
will be reduced further.
Warning: Backing sequences are not saved on memory
when the instrument is turned off. Before turning off the
instrument, save the backing sequences on disk (see a “2.
Save” on page 131).
4 Press START.STOP to stop playback.
5 Press RESET to go back to the beginning (measure 001).
Backing Sequence
M (Measure number)
Measure
[001…999]
This is the measure at which playback will begin. Each
track of a backing sequence can record up to 999 measures. By pressing RESET, the indicator will go back to
001. If the backing sequence reaches the end, the indicator will automatically go back to 001.
Arrangement
81
Reference • Backing Sequence mode
Page 1: Recording
The backing sequence can be recorded in different
ways:
• In real time, all the tracks in one go (see “Recording
all the tracks in one go in real time” on page 82).
• In real time, a track at a time (see “Recording a
track at a time in real time” on page 85).
• In step mode (see “Page 2: Step recording” on
page 89).
While you are at Page 1 of the Backing Sequence
mode, press REC/WRITE/LYRICS to enter the recording mode. In order to go back to the playback mode,
press REC/WRITE/LYRICS or EXIT/NO.
Recording all the tracks in one
go in real time
This mode allows you to create a new song by recording the playback in real time with the arrangements.
You only need to put the backing sequence in the
recording mode, start playing with the arrangements
and the new song is ready.
For instructions on this recording mode see on
page 32.
1 If the i40M is connected to a MIDI accordion, go
to the Disk/Global mode and select the MIDI
Setup “Accordion 1”.
See “Connecting the i40M to a MIDI accordion” on
page 49. “Accordion 1” allows you to transmit the
right hand over the special Global channel and the
chords over the Chord 1 and Chord 2 channels.
2 If the i40M is connected to a keyboard or to
another controller, program it to transmit over
the special Global channel.
3 Press B.SEQ to enter the Backing Sequence
mode.
4 If necessary, press EXIT/NO to get to Page 1.
5 Press REC/WRITE/LYRICS to activate the recording.
The Backing Sequence-Realtime Recording page
will appear (see below), where you can select the
track you wish to record, choose the quantize in
recording and program the metronome.
6 Program the parameters.
7 Press START/STOP (or INTRO/ENDING +
START/STOP) to start the recording.
8 Play freely, using any control button of the
arrangement.
9 Press START/STOP (or INTRO/ENDING) to stop
the arrangement.
0 Press START/STOP to stop the recording.
Details of the Backing Sequence-Realtime Recording page
Tempo
Note: For this recording mode, the backing sequence
must receive over the special Global, Chord 1 and
Chord 2 channels.
Tempo mode
82
Chord name
Reference • Backing Sequence mode
only be chosen if you are recording
(REC/WRITE/LYRICS led lit up).
Control track
Real time tracks
Selected
track/s
Chord track
Quantize value
AUTO
Recorded tempo playback. It automatically appears in playback. The
tempo will be the one recorded in the
backing sequence.
Values 40-240
Metronome value. The tempo can be
adjusted manually during recording
or playback, using the TEMPO/
VALUE buttons.
Metronome
Chord name
Record mode
Starting measure
Ending measure
When the instrument detects a chord, its abbreviation
will appear on the display. The chords control the
arrangement patterns.
The notes for the recognition of chords must be
received over the special Global, Chord 1 and Chord 2
channels (see “The special channels” on page 45).
Quantize value
Selected
track
Metronome
Tempo
Metronome tempo (playing speed) of the backing
sequence expressed in quarters per minute (1/4 =
).
Tempo mode
[REC, AUT, 40…240]
This indicates the mode used to record or playback the
tempo. Move the cursor to the “Tempo” parameter
(the note with the equal symbol and the numeric
value), then change the mode with the TEMPO/
VALUE buttons.
• To go to TEMPO-REC press together the two
TEMPO/VALUE buttons.
• To go to AUTO press together the two TEMPO/
VALUE buttons and press TEMPO/VALUE
[UP/+].
• To go back to the numeric values, press again
TEMPO/VALUE [UP/+].
Suggestion: if you want to simplify the recording of a
quick song, record with a slower tempo and choose a
normal tempo only after recording.
TEMPO-REC
Tempo changes are recorded whilst
you are recording. This option can
The notes for the recognition of chords arriving over
the Chord 1 and Chord 2 channels are affected by the
Chord Scanning, but have no extension limits (the split
point does not affect these channels). The notes arriving over the Global channel are affected both by the
Chord Scanning and the split point.
• Chord Scanning LOWER: chord detected below the
split point. The recognition mode depends on the
“ChordRecog” parameter (see page 147).
• Chord Scanning UPPER: chord detected above the
split point. The recognition mode is always “Fingered 2” (see page 147), that requires chords of at
least three notes.
• Chord Scanning FULL: chord detected on the entire
keyboard. The recognition mode is always “Fingered 2” (see page 147), that requires chords of at
least three notes.
In order to program the split point, hold down the
SPLIT POINT button and play the note you wish to set
at split point.
The detected chord will remain in memory even if you
change the arrangement while the accompaniment is
playing back. To start the chord recognition again,
press RESET or select an arrangement with the accompaniment stopped.
Selected track
Track you wish to record. If the option ATr is selected,
all the arrangement tracks are recorded in one go
(accompaniment, keyboard, controls, chords).
In order to record the ATr track, the MIDI controller
must transmit over the Global channel of the i40M.
83
Reference • Backing Sequence mode
How to carry out Manual
Punch. Playback the song. When
you get to the beginning of the area
where you wish to record, press
REC/WRITE/LYRICS. Press REC/
WRITE/LYRICS again when you get
to the area you wanted to record.
The ETr1-ETr8 tracks are the Extra Tracks 1-8, used to
add freely recorded parts (non-automatic). See
“Recording a track at a time in real time” on page 85.
To record the Extra Tracks, the MIDI controller must
transmit over the channel of the Extra Tracks. The
Extra Tracks usually are not connected to the MIDI
and a MIDI channel must be assigned to them (see
“Page 9: Extra Track settings (1)” on page 101).
Instead of pressing the REC/WRITE/
LYRICS button, you can use a pedal
which has been especially set for the
PUNCH IN/OUT function. see “Page
12: Assignable pedal/switch” on
page 143 or “Page 13: EC5 external
controller” on page 145.
Track status
[– – – –, REC, (KBTr/CTRL/CHRD), MUTE]
These settings will appear if you select track ATr. They
determine the status of the keyboard, control and
chord tracks.
Hyphens (– – – –)
An empty track. It will only possible
to select REC.
REC
The track is recording. The data
already contained in the track will be
deleted.
MUTE
The track will be mute.
KBTr, CTRL, CHRD Play status of the keyboard, control
and chord tracks, respectively.
Recording mode
Q (Recording quantize)
[HI,
… ]
Quantization is the correction of timing imprecisions.
The notes are moved during recording, so that the timing of the song is more regular, without any notes off
time.
Since the continuous controllers (like pitch bend) are
quantized, if you use these controls heavily, it would
be better to record with the HI option set, and use the
quantize function later on (see “6-3. Quantize” on
page 96).
HI
No quantize; the notes will be
recorded exactly as they were performed (with a precision of 1/96th
of a quarter note).
Other options
All the notes are brought to ideal
intervals, determined by the value
you have selected. For example, if
you have selected the option , the
beginning of all the notes you play
will be moved to the nearest quarter
note.
[OVWR, OVDB, AUTP, MANP]
This parameter will appear when you select an Extra
Track (ETr1–8). It indicates how the extra track you
have selected will be recorded.
OVWR
(Overwrite).
Data
previously
recorded onto the track will be
erased.
OVDB
(Overdub). New data will be added
to data previously recorded onto the
track.
AUTP
(Auto Punch). This option allows you
to demarcate the area, between a
start measure and an end measure,
where you wish to record. When this
option is selected, the “First measure”
(first autopunch measure) and “Last
measure” (last autopunch measure)
parameters
appear.
Recording
occurs in overwrite mode.
MANP
84
(Manual Punch). This option allows
you to manually specify the area
where you wish to record.
M (Metronome)
[OFF, ON, REC]
Metronome options.
OFF
The metronome will only sound during the pre-count, before recording.
ON
The metronome will sound during
recording and playback.
REC
The metronome will only sound during recording.
Reference • Backing Sequence mode
Recording a track at a time in
real time
the tempo. If this information does not appear,
press EXIT/NO to go to Page 1 of the Backing
Sequence mode.
This method allows you to create a backing sequence
by recording a track at a time.
Tempo
Measure number
The backing sequence tracks may corresponds to various tracks of the i40M. Some of the backing sequence
tracks do not correspond to real tracks of the i40M, but
to special control tracks.
Abbrev.
ATr
BSQ track
Arrangement Tracks
i40M track
Upper 1, Upper 2,
Lower, Drum, Percussion, Bass, Acc1, Acc2,
Acc3, chords, controls
KBTr
Real Time Tracks
Upper 1, Upper 2,
Lower
ETr
Extra Tracks
Channels not used by
real time and accompaniment tracks
CHRD
Chord Track
Accompaniment
(Drum, Perc, Bass,
Acc1, Acc2, Acc3)
Control Track
Accompaniment control buttons (Fill, Variation, Style selection,
Arrangement selection,
etc.)
CTRL
Preparing the recording
1 If the i40M is connected to a MIDI accordion, go
Arrangement
Backing Sequence name
4 Move the cursor to the backing sequence name
with the CURSOR buttons, then select the backing sequence you wish to record using the
TEMPO/VALUE buttons.
In this example select BSQ4. (If BSQ4 is recorded,
select another backing sequence).
5 Select an arrangement with the buttons of the
PROGRAM/ARRANG section.
Press the PROGRAM/ARRANG button to light up
the ARRANG led. Then press one of the BANK [A],
[B] or [USER] buttons to select the bank. Press two
NUMBER buttons in a sequence to enter a twodigit number from 11 to 88.
6 If necessary, change the split point, the Keyboard Mode, the Keyboard Assign and the
Chord Scanning.
the Disk/Global mode and select the MIDI Setup
“Accordion 1”.
7 Press REC/WRITE/LYRICS to enter the recording
See “Connecting the i40M to a MIDI accordion” on
page 49. “Accordion 1” allows you to transmit the
right hand over the special Global channel and the
chords over the Chord 1 and Chord 2 channels.
The REC/WRITE/LYRICS will light up and the
recording page will appear. The arrangement
tracks (ATr) are selected. The display shows the status of the backing sequence tracks (REC = recording).
Note: The backing sequence must receive the real
time tracks over the Global channel and the chords
over the Global and/or Chord 1 and Chord 2 channels.
mode.
Tempo
Real time tracks
Controls track
Chord track
2 If the i40M is connected to a keyboard or
another controller, program it to transmit over
the special Global channel.
3 Press B.SEQ to enter the Backing Sequence
mode.
Selected track/s
Quantize value
Metronome
The B.SEQ led will light up. The display shows the
backing sequence name, the measure number and
85
Reference • Backing Sequence mode
8 To hear the metronome during the recording,
move the cursor to “M” (metronome) and select
the option REC using the TEMPO/VALUE buttons.
9 To record the tempo changes, move the cursor
to the “Tempo” parameter and press the
TEMPO/VALUE buttons together to select the
option TEMPO-REC.
Recording the control track
In order to record the control track, the MIDI controller
must transmit over the Global channel.
1 Press REC/WRITE/LYRICS to go back to the
recording mode.
The REC/WRITE/LYRICS will light up and the
recording page will appear.
Selected track/s
Recording the chords
Control track
Real time tracks
Chord track
To record the chord track, the MIDI controller must
transmit over the Global, Chord 1 and/or Chord 2
channel.
1 Use the CURSOR buttons to move the cursor to
the real time track. Use the TEMPO/VALUE buttons to select the status “----” (deactivated
track).
2 Move the cursor to the control track and select
Tempo mode
Quantize value
Metronome
the status “----” (deactivated track).
Now only the chord track is in recording mode
(REC status).
2 Move the cursor to the chord track and set the
3 Press START/STOP to start the recording and the
3 Move the cursor to the control track and select
CHRD status (e.g. already recorded).
accompaniment.
the REC status (e.g. recording the track).
After a two-measure pre-count, the recording will
start.
Now the real time track is in the “---” status (deactivated), the control track is in the REC status
(recording), the chord track is in the CHRD status
(already recorded and played back). Only the control track is being recorded.
4 Play the chords in the chord detection area.
The accompaniment will start playing.
5 At the end of the chords, press START/STOP to
stop the recording.
The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to
measure 001.
6 Press START/STOP again to listen to the chords
you have just recorded.
The song will be played from the beginning to the
end. When finished, the sequencer will go back to
measure 001. You can stop the playback halfway by
pressing START/STOP; in this case, press RESET to
return to measure 001.
4 Press START/STOP to start the recording. Press
immediately one of the INTRO/ENDING buttons
to book the intro.
After a two-measure pre-count, the arrangement
will start playing and the recording will start with
an introduction.
5 Before the end of the intro, press one of the
VARIATION [1]–[4] buttons to select the variation.
6 To insert a fill-in, press one of the FILL [1] or [2]
button.
The fill-in will be played and then the variation will
start again.
7 At the end, press one of the INTRO/ENDING
buttons to play the ending. Press START/STOP to
stop the recording.
The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to
measure 001.
86
Reference • Backing Sequence mode
8 Press START/STOP to listen to the song you have
6 When finished, press START/STOP to stop the
just recorded.
recording.
The song will be played from the beginning to the
end. When finished, the sequencer will go back to
measure 001. You can stop the playback halfway by
pressing START/STOP; in this case, press RESET to
return to measure 001.
The recording will stop and the REC/WRITE/LYRICS will go of. The sequencer will go back to measure 001.
Recording the solo part
In order to record the real time tracks, the MIDI controller must transmit over the Global channel. The
MIDI channels assigned to the real time tracks in the
Disk/Global are not active in the Backing Sequence
mode.
1 Press REC/WRITE/LYRICS to go back to the
recording mode.
The REC/WRITE/LYRICS led will light up and the
recording page will appear.
Selected track(s)
Control track
Real time tracks
Chord track
7 Press START/STOP again to listen to the song
you have just recorded.
The song will be played from the beginning to the
end. When finished, the sequencer will go back to
measure 001. You can stop the playback halfway by
pressing START/STOP; in this case, press RESET to
return to measure 001.
Recording the Extra Tracks
Apart from the arrangement tracks, the song has other
eight tracks (Extra Track, abbreviated in ETr) where
you can freely record a string pad, reinforcement parts
and solos, to enhance and personalize the arrangement. In the example we will record the Extra Track 8.
1 Press the PAGE [+] button repeatedly to get to
“Page 9: Extra Track settings (1)”.
Tempo mode
Quantize value
Metronome
2 Move the cursor to the control track and set the
CTRL status (already recorded).
3 Move the cursor to the real time track and set
the REC status (recording).
Now the real time track is in the REC status, the
control track in the CTRL status (already recorded),
the chord track in the CHRD status (already
recorded). Only the real time track of the backing
sequence is being recorded (Upper 1, Upper 2, and
Lower tracks).
4 Press START/STOP to start the recording.
After a two-measure pre-count, the arrangement
will start playing and the recording will start.
5 Play the solo part.
If the selected Keyboard Mode is SPLIT, the solo
part must be played above the split point.
2 In the PROGRAM/VOLUME section press one
button in the last pair of buttons on the righthand to select the Extra Track 8 (ETr8).
In this page you can select one of the eight Extra
Tracks by pressing a button in the PROGRAM/
VOLUME section.
3 Move the cursor to the upper line with the CURSOR buttons.
4 Use the buttons of the PROGRAM/ARRANG section to select the program you wish to assign to
the Extra Track 8.
Press the PROGRAM/ARRANG button to light up
the PROGRAM led. Then press one of the BANK
[A], [B], [C], [D], [E] or [F(USER/DRUM)] buttons
to select the bank. Finally press two NUMBER buttons in a sequence to enter a two-digit number
between 11 and 88.
87
Reference • Backing Sequence mode
5 Move the cursor to the “Ch” parameter and
assign a MIDI channel to the Extra Track.
The Extra Track usually are not connected to the
MIDI.
6 Program the MIDI controller to transmit over the
channel of the Extra Track you wish to record.
The Extra Tracks must receive the notes over their
own channel, and not over the special Global channel.
7 Press EXIT/NO to go back to page 1. Then press
REC/WRITE/LYRICS to enter the recording
mode.
Selected track(s)
After a two-measure pre-count, the arrangement
will start playing and the recording will start.
A Play freely.
B When finished, press START/STOP to stop the
Control track
Real time tracks
0 Press START/STOP to start the recording.
Chord track
recording.
The recording will stop and the REC/WRITE/LYRICS led will go off. The sequencer will go back to
measure 001.
C Press START/STOP again to listen to the song
you have just recorded.
Tempo mode
Quantize value
Metronome
8 Move the cursor to the track (Atr) selected for
the recording using the CURSOR buttons.
9 Use the TEMPO/VALUE or PROGRAM/VOLUME
buttons to select ETr8 instead of ATr.
This operation will program the recording of the
Extra Track 8.
88
The song will be played from the beginning to the
end. When finished, the sequencer will go back to
measure 001. You can stop the playback halfway by
pressing START/STOP; in this case, press RESET to
return to measure 001.
D Repeat the procedure to record other Extra
Tracks.
Reference • Backing Sequence mode
Page 2: Step recording
Step recording (recording step by step) allows you to
insert an event at a time. It can be used for all the
tracks (keyboards, chords, controls, extra tracks). Step
recording erases the data of the measures you are
recording on.
Measure
Chord
Track in record
Measure
When in this page, first select the track to be recorded,
then press REC/WRITE/LYRICS and START/STOP.
To go out of the step recording sub-pages and go back
to this page, press START/STOP. To playback the new
backing sequence go back to Page 1 and press START/
STOP.
Track in record
[KBTr, CHRD, CTRL, ETr1…ETr8]
Tension
Location
Bass note
1. Select the chord using the CURSOR and the
TEMPO/VALUE buttons, or play it with the MIDI
controller connected over the Global, Chord 1 and/
or Chord 2 channels.
2. Press ENTER/YES to enter the chord. The chord
will be input at eighth-note steps (
= 48 tic). If
you need a greater precision, input the events and
then adjust their location with “Page 8: Event edit”.
3. If necessary, move to a different location using the
< and > buttons. You can replace the chord you
have already entered.
Warning: If you go back with the < button and input
or edit data, the remaining part of the track will be
erased.
Track to be recorded.
KBTr
Real time tracks.
CHRD
Chord track.
CTRL
Control track.
ETr1–ETr8
Extra tracks 1-8.
4. When finished, press START/STOP to go back to
Page 2 of the Backing Sequence mode. To listen to
the new backing sequence, go back to Page 1 and
press START/STOP.
M (Measure number)
M (Measure number)
Current measure.
[001…999]
This indicates the measure where recording will begin.
Each track of a backing sequence can record up to 999
measures. Press RESET to bring the measure indicator
back to 001.
Step recording the chord track
In order to step record the control track go to page 2 of
the Backing Sequence mode, select the CTRL track,
press REC/WRITE/LYRICS, and then START/STOP.
The following page will appear.
Location
This indicates the location where the next chord will
be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the
right of the colon (:) indicates the position within the
beat, in 1/96th quarter note units.
Chord
Chord to be entered.
89
Reference • Backing Sequence mode
Tension
Position
Tension adds notes that have actually been played to
the accompaniment, even if they haven't been written
in the style pattern.
This indicates the position where the next chord will
be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the
right of the colon (:) indicates the position within the
beat, in 1/96th quarter note units.
Bass note
You can indicate a bass note that is different to the
chord root (e.g. C/E to indicate the first reverse of the
C chord).
Type of event
This indicates the type of event you wish to input on
the control track. The following events can be input.
Step recording the control track
Type of event
In order to step record the control track go to page 2 of
the Backing Sequence mode, select the CTRL track,
press REC/WRITE/LYRICS, and then START/STOP.
The following page will appear.
Measure
ARRANGEMENT *
U11–88, A11–88, B11–88
STYLE
A11–88, B11–58, U1–16
STY, ELEMENT (style
element)
Position
KB MODE/ASSIGN
(keyboard mode/
assign) **
CHORD SCAN (chord
scanning)
Type of event
Value
1. Select the type of event and the value using the
CURSOR and TEMPO/VALUE buttons.
Values
OFF, VAR1–VAR4, INT1, INT2,
END1, END2, FIL1, FIL2
FUL-UP1, FUL UP1&2, SP UP1&L,
DRUM, FUL-MUTE, FUL-UP2, SPMUTE, SP-UP1, SP-UP2, SPUP1&2, SP-LOW
OFF, LOWER, UPPER, FULL
CHORD MEMORY
OFF, ON
BASS INV. (bass
inversion)
OFF, ON
TRANSPOSE
–11… –1, 00, +1… +11
DRUM MUTE
2. Press ENTER/YES to enter an event.
PERC MUTE
3. Move to a different location using the < and > buttons. The event will be input at eighth-note steps
( = 48 tic). If you need a greater precision, input
the events and then adjust their location with “Page
8: Event edit”.
BASS MUTE
PLAY, MUTE
ACC1 MUTE
ACC2 MUTE
ACC3 MUTE
Warning: If you go back with the < button and input
or edit data, the next part of the track will be erased.
UP1 PROG (Upper 1
program) *
UP2/LOW PROG
(Upper 2/Lower
program) *
4. When finished, press START/STOP to go back to
Page 2 of the Backing Sequence mode. To listen to
the new backing sequence, go back to Page 1 and
press START/STOP.
A11–A88, B11–B88, C11–C88,
D11–D88, E11–E88, Dr11–Dr28,
F11–F88
UP1 OCT. (Upper 1
octave)
–2, –1, 0, +1, +2
UP2/LOW OCT. (Upper
2/Lower octave)
M (Measure number)
Current measure.
90
*
These events can also be input using the PROGRAM/ARRANG buttons.
Reference • Backing Sequence mode
** The KB MODE/ASSIGN parameter controls the
KEYBOARD ASSIGN and KEYBOARD MODE sections:
Option
Note
This indicates the name of the most-recently entered
note. This parameter will appear if you have selected
track KBTr or ETr1–8.
Keyboard Assign
Keyboard Mode
UPPER1
FULL
FUL UP1&2
UPPER1, UPPER2
FULL
M (Measure number)
SP UP1&L
UPPER1, LOWER
SPLIT
Current measure.
DRUM
---
DRUM
FUL-MUTE
---
FULL
FUL-UP2
UPPER2
FULL
SP-MUTE
---
SPLIT
SP-UP1
UPPER1
SPLIT
SP-UP2
UPPER2
SPLIT
UPPER1, UPPER2
SPLIT
LOWER
SPLIT
FUL-UP1
SP-UP1&2
SP-LOW
Step recording the real time track
1. Press EXIT/NO to get to Page 2 in the Backing
Sequence mode.
2. Select the KBTr track.
3. Press REC/WRITE/LYRICS and then START/
STOP. The following page will appear.
Note
Measure
Position
This indicates the position where the next event will be
entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the
right of the colon (:) indicates the position within the
beat, in 1/96th quarter note units.
Time signature
[1/4…16/16]
Initial time signature of the backing sequence. This
parameter will appear if you have selected track KBTr
or ETr1–8. To enter time signature changes during the
backing sequence go to “Page 8: Event edit” on
page 97.
Position
Step
[
Metro
Step
Velocity
Duration
4. Move the cursor to the parameters you wish to
modify, using the CURSOR buttons, and change
the values using the TEMPO/VALUE buttons.
5. Select the step using the buttons with the notes (or
with the TEMPO/VALUE buttons) and play the
note to be entered.
6. When finished, press START/STOP to go back to
Page 2 of the Backing Sequence mode.
7. To playback the new backing sequence, go back to
Page 1 and press START/STOP.
]
This specifies the length of the step by which you will
move forward each time a note is entered (or other
event). This will appear if you have selected KBTr or
ETr1–8 as the track. The value will be indicated by a
musical symbol. You can select any musical value from
(whole note) and
(32nd note), including lengthened (dotted) notes (.) and triplet notes (3).
You can select the step by using either the TEMPO/
VALUE buttons or the VARIATION, FILL, INTRO/
ENDING buttons.
Velocity
[002…126, KEY]
This indicates the strength (dynamics) of the note. If
the value is KEY, the velocity with which the note was
actually played will be input. This will only appear if
you have selected KBTr or ETr1–8 as the track.
91
Reference • Backing Sequence mode
Duration
(ETr1-ETr8), press REC/WRITE/LYRICS and then
START/STOP. This page will appear.
[001…100%]
Note
This specifies the duration of the note, relative to the
length of the step.
100
Duration of the step.
Lower values
Staccato (sharply detached) notes.
Higher values
Legato (smooth flowing) notes.
Step recording the extra tracks
In order to step record an extra track, go to Page 2 of
the Backing Sequence mode, select the extra track
Metro
Step
Measure
Velocity
Position
Duration
The extra track recording pages are the same as the
keyboard track recording page.
Page 3: Erase Backing Sequence
This function erases all the data from the selected
backing sequence.
Select the backing sequence you wish to erase using
the TEMPO/VALUE buttons. Press ENTER/YES
twice to erase it.
Backing Sequence to be erased
Page 4: Copy Backing Sequence
This function copies the entire contents of the selected
backing sequence to another backing sequence.
Source (the selected backing
sequence)
92
Target
Select the target backing sequence using the TEMPO/
VALUE buttons, and press ENTER/YES twice.
Reference • Backing Sequence mode
Page 5: Edit 1
In this page you can select one of the following three
options: delete measure (DELETE), insert measure
(INSERT), erase data from measure (ERASE). Move
the cursor to the desired operation using the CURSOR
buttons, then press ENTER/YES to enter the subpage.
5-2. Insert measures
This operation inserts measures into the selected track.
The following measures will then be moved forward.
Time signature
DELETE
INSERT
ERASE
5-1. Delete measures
This operation deletes measures from the selected
track. The following measures will then be moved
back, filling the gap that was created by deleting the
other data.
Track
First measure
Measures to be inserted
1. Move the cursor to the “Track” parameter using the
CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons. Select ALL to insert measures from all the tracks (chord track, control track,
tempo track, keyboard track, etc.).
2. Move the cursor to the “First measure” parameter
and enter the measure where you would like to
insert the new measures. Move the cursor to the
“Measures to be inserted” parameter, and choose
the number of measures you wish to insert. Move
the cursor to the “time signature” parameter, and
choose the time signature for the measures you
wish to insert.
3. Press twice ENTER/YES to confirm insertion.
Track
First measure
Last measure
1. Move the cursor to the “Track” parameter using the
CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons. The ALL value, deletes
measures from all the tracks (chord track, control
track, tempo track, keyboard track, etc.)
2. Move the cursor to the “First measure” parameter,
and choose the first measure you wish to delete.
Move the cursor to the “Last measure”, and choose
the last measure you with to delete. If you only
wish to delete only one measure, assign the same
measure to both fields.
How to insert a different time signature
The change of time signature during playback will
take place if the tempo is =AUT (see “Tempo mode”
on page 83). If measures are inserted with a different
time signature in a track, all the tracks will have the
new time signature. The data will remain intact however, and the tracks will play exactly as they did
before.
Inserting two measures of time signature = 7/8
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
3. Press ENTER/YES twice to confirm deletion.
After theInsert
Insert
Tr02
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
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Reference • Backing Sequence mode
If you assign the value **/** to the time signature
parameter, the new measures will have the same time
signature as the measures that are in the same position
on the other tracks. If the other tracks are still empty,
the time signature of the nearest measure to the measures that will be inserted, will be used.
Metro = **/**
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
2. Move the cursor to the “First measure” parameter
and choose the first measure of the range where
data will be erased. Move the cursor to the “Last
measure” parameter and choose the last measure of
the range from which you wish to erase the data. If
you only want to erase data from one measure,
assign the same measure to both the parameters.
Type of data
After theInsert
Insert
Tr02
LL value erases measures from all the tracks (chord
track, control track, tempo track, keyboard track,
etc.).
6 (3/4)
7 (3/4)
5-3. Erase measures
This operation erases all or part of the data contained
in the specified measure(s), The measures themselves
will remain.
Erased data
ALL
All data
NOTE
All note messages
CTRL
All control change messages
AFTT
Channel/polyphonic aftertouch messages
BEND
All pitch bend messages
PROG
All program change messages
3. Press ENTER/YES twice to confirm erasure of data.
How to erase control change data
Track
First measure
Last measure
Type of data
1. Move the cursor to the “Track” parameter, using
the CURSOR buttons and choose the track with the
94
Control change messages (CTRL), can be made up of
an activating part (to turn the effect on) and also a
deactivating part (to turn the effect off). If you erase
the deactivating message, the control can get “stuck”.
For example, if you erase the deactivating message of
the damper, the pedal will stay open; if you erase the
pitch bend reset message, the track could be out of
tune. If this occurs, you should manually erase the
activating messages or insert new deactivating events
with the functions of “Page 8: Event edit”.
Reference • Backing Sequence mode
Page 6: Edit 2
In this page you can select one of the following three
operations: copy measures (COPY), combine tracks
(BOUNCE), adjust timing errors (QUANTIZE). Move
the cursor to the operation you wish to carry out using
the CURSOR buttons, then press ENTER/YES to
access the subpage.
1. Move the cursor to the “Track” parameter, using
the CURSOR buttons and choose the track with the
TEMPO/VALUE buttons. Select ALL to erase measures from all the tracks (chord track, control track,
tempo track, keyboard track, etc.).
2. Move the cursor to the “First measure” parameter,
and choose the first measure you wish to copy.
Move the cursor to the “Last measure” parameter,
and choose the last measure you wish to copy. If
only want to copy one measure, assign the same
measure to both the parameters.
COPY
BOUNCE
QUANTIZE
4. Move the cursor to the “First target measure” and
choose the measure number.
6-1. Copy measures
This operation copies measures within a track or from
one track to another.
Target track
3. Move the cursor to the “Target track” parameter,
and choose the copy destination track. If you have
chosen ALL as the copy source, this parameter will
automatically be set on ALL.
First target measure
5. Press ENTER/YES twice to confirm copying of
data. If the destination measure contains other
data, this will be erased and substituted with the
new data.
How to copy in measures with different
time signature
Track
First measure
Last measure
If the destination measures have a different time signature to the original ones, the data will remain intact,
but the time signature of the copied data will not now
coincide with the original data.
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Reference • Backing Sequence mode
6-2. Bounce tracks
Type of data
Quantize value
This operation combines two tracks (keyboard tracks
or extra tracks) into one track. The resulting track will
use the program, the MIDI channel and all the settings
of the Bounce destination track. The data on the source
Bounce track will be erased.
The combination of two tracks containing continuous
controls or change control data (e.g. pitch bend,
damper, etc.) requires particular care, since the combination of this data can produce undesired results.
Before combining these two tracks, it would be better
to remove the continuous control data from at least
one of the tracks. In order to do this, you should use
the functions of subpage “5-3. Erase measures”.
Track to be
quantized
First measure
Last measure
1. Move the cursor to the “Track to be quantized”
parameter using the CURSOR buttons and choose
the track with the TEMPO/VALUE buttons.
CHRD, CTRL and TEMPO are the chord, control
and tempo tracks, respectively.
2. Move the cursor to the “First measure” parameter,
and choose the first measure you wish to quantize.
Move the cursor to the “Last measure” parameter,
and choose the last measure you wish to quantize.
Origin track
Target track
1. Move the cursor to the “Origin track” parameter
using the CURSOR buttons, and choose the track
with the TEMPO/VALUE buttons.
2. Move the cursor to the “Target track” parameter
and choose a track.
3. Press ENTER/YES twice to confirm completion of
the Bounce operation.
6-3. Quantize
This operation corrects timing errors of previouslyrecorded data, without changing the note length.
Unlike the quantize function in the recording phase
(see “Page 1: Recording” on page 82), this function
allows you to specify the type of data to work upon
and a range of measures.
3. Move the cursor to the “Type of data” parameter
and chose the type of data you wish to quantize.
Except for the tempo track, the following types of
data can be selected for quantization.
Type of
data
Data to be quantized
ALL
All data
NOTE
All notes
CTRL
All control change messages
AFTT
All channel/polyphonic aftertouch messages
BEND
All pitch bend messages
PROG
All program change messages
4. Move the cursor to the “Quantize value” parameter
and choose a musical symbol: HI, , , , , , ,
. The HI value does not modify data. With other
values, the data will be adjusted to ideal intervals,
whose spacing is determined by the musical symbol you have selected.
5. Press ENTER/YES twice to confirm the quantizing
operation.
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Reference • Backing Sequence mode
Page 7: Shift note (Transposition)
This operation shifts the pitch of notes making them
more acute (higher) or more grave (lower), in semitone
steps. You can shift all the notes or choose a range of
notes. You can transpose all the notes of the selected
track or choose the note interval you wish to shift the
pitch of.
1. Move the cursor to the “Track” parameter using the
CURSOR buttons and choose the track with the
TEMPO/VALUE buttons. You can select either the
keyboard track or the extra tracks.
2. Move the cursor to the “First measure” parameter
and choose the first measure you wish to shift the
pitch of. Move the cursor to the “Last measure”
parameter and choose the last measure you wish to
shift the pitch of.
3. Move the cursor to the “Shift value” parameter and
indicate the value in semitones, up to a maximum
of ±24 semitones (±2 octaves).
Track
First measure Last measure
Shift value
4. Press ENTER/YES twice to confirm the shift operation.
Page 8: Event edit
This operation allows you to view and edit single
events.
Event editing for KBTr (keyboard track)
and ETr1–8 (extra track)
●
Bar lines
Measure number / Index number
Track
1. Move the cursor to the “Track” parameter using the
CURSOR buttons and choose the track with the
TEMPO/VALUE buttons.
2. Press REC/WRITE/LYRICS and then START/
STOP.
3. Move the cursor to the event and edit it with the
TEMPO VALUE buttons. The parameters will differ according to the type of event and the track you
have selected.
4. When you have finished editing, press START/
STOP to exit event edit.
Bar line
Time signature
Measure number/Index number
The index number is the event number starting from
the beginning of the measure. By modifying this number you can step from one event to another within the
measure. Index number “00” displays the bar line (i.e.
the point that divides two measures) and the time signature of the measure.
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Reference • Backing Sequence mode
Time signature
This indicates the time scanning of the measure, i.e. (a)
number of movements in which it is divided, and (b)
scanning unit.
●
End of track
Event
Measure number / Index number
You can delete the displayed event by pressing the
DEL button. It isn’t possible to delete BAR (bar line) or
the End of Track indicator.
Type of event
This display indicates the end of the track.
●
You can insert an event before the displayed event by
pressing the INS button. However, it is not possible to
carry out this operation if the bar line (BAR event) of
the first measure is selected.
Position
Type of event
Position
Value
0:00…4:00 *1
length
(beats: clock)
C-1…G9
(note number)
V:002…V:126
(velocity)
BEND
(pitch bend)
–8192…+8191
(upper/lower)
*2
AFTT
(aftertouch)
000…127
(intensity)
PROG
(bank select:program
change)
000…127:
000…127 *3
(bank: number of
program)
CTRL
(control change)
C000…C127
(control change
number)
000…127
(control number)
PAFT
(polyphonic aftertouch)*4
C-1…G9
(note number)
000…127
(value)
[1:00…8:95]
This indicates the position of the event within the measure. The value is displayed in the form of “quarter:tic” (1 tic = 1/96th of a quarter note). If the
abbreviation TIE appears, the note has been tied to the
last note in the previous measure.
Event type
The following table shows the event type and possible
values.
98
*1. If connected to a note in the next measure, this will
be displayed as TIE.
*2. The pitch bend value is divided in two parts of two
digits each. Use the CURSOR buttons to switch
from one part to the other.
*3. The LSB values of the Bank Select message can be
000…127, whereas the MSB value is always 0. “- - -”
means that the bank is not transmitted, and the previously selected bank will be left unchanged.
*4. MIDI Polyphonic Key Pressure (Poly Touch) messages will be transmitted, but not received.
Reference • Backing Sequence mode
Event editing of the CTRL track (controls)
Measure number / Index number
Type of event
Position
TRANSPOSE
Value
–11… –1, 00, +1… +11
DRUM MUTE
PERC MUTE
BASS MUTE
PLAY, MUTE
ACC1 MUTE
ACC2 MUTE
ACC3 MUTE
Type of event
Type of event
ARRANGEMENT *
U11–88, A11–88, B11–88
STYLE
A11–88, B11–58, U1–16
STY, ELEMENT (style
element)
KB MODE/ASSIGN
(keyboard mode/
assign) **
CHORD SCAN (chord
scanning)
UP1 PROG (Upper 1
program) *
Value
UP2/LOW PROG
(Upper 2/Lower
program) *
UP1 OCT. (Upper 1
octave)
OFF, VAR1–VAR4, INT1, INT2,
END1, END2, FIL1, FIL2
FUL-UP1, FUL UP1&2, SP UP1&L,
DRUM, FUL-MUTE, FUL-UP2, SPMUTE, SP-UP1, SP-UP2, SPUP1&2, SP-LOW
OFF, LOWER, UPPER, FULL
CHORD MEMORY
OFF, ON
BASS INV. (bass
inversion)
OFF, ON
A11–A88, B11–B88, C11–C88,
D11–D88, E11–E88, Dr11–Dr28,
F11–F88
–2, –1, 0, +1, +2
UP2/LOW OCT. (Upper
2/Lower octave)
*
These events can also be input using the PROGRAM/ARRANG buttons.
** The KB MODE/ASSIGN parameter controls the
KEYBOARD ASSIGN and KEYBOARD MODE sections.
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Reference • Backing Sequence mode
Event editing of the CHRD track (chords)
Option
Keyboard Assign
Keyboard Mode
FUL-UP1
UPPER1
FULL
FUL UP1-2
UPPER1,
UPPER2
FULL
SP UP1&L
UPPER1, LOWER
SPLIT
DRUM
---
DRUM
FUL-MUTE
---
FULL
FUL-UP2
UPPER2
FULL
SP-MUTE
---
SPLIT
SP-UP1
UPPER1
SPLIT
SP-UP2
UPPER2
SPLIT
SP-UP1&2
UPPER1,
UPPER2
SPLIT
LOWER
SPLIT
SP-LOW
Measure number / Index number
Chord
100
Tension
Position
Bass note
Chord
This indicates the chord that will be input.
Tension
Tension adds notes that have actually been played to
the accompaniment, even if they haven't been written
in the style pattern.
Bass note
You can indicate a bass note that is different to the
chord root (e.g. C/E, that indicates the first reverse of
the C chord).
Reference • Backing Sequence mode
Page 9: Extra Track settings (1)
In this page you can set the initial parameters of the
eight extra tracks ETr1-ETr8. In the same way as the
keyboard track, you can individually adjust the transpose and detune settings. You can also specify the
MIDI channel of every extra track.
Extra Track
Program
Ch (MIDI channel)
[--, 01G…16]
MIDI channel used by the track to receive data from
the MIDI IN 1 and 2 connectors. It is possible to assign
two or more tracks to the same MIDI channel, so that
they play in unison when receiving data from the
MIDI. You can assign the same MIDI channel to two
tracks, so you can record the notes on one and the controls on the other (e.g. volume, damper, pitch bend).
The “--” option disconnect the track from the MIDI.
The abbreviation “G” next to the channel number indicates that channel is assigned to the Global.
MIDI channel
Transposition
Detune
Suggestion: you should not assign a MIDI channel that
is already used by the Global to the Extra tracks.
Extra Track
[ETr1…ETr8]
Xpose (Transposition)
Select the extra track using the buttons in the PROGRAM/VOLUME section.
[–24…+24]
Program
[A11…U88, Dr11…Dr28]
Select the program using the buttons in the PROGRAM/ARRANG section. In order to select a Drum
program (Dr11–28), press the F(USER/DRUM) button
repeatedly until the abbreviation “Dr” appears, then
select a two-digit number with the number buttons. If
the program is contained in the selected bank, you
only need to select the two-digit number.
This transposes the track in semitones, up to a maximum of ±24 semitones (±2 octaves). At 0 there is no
transpose. Since each program has an upper range
limit, the higher notes might not play with a very high
transpose setting.
DT (Detune)
[–50…+50]
This finely tunes the track in 1-cent steps, up to a maximum of ±50 cents (1/2 of a semitone). You can create
a richer sound by detuning two tracks relative to each
other and playing them in unison. Suggestion: assign
the same MIDI channel to the two tracks, detune them
with the same value, one positive and one negative (if
one of the tracks is detuned at +10, the other should be
detuned at -10), then record the data onto only one of
the two tracks.
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Reference • Backing Sequence mode
Page 10: Extra Track settings (2)
In this page you can choose the program (sound), pan
(stereo location) and the effect level sent to the two
built-in effect systems, for each of the 8 extra tracks.
Extra Track
Program
repeatedly until the abbreviation “Dr” appears, then
select a two-digit number with the number buttons.
Pan
[OFF, L15…L01, CNT, R01…R15, PROG]
This specifies the stereo location of the track. It will
determine the levels of channels A and B.
Pan
Effect sends
Extra Track
CNT
Track placed in the center.
L values
Track placed to the left.
R values
Track placed to the right.
OFF
Track output on channels A and B
off.
PROG
The pan setting of the program will
be used.
[ETr1…ETr8]
Select the track using the buttons of the PROGRAM/
VOLUME section.
C=/D= (Effect sends)
[0…9, P]
Program
[A11…U88, Dr11…Dr44]
Select the program using the buttons in the PROGRAM/ARRANG section. In order to select a Drum
program (Dr11–28), press the F(USER/DRUM) button
102
These are the send levels for the selected track (sent by
channels C and D to the built-in effect systems).
P
The send level of the program will be
used.
0-9
Send levels of channels C (usually
reverb) or D (usually modulating
effect, chorus or flanger type).
Reference • Backing Sequence mode
Page 11: Effect select
The instrument has two incorporated digital effect
processors for the sounds produced by the internal
sound generation. In this page, you can choose which
effects you wish to assign to each processor. For more
details, see page 175.
Page 12: Effect modulation
In this page you can connect the effects to one or two
controls, which allow you to dynamically modulate
their intensity. For more details, see page 176.
Page 13: Effect placement
In this page you can choose the effect setup of the
backing sequence, and program pan and levels for
channels C and D. Pan and sending of arrangement
tracks are programmed in the Arrangement Play mode
on “Page 3: Track settings (1)”. Pan and sending of
extra tracks are programmed on “Page 10: Extra Track
settings (2)” in the Backing Sequence mode. For more
details, see page 177.
Page 14: Effect 1 settings
Page 15: Effect 2 settings
These pages contain the effect parameters selected on
“Page 11: Effect select”, that will be used for the
selected backing sequence. The settings of the other
operative modes are carried out in the respective
modes.
The parameters contained in these pages will depend
on the effects you have selected. For more information
on programming effects, see page 178.
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Reference • Backing Sequence mode
Page 16: Next Backing Sequence
The “Next Backing Sequence” page allows you to
choose a backing sequence which will be automatically selected when the current backing sequence
ends.
is OFF, at the end the current backing sequence will
carry on playing.
Play/Stop
[STOP, PLAY]
Next backing sequence
Play/Stop
Next backing sequence
[OFF, BSEQ0…BSEQ9]
This indicates the backing sequence that will be
selected when the current backing sequence ends. If it
104
This will set the backing sequence you have selected as
the next one, in Play or Stop. If all the backing
sequences in memory are in Play, they will link up
with the next backing sequence, and backing sequence
9 will link up with backing sequence 0, thus you can
create a “loop” of backing sequences that playback
continuously until you press START/STOP.
STOP
The next backing sequence will be
selected, but not played back.
PLAY
The next backing sequence will be
selected and played back.
Reference • Backing Sequence mode
Page 17: Rename Backing Sequence
The “Rename Backing Sequence” page allows you to
change the name of the backing sequence. The name
can be made up of a maximum of 10 characters.
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the
location of the character you wish to change and the
TEMPO/VALUE buttons to choose a character.
Selected backing sequence
Press INS to insert the character at the cursor location.
Press DEL to delete a character at the cursor location.
105
Reference • Song Play mode
8. Song Play mode
Sending MIDI Bank Select messages
You can specify how the Bank Select message will be
sent to the MIDI OUT in “Page 8: MIDI filter” in the
Disk/Global mode. In order to connect the i40M to
another Korg instrument, set the parameter to “o”. To
connect a device from another manufacturer, if the
results are not correct, set the parameter to “s” or “n”.
If “n” is selected, the Bank Select message will not be
sent.
Programming a song on an external
computer
To program a song on an external sequencer, set the
i40M in the Song Play mode. In this way the instrument will transmit on the channel selected with the
PROGRAM/VOLUME buttons, and receive from the
external sequencer on all the MIDI channels (1-16). See
106
see the chapter “MIDI” on page 44 for more information.
Song Play and Song Edit
The Song Play mode must be used to read the Standard MIDI Files directly from disk and to program
songs on an external sequencer.
The Song Edit mode must be used to create or edit a
song directly in the i40M.
Changes in Song Play cannot be saved
The Song Play mode does not allow you to edit the
song permanently. You can only make changes during
the playback (volume, mute, program), but not memorize them or save them on disk.
Reference • Song Play mode
Page 1: Performance monitor
Readable formats
Song name
The i40M can read Standard MIDI files (SMF) in format 0 and 1. Format 0 SMF will be played back immediately, without having to load them from disk,
whereas format 1 SMF will be loaded first, then played
back a few seconds later. While loading the SMF in format 1, the START/STOP leds will flash, and the message “Please wait a moment” will appear on the
display.
Song in playback. You can choose one song, playback
all the songs contained on disk, or create a list of songs
to playback with just one command. While the song is
played back, you can select another song which will be
selected at the end of the current one.
It is also possible to read files in format Yamaha
“.DOC”, although there are some limitations. The
sounds will be converted, where possible, into GM
sounds. As there are differences between the DOC and
the GM standard, some of the tracks might playback
with programs and levels that differ from the original
ones.
The i40M can display the lyrics of the SMF in M-live
(MidiSoft), Solton, or Tune1000 or compatible (Edirol,
GMX, KAR, HitBit, XF) format. You can switch from
the viewing modes of the lyrics (Lyrics 1 and Lyrics 2)
to the viewing mode of the standard parameters (Play)
by pressing the REC/WRITE/LYRICS repeatedly.
Press the same button again to go back to the lyrics
viewing mode:
Lyrics 1 ⇒ Lyrics 2 ⇒ Play ⇒ Lyrics 1…
The i40M can also display the chords contained in the
SMF in M-live (MidiSoft), Solton, and GMX format.
The Play mode
• Playing back all the songs
To successively playback all the songs contained on
disk, select “ALL SONGS” as the song name, and
press START/STOP. The songs will playback in the
order that they are filed on the disk. You can stop
playback by pressing the START/STOP button
again. If you have already selected a song, press
EXIT/NO to select “ALL SONGS”.
• Playing back one song
Select the song with the TEMPO/VALUE buttons.
You can select the song on disk with the buttons of
the PROGRAM/ARRANGEMENT section. Press
PROGRAM/ARRANG to light up the ARRANG
led and press a NUMBER button to select the songs
1-8. Press PROGRAM/ARRANG to light up the
PROGRAM led and press a NUMBER button to
select the songs 9-16.
Press START/STOP to start playback. Press
START/STOP again to stop playback.
During playback, you can press RESET to go back
to the beginning of the song. In this way the song
initial tempo will be reset.
• The JukeBox
Press SONG PLAY to enter the Song Play mode. If you
are in a page that differs from the one shown in the
display (Page 1), press EXIT/NO to get to Page 1 in the
Song Play mode. If the display shows the song lyrics
(Lyrics 1 or Lyrics 2 mode), press REC/WRITE/LYRICS once or twice to go to the Play mode.
You can create a list of songs with the JukeBox
function. For more information, see also the chapter “Tutorial” on page 23.
1. Choose the first song with the TEMPO/VALUE
buttons.
2. Press ENTER/YES to insert the song in the list.
Tempo
3. Choose the second song with the TEMPO/VALUE
buttons.
4. Press ENTER/YES to insert the song in the list.
5. Proceed in the same way to insert the other songs.
6. Press START/STOP to playback the songs on the
list.
Song name
Measure
7. You can use START/STOP to stop or restart playback.
8. Press EXIT/NO to exit the JukeBox mode.
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Reference • Song Play mode
If there are already backing sequences
and a song in memory
If there is already a backing sequence (Backing
Sequence mode) or a song (Song Edit mode) in memory, before loading a SMF in format 1, a message will
appear asking you if you want to erase the backing
sequence or song in memory: “Ok to erase B.Seq &
Song Edit”. Press ENTER/YES, to erase the data in
memory and playback the new song. If you do not
wish to lose the contents on memory, press EXIT/NO.
If you are playing back a song list, as soon as you press
EXIT/NO the following SMF will be read. (If you want
to save the data contained in memory, follow the Save
procedure in the Disk/Global mode to save the backing sequences, the Save function on “Page 13: Save” of
the Song Edit mode to save the song).
If the size of the file you wish to load is larger than the
size of the edit memory, the message “Can’t play all
tracks” will appear. Press ENTER/YES to continue
loading, or EXIT/NO to cancel.
If a file does not appear
In Song Play mode, only files with an extension of
“.MID” will be played back (for example,
MICHELLE.MID). You cannot view the SMF which
have been saved with a different filename extension.
Read the disk with a computer, and change the filename extension to “.MID”. The name of the file must
be 8 characters long, plus period and “MID” suffix
(MS-DOS® conventions).
If the file does not comply with the Standard MIDI File
specifications, it might be impossible to read the file
with the i40M, or it might be read incorrectly, with a
bad sound.
Parameters of the Play mode
= (Tempo)
[20…250]
Tempo or playback speed of the song. The tempo values can be between 20–250. If you tap the tempo with
the TAP TEMPO button, the values will be limited to
40–240. To change the tempo, move the cursor to the
Tempo parameter using the CURSOR buttons, then
change the tempo with the TEMPO/VALUE buttons.
When the song is played back from the beginning, the
tempo saved in the SMF will be selected. If you press
RESET while the sequencer is stopped, or if the song
ends and the sequencer goes back to the first measure,
the tempo saved in the SMF will be automatically
selected when the song is played back again.
M (Measure number)
[001…999]
Current measure. You can choose a different measure
both when the sequencer is in playback or when it has
stopped. If you change a measure while the sequencer
is in playback, the START/STOP leds will briefly flash
while the measure is being searched for, then the song
will start up again from that point.
If you choose a measure number following the last
measure number of the song, the sequencer will go to
the last measure and playback will stop. The message
“Measure not exists. Continue?” will appear. If you
press ENTER/YES playback will continue with the
next song. If you press EXIT/NO playback will stop
on the last measure of the current song.
If you move to a measure – or after a measure – that
contains tempo change, program change or volume
change data, the data for all the channels will be
updated, apart from the ones that are muted. If you
wish to update these channels as well, change their
channel status to Play.
108
Reference • Song Play mode
Page 2: Channel settings
In this page you can set the channels during playback.
The SMF have their own parameters, which are automatically assigned to the tracks.
Note: The modifications will not be memorized or saved
on disk.
Channel
Program
ARRANG section. (See “Changing the sounds of the
real time tracks” on page 30). Press PROGRAM/
ARRANG to light up the PROGRAM led. First select a
bank (A, B, C, D, E, F-USER/DRUM), then select a
two-digit number with the number buttons. If the program is in the same bank, you only need to enter the
two-digit number.
To select a drum program (Dr11–Dr28), press F/
USER/DRUM repeatedly until the abbreviation “Dr”
appears on the display, then select a two-digit number
with the number buttons.
Note: According to the General MIDI specifications
channel 10 is assigned to the DRUM program.
Pan
Send levels
Note: In Song Play mode both channels and tracks
coincide.
Ch (Channel)
[01…16]
Select the channel you wish to edit using the buttons
in the PROGRAM/VOLUME section. The channel
which corresponds to each pair of buttons will be indicated in the display, above the volume indicator. You
can switch from channels 1-8 to channels 9-16 by
pressing the TRACK SELECT button. The program of
the selected channel will play on the keyboard.
Note: In the Song Play mode the MIDI channel and the
track number coincide.
Pan
[OFF, L15…CENT…R15, PROG]
Stereo positioning of the channel. This works as level
for the A and B channels of the internal tone generation (see chapter “Effects”). The A and B channels normally represent the direct signal (A=Left, B=Right). If
the effect configuration is not Parallel 3, the A and B
channels can work as send levels. see “Page 6: Effect
placement”.
CNT
In the center.
L values
To the left (Left, A channel).
R values
To the right (Right, B channel).
OFF
The track does not come out on the A
and B channels.
PROG
Uses the pan setting of the program.
C=/D= (Effect send)
[0…9, P]
Warning: The ACC.VOLUME knob controls the volume
of all the song tracks, except for the selected track (track
considered as “solo”).
Program
Level of the signal sent to the effects. Normally, the C
channel is the send to reverb and the D channel is the
send to the modulating effect, (chorus, flanger...). If the
effect configuration is not Parallel 3, the C and D channels may work differently. See “Page 6: Effect placement”.
1-9
Effect level. When the value is 0, the
channel does not come out on the
internal C/D channels.
P
Uses the value of the program.
[A11…U88, Dr11…Dr44]
Program that is assigned to the selected channel. Select
the program using the buttons in the PROGRAM/
109
Reference • Song Play mode
Page 3: Transpose position
In this page you can specify the transpose position in
the MIDI data flow.
TRANSPOSE POSITION
MIDI/INT
With the SEQ/MIDI&INT option, both the notes
received via MIDI and the ones played by the
sequencer will be transposed. Both the notes sent to
the internal tone generator and the ones sent to the
MIDI OUT will be transposed.
MIDI IN
Song Play
sequencer
Transpose
Scale
Tone
generator
GLOBAL
MIDI OUT
Transpose position
[MIDI/INT, SEQ/MIDI&INT, MIDI&SEQ/INT]
This parameter determines in which point of the MIDI
data flow the action of the TRANSPOSE buttons is
inserted. The parameter only regards the Song Play
mode. The OCTAVE buttons always apply only to the
keyboard sounds, and are not affected by this setting.
With the MIDI/INT option, only the notes received by
the MIDI IN will be transposed. The notes played by
the sequencer will not be transposed.
MIDI IN
Song Play
sequencer
Transpose
Scale
GLOBAL
MIDI OUT
110
Tone
generator
With the MIDI&SEQ/INT option, the notes received
via MIDI and the ones played back from the sequencer
will be transposed. Only the notes sent to the internal
tone generator (and not the ones sent to the MIDI
OUT) will be transposed.
MIDI IN
Song Play
sequencer
Scale
GLOBAL
MIDI OUT
Transpose
Tone
generator
Reference • Song Play mode
Page 4: Effect select
The instrument has two built-in digital effect processors for the sounds produced by the internal tone generator. In this page, you can choose the effects assigned
to the song and switch them on/off. For more information, see page 175.
Page 5: Effect modulation
In this page, you can connect the effects to one or two
controls, which allow you to dynamically “modulate”
their intensity. For more information, see page 176.
Page 6: Effect placement
In this page you can setup the effects of the song and
program pan and level of the C and D channels. Pan
and channel send are programmed on “Page 2: Channel settings”. For more information, see page 177.
Page 7: Effect 1 settings
Page 8: Effect 2 settings
These pages contain the effect parameters selected on
“Page 4: Effect select”, that will be used for the
selected arrangement. The settings for the other operative modes are set in their respective modes.
The parameters contained in these pages will depend
on the effects you have selected. For more information
on effect programming, see page 178.
111
Reference • Song Play mode
Page 9: Song Play Harmony
This page allows you to select the harmonization
channel of the VOCAL/HARMONY section for the
Song Play mode.
Ch (Channel)
It is the same as “Page 11: Song Play Harmony” in the
Disk/Global mode and it has been also introduced in
the Song Play mode to change the harmonization
channel without exit the Song Play mode.
MIDI channel or song track from which the data for
harmonization arrive.
The most common SMF formats (M-live, Tune 1000
and compatibles) usually assign the harmonization
track to the MIDI 5 channel. Sometimes the MIDI 7, 15
or 16 channels are used.
The modifications made in this page will not be saved.
To save the harmonization channels for the songs, you
need to go to “Page 11: Song Play Harmony” in the
Disk/Global mode (see page 143), and the save the
modifications to Global.
(To save the modifications to Global, whilst in Global
mode, press REC/WRITE/LYRICS, and then press
ENTER/YES twice to confirm).
SONG PLAY HARMONY
Ch=MIDI IN Ch01
SONG PLAY HARMONY
Ch=Song Ch01 TG=ON
112
[OFF, MIDI IN Ch01…16, Song Ch01…16]
OFF:
Harmonization deactivated.
MIDI IN Ch01…16:
MIDI channel. The notes are received
through the MIDI IN (1 and 2).
Song Ch01…16:
Song track. The notes are received
from the track of the selected song.
The notes received via MIDI will be
ignored.
TG (Tone Generator)
[ON/OFF]
This parameter is only displayed when you have
selected a Song track (Song Ch01…16).
ON
The harmonization notes are also
sent to the internal tone generator
and played by the selected track.
OFF
The harmonization notes are only
sent to the harmonization and not
played by the selected track. This settings allows you to save notes of the
i40M polyphony.
Reference • Song Edit mode
9. Song Edit mode
• Saving a song before turning off
Warning: When the instrument is turned off, the song
in Song Edit will be erased. Before turning off the
instrument, save the song by following the Save proce-
dure contained on “Page 13: Save” in the Song Edit
mode. The function is also explained in the “Tutorial”
chapter on page 35.
Page 1: Load
Loading a Standard MIDI File (SMF).
Insert the disk containing the SMF you wish to load.
The disk must be MS-DOS®, 3.5” format, 720K capacity (DS-DD) or 1.44MB (HD).The SMF must have the
filename extension “.MID”.
It is also possible to read files in Yamaha “.DOC” format, with however some limitations. The sounds are
converted, where possible, into GM sounds. Given the
differences between the DOC and the GM standard,
some tracks may playback with programs and levels
that differ from the original ones.
Choose the SMF with the TEMPO/VALUE buttons.
The files will appear in the order in which they were
saved on disk. Press ENTER/YES twice to load the
selected file. Once the file has been loaded:
• to go to Page 2 and start playback, press START/
STOP;
• to go to Page 2 without starting playback, press
EXIT/NO.
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Reference • Song Edit mode
Page 2: Playback
The parameters contained in this page control the
playback of the SMF loaded in memory.
Tempo mode
[AUTO, MAN, TEMPO-REC]
Tempo
Selected track
Octave
Tempo mode
Playback mode of the metronome tempo.
AUTO
The song tempo will play.
MAN
The tempo will be as defined by the
TEMPO/VALUE buttons. The tempo
changes recorded in the song will be
ignored.
TEMPO-REC
The tempo can be adjusted manually
after pressing the REC/WRITE/LYRICS button.
Measure number
Tempo
[40…240]
Metronome tempo, or playback speed of the song.
Normally, it is the tempo recorded in the song. If you
wish to adjust the tempo manually, set the “Tempo
mode” parameter to MAN.
Tr (Track)
[1…16]
M (Measure number)
[001…999]
Current measure. With the sequence stopped, you can
choose the measure you wish to start from or continue
the playback. If you move to a measure – or after a
measure – that contains tempo change, program
change or volume change, the data for all the channels
will be updated, except for the ones that are muted. If
you wish to updated these channels as well, change
their channel status and put them in Play. It is not possible to choose a different measure while the song is
being played back.
Selected track.
Note: In Song Edit mode the terms track and channel do
not coincide. The MIDI channel of each track can be
freely defined on “Page 3: Track parameters”.
Octave
[–2…+2]
Transposition of the keyboard in octaves. Use the
OCTAVE buttons to change this value.
114
Reference • Song Edit mode
Page 2: Recording
To enter the recording mode, go to Page 2 in the Song
Edit mode, then press REC/WRITE/LYRICS. To go
back to playback press REC/WRITE/LYRICS or
EXIT/NO.
Starting measure
to previously existing data.
AUTP
(Auto punch) You can specify a start
measure and an end measure before
beginning to record, so that only the
specified area will be recorded onto
and other recording parts will not be
“spoilt”. When you select this parameter, the “Start measure” and “End
measure” parameters will appear.
MANP
(Manual punch) You can define the
recording area manually. Follow this
procedure:
Ending measure
1. Select the track you wish to record.
2. Press START/STOP to start playback.
3. Press REC/WRITE/LYRICS at the
beginning of the area you wish to
record. Recording will begin.
The typical recording procedure is:
1. Go to Page 2 in the Song Edit mode.
2. While in Page 2, press REC/WRITE/LYRICS to
enter the recording mode.
4. Press REC/WRITE/LYRICS again at
the end of the area you wish to
record. Recording will stop and playback will continue.
3. Select the track you wish to record using the buttons of the VOLUME section. Use the TRACK
SELECT button to switch from tracks 1-8 to 9-16.
Instead of using the REC/WRITE/
LYRICS button, you can switch on
and off the Manual Punch with a specially programmed pedal or with the
EC5 controller. see “Page 12:
Assignable pedal/switch” or “Page
13: EC5 external controller” in the
Disk/Global mode.
4. Program the various parameters (tempo, time signature, etc.).
5. Press START/STOP to start recording.
6. When finished, press START/STOP to stop recording and go back to playback.
Tr (Track)
Tempo mode
[1…16]
[AUT, MAN, REC]
Track to be recorded.
Note: In Song Edit mode the terms track and channel do
not coincide. The MIDI channel of each track can be
freely defined on “Page 3: Track parameters”.
Recording mode
[OVWR, OVDB, AUTP, MANP]
Mode used for recording.
OVWR
(Overwrite) Previously existing data
on the track will be erased and
replaced with new data.
OVDB
(Overdub) New data will be added
Tempo mode of the song.
AUTO
The song tempo will play.
MAN
The tempo will be as defined by the
TEMPO/VALUE buttons. The tempo
changes recorded in the song will be
ignored.
TEMPO-REC
The tempo can be adjusted manually
after pressing the REC/WRITE/LYRICS button. Select the TEMPO-REC
option, press REC/WRITE/LYRICS
and then START/STOP to start
recording. Now you can make
tempo changes which will be
recorded in the Tempo track of the
song.
115
Reference • Song Edit mode
Q (Recording quantize)
M (Metronome)
[HI,
[OFF, ON, REC]
… ]
Correction of timing imprecisions during recording.
Turning the metronome on or off.
HI
The notes will be recorded as they
were played. (On the i40M precision
is 96 “tic” per quarter).
OFF
The metronome will only sound during the precount of recording.
ON
Other values
The notes adjust to ideal intervals,
whose spacing is determined by the
quantize value you have chosen. For
example, if the parameter is set on
, the attack time of the notes will be
positioned to the nearest quarter.
Since the pitch bend and the other
continuous controls are also quantized, you need to be careful not to
make your recording too unnatural.
The metronome will sound both during recording and playback.
REC
The metronome will only sound during recording.
116
Recording a song with a time signature
that differs from 4/4
When you enter in recording mode, the time signature
of the song is 4/4. If you wish to use a different time
signature (e.g. 3/4, or 5/8), you need to insert an
empty measure at least before starting to record, and
assign the desired time signature to the inserted measure. See “7-2. Insert measures” on page 121.
Reference • Song Edit mode
Page 3: Track parameters
In this page you can view and modify the parameters
of each individual track.
Ch (MIDI channel)
[01…16]
Track
MIDI channel
Program
Pan
Send levels
MIDI channel of the track. If a song is converted into a
Standard MIDI File with the function on “Page 13.
Save”, the MIDI channels specified here will be used.
You can assign the same channel to more than on
track. However, once the song has been saved as a
SMF 0 format, the program change messages and controls will be mixed in the same channel.
Pan
[OFF, L15…CENT…R15, PROG]
Tr (Track)
[01…16]
Select the track you wish to edit using the buttons in
the PROGRAM/VOLUME section. The track that corresponds to each pair of buttons will be indicated in
the display above the volume indicator. Move from
tracks 1-8 to tracks 9-16 by pressing the TRACK
SELECT button. The program of the selected track will
play on the keyboard.
Program
[A11…U88, Dr11…Dr28]
Program that is assigned to the selected track. Select
the program using the buttons in the PROGRAM/
ARRANG section. To select a drum program (Dr11–
Dr28), press repeatedly F(USER/DRUM) until the
abbreviation “Dr” appears in the display, then select a
two-digit number with the number buttons.
Note: The track to which channel 10 is assigned can
only play a DRUM program.
Stereo positioning of the track. This works as level for
the A and B channels of the internal tone generation
(see the “Effects” chapter). The A and B channels normally represent the direct signal (A=Left, B=Right). If
the effect configuration is not Parallel 3, the A and B
channels can work as send levels. see “Page 10: Effect
placement”.
CNT
In the center.
L values
To the left (Left, A channel).
R values
To the right (Right, B channel).
OFF
The track does not come out on the A
and B channels.
PROG
Uses the pan setting of the program.
C=/D= (Effect send)
[0…9, P]
Level of the signal sent to the effects. Normally, the C
channel is the send to reverb and the D channel is the
send to the modulating effect, (chorus, flanger...). If the
effect configuration is not Parallel 3, the C and D channels may work differently. see “Page 10: Effect placement”.
0-9
Effect level. When the value is 0, the
channel does not come out on the
internal C/D channels.
P
Uses the value of the program.
117
Reference • Song Edit mode
Page 4: Event edit
The Event Edit page allows you to modify single
events, for example notes and control change messages (pedal, volume, pan...).
Event types
●
BAR (Bar line)
Measure number / Index number
Track
The typical edit procedure is:
1. Select the track you wish to edit, press REC/
WRITE/LYRICS and then START/STOP.
2. Select the “Measure number/Index number”
parameter and go to the event you wish to edit.
Make the necessary modifications.
3. When finished, press START/STOP to exit event
edit.
Track
Bar line
Time signature
Measure number/Index number
The index number is the event number within the
measure. By modifying this number you can step from
one event to another within the measure. Index number 0 corresponds to the bar line (i.e. the point that separates two measures) and the time signature of the
measure.
[01…16, TEMPO]
The track you wish to edit.
Time signature
Event filter
To make viewing and searching of the event you wish
to edit easier, you can “filter” the events shown on the
display. While you are in the main page of Event Edit,
press REC/WRITE/LYRICS to access the Event Filter
page. Assign “o” to the type of events you wish to
view, “x” to the type of event that you do not wish to
view. For more information on the various types of
events, refer to the paragraph about this further on.
This indicates the time scanning of the measure, i.e.
the number of movements in which it is divided, and
the scanning unit.
●
This display indicates the end of the track.
●
“Note” events
“Control change” events
“Pitch bend”
events
“Program change”
events
Event
“Aftertouch” events
“Poly Aftertouch“
events
Press REC/WRITE/LYRICS to get back to the Event
Edit page.
118
End of track
Position
Event type
Reference • Song Edit mode
Position
[1:00…8:95]
*2. The pitch bend value is divided into two parts with
two digits each. Use the CURSOR buttons to switch
from one part to the other.
This indicates the position within the measure. The
value is displayed in the form of “quarter:tic” (96 tics
per quarter). If the TIE abbreviation appears, the note
has been tied to the last note in the previous measure.
*3. The LSB values of the MIDI Bank Change message
are 000…127, whereas the MSB value is 0.
“- - -” means that the bank is not transmitted, and
the current bank will remain selected.
*4. The MIDI Polyphonic Key Pressure messages will
be transmitted, but not received.
Event type
Event type
Values
C-1…G9
(note data)
V:002…V:126
(velocity)
0:00…4:00*1
length (beats: tics)
BEND
(pitch bend)
–8192…+8191*2
(upper/lower values)
AFTT
(aftertouch)
000…127
(value)
PROG
(program change)
000…127:
000…127*3
(bank: program
number)
CTRL
(control change)
C000…C127
(control change
number)
000…127
(control number)
PAFT*4
(polyphonic: aftertouch)
C-1…G9
(note number)
000…127
(value)
• You can delete the selected event by pressing the
DEL button. It is not possible, however, to delete
the BAR (bar line) or the End of Track indicator.
• You can insert an event before the selected event by
pressing the INS button. It is not possible, however,
to carry out this operation if you have selected the
bar line (BAR event) of the first measure.
*1. If a note is connected to a note in the next measure,
this writing TIE will be displayed.
119
Reference • Song Edit mode
Page 5: Shift notes (Transposition)
This function shifts (i.e. transposes) the pitch of notes
making them more acute (higher) or more grave
(lower). You can shift all the notes or choose certain
measures.
Track
[Ch01…Ch16, ALL]
Selected track(s). Choose ALL to select all the tracks at
the same time.
Start Measure
[001…999]
The first measure where you wish to shift the pitch of
the notes.
Track
First measure
Last measure
Shift value
1. Move the cursor to the “Track” space using the
CURSOR buttons and choose the track with the
TEMPO/VALUE buttons.
2. Move the cursor to the “First measure” space and
choose the first of the measures you wish to shift.
Move the cursor to the “Last measure” and choose
the last of the measures you wish to shift.
3. Move the cursor to the “Shift value” parameter and
indicate the value in semitones, up to a maximum
of ±24 semitones (±2 octaves).
4. Press ENTER/YES twice to confirm the shift operation.
End measure
[001…999]
The last in the range of measure where you wish to
shift the pitch of the notes.
Sh= (Shift amount)
[–24…+24]
Shift amount in semitones.
+24
+2 octaves.
+00
No effect.
-24
-2 octaves.
Page 6: Erase song
When a song has been loaded in Song Edit, the
remaining memory available for the backing
sequences will decrease, and it may no longer be possible to read a new backing sequence. By erasing the
song you can free some of the memory. Go to this page
and press ENTER/YES twice.
If you do not want to lose the data, save it on disk
before erasing it from memory. Use the Save function
on “Page 13: Save”.
120
Reference • Song Edit mode
Page 7: Edit
In this page, you can select one of the three following
functions: delete measures (DELETE), insert measures
(INSERT), erase data from measure (ERASE). Move
the cursor to the desired function using the CURSOR
buttons, then press ENTER/YES to enter the subpage.
Time signature
Track
DELETE
INSERT
ERASE
7-1. Delete measures
This function deletes measures from the selected track.
The following measures will then be moved back, filling the gap that was created by deleting the other data.
First measure
Number of measures
1. Move the cursor to the “Track” field using the
CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons. Select ALL to insert measures on all tracks at the same time.
2. Move the cursor to the “First measure” field, and
indicate the measure where you wish the insert to
take place. Move the cursor to the “Number of
measures” field, and indicate the number of measures to be inserted. Move the cursor to the “Time
signature” field, and choose the time signature for
the measures you wish to insert.
3. Press ENTER/YES twice to confirm insertion.
Inserting measures with a different time
signature
Track
First measure
Last measure
1. Move the cursor to the “Track” field using the
CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons. Select ALL to delete the
measures from all tracks at the same time.
2. Move the cursor to the “First measure” field, and
choose the first of the measures you wish to delete.
Move the cursor to the “Last measure”, and choose
the last of the measures you wish to delete If you
only wish to delete one measure, assign the same
measure to both the fields.
The change of time signature during playback will
take place if the tempo is =AUT. If measures are
inserted with a different time signature in a track, all
the tracks will have the new time signature. The data
will remain intact however, and the tracks will play
exactly as they did before.
Inserting two measures of time signature = 7/8
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
Tr02
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
3. Press ENTER/YES twice to confirm deletion.
7-2. Insert measures
This function inserts measures into the selected track.
The following measures will be moved forward.
If you assign the value **/** to the “Time signature”
parameter, the new measures will have the same time
signature as the measures that are in the same position
on the other tracks. If the other tracks are still empty,
the time signature of the measure that precedes the
measures to be inserted, will be selected.
121
Reference • Song Edit mode
2. Move the cursor the “First measure” field, and
choose the first of the measures you wish to erase.
Move the cursor to the “Last measure” field, and
choose the last of the measures you wish to erase. If
you only want to erase data from one measure,
assign the same measure to both the fields.
Time signature = **/**
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
7-3. Erase measures
This function erases all or part of the data contained in
the specified measure(s). The measures themselves
will not be erased.
Type of data
Erased data
ALL
All data
NOTE
All note messages
CTRL
All control change messages
AFTT
Channel/polyphonic aftertouch messages
BEND
All pitch bend messages
PROG
All program change messages
3. Press ENTER/YES twice to confirm erasure of data.
Erasing control change messages
Track
First measure
Last measure
Data type
1. Move the cursor to the “Track” field using the
CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons. Choose ALL to erase
data from all the tracks at the same time.
122
The continuous controls (control change, CTRL) can be
made up of an activating and a deactivating part. If
you erase the deactivating part, the control can get
“stuck”. For example, if you erase the deactivating
message of the damper, the pedal will stay open; if you
erase the pitch bend reset message, the track could be
out of tune. Manually erase the activating messages or
insert new deactivating events with the functions of
“Page 4. Event edit”.
Reference • Song Edit mode
Page 8: Effect select
The instrument has two built-in digital effect processors for the sounds produced by the internal tone generator. In this page you can select the effects you wish
to assign to the song and switch them on or off. For
more information, see page 175.
Page 9: Effect modulation
In this page you can connect the effects to one or two
controls, which allow you to dynamically “modulate”
their intensity. For more information, see page 176.
Page 10: Effect placement
In this page you can setup the effects of a song and
program pan and level for channels C and D. Pan and
effects send for the channels must be programmed on
“Page 3: Track parameters”. For more information, see
see page 177.
Page 11: Effect 1 settings
Page 12: Effect 2 settings
These pages contain the effect parameters selected on
“Page 8: Effect select” that will be used for the song.
The settings for the other operative modes are set in
their respective modes.
The parameters contained in these pages will depend
on the effects you have selected. For more information
on programming effects, see page 178.
123
Reference • Song Edit mode
Page 13: Save
In this page you can save the song on disk, in Standard
MIDI File (SMF) format. You can change the name of
the song before saving it. To save the song, when this
page is displayed press ENTER/YES twice.
Format 0
All tracks are mixed in only one
track. The MIDI channel data is kept
for each event.
Format 1
The tracks are saved separately
within the file.
PB (Program bank, Bank Select conversion)
[NUM, KORG, SERI]
This parameter allows you to decide which Bank
Select number must be saved in the SMF.
Filename
Format
Bank Select conversion
NUM
The bank select will not be saved. If
you have used programs from banks
other than A and B (General MIDI
banks), the SMF may playback with
sounds that differ from the original
ones, except for channel 10 which
maintains the standard program
changes.
KORG
The bank select numbers that can be
used with Korg instruments will be
saved. Korg GM compatible instruments will playback perfectly SMF
created with programs from A and B
banks, and will select the correct
drum kits. Some sounds may not play
at all on instruments from other manufacturers.
SERI
The following bank select numbers
will be saved: AB=00,00 banks,
CD=00,01 banks, E=00,02 bank,
F=00,03 bank, Dr=00,04 bank.
For compatibility with the MS-DOS® conventions, the
filename can be up to 8 characters long + 3-character
extension (automatically added). Move the cursor
with the CURSOR buttons and modify the selected
character with the TEMPO/VALUE buttons. Press INS
to insert a character at the cursor location. Press DEL
to delete the character at the cursor location.
Format
[0, 1]
Format of the Standard MIDI File (SMF). In order to
playback the song in the Song Play mode of the i40M,
choose format 0, which will allow loading to take
place more quickly and will occupy no space in memory.
If two or more tracks are using the same MIDI channel
(for example, if you recorded the percussion instruments onto different tracks, but with the same MIDI
channel), it would be better to save the data in format
1 to keep the tracks separate.
124
Reference • Disk/Global mode
10. Disk/Global mode
• “Parameter modified - Write?” message
After having modified some parameters, if you press
the button of another operative mode, the question
“Parameter modified - Write?” will appear in the display.
If you wish to save the changes you have made, press
ENTER/YES twice, otherwise press EXIT/NO. If the
changes are not saved, switching the instrument off
and then on again will reset the original Global values.
The changes will be saved in memory, and kept even
when the instrument is turned off. They will be saved
in the Global file when you perform one of the following operations:
• Save > Save All
• Save > Save Global
Changes will be loaded in memory when you perform
one of the following operations:
• Load > Load Global
• Load > Load All > All
The settings saved in memory will be saved on disk.
Therefore, before saving the Global on disk, you need
to save the Global settings in memory, using the Write
Global function contained in “Page 22: Write Global”
(see page 152).
In order to avoid drastic changes in the instrument
operation when loading data from disk, the Split Point
and Lower Memory Mode parameters will be saved in
memory when you save the Global, but will not be
saved on disk.
You can also access the Write Global function by pressing REC/WRITE/LYRIVS while you are in any other
page in the Disk/Global mode.
125
Reference • Disk/Global mode
Introduction to disks
The i40M can save most of the data contained in memory on a 3,5” DS-DD disk (720KB capacity) or HD
(1,44MB capacity), formatted in MS-DOS® format. A
disk can contain up to 112 files, irrespective of the disk
size. The i40M can format disks, load, save and delete
data.
Inserting a disk
The data is saved in different types of files, each of
which containing a particular kind of data. In order to
distinguish one file from another, each type of file has
an extension of a period followed by three characters.
The following table shows the correspondence
between filename extensions and types of file.
Note: The i40M incorporates a new type of disk drive
and you cannot hear “click” when the disk is inserted into
place.
Type of data
Extension
Size
Arrangement
.ARR
9 KB
Style
.STY
256 KB (max.)
Backing sequence
.BSQ
132 KB (max.)
Standard MIDI File (SMF)
.MID
720 KB (max.)
Program
.PRG
14 KB
Global
.GBL
448 Byte
Arrangement Global
.ARG
79 Byte
Keyboard Set
.KBS
500 Byte
Vocal/Guitar Settings
.HMB
70 Byte
You can view the file extensions with the UTILITY>
Delete function, on “Page 1: DISK functions”
Insert the disk delicately into the disk drive, with the
label facing upwards and the metal part to the front.
Press it in as far as it will go.
Cavity for disk
insertion
Disk activity
indicator
Eject
button
Removing a disk
Before removing a disk, make sure that the disk activity indicator is off. If the led is off, remove the disk by
pressing the eject button.
Warning: Do not remove the disk if the disk activity
indicator is lit up.
Write protection
You can protect a disk from the accidental overwriting
of data, by opening the write protect hole. To protect
the disk from the overwriting of data, slide the protection flap so that the hole becomes visible.
Cavity for disk
insertion
Disk activity
indicator
Eject button
To write-protect the disk: move the
flap and open the hole
126
To write-enable the disk: move
the flap and hide the hole
Reference • Disk/Global mode
Cleaning the heads
your local dealer or your nearest Korg Service Center.
The disk drive read/write heads get dirty with use
and become less accurate. You can clean the heads
with a special cleaning disk, purchasable from any
computer or musical instrument store. Use a 3.5” DS
wet type head cleaning disk; and carefully follow the
instructions included with the cleaning disk.
• Magnetic fields, dirt, humidity and usage can damage data on disk. You can try to recuperate the data
with disk repair utilities for personal computers
(e.g. Norton Utilities or PC Tools). It is however, a
good idea to make a backup copy of data.
Precautions
The disk supplied with the
instrument
• Make a backup copy of the disks, in order not to
lose data forever in case of damage. If you have a
personal computer, you can keep a copy of the data
on its hard disk.
• Do not open the metallic shutter on the disk, and
do not touch the surface of the magnetic media
inside it. If the magnetic media becomes scratched
or soiled, it may cause irreparable damage.
• Do not leave a disk in the disk drive while transporting the instrument: the read/write heads may
scratch the disk and ruin data.
• Keep the disks away from sources that generate
magnetic fields, for example televisions, refrigerators, computers, monitors, speakers and transformers. Magnetic fields can alter the contents of the
disks.
• Do not keep disks in very hot or humid places, do
not expose them to direct sunlight and do not store
them without use in dusty or dirty places.
• Do not place heavy objects on top of the disks.
The i40M is supplied with a disk containing some
demonstrative files: a song, a backing sequence,
Vocal/Guitar settings, Keyboard Set.
The disk also contains a backup copy of the i40M ROM
data, that is non user-modifiable data. They are the
arrangements of the A and B banks, the programs of
the A, B, C, D, and E banks, and the styles of the A and
B banks.
If the i40M is subjected to intense magnetic fields or
sudden voltage changes, this data may be damaged
and it will be necessary to load the again. To load the
ROM data follow this procedure:
1. Hold down the SONG PLAY and DISK/GLOBAL
buttons, and turn the instrument on.
2. Release the buttons as soon as the i40M test display
appears.
3. Press PAGE [+] repeatedly until you get to the Preload page:
MODE
• After use, replace the disks in a case.
• Do not remove the disk or move the instrument
while the disk drive is operating (green led lit up).
VALUE
PAGE
Possible problems
• In exceptional cases, the disk can get stuck in the
disk drive. In order to avoid this happening, you
should only use disks of the best quality. If the disk
does get stuck, do not try to force it out. Contact
4. Press the ARRANG/PROGRAM button to light up
the PROGRAM led.
5. Press the NUMBER [8] button to start loading data.
127
Reference • Disk/Global mode
Page 1: DISK functions
In this page you can select one of the three disk functions: loading (LOAD), saving (SAVE) and utility
(UTIL). Move the cursor to the desired function, then
press ENTER/YES to access its subpages.
1-1. Load all
The Load All function loads all data of a file, or all data
of a particular type contained in a file.
1. Press DISK/GLOBAL.
Load from disk
Save on disk
Utility
2. Select LOAD and press ENTER/YES.
1. Load
The Load function allows you to load data from disk.
You can load all the data that can fit in memory (Load
All), only some data (Load One), only Global data
(Load Global), or only the Keyboard Sets (Load Kbset).
Choose one of the three options and press ENTER/
YES to access the relative subpage.
Load
(KBSET)
(ALL) (ONE) (GLOBAL)
3. Select ALL and press ENTER/YES.
Warning: Loading data can cause erasure of data previously existing in memory. Before loading new data,
make sure that you have a copy on disk of any important
data in memory.
Load Keyboard Set
All data
Load
(KBSET)
(ALL) (ONE) (GLOBAL)
Load all items
Load only one
item
All arrangements
All programs
All backing
sequences
4. Select one of the options and press ENTER/YES to
view the contents of the disk. Only the data that
can be loaded with the selected function will be displayed.
Load Global
ALL
An ALL file contains all the data that can fit in memory. In reality, it is a file that points to other files, which
can even be loaded separately. The ALL files allow you
to load all the data you may need for an entire concert,
in one operation. This operation loads also the Global
data, including the user scales and the two USER
drum kits.
1. Insert the disk.
2. Choose ALL and press ENTER/YES. The ALL filenames contained on disk will appear in the display.
The filename extension will not appear.
128
Reference • Disk/Global mode
3. Choose the desired file with the TEMPO/VALUE
buttons.
4. Press ENTER/YES to load the file (or, press EXIT/
NO to cancel the procedure). If all the data
requested by the ALL file is not found on the disk,
an error message (“Missing some files”) will
appear after loading.
ARR (ARRANGEMENT)
The ARR files contain up to 64 arrangements to be
located in the USER bank. If there are also files with
styles of the same name as the ARR file (but with the
filename extension STY), the USER styles up to a maximum of 16 (USER 11-28 styles) will also be loaded
along with the arrangements.
BSQ (BACKING SEQUENCE)
The BSQ files contain up to 10 backing sequences.
1. Insert the disk.
2. Choose BSQ and press ENTER/YES. The BSQ filenames contained on disk will appear in the display.
The filename extension will not appear.
3. Choose the desired file with the TEMPO/VALUE
buttons.
4. Press ENTER/YES to load the file (or, press EXIT/
NO to cancel the procedure). If all the data
requested by the BSQ file is not found on the disk,
an error message will appear after loading.
1. Insert the disk.
1-2. Load one
2. Select ARR and press ENTER/YES. The display
will show the name of the ARR files contained in
the disk. The file extension will not appear.
The Load One function allows you to load a single element from a file: an arrangement (ARR), a program
(PRG), a backing sequence (BSQ) or a style (STY).
3. Select the desired file with the TEMPO/VALUE
buttons.
1. Press DISK/GLOBAL.
4. Press ENTER/YES to load the file (or, press EXIT/
NO to cancel the procedure). If all the data
requested by the ARR file is not found on the disk,
an error message (“Missing styles”) will appear
after loading.
PRG (PROGRAM)
The PRG files contain 64 programs of the F(USER)
bank and the two Drum programs of USER (Dr 27 e Dr
28) type.
1. Insert the disk.
2. Choose PRG and press ENTER/YES. The PRG filenames contained on disk will appear in the display.
The filename extension will not appear.
2. Select LOAD and press ENTER/YES.
Load
(KBSET)
(ALL) (ONE) (GLOBAL)
3. Select ONE and press ENTER/YES.
3. Choose the desired file with the TEMPO/VALUE
buttons.
4. Press ENTER/YES to load the file (or, press EXIT/
NO to cancel the procedure). If all the data
requested by the PRG file is not found on the disk,
an error message will appear after loading.
Arrangement
Program
Backing
Sequence
Style
4. Select one of the options and press ENTER/YES to
view the disk directory.
129
Reference • Disk/Global mode
ARR (ARRANGEMENT)
This option allows you to load an arrangement from
an arrangement file. If the arrangement uses an USER
style, this style will not be loaded with this command.
To load the missing style, use the Load One Style function.
1. Use the TEMPO/VALUE buttons to choose the
program file from which you wish to load the program.
2. With the CURSOR buttons, move the cursor to the
second field. Use the TEMPO/VALUE buttons to
choose the program you wish to load.
3. With the CURSOR buttons, move the cursor to the
third field. Use the TEMPO/VALUE buttons to
choose the F(USER) or the Dr 27-28 location, where
you wish to load the program. Alternatively, you
can choose the location with the buttons in the
PROGRAM section.
Source file
Arrangement to
be loaded
Target location
1. Use the TEMPO/VALUE buttons to choose the
program file from which you wish to load the program.
2. With the CURSOR buttons, move the cursor to the
second field. Use the TEMPO/VALUE buttons to
choose the program you wish to load.
3. With the CURSOR buttons, move the cursor to the
third field. Use the TEMPO/VALUE buttons to
choose the USER location where you wish to load
the program. Alternatively, you can choose the
location with the buttons in the PROGRAM section.
4. Press ENTER/YES to load the program. (Or press
EXIT/NO to stop loading).
Warning: If the loaded program uses a USER drum kit,
that drum kit will automatically be loaded. In this case,
any previously existing drum kit in memory will be a
overwritten by the new drum kit.
BSQ (BACKING SEQUENCE)
This option allows you to load a backing sequence
from a backing sequence file.
4. Press ENTER/YES to load the program. (Or press
ENTER/NO to stop loading).
PRG (PROGRAM)
Source file
This option allows you to load a program from a program file. If you load a USER Drum program, the relative USER drum kit will be loaded as well.
BS to be loaded
Target location
1. With the TEMPO/VALUE buttons choose the backing sequence file from which you wish to load the
backing sequence.
2. With the CURSOR buttons, move the cursor to the
second field. Use the TEMPO/VALUE buttons to
choose the backing sequence you wish to load.
3. With the CURSOR buttons, move the cursor to the
third field. Use the TEMPO/VALUE buttons to
choose the location where you wish to load the
backing sequence.
Source file
130
Program to be
loaded
Target location
4. Press ENTER/YES to load the backing sequence.
(Or press EXIT/NO to cancel the operation).
Reference • Disk/Global mode
STY (STYLE USER)
1-4. Load keyboard set
This option allows you to load a style from a style file.
There are 16 USER style locations available (U11-U28).
The Load All Keyboard Set function allows to load the
Keyboard Sets. Any Keyboard Sets already in memory
will be deleted.
If you are loading data from a Korg iS40 disk, an error
message (“Missing HMB file”) will appear at the end
of the loading procedure, because the Vocal/Guitar
setup file is missing in the Korg iS40. The loaded data
will work properly, although the setup data of the
Vocal/Guitar section is missing.
Source file
Style to be
loaded
Target location
1. With the TEMPO/VALUE buttons choose the file
from which you wish to load the style.
2. With the CURSOR buttons, move the cursor to the
second field. Use the TEMPO/VALUE buttons to
choose the style you wish to load.
Source file
3. With the CURSOR buttons, move the cursor to the
third field. Use the TEMPO/VALUE buttons to
choose the location where you wish to load the
style.
1. Select the Keyboard Set file you wish to load, using
the TEMPO/VALUE.
4. Press ENTER/YES to load the style. (Or press
EXIT/NO to cancel the operation).
2. Press ENTER/YES to load the file. (Or press EXIT/
NO to cancel the operation).
1-3. Load global
2. Save
The Load Global function allows you to load a Global
file, containing most of the settings of this operative
mode. By loading the Global data, the scale, pedal settings, control settings and MIDI channel settings may
be automatically modified. The Global contains also
the four USER scales and the two USER drum kits.
The Save function allows you to save data on disk. It is
not possible to save single elements in a file; All the
data of a certain type previously existing in memory,
will always be saved in a file
All data
All Keyboard Sets
Save
(ALL)(KBSET)
(ARR)(PRG)(BSQ)(GLB)
Source file
1. Using the TEMPO/VALUE buttons choose the Global file you wish to load.
2. Press ENTER/YES to load the file. (Or press EXIT/
NO to cancel the operation).
All arrangements
All programs
All backing
sequences
The Global
1. Choose a file type and press ENTER/YES to give it
a name.
2. Use the CURSOR buttons to move the cursor to the
character to be changed. Choose a character with
the TEMPO/VALUE buttons. Press INS to insert a
character at the cursor location, DEL to delete the
character at the cursor location. The name can be
up to 8 characters long (capital letters and numbers).
3. Press ENTER/YES to save the file on disk. If a file
with the same name already exists on disk, a mes131
Reference • Disk/Global mode
sage will appear asking you if you wish to proceed
and delete the old file, replacing it with the one you
are saving. Press ENTER/YES to confirm (or EXIT/
NO to cancel the operation).
Warning: If you save a file with the same name as a
file that already exists on disk, the latter will be erased
from the disk.
PRG (PROGRAM)
The PRG option saves a file containing the 64 programs of the F(USER) bank and the two Drum programs set by the user (Dr 27 and Dr 28). The filename
extension (.PRG) will be automatically added.
BSQ (BACKING SEQUENCE)
If the disk is full, the “Disk full” message will appear.
Remove the disk, insert a formatted new disk and
repeat the saving operation.
To format a disk, use the “FORMAT (Format disk)”
function (see page 133).
The BSQ option saves a file containing 10 backing
sequences. The filename extension (.BSQ) will be automatically added.
3. Utility
ALL
The Save All function allows you to save all the data
contained in memory, in only one operation. This function offers you the advantage of automatically saving
all connected data, for example the USER programs
and the USER styles used by a USER arrangement.
This page gives access to the deleting file and formatting disk functions. Move the cursor to the desired
function, then press ENTER/YES to access its subpage.
This function creates an ALL file, and a series of files
that contain single elements (programs, arrangements,
styles, backing sequences, Global data). The single elements used by an ALL file, can also be loaded individually. The filename extension (.KST, .PCG, .ARR, .STY,
.BSQ, .GBL, .ARG) will be automatically added.
Delete data from
disk
Delete USER styles from Format disk
memory
KBSET (KEYBOARD SET)
The KBSET option allows to save all the Keyboard Sets
contained in memory. A file containing the setup of the
VOCAL/GUITAR section will be generated as well.
The filename extension (.KBS) will be automatically
added.
GLB (GLOBAL)
The GLB option saves two files containing the Global
data. The filename extension of the two files (.GBL and
.ARG) will be automatically added.
ARR (ARRANGEMENT)
The ARR option saves a file containing 64 arrangements of the USER bank, and a file that contains the
USER styles, on disk. The style file will automatically
be given the arrangement filename. The filename
extension (.ARR and .STY) will be automatically
added.
132
DEL (Delete file)
This function deletes a file contained on disk.
1. Select the file you wish to delete using the
TEMPO/VALUE buttons.
2. Press ENTER/YES twice, to delete the file. (Or
press EXIT/NO to cancel the operation).
E.STY (Erase style)
This function erases a style or all styles from memory.
Use it when you receive the message “Not enough
memory” when loading an arrangement that makes
use of USER styles loaded from disk.
1. Select the style you wish to erase using the
TEMPO/VALUE buttons. If you wish to erase all
the styles, press TEMPO/VALUE [-] to select the
All option.
2. Press ENTER/YES twice, to erase the style. (Or
press EXIT/NO to cancel the operation).
Reference • Disk/Global mode
FORMAT (Format disk)
New disks must be formatted before they can be used
with the i40M. (It is possible to purchase ready formatted MS-DOS® disks that can be used immediately by
the i40M). The formatting function can also be used to
entirely delete a previously used disk.
1. Insert the disk into the disk drive.
2. Press ENTER/YES. If the disk is empty, the “Format disk?” question will appear. If the disk already
contains data, the question “Disk contains xx files.
Continue?” will appear.
3. Press ENTER/NO to cancel, or ENTER/YES to
confirm.
Compatibility with Korg i30
data
In spite of the differences between the two instruments, the i40M can load data from Korg i30 disks.
You can load Program, Arrangement, Style. There are
however some limitations which are due to the differences between the two instruments. When loading has
been completed, it may be necessary to adjust the
loaded data.
Disk operations that can be used with
Korg i30 disks
• Load All Program, Load All Arrangement
Warning: Formatting will delete all data from disk.
• Load One Program, Load One Arrangement, Load
One Style
Note: Microsoft Windows™ normally formats disks
in MS-DOS® format. Apple Macintosh® can format
disks in MS-DOS format by choosing the command
Initialize disk… > DOS 1,4 MB (or DOS 720KB).
Disk operations that cannot be used
with Korg i30 disks
• Load All Data (Load>All>All), Load All Backing
Sequence
• Load One Backing Sequence
• Load Global
The i30 Songs will not be read (either in the Song Play
or Song Edit mode).
133
Reference • Disk/Global mode
Limitations when loading Programs
• Only the first i30 64 Programs will be loaded (i30
and i40 Programs F11-88).
• Only the first i30 16 Styles will be loaded (C11-18,
C21-28). If you select an Arrangement which uses a
Style with a number higher than C28 in the i30, the
display will show the correct Style number, but
with the InvalidStyle name. The Style will not play.
If you press TEMPO/VALUE [-] the USER Styles
will be selected.
5. Use the TEMPO/VALUE buttons to scroll the list of
directories contained in the disk.
Note: In the i30 disk the directories containing the
files – and not the individual files – will be displayed.
The directories are marked with a star (*) positioned
after the name.
• Since the i30 has four effect processors for the internal tone generation, while the i40M has two, the
effects assigned to the accompaniment tracks in the
i30 will be assigned to all the tracks in the i40M.
Loading data from a Korg i30 disk
Following is the procedure used to load all the programs (Load All Program) from a Korg i30 disk. You
can use the same procedure to load other types of data
(arrangements, styles), selecting a different type of
data.
6. As soon the display shows the directory containing
the file you wish to load, press ENTER/YES to
open the directory.
1. Insert the Korg i30 disk into the disk drive.
2. Press the DISK/GLOBAL button.
7. When the directory has been opened, the “Dir up”
(= Directory up) command will appear. If you press
ENTER/YES, the directory will close and the
higher level in the disk will be accessed.
8. If you wish to choose a file in the directory you
have opened, use the TEMPO/VALUE buttons to
scroll the files contained in the directory.
3. The <LOAD> item is selected by default. Press
ENTER/YES to access the Load page.
Load
(KBSET)
(ALL) (ONE) (GLOBAL)
4. Select the desired Load operation. Always keep in
mind the limitations described in the previous
paragraphs.
134
9. Once you have identified the file containing the
desired Programs, press ENTER/YES twice to load
the Programs contained in the file in memory.
Warning: The new data will erase the data of the
same type which are already contained in the USER
areas. Before loading new data, save the data contained in memory on disk, if you do not have a
backup copy and you do not want to lose it.
Reference • Disk/Global mode
Page 2: Echo Back / MIDI IN Octave
The Echo Back function allows you to connect a digital
piano and create a “muted” keyboard area for the
chord composition for the automatic accompaniment.
Echo Back
In order to use this function, you need to connect the
MIDI OUT connector of the i40M to the MIDI IN connector of the piano, and the MIDI IN 1 or 2 connector
of the i40M to the MIDI OUT connector of the piano.
Select the MIDI IN port used for connecting the piano
to the i40M. “Disable” means that the function is desactivated.
When you activate the function, the i40M will send a
Local Off message through the MIDI OUT, while disconnecting the internal sounds of the piano from the
piano keyboard.
If the function is active when you turn the i40M off,
the Local Off message will be sent to the piano when
turning the instrument on. Therefore you need to turn
on the digital piano first, and then the i40M.
When the Echo Back function is active, when playing
on the piano keyboard, the MIDI messages will be sent
to the MIDI IN connector of the i40M, which will send
them back to the piano.
The Echo Back function is used by the MIDI “Digital
piano 1” and “Digital piano 2” setups (see “Connecting the i40M to a digital piano” on page 48).
[DISABLE, IN 1, IN 2]
Note: When the Echo Back function is active, the i40M
will send a Local Off message over the MIDI OUT connector when you turn the i40M on. Turn on the piano before
turning the i40M on.
Oct (MIDI IN Octave)
[-2…0…+2]
This function will transpose the incoming MIDI notes
by one or more octaves. It is particularly useful to
accordion players to modify the octave in which the
right hand (Upper 1/Upper 2) and left hand (Lower)
notes are received.
L
Lower track transposition.
U1/U2
Upper 1 and Upper 2 track transposition.
Echo Back: DISABLED
Oct: L=+0 U1/U2=+0
135
Reference • Disk/Global mode
Page 3: MIDI Settings
This page will access the Protect and MIDI Setup functions.
PROTECT
[OFF, ON]
Activates/deactivates the protection of the Global
parameters when loading a Global file.
MIDI SETTINGS
(Yes)
<PROTECT>
<SETUP>
OFF
Protection deactivated. The MIDI settings may be modified when loading
a Global file (Load All > All, or Load
Global).
ON
Protects the MIDI settings contained
on pages 4 - 7 in the Disk/Global
mode.
1. Choose the desired function with the CURSOR buttons.
2. Press ENTER/YES to access the function.
3. Program the settings.
MIDI Setup
4. Press EXIT/NO to get back to this page.
The MIDI Setup function allows you to configure the
programming pages of the MIDI and other parameters
with only one command (see table “MIDI Setup” on
page 203). When you select one of the setups, the i40M
will be automatically configured for connection with a
specific type of MIDI controller.
Protect
The Protect function protect the settings in the Disk/
Global mode against loading a Global (.GLB) file. If
protection is active, the Global settings will not be
modified when loading data with the Load All or Load
Global operation.
Warning: The modification of the MIDI settings may
cause the change of the channel assigned to the special
Global, Chord 1, and Chord 2 channel. Therefore it is
possible that the Load All > All or Load Global operation
will stop the communication between the MIDI controller
and the i40M.
PROTECT:OFF
MIDI SETUP (Yes)
Setting:DEFAULT
1. Choose the desired setup using the TEMPO/
VALUE buttons.
2. Press ENTER/YES twice to confirm the selection
and configure the i40M. When finished, you will
automatically get back to the higher level page
(MIDI Settings).
MIDI Setup
[DEFAULT,
PIANO
1,
PIANO
ACCORDION1/2/3, GUITAR]
2,
MASTER
KB,
The name of the selected MIDI Setup indicates the
type of MIDI controller the i40M is connected to. For
the description of the parameters which are automatically configured by the MIDI Setups, see the Appendix
(“MIDI Setup” on page 203).
136
Reference • Disk/Global mode
Page 4: Global MIDI parameters
You can also use “Local Off” to connect the i40M to a
MIDI keyboard and a sequencer, while still using the
i40M even when the computer is off. (See image at the
end of the page).
This page contains the global MIDI settings, such as
the clock and the external generator connection to the
MIDI.
Local control
Clock source
MODE
VALUE
The default setting of parameter is ON.
DISK/GLOBAL
Local:ON
Clock:INT
M.Tune=+00 VelI=Nor
PAGE
ON
The i40M will respond to local controls.
OFF
The internal tone generator of the
i40M will be disconnected from the
arranger and internal sequencer. The
data will be sent to MIDI OUT, but
not to the internal tone generator.
The internal tone generator will only
respond to messages coming from
MIDI IN.
Velocity Input
Master tune
Local (Local control)
[OFF, ON]
Clock (Clock source)
If this parameter is deactivated, the i40M arranger and
sequencer will no longer control the internal sounds,
but will only send the notes out.
[INT, EXT-IN1, EXT-IN2]
The status of this parameter determines how the iM40
will synchronize with other MIDI devices. If you have
selected the EXT-IN1 or EXT-IN2 options, the abbreviation EXT will appear in the display next to the tempo.
Set “Local Off” if you wish to use the i40M automatic
accompaniments and internal sequencer in order to
control only another expander.
MIDI IN 1
MIDI IN 2
MIDI IN
MIDI OUT
MIDI THRU
MIDI OUT
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
KEYBOARD ASSIGN
MEMORY
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
START/STOP
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
PROGRAM BANK B (GENERAL MIDI)
51 - 58 SYNTH SFX
11 - 18 REED
61 - 68 ETHNIC
21 - 28 PIPE
71 - 78 PERCUSSIVE
31 - 38 SYNTH LEAD
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
BANK
NUMBER
VDA
VELOCITY
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
C
Interactive Music Workstation
iS40
137
Reference • Disk/Global mode
When the power is turned on, this parameter is automatically set to INT.
INT
The i40M uses the tempo generated
by its own metronome. MIDI OUT
will transmit MIDI Clock messages, to
which other devices can synchronize.
EXT-IN1
The i40M will synchronize to incoming MIDI Clock messages to MIDI IN
1.The Start/Stop message can only
be given by an external device which
is controlling the i40M. The i40M
responds to Start, Stop, Continue,
Song Select, Song Position Pointer
messages.
EXT-IN2
As for the EXT-IN1 option, the messages however, will be received
through the MIDI IN 2 connector.
Note: In the Song Play mode, synchronism is always set
on INT, regardless of the status of this parameter.
138
Master Tune
[–50…+50]
Overall pitch of the instrument. You can raise or lower
the tuning in one cent steps (100th of semitone), up to
a maximum of 50 cents (1/2 semitone). This parameter
has no effect on the pitch of a MIDI device connected
to the i40M.
Velocity Input
[Nor, 0…127]
The status of this parameter determines how i40M will
receive velocity data. This is very useful when using
keyboards that do not transmit velocity data, for
example MIDI accordions.
Nor
Normal. Notes are played back with
the same velocity they are received
from the MIDI.
0-127
Fixed velocity. Notes are played back
with the specified value.
Reference • Disk/Global mode
Page 5: MIDI channel settings (1)
The fist of the pages dedicated to the programming of
the arrangement MIDI channels.
Global
• In the Backing Sequence mode the Upper 1 track
always transmits on the same channel as the Global.
• In the Program mode, the i40M transmits and
receives on the Global channel.
MIDI CHANNEL GLB=01
LOW=01 UP2=01 UP1=01
Lower
Upper 2
Upper 1
• When you purchase the instrument, the Global is
programmed on the MIDI 1 channel. This setting
can be modified and saved in memory in the Global.
UP1 (Upper 1)
[01…16]
GLB (Global)
In Arrangement Play mode: MIDI channel of the
Upper 1 track.
[01…16]
Global MIDI channel. This can be assigned to one of
the sixteen standard MIDI channels.
Note: In the pages used to program the MIDI parameters and channels, the channel which corresponds to the
Global channel is always followed by the letter “G”. For
example, if the Global channel is assigned to channel 1,
the channel will appear as “01G” in the various pages.
• System Exclusive messages will be received on the
Global channel.
• In the Arrangement Play and Backing Sequence
modes, the MIDI messages received on this channel
will simulate an integrated keyboard in the i40M.
Program a keyboard connected to the i40M to
transmit on the Global channel of the i40M.
In the Backing Sequence mode this parameter will be
ignored, as reception and transmission of the Upper 1
track always take place on the Global channel.
UP2 (Upper 2)
[01…16]
MIDI channel of the Upper 2 track.
LOW (Lower)
[01…16]
MIDI channel of the Lower track.
Page 6: MIDI channel settings (2)
The second page dedicated to the programming of the
arrangement MIDI channels.
Drum
Percussion
Bass
DRM/PER/BAS/AC1/AC2/AC3
[01…16]
MIDI channels of the accompaniment tracks. Channels
10-15 are usually assigned channels to these tracks.
Accomp. 1
Accomp. 2
Accomp. 3
139
Reference • Disk/Global mode
Page 7: MIDI channel settings (3)
The third page dedicated to the programming of
arrangement MIDI channels.
Chords 1
CHORD1=03
KBSET=01
Keyboard Set
Chords 2
CHORD2=04
ARRANG=01
Arrangement
CHORD 2
[--, 01-16]
Used for the receiving of chords from an external
device (particularly a MIDI accordion or pedal controls). The notes received on this channel are redirected to the chord recognition engine, and mixed with
the notes received on the Global and Chord 1 channels. When using a MIDI accordion, it would be better
to assign it to MIDI 2, this being the channel that is
usually dedicated to the bass part.
To deactivate this parameter choose the “--” option.
CHORD 1
KBSET (Keyboard Set)
[--, 01-16]
[--, 01-16]
Used for receiving chords from an external device
(master keyboard, sequencer, MIDI accordion). The
notes received on this channel are redirected to the
chord recognition engine, and mixed with the notes
received on the Global and Chord 2 channels.
Used for receiving program change messages for the
selection of Keyboard Sets. To deactivate this parameter choose the “--” option.
When using a MIDI accordion it would be better to
assign it to MIDI channel 3, this being the channel that
is usually dedicated to the chords part. If you use a
master keyboard to simulate an integrated keyboard
in the i40M, choose the same channel that is assigned
to Global.
To deactivate this parameter choose the “--” option.
140
ARNG (Arrangement)
[--, 01-16]
Used for receiving program change messages for the
selection of arrangements. To deactivate this parameter choose the “--” option.
Reference • Disk/Global mode
Page 8: MIDI filter
This page contains a series of MIDI filters, to be used
to restrict transmission and reception of some kinds of
MIDI events. For example, events like aftertouch use
up a great deal of memory and make the songs too
large, therefore you can choose to “filter” them whilst
recording.
Note: The data that has already been recorded in a
backing sequence or an accompaniment track of the
arrangement, will always be transmitted (whatever the
status of this parameter is).
will be transmitted as [MSB 0, LSB 0].
The other banks will be transmitted
normally.
AF (Aftertouch)
[x, o]
Aftertouch message filter.
o
Aftertouch messages will be transmitted and received normally.
x
Messages will be neither transmitted, nor received.
FCT (Control change)
[x, o]
Program change
Aftertouch
Control change
System Exclusive
PR (Program change)
Control change message filter.
o
Control change messages will be
transmitted and received normally.
x
Messages will be neither transmitted, nor received.
[x, o, n, s]
Program change and bank select message filter.
o
Messages will be transmitted and
received normally.
x
Messages will be neither transmitted, nor received.
n
Program change messages will be
transmitted, but the bank select messages will not.
s
Program change messages will be
transmitted and received. Program
banks A and B will be transmitted as
[MSB 0, LSB 0], and the DRUM bank
EX (System Exclusive)
[x, o]
System Exclusive message filter, used to transfer programming data via MIDI, for example programs,
arrangements, styles, and editing commands for the
Arrangement Play and Backing Sequence modes.
o
System exclusive messages will be
transmitted and received normally.
x
Messages will be neither transmitted, nor received.
141
Reference • Disk/Global mode
Page 9: Arrangement Harmony
This page allows you to choose the harmonization
channel in the VOCAL/GUITAR section for the
Arrangement Play mode.
MIDI channel
ARR HARMONY
Ch=01
Oct=+01 Rng=C2 ->B3
Oct
[-3…0…+3]
Transposition octave of the harmonization notes. For
example, if you are playing the chords with your left
hand, below the split point, and you must harmonize a
female voice, you can choose a positive value (two or
three octaves) to bring the chords to the sing height.
Rng (Range)
[C-1…G9]
Octave
Chord detection area
Ch (Channel)
Lowest and highest note in the chord detection area
for harmonization in the VOCAL/GUITAR section.
This area may not coincide with the chord detection
area for the arrangement (see “Tempo and chord scanning” on page 56).
[01…16]
MIDI channel on which the harmonization notes are
received.
Page 10: Backing Sequence Harmony
This page allows you to choose the track of the harmonization chord in the VOCAL/GUITAR section for the
Backing Sequence mode.
BSEQ HARMONY
Track=ETr8
142
Track
[OFF, DRUM, PERC, BASS, ACC1…3, UP1, LOW/UP2,
ETr1…8]
Track of the harmonization chord. The chord may be
generated by a recorded track or a part played in real
time (e.g. by choosing UP1 and playing on a keyboard
connected through the Global channel).
The LOW/UP2 track is normally selected. This track
allows you to play the harmonization chords with
your left hand.
Reference • Disk/Global mode
Page 11: Song Play Harmony
This page allows you to choose the harmonization
channel in the VOCAL/HARMONY section for the
Song Play mode. It is the same as “Page 9: Song Play
Harmony” in the Song Play mode, but the parameters
of this page will be saved in the Global (while they will
not in Song Play mode).
SONG PLAY HARMONY
Ch=MIDI IN Ch01
Ch (Channel)
[OFF, MIDI IN Ch01…16, Song Ch01…16]
Song channel or track from which the harmonization
notes come.
OFF:
Harmonization deactivated.
MIDI IN Ch01…16:
MIDI channel. Notes are received
through MIDI IN.
Song Ch01…16:
Song track. The notes are the ones
recorded in the indicated song track.
The notes received via MIDI will not
be recognized.
TG (Tone Generator)
SONG PLAY HARMONY
Ch=Song Ch01 TG=ON
[ON/OFF]
This parameter will appear only when a Song track is
selected (Song Ch01…16).
ON
Notes are also sent to the internal
tone generator and played by the
selected track.
OFF
Notes are sent only to the harmonization and not played by the selected
track.
Page 12: Assignable pedal/switch
You can connect a footswitch or an expression pedal to
the ASSIGNABLE PEDAL jack. The function of this
pedal can be programmed in this page.
ASSIGNABLE PEDAL
While this parameter is selected, you can select the
function by pressing the corresponding button on the
control panel.
Assignable footswitch functions.
The i40M is compatible with a number of pedal models. We recommend using a Korg PS-1 or PS-2 pedal
switch, and a Korg XVP-10 or EXP-2 expression pedal.
Function assigned to the pedal
[OFF, START/STOP…DATA ENTRY]
Option
Function
OFF
None
START/STOP
Same as the START/STOP button
SYNC START
Same as the SYNCHRO START button
SYNC STOP
Same as the SYNCHRO STOP button
RESET
Same as the RESET button
TAP TEMPO
Same as the TAP TEMPO button
TEMP LOCK
Same as the TEMPO LOCK button
INTRO/ENDING 1
Same as the INTRO/ENDING [1] button
INTRO/ENDING 2
Same as the INTRO/ENDING [2] button
143
Reference • Disk/Global mode
Option
Option
Function
Function
FILL 1
Same as the FILL [1] button
FILL 2
Same as the FILL [2] button
VARIATION 1
Same as the VARIATION [1] button
VARIATION 2
Same as the VARIATION [2] button
VARIATION 3
Same as the VARIATION [3] button
VARIATION 4
Same as the VARIATION [4] button
CHORD HOLD
Same as the MEMORY-CHORD button
BASS INVERSION
Same as the BASS INV. button
SCALE CHANGE
Main Scale/Sub Scale switch
ARR/STYLE UP
Selects the next arrangement or style*
KEYBOARD VOLUME
Volume of the selected program/track
ARR/STYLE DOWN
Selects the previous arrangement or
style*
MASTER VOLUME
General volume of the i40M
PROGRAM UP
Selects the next program
EXPRESSION
Relative volume of the selected program/
track
PROGRAM DOWN
Selects the previous program
VDF CUTOFF
VDF cutoff frequency (brightness)
KEYB SET UP
Selects the next Keyboard Set
EFFECT CONTROL
Effect real time modulation
KEYB SET DOWN
Selects the previous Keyboard Set
DATA ENTRY
Value of the selected function
VARIATION UP
Selects the next variation
VARIATION DOWN
Selects the previous variation
A/B FADER
Repeats the function of the A/B knob in
the VOCAL/GUITAR section
PUNCH IN/OUT
Punch-in recording switch
EFFECT 1 ON/OFF
Effect 1 activation/deactivation
EFFECT 2 ON/OFF
Effect 2 activation/deactivation
DRUM MUTE
Mutes the Drum track
PERC MUTE
Mutes the Percussion track
BASS MUTE
Mutes the Bass track
ACC1 MUTE
Mutes the Acc.1 track
ACC2 MUTE
Mutes the Acc.2 track
ACC3 MUTE
Mutes the Acc.3 track
ACC1-3 MUTE
Mutes the Acc.1-3 tracks
MEMORY-LOW
Same as the MEMORY-LOWER button
SUSTAIN ON/OFF
Same as the SUSTAIN button
FADE IN/OUT
Same as the FADE IN/OUT button
ENSEMBLE ON/
OFF
Same as the ENSEMBLE button
C SWITCH
Repeats the function of the C button in
the VOCAL/GUITAR section
QUARTER TONE
Quarter tone setting**
DAMPER ON/OFF
Damper pedal function
CHORD LATCH ON/
OFF
Chord Latch makes the chord scanning
function hold the current chord, until the
pedal is released.***
144
LOW/UP1/UP2
MUTE
Mutes the Upper 1, Upper 2 and Lower
tracks, to allow the MIDI guitar to send
the chords for the automatic accompaniment.
On when you hold down the pedal. Off
when you release it.
Assignable expression pedal functions
Option
*
Function
In the Arrangement Play or Backing Sequence
mode pages where it is possible to select arrangements or styles.
** The i40M can detune single notes by a quarter tone
(50 cents), particularly for use in Middle Eastern
music. In order to program this, you need to use a
pedal with open-type polarity, such as the Korg PS1 or the Korg PS-2 connected through its right jack.
See the next paragraph, “Setting quarter tones”.
Setting quarter tones
You can program an Arab scale in realtime, by assigning a footswitch or an EC5 pedal the “Quarter tone”
function. The selected scale must be the Main Scale
(this function has no effect on the Sub Scale).
When you modify one note it reflects on all the notes
with the same name in the other octaves (for example,
if C4 is modified, C3, C5, etc. will also be modified).
In the Backing Sequence mode, quarter tones only
work on the real time tracks (both on the recorded
notes, and the notes received by MIDI IN).
To lower a note by a quarter tone: Keep the pedal
pressed, then press the MEMORY-CHORD button.
While the MEMORY-CHORD led is off, play the note
you wish to lower by a quarter tone. Release the pedal.
Reference • Disk/Global mode
To raise a note by a quarter tone: Keep the pedal
pressed, then press the MEMORY-CHORD button.
While the MEMORY-CHORD led is lit up, play the
note you wish to raise. Release the pedal.
To cancel the quarter tone setting: Simply press and
release the pedal. At this point, press and then immediately release the pedal. Another way to do this
would be to assign a different option to the “Assignable pedal” setting. The setting will be canceled when
the instrument is turned off.
Page 13: EC5 external controller
You can connect the Korg EC5 external controller to
the EC5 jack. This versatile controller includes five
completely programmable pedals, which make live
controlling of the i40M easier.
Pedal
[A…E]
Selects the one of the five EC5 pedals you wish to program. The EC5 pedals are marked by the letters A, B,
C, D, E. While the parameter is selected, you can
choose the pedal you wish to program by pressing it
directly.
Function
Pedal
Function assigned to the pedal
[OFF, START/STOP…CHORD LATCH]
Function assignable to the selected pedal. The functions are the same as those assignable to the ASSIGNABLE PEDAL setting (see “Page 12: Assignable pedal/
switch”). While the parameter is selected, you can
choose the function by pressing the equivalent button
on the control panel.
145
Reference • Disk/Global mode
Page 14: Lower memory
Chord 2 channels. Notes played
through the channel of the Lower
track will not be held.
In this page you can program the functioning of the
MEMORY-LOW/HAR button.
Lower Memory
See also “Page 7: MIDI channel settings (3)” on page 140.
HARMONY
Lower Memory:ACTUAL
Mode:LOWER+HARMONY
Notes played through the Harmony
channel of the current operative
mode (Arrangement Play, Backing
Sequence or Song Play).
See also “Page 9: Arrangement Harmony” on page 142, “Page 11:
Song Play Harmony” on page 143,
“Page 11: Song Play Harmony” on
page 143.
Lower Memory
[ACTUAL, AUTO, BASS]
LOWER+HARM.
Combination of the two previous
options.
Functioning of the MEMORY-LOW/HAR button.
ACTUAL
Chords are reproduced exactly as
they are played.
AUTO
This option completes the chords that
are played with some missing notes
(i.e. without the fifth).
BASS
While
the
accompaniment
is
stopped, the chord root will be held
and sounded by the Bass track.
Mode
[LOWER, HARMONY, LOWER+HARMONY]
Part whose note you wish to hold.
LOWER
146
Notes of the Lower part played
through the Global, Chord 1 and
Note: Since Intro 1 and Ending 1 use a particular
chord progression, which can vary from arrangement
to arrangement, Lower Memory will be automatically
switched off to prevent unnatural sounding results.
Note: In the Backing Sequence mode, the notes held
by the Lower Memory function will be recorded as
normal Note events. Lower Memory will not function
during playback.
Note: This parameter will be saved in memory when
saving the Global, but will not saved on disk. When
loading data from disk, the status of the parameter
will remain unchanged.
Reference • Disk/Global mode
Page 15: Chord recognition mode
This is the mode in which the chords for the automatic
accompaniment will be recognized when the button
selected in the CHORD SCANNLING section is
LOWER.
If Chord Scanning is set on UPPER or FULL, the chord
recognition mode will always be Fingered 2.
Chord Scanning
FULL
FINGERED2
Chord recognition mode
ChordRecog:Fingered1
Trig:ON
Chord Scanning
Chord Scanning
If Chord Scanning is set on LOWER,
you only have to play one note
below the split point to obtain a
major chord. If Chord Scanning is set
on UPPER you need to play three or
more notes above the split point for
the chord to be recognized. If Chord
Scanning is FULL you need to play
three or more notes along the entire
keyboard for a chord to be recognized.
Chord recognition
LOWER
One or more notes below the split
point
UPPER
Three or more notes above the split
point
In order for a chord to be recognized, three or more notes must be
played in the chord recognition area
established by Chord Scanning setting.
Chord recognition
Three or more notes below the split
point
UPPER
Three or more notes above the split
point
FULL
Three or more notes along the entire
keyboard
ONE FINGER
[FINGERED1, FINGERED2, ONE FINGER]
FINGERED1
Three or more notes along the entire
keyboard
LOWER
Trigger
ChordRecog (Chord recognition mode)
Chord recognition
If only one note is played (e.g. C3),
this note will be recognized as the
root of a major chord. If along with
the root, you play the first white key
below the root (e.g. C3 and B2), a
seventh chord will be recognized. If,
along with the root, the first black key
is played below the root (e.g. C3 and
Bb2), a minor chord will be recognized.
Trig (Trigger)
[ON/OFF]
If the Trigger parameter is set on ON, you can change
the chord by raising one or more notes of the previous
chord, without playing the chord again.
For example, you are playing a C7th chord (C, E, G, B
flat) and the arranger recognizes C7th. If you raise the
B flat, a C major (C, E, G) chord will be composed and
the arranger will recognize a C Major.
147
Reference • Disk/Global mode
Page 16: Auto chord scanning/Damper polarity
In this page, you can program the Automatic-Chord
Scanning and the Damper pedal polarity.
Auto chord scanning
Automatically selected Chord
Scanning
Keyboard Mode
SPLIT
LOWER
MANUAL DRUM
--
Damper polarity
[REVERSE (+), KORG (–)]
Damper polarity
Auto chord scanning
[ON, OFF]
If this parameter is set on ON, the Chord Scanning
changes automatically when you select a Keyboard
Mode.
Keyboard Mode
FULL UPPER
148
Automatically selected Chord
Scanning
FULL
It is possible to connect a footswitch to the DAMPER
connector to activate the Damper or Sustain function
and produce a similar effect of a right-most pedal on
an acoustic piano. The pedals that are readily available
on the market, can have different polarities. If you
own a Korg PS-2 pedal, you should program its right
jack as KORG (–) and the left jack as REVERSE (+).
KORG(–)
For pedals with normally open polarity. Choose this option to connect the
Korg DS-1 and PS-1 footswitches.
REVERSE(+)
For pedals with normally closed
polarity. Choose this option to connect the Korg DS-2 footswitch.
Reference • Disk/Global mode
Page 17: Main scale
Page 18: Sub scale
These pages allow you to select a Main Scale (or temperament), or Sub Scale for the instrument. It is possible to switch from the Main Scale to the Sub Scale with
a footswitch, the EC5 external controller, or via MIDI.
Scale type
Root key
Scale type
[EQUAL TEMP…USER SCALE 4]
The scales that you can select for the Main Scale and
the Sub Scale are the same.
EQUAL TEMP.
Equal temperament. This scale is normally used nowadays, in traditional
Western music. Consists of 12 absolutely identical semitones.
WERCKMEISTER
Late baroque/classical scale.
KIRNBERGER
18th century harpsichord scale.
SLENDRO
Indonesian gamelan scale. The
octave is divided into 5 notes (C, D,
F, G, A). The remaining notes will
play equal temperament notes.
PELOG
Indonesian scale. The octave is
divided into 7 notes (all the white
keys, if the key parameter is assigned
to C tonic). The black keys will play
equal temperament.
USER SCALE 1…4
One of the 4 scales that you create
on “Page 19: User scale”.
Note: When a scale other than Equal Temperament
or Equal Temperament 2 is selected, the TRANSPOSE
buttons may cause undesired chords to be recognized.
Key (Tonic)
[C…B]
EQUAL TEMP. 2
The same as the previous setting, but
with some irregularities in pitch, consenting a more realistic imitation of
acoustic instruments.
This parameter selects the key for the scales where it is
necessary to indicate the key as well.
PURE MAJOR
The major chords of the selected key
will be perfectly tuned.
PURE MINOR
The minor chords of the selected key
will be perfectly tuned.
Switching from the Main Scale to the
Sub Scale and vice versa
ARABIC
Arabic scale, with quarter tones. The
Key parameter should be set to C for
“rast C/bayati D”, to D for “rast D/
bayati E”, to F for “rast F/bayati G”,
to G for “rast G/bayati A”, to A# for
“rast B b/bayati C”.
PYTHAGOREAN
Pythagorean scale, based on ancient
Greek theory. It is suitable for playing melodies.
You can switch between the Main Scale and the Sub
Scale with a footswitch or an EC5 external controller.
Assign the SCALE CHANGE value to the setting on
“Page 12: Assignable pedal/switch” (for the footswitch) or “Page 13: EC5 external controller” (for the
EC5).
You can select the scale MIDI, through the Control
Change 04 message. Values 0–63 select the Main Scale,
values 64–127 select the Sub Scale.
149
Reference • Disk/Global mode
Page 19: User scale
You can create four personalized scales, that you can
use by assigning the USER SCALE value to the “Page
17: Main scale” setting. You can use the User Scale as a
sub scale, assigning one of the USER SCALE values to
the “Page 18: Sub scale” setting.
User Scale
[USER SCALE 1...4]
One of the four USER scales.
Scale to be programmed
Note
[C…B]
The note you wish to modify. The modifications apply
to this note on all the octaves.
Note
Tuning
Tuning
[–50…+50]
Tuning of the selected note, in 1 cent steps (1 cent = 1/
100 of a semitone). Tuning can be changed by max. a
quarter tone above (+50) or below (-50) the standard
tuning.
Page20: MIDI data dump
The MIDI Data Dump is the sending of internal data of
the i40M to another MIDI device. In this page, you can
transmit and receive System Exclusive data.
2. Select the type of data you wish to send and press
ENTER/YES.
3. Write down the MIDI Global channel, which
should be the same when you wish to newly
receive the data from the external device (see “Page
5: MIDI channel settings (1)”).
To receive System Exclusive data.
Data type
1. Program the MIDI Global channel on the channel
where data has been sent. (see “Page 5: MIDI channel settings (1)”).
To transmit System Exclusive data:
2. Set the System Exclusive message filter on “o”. (see
“Page 8: MIDI filter”).
1. Set the System Exclusive message filter on “o”. (see
“Page 8: MIDI filter”).
3. Move to this page and start transmitting from the
external device.
150
Reference • Disk/Global mode
Data type
Data type
Size (in KB)
[GLOBAL…KEYBOARD SET]
GLOBAL
All Global parameters, except for
Local Control and Clock Source.
Transmission
time (in seconds)
Global
0.3
<1
Arrangement
12
4
ARRANGEMENT
The 64 USER arrangements.
Backing sequence
2,6-186
1-60
B.SEQUENCE
The 10 backing sequences.
Style U11-U14
5-74
2-25
PROGRAM
The 64 USER programs, the 2 USER
Drum programs, the 2 USER drum
kits.
Style U15-U18
5-74
2-25
Style U21-U24
5-74
2-25
Style U25-U28
5-74
2-25
STYLE
Block of 4 USER styles.
Data type
Program
Size (in KB)
15
Transmission
time (in seconds)
5
Page 21: Joystick settings
Setting the joystick for pitch bend control. Many master keyboards and keyboards are provided with this
device.
track pitch, provided that the program setting does not turn it off.
DIS
The joystick will be deactivated on
Upper 1 track.
LOW/UP2 (Lower/Upper 2 track)
[PRG, DIS]
Lower/Upper 2
PRG
The joystick will activate the Upper
2/Lower track pitch bend, provided
that the program setting does not
turn off.
DIS
The joystick will be deactivated for
the Upper2/Lower track.
Upper 1
UP1 (Upper 1 track)
[PRG, DIS]
PRG
The joystick will activate Upper 1
151
Reference • Disk/Global mode
Page 22: Write Global
The Write Global function permits you to save all of
the Global settings in memory, and the split point.
You can reach this page by pushing the REC/WRITE/
LYRICS button when you are in any other page of the
Disk/Global mode.
1. Go to this page.
2. Press ENTER/YES twice to save the Global settings
in memory. Otherwise press EXIT/NO to cancel
this operation.
“Parameter modified - Write?”
If you modify something in the Disk/Global mode,
and push a button in the MODE section to pass to
another operating mode, the message “Parameter
modified - Write?” Press ENTER/YES if you want to
save the modifications in Global, or EXIT/NO if you
do not want to save the modifications.
Page 23: Assignable pedal/footswitch calibration
The depth of an effect controlled by a pedal or a footswitch will depend on the model of the pedal or footswitch. If you change pedal, the effect might not be
able to reach maximum intensity, or shut off completely. If this is the case you need to calibrate the
pedal.
1. Connect the pedal or footswitch to the ASSIGNABLE PEDAL/SW connector.
2. In order to calibrate the pedal, press the pedal
down as far as it will go, then raise it completely.
3. Press ENTER/YES.
4. If adjustment has been performed correctly, the
“Are you sure?” message will appear in the display.
Press ENTER/YES again to confirm. The message
“Completed” will appear in the display.
If adjustment hasn’t been performed correctly, the
message “Invalid Data” will appear instead. Repeat
the calibration procedure.
152
Reference • Program mode
11. Program mode
*
If you set Oscillator Type to DOUBLE (double oscillator program) in “Page 2: Oscillator basic/Oscillator 2 relative”, these pages will display either the
oscillator 1 or oscillator 2 parameters. Switch
between oscillators 1 and 2 by pressing the VARIATION buttons [1] and [2].
How to recover lost changes
If you accidentally select a different program without
writing your edits, you can press the TEMPO button
(if you have not yet edited the selected program) to
bring back the previous program. (Only the sound will
be brought back, and the program number will not
change.)
Page 1: Program play
In Page 1 of Program mode you can select the Program
that will be played. You can also use the Performance
Edit settings that are shown in this page to perform
simple editing.
Press the PROGRAM button to enter Program mode,
and the following display will appear.
Program
Select the program using the buttons in the PROGRAM/ARRANG section (see “Changing the sounds
of the real time tracks” a pagina 30). Press PROGRAM/ARRANG to light up the PROGRAM led.
Select a bank first (A, B, C, D, E, F-USER/DRUM), then
enter a two-digit number, using the number buttons. If
the program is in the same bank, you only need to
select the two-digit number.
In order to select a Drum program (Dr11–28), press the
F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then
select a two-digit number with the number buttons.
Transposition/Octave
You can also select programs using an optional footswitch or an EC5 external controller pedal. For details
refer to Disk/Global mode “Page 12: Assignable
pedal/switch” or “Page 13: EC5 external controller”.
When you select a program, a MIDI program change
message will also be transmitted.
Program
XPOSE (Transpose)
[A11…E88, F11…F88, Dr11…Dr28]
The internal memory of the i40M contains seven banks
of Programs, as follows.
Number of
programs
Bank
Contents
A
64
GM programs 1–64 (ROM)
B
64
GM programs 65–128 (ROM)
C, D, E
64 × 3
i40M preset programs (ROM)
F
64
User programs (RAM)
16
Drum programs (ROM: Dr11–26,
RAM: Dr27–28)
Dr
[–11…+11]
When you need to transpose (shift the pitch), use the
TRANSPOSE buttons to set the Transpose setting of
each program. The pitch can be transposed in semitone steps over a range of 11 steps up or down.
Octave
[–2…+2]
Use the OCTAVE buttons to set the Octave of each program. With a setting of 0, the program will sound at its
standard pitch. The pitch can be shifted in steps of an
octave, over a range of 2 octaves up or down.
153
Reference • Program mode
Performance Edit
responding to the button that was pressed. You can
save the modified program in a F(USER) location, by
pressing REC/WRITE to go to “Page 23: Write program”.
By pressing one of the VOLUME buttons in Page 1,
you can perform the Performance Edit operation cor-
VOLUME
DRUMS
PERC
BASS
ACC1
ACC2
ACC3
LOW/UPP2
UPP1
PROGRAM
MUTE
Vibrato intensity
Makes the sound brighter or mellower
VIBRATO
INT.
VDF
CUTOFF
VDF EG
INT.
ATTACK
TIME
RELEASE
TIME
VDA
LEVEL
VELOCITY EFFECT
SENS. BALANCE
Effects intensity
Modifies the sound quality during time
Changes the attack time
Makes the sound disappear faster or more
slowly, after a key has been released
Performance edit
[–10…+10/–3…+3]
The Performance Edit function of the i40M allows you
to make adjustments to the most important program
parameters, without having to bother with detailed
editing. This is a convenient way of modifying program parameters during a rehearsal or live performance.
Program
Keyboard touch responsiveness
Program volume
OSC Octave adjusts the Octave parameter (☞P. 156)
of both oscillators, modifying the octave of the program that will sound. This allows 1 octave of change in
one-octave steps.
VDF Cutoff modifies the VDF Cutoff parameter
(☞P. 159) of both oscillators, modifying the tone of the
program. Each step will change the parameter value 5
steps.
VDF EG Intensity modifies the VDF EG Intensity
parameter (☞P. 159) of both oscillators, adjusting the
way in which the tone of the program changes over
time. Each step will change the parameter value 3
steps.
Attack Time modifies the VDA Attack Time parameter
(☞P. 164) of both oscillators, adjusting the attack
length of the program. Each step will change the
parameter value 5 steps.
Performance Edit parameters
When you press the upper or lower PROGRAM/VOLUME button, the corresponding Performance Edit
parameter will be displayed (always with a value of
+00), and you can press either button to modify the
value.
Performance Edit settings are made with a value of –
10–+10. This editing adjusts the effect of the corresponding program parameter. However, be aware that
this setting does not change the value of the program
parameter itself, but is only an adjustment that is relative to that setting. When you modify a Performance
Edit parameter, one or more parameters for each oscillator will be affected (except for Dry:Effect Balance).
If the original parameter value is already at its maximum or minimum value, changing the Performance
Edit value will have no effect.
Vibrato Intensity modifies the Vibrato Intensity
parameter (☞P. 168), adjusting the vibrato.
154
Release Time modifies the VDF and VDA Release
Time parameters (☞P. 158) of both oscillators, adjusting the release length of the program. Each step will
change the parameter value 5 steps.
VDA Level modifies the VDA Level parameter
(☞P. 156) of both oscillators, adjusting the overall volume of the entire program. Each step will change the
parameter value 5 steps.
Velocity Sensitivity modifies the way in which
changes in keyboard playing dynamics will affect the
sound. The EG Intensity parameter (☞P. 163) for VDF
Velocity Sensitivity and the VDA Velocity Sensitivity
parameter (☞P. 167) for VDA Velocity Sensitivity will
be modified for both oscillators. Each step will change
the parameter value 5 steps.
DRY:FX Balance modifies the Balance parameter
between effects 1 and 2, adjusting the balance between
the “dry” sound of the program (unprocessed by the
effect) and the “wet” sound processed by the effect.
Each step will change the parameter value 5 steps.
Reference • Program mode
Page 2: Oscillator basic/Oscillator 2 relative
Here you can select the basic oscillator type: i.e.,
whether the program will use one or two oscillators, or
a drum kit. You can also specify whether the sound of
the program will be maintained even after a Note-off
message is received, and whether the program will
sound monophonically or polyphonically.
Oscillator type
Assign
Hold
Hold
[HOLD, NORM]
This specifies whether or not a note sounded by the
program will stop when you release the i40M’s keyboard or when a Note-off message is received.
HOLD causes the sound to continue sounding even
after the note is released. This is convenient when
playing drum sounds. For other types of program you
will usually set this parameter to NORM.
Even with a setting of NORM, the sound will continue
playing forever if the VDA EG Sustain Level parameter (☞P. 165) is set to a value other than 0.
OSC2 transpose
OSC2 delay
OSC2 detune
Iv (OSC2 Interval)
[–12…+12]
Oscillator type
[SINGLE, DOUBLE, DRUMS]
This parameter determines the basic structure of the
program.
SINGLE (single oscillator program) will cause the program to use only one oscillator. Maximum polyphony
will be 32 notes.
DOUBLE (double oscillator program) will cause the
program to use two oscillators. This allows more complex sounds to be created, but the maximum polyphony will be limited to 16 notes.
DRUMS (drum program) will assign a drum kit
(instead of a multisample) to the program. (For details
refer to the explanation for the Multisample/Drum Kit
parameter which follows later.)
Assign
[MONO, POLY]
This specifies the number of simultaneous notes that
the program will sound in response to Note messages
received on one MIDI channel.
MONO will cause the program to sound only one note
at a time.
POLY will allow the program to play chords.
This parameter raises or lowers the OSC2 pitch relative to the OSC1 pitch, allowing a program to sound a
two-note parallel “chord” for each note. This can be
adjusted in semitone steps over a maximum range of 1
octave.
Positive (+) values will raise the OSC2 pitch, and negative (–) values will lower the OSC2 pitch.
Det (OSC2 Detune)
[–50…+50]
This parameter detunes OSC1 and OSC2 in relation to
each other, producing a richer sound.
Positive (+) values will cause the OSC2 pitch to rise
and the OSC1 pitch to fall, and negative (–) values will
produce the opposite effect.
This setting indicates the pitch difference between
OSC1 and OSC2 in one-cent steps, and as shown by
the following table, raising the pitch of one oscillator
will lower the pitch of the other.
Detune
OSC1 pitch
OSC2 pitch
+50
•
•
+0
•
•
–50
–25 cents
•
•
0 cents
•
•
+25 cents
+25 cents
•
•
0 cents
•
•
–25 cents
155
Reference • Program mode
Dly (OSC2 Delay)
With a setting of 0, OSC1 and OSC2 will sound simultaneously.
[00…99]
This parameter delays the onset of the OSC2 sound, so
that OSC2 will begin to sound after OSC1.
Page 3: Oscillator tone
In this page you can select the waveform used by the
oscillator, and make other oscillator-related settings.
Most of these parameters can be set at any time
regardless of the type of the selected program, but if in
“Page 2. Oscillator basic/Oscillator 2 relative” you
have set the Oscillator Type to Drum Program, the
panpot parameters will not be displayed at all.
OSC1/OSC2
Multisample/Drum Kit
Level
If Oscillator Type is set to DRUM, this will show a
Drum Kit name, and you can select a Drum Kit instead
of a multisample. Drum programs will use the drum
sound assignments and pan settings of the selected
drum kit. The other settings are the same as for a single oscillator program.
L (Level)
[00…99]
This sets the overall volume that is output by the VDA
of the selected oscillator.
High settings of this parameter may cause the sound
to distort when chords are played. In this case, lower
the setting.
Octave
Pan
Pitch EG Intensity
Send levels
OSC1/OSC2 (Oscillator 1/2)
If in “Page 2: Oscillator basic/Oscillator 2 relative”
you have set the Oscillator Type to DOUBLE, this setting specifies which of the two oscillators you will be
editing. If Oscillator Type has been set to Drum, this
will be displayed as D.
You can also switch between Oscillators 1 and 2 by
pressing the VARIATION buttons [1] or [2].
Multisample/Drum Kit
If Oscillator Type was set either to SINGLE or DOUBLE, this selects the basic waveform that the oscillator
will use. The number and name of the multisample
will be displayed. (Multisamples with an abbreviation
of “NT” will produce the same pitch regardless of the
key that is played.)
The appendices to the user’s guide contains a list of
the available multisamples for your reference.
156
You can make the oscillator output level be affected by
the force (velocity) of your keyboard playing. You can
also use the VDA EG to make the volume of individual notes change over time. For details refer to “Page 9:
VDA EG”.
Octave
[4', 8', 16', 32']
This sets the basic pitch of the selected oscillator in
octave units. The standard pitch of all multisamples is
8'.
Since each multisample has an upper limit to the pitch
that it can produce, setting this parameter to 4' and in
addition using the OCTAVE and TRANSPOSE buttons
to raise the keyboard pitch may, for some sounds,
result in no sound when you play upper ranges of the
keyboard.
When editing a drum program, be sure to set this
parameter to 8'. Other settings will cause the keyboard
assignments of the drum kit to be skewed upward or
downward.
Reference • Program mode
P (Pitch EG intensity)
CNT will place the sound produced by the oscillator
in the center.
[–99…+99]
This specifies the effect that the Pitch EG will have on
the pitch of the selected oscillator.
L settings will place the sound toward the right, and R
settings toward the left. As this value is increased the
sound will move further away from the center.
Positive (+) settings will cause a greater pitch change
as the value is increased.
OFF will turn off the oscillator output to channels A
and B.
Negative (–) settings will invert the direction of the
pitch change.
This parameter will not be displayed for a Drum program. The pan settings of each drum kit will be used.
With a setting of 0, the Pitch EG will not affect the
selected oscillator, and the pitch will not change at all.
Pitch EG settings are made in “Page 4: Pitch EG”.
C=/D= (Send levels)
[0…9]
These parameters set the send levels that are sent from
channels C and D to the effect section.
Pan
[OFF, L15…L01, CNT, R01…R15]
This sets the stereo location of the selected oscillator.
This will adjust the level of the oscillator signals that
are sent from channels A and B to the effect section.
Page 4: Pitch EG
The parameters of this page determine the shape of the
Pitch EG (envelope generator). The Pitch EG determines how the pitch of the program changes over time
in relation to its standard pitch.
Pitch rises (+)
Attack Level pitch
Note-on
Note-off
Standard pitch
Start level
Attack
time
Attack
level
Decay
time
Time
Start Level
pitch
Release Level pitch
Attack
Time
Decay
Time
Release Time
Pitch falls (–)
S (Start level)
[–99…+99]
Release time
Release level
Level velocity sensitivity
Pitch EG velocity
sitivity
For a double oscillator program, both oscillators use
the same Pitch EG. However you can separately adjust
the sensitivity of each oscillator to the pitch EG.
Be aware that the total pitch change (produced by the
pitch EG, pitch bend level, and the Vibrato) is limited
to 3 octaves. In addition, some multisamples are limited to a narrower range of pitch change depending on
the conditions.
Sets the pitch at which the program begins to sound.
Positive (+) settings will raise the pitch above standard pitch, and negative (–) settings will lower the
pitch below standard pitch. When the Pitch EG Intensity parameter is either +99 or –99, a setting of +99 or –
99 for this parameter will produce a rise/fall of
approximately 1 octave.
With a setting of 0, the program will start sounding at
the standard pitch.
157
Reference • Program mode
AT (Attack time)
Set it in the same way as the Start Level parameter.
[00…99]
Sets the time over which the pitch will change from the
Start Level (S) to the Attack Level (A).
With a setting of 0 the movement will take place
instantly, and with a setting of 99 the movement will
be the slowest.
L (Level velocity sensitivity)
[–99…+99]
This specifies the depth to which the Pitch EG levels
will be affected by note velocity (keyboard dynamics).
With a setting of 0, the Pitch EG levels will not be
affected by velocity.
A (Attack level)
Pitch EG level sensitivity
[–99…+99]
Sets the pitch at which the program will arrive after
the Attack Time has elapsed.
Set it in the same way as the Start Level parameter.
D (Decay time)
[00…99]
Sets the time over which the pitch will change from the
Attack Level (A) to the standard pitch.
Set it in the same way as the Attack Time parameter.
Pitch EG settings
Softly played note
Strongly played note
T (Time velocity sensitivity)
[–99…+99]
This specifies how the Pitch EG times will be affected
by note velocity.
Higher settings of this parameter will cause the pitch
change to become faster.
RT (Release time)
With a setting of 0, the Pitch EG times will not be
affected by velocity.
[00…99]
Pitch EG level sensitivity
This sets the time over which the pitch will change
from the standard pitch to the Release Level (R) after
the key is released.
Set it in the same way as the Attack Time parameter.
Pitch EG settings
R (Release level)
[–99…+99]
This sets the pitch at which the program will arrive
after the Release Time has elapsed.
158
Softly played note
Strongly played note
Reference • Program mode
Page 5: VDF
Here you can change filter settings to adjust the tone.
VDF1/VDF2
VDF EG
Intensity
VDF cutoff
Color
CO (VDF cutoff frequency)
[00…99]
This specifies the frequency at which the VDF filter
will begin to apply.
Lower values will produce a darker and more muted
tone.
EG (VDF EG intensity)
[00…99]
This specifies the effect that the VDF EG will have on
the tone of the oscillator.
Amplitude
Higher values will cause the tone to change more
greatly.
Cutoff frequency
Color
0 (dark tone)
Frequency
99 (bright tone)
With a setting of 0, the VDF EG will not be used, and
the tone will not change over time.
VDF EG settings are made in “Page 6: VDF EG”.
CL (Color)
VDF1/VDF2
When a double oscillator program is selected, this
specifies the oscillator whose filter parameters will be
edited.
You can also switch between oscillators 1 and 2 by
pressing the VARIATION buttons [1] or [2].
[00…99]
This parameter adds character to the sound.
Higher values will boost the frequency components in
the region of the cutoff frequency, causing filter movements produced by the VDF EG or VDF modulation to
be more noticeable.
159
Reference • Program mode
Page 6: VDF EG
Here you can specify the shape of the VDF EG (envelope generator) that will determine how the VDF cutoff frequency will change over time.
In “Page 5: VDF”, the EG Intensity parameter allows
you to adjust the depth of the effect produced by the
oscillator EG. Also, the “Page 7: VDF keyboard tracking”, parameter settings allow the EG to be automatically adjusted according to the keyboard position or
key velocity.
Switch between oscillators 1 and 2 by pressing the
VARIATION buttons [1] or [2].
Attack time
Attack
level
DT (Decay time)
[00…99]
Sets the time over which the VDF cutoff frequency will
change from the Attack Level (A) to the Break Point
(B).
Set it in the same way as the Attack Time parameter.
Break
point
Decay
time
With positive (+) settings the Attack Level will be
higher than the normal cutoff frequency, and with
negative (–) settings it will be lower.
B (Break point)
[–99…+99]
Sets the level at which the VDF cutoff frequency will
arrive after the Decay Time (DT) has elapsed.
Set it in the same way as the Attack Level parameter.
Slope time
Release time
Release level
Sustain level
ST (Slope time)
[00…99]
Note-off
Overall EG level set by
EG Intensity parameter
Attack Level
Sustain Level
Sets the time over which the VDF cutoff frequency will
change from the Break Point (B) to the Sustain Level
(S).
Note-on
Release Level
Break Point
Value specified by VDF
Cutoff Frequency parameter
Time
Attack
Time
Decay
Time
Slope
Time
Release
Time
Set it in the same way as the Attack Start Time parameter.
S (Sustain level)
AT (Attack time)
[00…99]
This sets the time over which the cutoff frequency will
change from the normal VDF setting to the Attack
Level (A).
[–99…+99]
Sets the level at which the VDF cutoff frequency will
arrive after the Slope Time (ST) has elapsed.
Set it in the same way as the Attack Level parameter.
With a setting of 0 the movement will take place
instantly, and with a setting of 99 the movement will
be the slowest.
RT (Release time)
A (Attack level)
Sets the time over which the VDF cutoff frequency will
change from the Sustain Level (S) to the normal cutoff
frequency after you release the key.
[–99…+99]
Sets the level at which the cutoff frequency will arrive
after the Attack Time has elapsed.
160
[00…99]
Set it in the same way as the Attack Time parameter.
Reference • Program mode
R (Release level)
Set it in the same way as the Attack Level parameter.
[–99…+99]
Sets the level at which the VDF cutoff frequency will
arrive after the Release Time (RT) has elapsed.
Page 7: VDF keyboard tracking
VDF keyboard tracking is a function that adjusts the
cutoff frequency according to the keyboard location of
the note that is played. On many real-world instruments, higher notes have a brighter tone, and this can
be simulated using VDF keyboard tracking.
The effect of the tracking function is determined by the
Keyboard Track Amount, Pivot Key, and Mode parameters.
Keyboard tracking can be used to modify VDF EG
times, so that the four EG time parameters will be
shortened or lengthened depending on the location of
the keyboard that you play.
VDF1/VDF2
Amount
Pivot key
Mode
Positive (+) settings will cause the tone to become
brighter as you play above the Pivot Key. Conversely,
the tone will become darker as you play below the
specified key.
Negative (–) will have exactly the opposite effect.
With a setting of –50, the cutoff frequency of the note
specified by the Key parameter will be used as the
standard cutoff frequency for all notes, meaning that
the cutoff frequency will remain the same for all areas
of the keyboard.
With a setting of 0, the cutoff frequency will change in
direct correspondence to the pitch. This will produce
the same effect as when the following Mode parameter
is turned OFF.
Pivot key
[C-1…G9]
Time amount
Attack time
Decay time
Release time
Slope time
Sets the note which will be used as the center for the
keyboard tracking function. The function of this key is
determined by the setting of the Mode parameter,
below.
VDF1/VDF2
Mode
When a double oscillator program is selected, this
selects the oscillator whose filter parameters will be
edited.
[OF, LO, HI, AL]
You can also use the VARIATION [1] or [2] buttons to
switch between oscillators 1 and 2.
OF (OFF) will cause keyboard tracking to be exactly
proportional to the keyboard pitch, just as when Keyboard Track Amount is set to 0.
This determines the range which will be affected by
the keyboard tracking function.
KbAmt (Keyboard track amount)
LO (LOW) will cause keyboard tracking to apply to
the range below the Pivot note.
[–99…+99]
HI (HIGH) will cause keyboard tracking to apply to
the range above the Pivot note.
Specifies how greatly keyboard tracking will affect the
cutoff frequency. The way in which this will function is
determined by the Mode parameter, explained below.
161
Reference • Program mode
AL (ALL) will cause keyboard tracking to adjust the
cutoff frequency of all notes, relative to the Pivot note.
A setting of “+” will cause keyboard tracking to
shorten the attack time.
Changes in cutoff frequency produced by Keyboard Track Amount
(Amt) and Pivot Key settings for each Mode
A setting of “–” will cause keyboard tracking to
lengthen the attack time.
Cutoff frequency
Cutoff frequency
Amt =0
With a setting of 0, the attack time will not be affected.
Amt <–50
Amt = –50
D (Decay time)
Amt >0
C–1
Pivot Key
G9
C–1
Mode: OFF
Pivot Key
Amt >0
Specifies the direction of the change that keyboard
tracking will cause for Decay Time.
Amt >0
Amt =0
Amt =0
Amt = –50
G9
Mode: HIGH
This setting functions in the same way as the Attack
Time parameter.
Amt = –50
Amt <–50
Amt <–50
Pivot Key
[–, 0, +]
Cutoff frequency
Cutoff frequency
C–1
G9
Mode: LOW
C–1
Pivot Key
G9
Mode: ALL
S (Slope time)
[–, 0, +]
Specifies the direction of the change that keyboard
tracking will cause for Slope Time.
T (Time Amount)
[00…99]
Specifies how deeply keyboard tracking will affect the
VDF EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
This parameter only specifies the amount of the effect
that the keyboard tracking function has on EG speed.
Whether keyboard tracking will length or shorten the
various EG times is determined by the following four
parameters.
This setting functions in the same way as the Attack
Time parameter.
R (Release time)
[–, 0, +]
Specifies the direction of the change that keyboard
tracking will cause for Release Time.
This setting functions in the same way as the Attack
Time parameter.
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
A (Attack time)
[–, 0, +]
Specifies the direction of the change that keyboard
tracking will cause for Attack Time.
162
VDF EG Time parameter
settings (positive (+) settings
for all parameters)
Notes played in a low
keyboard range
Notes played in a high
keyboard range
Reference • Program mode
Page 8: VDF velocity sensitivity
On the i40M, the VDF EG can be affected by your keyboard playing dynamics or by the velocity values of
MIDI Note messages received from an external MIDI
device. Instruments such as a piano, on which strongly
played notes are brighter, can be easily simulated
using this capability. Even when the VDA does not
change, using velocity to modify the filter can produce
a variety of interesting effects.
You can also use keyboard dynamics to modify the
speed of the VDF EG. Note velocity can shorten or
length each of the four EG segments.
VDF1/VDF2
EG intensity
Color
VDF EG velocity sensitivity (for positive (+) settings)
Note-off
Note-on
VDF EG settings
Note-off
Note-on
Softly played note
Note-off
Note-on
Strongly played note
CL (Color)
[–99…+99]
Specifies the effect that keyboard dynamics will have
on the Resonance.
Positive (+) settings will cause Resonance to increase
for strongly-played notes, and to decrease for softlyplayed notes.
Time amount
Attack time
Negative (–) settings will have the exact opposite
result.
Decay time
Release time
Slope time
VDF1/VDF2
When a double oscillator program is selected, this
specifies the oscillator whose filter parameters will be
edited.
You can also switch between oscillators 1 and 2 by
pressing the VARIATION buttons [1] or [2].
With a setting of 0, the Resonance of all notes will be as
specified by the “Page 5: VDF” Color parameter.
T (Time amount)
[00…99]
Specifies the amount of the effect that velocity will
have on VDF EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
EG (EG intensity)
[–99…+99]
Specifies the effect that keyboard dynamics will have
on the VDF EG.
This parameter only specifies the amount of the effect
that velocity has on EG speed. Whether velocity will
length or shorten the various EG times is determined
by the following four parameters.
Positive (+) settings will cause EG depth to decrease
for softly-played notes, causing cutoff frequency to
change less.
A (Attack time)
Negative (–) settings will cause EG depth to decrease
for strongly-played notes.
Specifies the direction of the change that velocity will
cause for Attack Time.
With a setting of 0, the depth will be as specified by the
“Page 5: VDF” EG Intensity parameter.
A setting of “+” will cause the attack time to be shortened for strongly played notes.
[–, 0, +]
A setting of “–” will cause the attack time to be lengthened for strongly played notes.
With a setting of 0, the attack time will not be affected
by velocity.
163
Reference • Program mode
D (Decay time)
R (Release time)
[–, 0, +]
[–, 0, +]
Specifies the direction of the change that velocity will
cause for Decay Time.
Specifies the direction of the change that velocity will
cause for Release Time.
This setting functions in the same way as the Attack
Time parameter.
This setting functions in the same way as the Attack
Time parameter.
Change over time
Note-on
Note-off
Note-on
Note-off
Note-on
Note-off
S (Slope time)
[–, 0, +]
Specifies the direction of the change that velocity will
cause for Slope Time.
This setting functions in the same way as the Attack
Time parameter.
VDF EG Time parameter
settings (positive (+) settings
for all parameters)
Notes played softly
Notes played strongly
Page 9: VDA EG
The settings in this page set the shape of the VDA EG
(envelope generator), specifying how the VDA level of
the oscillators will change over time.
VDA1/VDA2
Attack
time
Decay
time
Attack
level
VDA1/VDA2
When a double oscillator program is selected, this
specifies the oscillator whose VDA parameters are
being edited.
You can also use the VARIATION buttons [1] or [2] to
switch between oscillators 1 and 2.
AT (Attack time)
[00…99]
Break point
Sustain time
This sets the time over which the VDA volume will
change from 0 to the Attack Level (A).
Release time
Slope time
The parameters in “Page 10: VDA keyboard tracking”
allow you to specify how keyboard position or playing
dynamics will automatically modify the EG.
Note-off
Attack Level
A (Attack level)
Sustain
Level
[+00…+99]
Note-on
Volume
Break
Point
Time
Attack
Time
164
With a setting of 0 the movement will take place
instantly, and with a setting of 99 the movement will
be the slowest.
Decay
Time
Slope
Time
Release
Time
Sets the volume level at which the VDA will arrive
after the Attack Time (AT) has elapsed.
As this setting is increased, the Attack Level will be
louder, and with a setting of +0 the volume will be 0,
delaying the timing at which the sound will begin to
be heard.
Reference • Program mode
DT (Decay time)
Set it in the same way as the Attack Time parameter.
[00…99]
Sets the time over which the VDA volume will change
from the Attack Level (A) to the Break Point (B).
Set it in the same way as the Attack Time parameter.
B (Break point)
S (Sustain level)
[+00…+99]
Sets the volume level at which the VDA will arrive
after the Slope Time (ST) has elapsed.
Set it in the same way as the Attack Level parameter.
[+00…+99]
Sets the volume level at which the VDA will arrive
after the Decay Time (DT) has elapsed.
Set it in the same way as the Attack Level parameter.
ST (Slope time)
RT (Release time)
[00…99]
Sets the time over which the VDA volume will change
from the Sustain Level (S) to a volume of 0 after you
release the key.
Set it in the same way as the Attack Time parameter.
[00…99]
Sets the time over which the VDA volume will change
from the Break Point Level (B) to the Sustain Level (S).
Page 10: VDA keyboard tracking
VDA keyboard tracking is a function that adjusts the
oscillator volume according to the keyboard location
of the note that is played. On many real-world instruments such as wind instruments, higher notes have a
louder volume, and this can be simulated using VDA
keyboard tracking.
The effect of the tracking function is determined by the
Keyboard Track Amount, Pivot Key, and Mode parameters.
Keyboard tracking can be used to modify VDA EG
times, so that the four EG time parameters will be
shortened or lengthened depending on the location of
the keyboard that you play.
VDA1/VDA2
Amount
Pivot key
Mode
VDA1/VDA2
When a double oscillator program is selected, this
selects the oscillator whose amplifier parameters will
be edited.
You can also use the Variation [1] or [2] buttons to
switch between oscillators 1 and 2.
KbAmt (Keyboard track amount)
[–99…+99]
Specifies how greatly keyboard tracking will affect the
volume. The way in which this will function is determined by the Mode parameter, explained below.
With a setting of 0, all notes will have the same volume. (This is the same effect as when the following
Mode parameter is turned OFF.)
Pivot key
[C-1…G9]
Time amount
Attack time
Decay time
Release time
Slope time
Sets the note which will be used as the center for the
keyboard tracking function. The function of this key is
165
Reference • Program mode
determined by the setting of the Mode parameter,
below.
OF (OFF) will cause keyboard tracking to be turned
off, so that notes in any range of the keyboard will
have the same volume.
Mode
LO (LOW) will cause keyboard tracking to apply to
the range below the Pivot note.
[OF, LO, HI, AL]
HI (HIGH) will cause keyboard tracking to apply to
the range above the Pivot note.
This determines the range which will be affected by
the keyboard tracking function.
AL (ALL) will cause keyboard tracking to adjust the
volume level of all notes, relative to the Pivot note.
Changes in VDA level produced by Keyboard Track Amount (Amt) and Pivot Key settings for each Mode
Level
Level
Amt = –99
Level
VDA
Level
Amt = 0
VDA Level
Pivot Key
Mode: OFF
G9
Amt = –99
Amt = +99
Amt = +99
Amt
= –99
Amt = 0
VDA Level
Amt = +99
C–1
Level
Amt = +99
C–1
Pivot Key
Amt = –99
G9
Mode: LOW
C–1
Pivot Key
G9
C–1
Mode: HIGH
Pivot Key
VDA Level
G9
Mode: ALL
T (Time Amount)
D (Decay time)
[00…99]
[–, 0, +]
Specifies how deeply keyboard tracking will affect the
VDA EG speed.
Specifies the direction of the change that keyboard
tracking will cause for Decay Time.
Higher values will produce a greater change.
This setting functions in the same way as the Attack
Time parameter.
With a setting of 0, EG speed will not be affected.
This parameter only specifies the amount of the effect
that the keyboard tracking function has on EG speed.
Whether keyboard tracking will lengthen or shorten
the various EG times is determined by the following
four parameters.
A (Attack time)
S (Slope time)
[–, 0, +]
Specifies the direction of the change that keyboard
tracking will cause for Slope Time.
This setting functions in the same way as the Attack
Time parameter.
[–, 0, +]
Specifies the direction of the change that keyboard
tracking will cause for Attack Time.
R (Release time)
A setting of “+” will cause keyboard tracking to
shorten the attack time.
[–, 0, +]
A setting of “–” will cause keyboard tracking to
lengthen the attack time.
With a setting of 0, the attack time will not be affected.
Specifies the direction of the change that keyboard
tracking will cause for Release Time.
This setting functions in the same way as the Attack
Time parameter.
Note-on
Note-off
VDA EG Time parameter settings
166
Note-on
Note-off
Notes played below the pivot key
Note-on
Note-off
Notes played above the pivot key
Reference • Program mode
Page 11: VDF velocity sensitivity
On the i40M, the VDA EG can be affected by your keyboard playing dynamics or by the velocity values of
MIDI Note messages received from an external MIDI
device. Settings can be made so that strongly played
notes will have a more greatly emphasized attack or
decay.
The five parameters in the lower line also allow playing dynamics to modify the speed of the VDA EG.
Note velocity can shorten or length each of the four EG
segments.
VDF1/VDF2
Velocity amount
T (Time amount)
[00…99]
Specifies the amount of the effect that velocity will
have on VDA EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
This parameter only specifies the amount of the effect
that velocity has on EG speed. Whether velocity will
length or shorten the various EG times is determined
by the following four parameters.
A (Attack time)
[–, 0, +]
Specifies the direction of the change that velocity will
cause for Attack Time.
Time amount
Decay time
Attack time
Release time
Slope time
A setting of “+” will cause the attack time to be shortened for strongly played notes.
A setting of “–” will cause the attack time to be lengthened for strongly played notes.
VDA1/VDA2
When a double oscillator program is selected, this
specifies the oscillator whose amplifier parameters
will be edited.
You can also switch between oscillators 1 and 2 by
pressing the VARIATION [1] or [2] buttons.
With a setting of 0, the attack time will not be affected
by velocity.
D (Decay time)
[–, 0, +]
Specifies the direction of the change that velocity will
cause for Decay Time.
Amount
This setting functions in the same way as the Attack
Time parameter.
[–99…+99]
Specifies the effect that keyboard dynamics will have
on the VDA EG.
Positive (+) settings will cause EG depth to decrease
for softly-played notes, causing the volume level to
change less.
S (Slope time)
Negative (–) settings will cause EG depth to decrease
for strongly-played notes.
Specifies the direction of the change that velocity will
cause for Slope Time.
With a setting of 0, the depth will be as specified by the
Attack Time, Decay Time, Slope Time, and Release
time parameters.
This setting functions in the same way as the Attack
Time parameter.
VDA EG velocity sensitivity (for positive (+) settings)
Note-on
Note-off
Note-on
Note-off
Note-off
Note-on
[–, 0, +]
R (Release time)
[–, 0, +]
VDA EG level settings
Softly played note
Strongly played note
Specifies the direction of the change that velocity will
cause for Release Time.
167
Reference • Program mode
This setting functions in the same way as the Attack
Time parameter.
Note-on
Note-off
Note-on
VDA EG Time parameter settings
Note-off
Note-on
Notes played softly
Note-off
Notes played strongly
Page 12: Vibrato
This page contains settings which control pitch modulation. This function simulates the vibrato effects that
can be produced on many acoustic instruments.
Waveform
For double oscillator programs, the pitch of each oscillator can be modulated independently.
Selects the waveform that will be used to modulate the
pitch of the oscillator. The following waveforms are
available.
Vib.1/Vib.2
Waveform
Intensity
[TRI…RANDM]
Frequency
TRI - triangle wave
SAWUP - sawtooth wave (upward)
SAWDN - sawtooth wave (downward)
SQUAR - square wave
Delay
Fade in
Key sync
Keyboard tracking
RANDM - random
Vib.1/Vib.2 (Vibrato 1/Vibrato 2)
When a double oscillator program is selected, this
specifies the oscillator whose Vibrato parameter will
be edited.
You can also use the VARIATION buttons [1] and [2] to
switch between oscillators 1 and 2.
I (Intensity)
[00…99]
This sets the depth of automatic pitch modulation.
With a setting of 99, the selected waveform will modulate the pitch over a range of 1–2 octaves.
With a setting of 0, modulation will not be applied.
F (Frequency)
[00…99]
This sets the speed of pitch modulation.
Higher values will produce faster modulation.
Lower values
168
Higher values
Reference • Program mode
D (Delay)
S (Key sync)
[00…99]
[ON, OFF]
This parameter delays the onset of automatic pitch
modulation.
This parameter specifies whether or not the Vibrato
will be reset each time you play a note.
Higher values will produce a greater delay.
With a setting of ON, the modulation waveform will
be reset each time you play a note.
With a setting of 0, modulation will begin to apply as
soon as the note begins.
FI (Fade-in)
[00…99]
This parameter allows the automatic pitch modulation
to be faded-in, so that it will begin with a small
amount of modulation and gradually increase to the
full depth that is specified by the Intensity parameter.
Higher values will produce a longer fade-in.
With a setting of 0, there will be no fade-in, and modulation will begin immediately at the depth specified by
the Intensity parameter.
Note-on
With a setting of OFF, the modulation waveform of the
first-played note will continue at the standard frequency, and will not be affected by subsequentlyplayed notes. We suggest that you set this OFF when
playing chords, so that modulation will apply to each
note in unison even if you arpeggiate the chord.
KT (Keyboard tracking)
[–99…+99]
This parameter adjusts the speed of pitch modulation
according to the keyboard location that you play.
Positive (+) settings will cause modulation to become
faster as you play above middle C, and slower as you
play below middle C.
Negative (–) settings will have the opposite effect.
Pitch
Modulation intensity
Time
Delay Fade-in
Page 13: Vibrato controller
Vib.1/Vib.2
Joystick intensity
Aftertouch intensity
You can also use the VARIATION buttons [1] or [2] to
switch between oscillators 1 and 2.
JS (Joystick up)
[00…99]
JS+Af->Freq
Vib1/Vib2 (Vibrato1/Vibrato2)
This specifies the maximum depth of the modulation
that will occur when the joystick is moved away from
you.
This is similar to the “Page 12: Vibrato” Intensity
parameter, but in this case, the specified modulation
will not be applied until you move the joystick.
When a double oscillator program is selected, this
specifies the oscillator whose Vibrato parameters will
be edited.
169
Reference • Program mode
JS+ Af → Freq (Frequency control by joystick +
aftertouch)
Af (Aftertouch)
[00…99]
This specifies the maximum depth of the modulation
that will occur when aftertouch is applied.
This is similar to the “Page 12: Vibrato” Intensity
parameter, but in this case, the specified modulation
will not be applied until you apply aftertouch.
[0…9]
This parameter allows the modulation to be speeded
up by moving the joystick away from you or by applying aftertouch.
Higher settings will allow modulation to be speeded
up more.
With a setting of 0, the joystick or aftertouch will not
affect the modulation frequency.
Page 14: VDF MG
These parameters let you use the selected waveform to
control the filter cutoff frequency. Unlike pitch, VDF is
modulated by a single MG even for double oscillator
programs.
Waveform
Intensity
frequency
I (Intensity)
[00…99]
This sets the depth of automatic VDF modulation.
With a setting of 0, modulation will not be applied.
Lower values
Delay
Key sync
oscillator
Higher values
F (Frequency)
[00…99]
Waveform
This sets the speed at which the cutoff frequency will
be modulated.
[TRI…RANDM]
Higher values will produce faster modulation.
Selects the waveform that will be used to modulate the
pitch of the oscillator. The following waveforms are
available.
TRI - triangle wave
Lower values
Higher values
SAWUP - sawtooth wave (upward)
SAWDN - sawtooth wave (downward)
D (Delay)
[00…99]
SQUAR - square wave
This parameter delays the onset of automatic VDF
modulation.
RANDM - random
Higher values will produce a greater delay.
With a setting of 0, modulation will begin to apply as
soon as the note begins.
170
Reference • Program mode
S (Key sync)
playing chords, so that modulation will apply to each
note in unison even if you arpeggiate the chord.
[ON, OFF]
This parameter specifies whether or not the VDF MG
will be reset each time you play a note.
With a setting of ON, the modulation waveform will
be reset each time you play a note.
With a setting of OFF, the modulation waveform of the
first-played note will continue at the standard frequency, and will not be affected by subsequentlyplayed notes. We suggest that you set this OFF when
Oscillator
[OFF, OSC1, OSC2, BOTH]
This specifies the oscillator(s) to which VDF modulation will apply. You may modulate the cutoff frequency of OSC1 or OSC2 or both.
If this is turned OFF, VDF MG will also be off.
Page 15: VDF MG controller/VDA level
• Af (Aftertouch)
Joystick down
Aftertouch
[00…99]
This specifies the maximum depth of the modulation
that will occur when aftertouch is applied.
This is similar to the “Page 14: VDF MG” Intensity
parameter, but in this case, the specified modulation
will not be applied until you apply aftertouch.
Level with Aftertouch applied
VDFMG (VDF MG controller)
• JS (Joystick down)
[00…99]
Specifies the maximum depth of modulation that will
be applied when you move the joystick away from
you.
This is similar to the “Page 14: VDF MG” Intensity
parameter, but in this case, the specified modulation
will not be applied until you move the joystick.
VDA Level
• Af (Aftertouch)
[–99…+99]
This specifies the volume change that will be controlled by aftertouch.
Positive (+) settings will cause the sound to become
louder as you press down on the keyboard, and higher
settings will allow a greater change in volume.
Negative (–) settings will cause the sound to become
softer as you press down on the keyboard.
171
Reference • Program mode
Page 16: Controllers
The settings here determine how the joystick and
aftertouch will affect the pitch, filter cutoff frequency,
and volume of the program. These parameters will
directly control the pitch, cutoff frequency, and volume. Unlike the joystick and aftertouch parameters
explained in the Vibrato and VDF MG sections, they
do not control the amount or speed of modulation.
Joystick L/R
Aftertouch
• Af (Aftertouch)
[–12…+12]
This specifies the amount of pitch change that will
occur when you apply aftertouch, in chromatic steps.
A setting of 12 will allow a pitch bend effect of 1
octave.
Positive (+) settings will cause the pitch to rise when
aftertouch is applied.
Negative (–) settings will cause the pitch to fall when
aftertouch is applied.
Cutoff
• JS (Joystick L/R)
Joystick L/R
Aftertouch
P.Bend (Pitch bend)
• JS (Joystick L/R)
[–99…+99]
This specifies the maximum amount of cutoff frequency change that will occur when you move the joystick to left or right.
[–12…+12]
Positive (+) settings will cause the tone to become
brighter when the joystick is moved toward the right,
and darker when the joystick is moved toward the left.
This specifies the amount of pitch change that will
occur when you move the joystick to left or right, in
chromatic steps.
Negative (–) settings will produce the opposite effect.
A setting of 12 will allow a pitch bend effect of 1
octave.
[–99…+99]
Positive (+) settings will cause the pitch to rise when
the joystick is moved toward the right, and fall when
the joystick is moved toward the left.
• Af (Aftertouch)
This specifies the maximum amount of cutoff frequency change that will occur when you apply aftertouch.
Negative (–) settings will produce the opposite effect.
Positive (+) settings will cause the tone to become
brighter when aftertouch is applied.
Depending on the sound or the keyboard location that
you play, the pitch may not change in a full ±1 octave
range.
Negative (–) settings will cause the tone to become
darker when aftertouch is applied.
172
Reference • Program mode
Page 17: Effect select
The instrument has two incorporated digital effect
processors. In this page, you can choose which effects
you wish to assign to the program and turn them on or
off. For more details, see “Effects” chapter.
Page 18: Effect modulation
In this page you can connect the effects to controls,
which allow you to dynamically modulate their intensity. For more details, see “Effects” chapter.
Page 19: Effect placement
In this page you can choose the effect setup of the program, and program pan and levels for channels C and
D. For more details, see “Effects” chapter.
Page 20: Effect 1 settings
Page 21: Effect 2 settings
These pages contain the effect parameters selected on
“Page 17: Effect select”, that will be used for the
selected program. The parameters contained in these
pages will depend on the effects you have selected. For
more information on programming effects, see
“Effects” chapter.
173
Reference • Program mode
Page 22: Rename program
Here you can modify the title of the program that is
being edited.
A title of up to 10 characters can be assigned to the
program.
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the
location of the character you wish to modify, and use
the TEMPO/VALUE buttons to modify the character.
Selected
program
Pressing the INS button will copy the character at the
cursor, allowing a character to be inserted at that location. Pressing the DEL button will delete the character
at the cursor location.
Page 23: Write program
This function saves (writes) the edited program into
internal memory (F11–88, Dr27–28). You can also
access this page by pressing the REC/WRITE button
from a different page.
tion (the memory location into which the data
will be written).
You can also use the PROGRAM BANK buttons
and PROGRAM NUMBER buttons to input the
program number.
When saving a normal program, select F11–88.
When saving a drum program, select Dr27 or Dr28.
(The selected program will be displayed.)
2 If you wish to save the current program into the
1 Use the TEMPO/VALUE buttons to display the
program number of the desired writing destina-
174
specified destination, press the ENTER/YES button.
Warning: When you execute the Write Program
operation, the data in the writing destination will be
lost, and cannot be recovered.
Reference • Effects
12. Effects
i40M includes two DSP (Digital Signal Processors), or
effect generators. This chapter explains the effect types
that can be used in the various modes of the i40M. The
i40M provides 47 different types of effect, beginning
with those essential for any type of music (reverb, chorus, etc.) and including effects such as exciter and
enhancer. In addition, you can use a foot pedal to
switch effects on/off while you play.
Effect type
The i40M has 47 different effects, and these can be classified into the following 25 Types.
Effect number
Effect type
Effect number
Effect type
29
Enhancer
30–31
Distortion
0
No Effect
32–33
Phaser
1–9
Reverb
34
Rotary Speaker
10–12
Early Reflection
35–36
Tremolo
13–14
Stereo Delay
37
Parametric Equalizer
15
Dual Delay
38–39
Chorused/Flanged Delay
16–18
Multitap Delay
40–41
Delay & Reverb
19–20
Chorus
42
Delay & Chorus
21–22
Quadrature Chorus
43
Delay & Flanger
23
Harmonic Chorus
44–45
Delay & Distortion
24
Symphonic Ensemble
46
Delay & Phaser
25–27
Flanger
47
Delay & Rotary Speaker
28
Exciter
“Effect select” pages
Mode
Page
Arrangement Play
“Page 9: Effect select”
Backing Sequence
“Page 11: Effect select”
Song Play
“Page 4: Effect select”
Song Edit
“Page 8: Effect select”
Program
“Page 17: Effect select”
In these pages, you can choose which effects you wish
to assign to an arrangement, backing sequence, song
or program, and turn them on or off.
175
Reference • Effects
Type of effect
Type of effect 1
[00: No effect…47: Delay/Rotary]
You can assign a different effect to each processor. For
more information on the types of effect, read forward
in this chapter.
ON/OFF[OFF, ON]
Type of effect 2
Effect on/off
This switches the effect on or off. The effects can also
be switched on or off by a footswitch a pedal or an
EC5. External controller. For more information see
“Page 12: Assignable pedal/switch” and “Page 13:
EC5 external controller” in the Disk/Global mode.
“Effect modulation” pages
Mode
Page
Arrangement Play
“Page 10: Effect modulation”
Backing Sequence
“Page 12: Effect modulation”
Song Play
“Page 5: Effect modulation”
Song Edit
“Page 9: Effect modulation”
Program
“Page 18: Effect modulation”
In these page you can connect the effects to controls,
which allow you to dynamically modulate their intensity.
Effect 1 modulation
Effect 2 modulation
176
Effect 1 intensity
Effect 2 intensity
Mod (Modulation)
[NONE, JS UP, JS DOWN, AFTT, PEDAL, VDA EG]
The control that is assigned to the effect.
NONE
No control assigned.
JS UP
Joystick moves upwards.
JS DOWN
Joystick moves downwards.
AFTT
Aftertouch.
PEDAL
Damper pedal.
VDA EG
Amplitude envelope.
Reference • Effects
“Effect placement” pages
Mode
Page
Arrangement Play
“Page 11: Effect placement”
Backing Sequence
“Page 13: Effect placement”
Song Play
“Page 6: Effect placement”
Song Edit
“Page 10: Effect placement”
Program
“Page 19: Effect placement”
In this page you can choose the effect setup of the
arrangement, backing sequence, song or program, and
program pan and levels for channels C and D. Pan and
sending of arrangement tracks are programmed on the
“Track settings” page.
The PARALLEL 1 setting will assign effect 1 to channels A and B, and effect 2 to channels C and D. After
effect 2, the pan of channels C and D will be set.
Finally, the signals from the two effects will be mixed.
The PARALLEL 2 setting will assign effect 2 to channels C and D 2. After effect 2, the pan of channels C
and D will be set. The signal will be mixed with channels A and B and sent through effect 1.
Effect 1-left level
Effect 1-right level
Effect 2-left level
Effect 2-right level
Placement
[SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3]
The Placement determines where the internal audio
channels (A, B, C, and D) will be connected to the
effects. The usual placement is Parallel 3.
The PARALLEL 3 setting will assign effect 1 (reverb)
to channel C and effect 2 (modulating) to channel D.
The L/R (left/right) level of each effect will be set separately, Then the signal of the two effects will be mixed
with channels A and B. This setting allows you mix the
effected signal of channels C and D (wet) with the
direct signal of channels A and B (dry).
Warning: A different placement to Parallel 3 can
increase the signal output level, and generate distortion.
The SERIAL setting will assign effects 1 and 2 to channels A and B. Since the signal from channels C and D
will only be mixed in after effect 1 (as specified by
channel C pan and channel D pan), only effect 2 will
be assigned to channels C and D.
C (C Pan)
[OFF, R, 99:01…01:99, L]
Panning (stereo positioning) of the signal from channel C. This will only appear if SERIAL, PARALLEL 1
or PARALLEL 2 settings are selected.
L
Left signal.
R
Right signal.
OFF
Channel C signal off.
177
Reference • Effects
D (D Pan)
[OFF, R, 99:01…01:99, L]
0
Effect 1 (reverb) off.
1-9
Effect 1 level (reverb). The signal will
be mixed with channels A and B (not
effected).
Panning (stereo positioning) of the signal from channel D. This will only appear if SERIAL, PARALLEL 1
or PARALLEL 2 settings are selected.
2L/2R (Effect 2 Left/Right level)
L
Left signal.
R
Right signal.
OFF
Channel D signal off.
1L/1R (Effect 1 Left/Right level)
[0…9]
This only appears if PARALLEL 3 setting is selected.
[0…9]
This will only appear if PARALLEL 3 setting is
selected.
0
Effect 2 level(modulating) off.
1-9
Effect 2 level 2 (modulating). The signal will be mixed with channels A
and B (not effected).
Effect 1 settings pages
Effect 2 settings pages
Mode
Page
Arrangement Play
“Page 12: Effect 1 settings”, “Page 13:
Effect 2 settings”
Backing Sequence
“Page 14: Effect 1 settings”, “Page 15:
Effect 2 settings”
Song Play
“Page 7: Effect 1 settings”, “Page 8:
Effect 2 settings”
Song Edit
“Page 11: Effect 1 settings”, “Page 12:
Effect 2 settings”
Program
“Page 20: Effect 1 settings”, “Page 21:
Effect 2 settings”
These pages contain the effect parameters selected on
the “Effect select” page. The parameters contained in
these pages will depend on the effects you have
selected. For more information on programming
effects, see forward in this chapter.
Dynamic modulation
If an optional Korg XVP-10 or EXP-2 pedal controller
is connected to the ASSIGN PDL/SW jack, and you set
the Disk/Global mode “Page 12: Assignable pedal/
switch” to EFFECT CONTROL, a foot pedal can be
used to control the effects in various ways. The aspect
178
of the effect that can be controlled will depend on the
effect; for example it might be the balance between the
original sound and processed sound, the speed of
modulation, or the frequency that is being emphasized.
Reference • Effects
However for some effect settings, dynamic modulation may not have a noticeable result.
In the LCD, parameters which can be controlled using
dynamic modulation while you play are indicated by a
“→” symbol (except for 34: Rotary Speaker and 47:
Delay & Rotary Speaker). In this manual, such parameters are marked by a
symbol.
Shelving equalizer
Many of the i40M’s built-in effects have a two-band
shelving-type equalizer that can boost or cut the low
and high frequency ranges, and the equalizer will continue functioning even if the switch parameter is used
to turn the effect on/off. However the Stereo Delay
(13, 14), Stereo Chorus (19, 20), Exciter (28), and Tremolo (35, 36 effects) are exceptions.
If you wish to listen to the un-equalized sound while
editing a program, you will have to set the effect selection to 00:No Effect to turn off both effect processors.
Settings for each effect
Explanations for each of the 25 effect types are given
below.
05: Large Room simulates a larger room with greater
density, and is similar to gated reverb.
00: No Effect
06: Live Stage has a sound similar to what you might
hear in a gymnasium, and re-creates the atmosphere of
a rock concert.
When 00: No Effect is selected, effects will not be
applied to the sound. Select this if you want the sound
to be dry, with no effects.
As an alternative to selecting No Effect, you can also
turn off the effects by using an optional foot switch.
However the foot switch is designed for realtime control while you play, while selecting No Effect is used
when no effects are to be applied to the sound at all.
01…09: Reverb
Reverb adds reverberance to the sound, creating a
more natural impression. This is the most frequently
used effect.
07: Wet Plate and 08: Dry Plate simulate plate reverbs,
devices which are often used to add emphasis to
vocals or solo instruments. Wet Plate is heavy, and Dry
Plate is light.
09: Spring Reverb simulates a spring reverb device of
the type often used in guitar amplifiers.
For each of these, the sound passes through a twoband shelving equalizer located before the reverb
effect.
Some of these reverb effects produce a rapid series of
initial delays which are known as Early Reflections.
The “wash” of reverberation will follow this, and
gradually die away.
EQ
E.R Level
Reverb
Dry Signal
Mix
Rev Time
Pre Delay
P
04: Room reproduces the feeling of a standard room.
Pre Delay
Right
02: Ensemble Hall is a slightly larger hall, suitable for
orchestral or brass ensembles.
03: Concert Hall has greater emphasis on the early
reflections, and is suitable for full orchestras.
Mix
Dry Signal
The i40M provides nine types of reverb effect.
01: Hall simulates the acoustics of a small concert hall,
such as might be used by a string quartet or acoustic
jazz band.
Dry
Left
Reverb time
Depends on
the effect
Set the time over which the
reverberation decays
Pre delay
0…200 ms
Set the delay from the direct
sound until when the early
reflections begin. Higher values
will cause the reverberation to be
more distinct, like an echo.
179
Reference • Effects
E
Early reflection
level
Depends on
the effect
Set the volume of the early
reflection components of the
reverberation. As this value is
increased, the early reflections
will be emphasized more greatly,
allowing them to be heard clearly.
H
D
High damp
0%…99%
Set the degree to which the high
frequencies will be attenuated.
Higher settings will cause the
high frequencies to decay more
rapidly.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
→
Dry:Effect balance
DRY,
B01…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the reverb
sound will be heard.
☞P. 178.
10…12: Early Reflections
These effects simulate just the early reflection component of natural reverberation.
Early reflections play an important role in determining
the characteristics of an acoustic environment. They
can be used to add solidity to the sound, to create
echo-like delays, or to add interesting touches to the
sound.
10: Early Ref 1 allows you to boost the low frequency
components or produce effects similar to gated reverb.
This effect is ideal for drum sounds.
11: Early Ref 2 causes the early reflections to decay
more gradually.
12: Early Ref 3 produces reflections which increase
instead of decreasing. When applied to a sound with a
strong attack, this produces a reverse-tape effect.
Each of these three early reflection effects includes a
two-band shelving equalizer.
0…200 ms
Set the delay from the direct
sound until when the early
reflections begin. Higher values
will cause the reflections to be
more obvious, producing a clearer echo sound.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the early
reflection sound will be heard.
Other settings set the proportion
of the direct sound and effect
sound.
☞P. 178.
13, 14: Stereo Delay
This effect produces a stereo delay (echo pattern).
Since it is a stereo effect, you can set different delay
times for left and right to pan the echoes in interesting
ways. The Hi Damp parameter attenuates the high frequencies, making the delay repeats sound more natural.
13: Stereo Delay applies feedback independently for
the left and right channels.
14: Cross Delay sends the delay feedback from the left
to the right, and from the right to the left channel,
making the sound bounce between the left and right
channels.
These two effects route the left and right channels
through a two-band shelving equalizer before applying the delay.
Left
Mix
EQ
Left
Feedback
Delay L
Delay L
Delay R
Delay R
Feedback
Right
Mix
EQ
Feedback
Mix
EQ
Stereo Delay
Feedback
Right
Mix
EQ
Cross Delay
Mix
Dry Signal
EQ
Pre Delay
Dry Signal
Mix
E.R Time
Pre Delay
Early reflection
time
L
Delay time L
0…500 ms
Set the length of the left channel
delay.
R
Delay time R
0…500 ms
Set the length of the right channel delay.
Early Ref
Right
180
Pre delay
Dry
Left
T
P
100…800 ms
Set the time over which the early
reflections will disappear. As this
time is set to a longer value, the
early reflections will become
more pronounced.
Reference • Effects
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed signal
that will be returned to the input
of the delay. Higher settings will
produce a greater number of
delay repeats, and it will take
longer for the echoes to die
away. Negative settings will
invert the phase of the feedback,
causing the echoes to have a
harder tone quality, and less of a
hollow feeling.
H
D
High damp
0%…99%
Set the degree to which the high
frequencies will be attenuated.
Higher settings will cause the
high frequencies to decay more
rapidly.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the delayed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
H
→
Equalizer high
Dry:Effect balance
H
D
High damp L
0%…99%
Set the degree to which the high
frequencies of the left channel
will be attenuated. Higher settings will cause the high frequencies to decay more rapidly.
→
Dry:Effect
balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX) for the left channel. With a
setting of DRY, the effect will be
turned off. With a setting of FX,
only the echo will be heard.
Other settings set the proportion
of the direct sound and effect
sound.
☞P. 178.
Delay time R
0…500 ms
Set the delay length of the right
channel.
R
Feedback R
–99%…+99%
Set the amount of feedback for
the right channel. The contents
are the same as for the Feedback L parameter.
H
D
High damp R
0%…99%
Set the degree to which the high
frequencies of the right channel
will be attenuated. Higher settings will cause the high frequencies to decay more rapidly.
→
Dry:Effect
balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX) for the right channel. The
contents are the same as for the
DRY:FX parameter explained
above.
☞P. 178.
15: Dual Delay
16…18: Multitap Delay
15: Dual Delay applies an independent mono delay to
the left and right input signals.
Feedback
Multitap delay passes the input signals through two
independent delays. The multi-echo effect that this
produces will create a pair of echoes for each note that
is played.
Delay L
16: Multitap Dly1 is the standard multitap delay.
Delay R
17: Multitap Dly2 cross-pans the signals, causing the
echoed left and right channel signals to change places.
Left
Right
L
Mix
Feedback
Mix
Delay time L
0…500 ms
Set the delay length of the left
channel.
Feedback L
–99%…+99%
Set the amount of feedback for
the left channel; i.e., the amount
of the delayed signal that will be
returned to the input of the
delay. Higher settings will produce a greater number of delay
repeats, and it will take longer
for the echoes to die away.
Negative settings will invert the
phase of the feedback, causing
the echoes to have a harder
tone quality, and less of a hollow
feeling.
18: Multitap Dly3 exchanges the feedback between
channels, causing each pair of echoes to switch
between left and right.
181
Reference • Effects
Left
determined by the Delay B parameter, as shown in the
following diagrams.
Mix
Delay B
EQ
When delay time A is less than delay time B
Delay A
Level
Delay A
EQ
Dry
Delay B
Right
Mix
Multitap Delay 1
Time
Left
Mix
A
Delay B
EQ
A
B
A
B
B
Delay A
Delay A
EQ
Delay B
Right
Mix
When delay time A is greater than delay time B
Multitap Delay 2
Level
Dry
Left
Mix
EQ
Delay A
Delay B
EQ
Delay B
Delay A
Time
A
A
Right
B
B
A
B
Mix
Multitap Delay 3
Each of these three effects provides a two-band shelving equalizer for the left and right channels.
Left
Mix
EQ
A
Delay time A
0…500 ms
Set the length of Delay A.
B
Delay time B
0…500 ms
Set the length of Delay B.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the Delay B signal
that will be returned to the input
of the delay. Higher settings will
produce a greater number of
delay repeats, and it will take
longer for the echoes to die
away. Negative settings will
invert the phase of the feedback,
causing the echoes to have a
harder tone quality, and less of a
hollow feeling.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoes
will be heard. Other settings set
the proportion of the direct
sound and effect sound.
☞P. 178.
Delay B
Delay A
Delay A
EQ
Delay B
Right
Mix
Multitap Delay 1
Left
Mix
EQ
Delay B
Delay A
Delay A
EQ
Delay B
Right
Mix
Multitap Delay 2
Left
Mix
EQ
Delay A
Delay B
EQ
Delay B
Delay A
Right
Mix
Multitap Delay 3
Of the two delays, feedback is applied only to one
(delay B). This means that the timing of the second and
subsequent echoes produced by both delays will be
19, 20: Chorus
The chorus effects use an LFO (low frequency oscillator) to modulate the delay time, adding depth to the
sound. This delay produces a slight variance in pitch,
and when it is combined with the original signal, an
effect as though multiple instruments were playing in
unison is produced.
182
Reference • Effects
As with reverb, this effect is indispensable for music
production using electronic musical instruments. It is
especially widely used on synth pads such as strings
and vocal chorus, and applying a chorus effect to such
sounds will add a character of enveloping spaciousness. However much you may like this, it is still not a
good idea to apply chorus to all of your sounds.
Although chorus does add spaciousness to the sound,
it can also turn sound into un-expressive mush. It is up
to you, the musician, to use chorus appropriately for
the type of music that you wish to create.
19: Chorus 1 modulates the left and right channel
delays in opposite phase, causing the stereo image to
sway from side to side.
20: Chorus 2 modulates both channels with the same
phase.
For either effect, the left and right channel signals are
sent through a two-band shelving equalizer before the
chorus effect is applied.
Left
Mix
EQ
Chorus
Mix
EQ
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the chorus
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
21, 22: Quadrature Chorus
The Quadrature Chorus effect is similar to the previously-described Stereo Chorus. The difference is that
the modulation applied by the LFO to the left and
right channels is 90 degrees out of phase.
21: Quad Chorus is the standard type, and processes
the left and right channels independently.
22: XOver Chorus mixes the chorused signal of each
channel with the output of the other channel, producing a cross-over effect.
Chorus
Mod
Right
H
Chorus 1
For either effect, the left and right channel signals are
sent through a two-band shelving equalizer before the
chorus effect is applied.
Left
Left
EQ
Mix
Left
Mix
EQ
EQ
Mix
Chorus L
Chorus L
Chorus
Right
Chorus
Mix
Right
EQ
Mix
XOver Chorus
Mix
EQ
Chorus 2
0…200 ms
Set the basic delay length. Both
channels use the same delay
time.
S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that
modulates the delay. For a standard chorus effect, use a low frequency (approximately 1 Hz).
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no chorus effect.
LFO waveform
SIN, TRI
Select the waveform with which
the LFO will modulate the delay
time. You can select either sine
wave (SIN) or triangle wave
(TRI).
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
L
EQ
Quad Chorus
Right
Delay time
Chorus R
Chorus R
Mod
T
Mod
Mod
L
Delay time L
0…250 ms
Set the basic delay length for the
left channel.
R
Delay time R
0…250 ms
Set the basic delay length for the
right channel.
→
S
Modulation speed
1…99
Set the speed of the LFO that
modulates the delay. Higher
values will produce faster modulation.
☞P. 178.
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no chorus effect.
LFO shape
T+10…T–10,
S–10…S+10
Select the waveform with which
the LFO will modulate the delay
time. You can select either sine
wave (S) or triangle wave (T).
The numeric value selects the
character of the waveform. Increasingly positive (+) values will
cause the peak of the waveform
to become broader, and increasingly negative (–) values will
cause the peak of the waveform
to become sharper.
183
Reference • Effects
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
Dry:Effect balance
DRY,
99:1…1:99,
FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the chorus
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
Dry:Effect balance
Frequency
Valu
e
Frequency
0
160 Hz
10
1.60 kHz
1
200 Hz
11
2.00 kHz
2
250 Hz
12
2.50 kHz
3
320 Hz
13
3.20 kHz
4
400 Hz
14
4.00 kHz
5
500 Hz
15
5.00 kHz
6
640 Hz
16
6.40 kHz
7
800 Hz
17
8.00 kHz
8
1.00 kHz
18
10.0 kHz
9
1.25 kHz
23: Harmonic Cho. is a type of quadrature chorus in
which a filter is used to divide the input signal into
low and high frequency ranges, and two chorus systems are applied only to the high frequency range. It is
effective on low frequency range sounds such as bass.
Mix
LF
Split
HF
Chorus A
Mod
Chorus A
HF
Split
Chorus B
LF
Mix
A
Delay time A
0…500 ms
Set the basic delay length for
chorus unit A.
B
Delay time B
0…500 ms
Set the basic delay length for
chorus unit B.
→
S
Modulation speed
1…99
Set the speed of the LFO that
modulates the delay. Higher
values will produce faster modulation.
☞P. 178.
M
Modulation depth
S
P
184
Filter split point
0…99
0…18
24: Symphonic Ensemble
The Symphonic Ensemble effect is essentially identical
to the chorus type effects discussed earlier, but is especially effective when used on large-scale ensembles
such as orchestral strings.
Chorus B
Right
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the chorus
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
Valu
e
23: Harmonic Chorus
Left
DRY,
B1…B99, FX
24: Symphonic Ens. mixes the left and right channel
signals before applying the ensemble effect. The signal
processed by the effect will be output equally from
both channels.
A two-band shelving equalizer is applied to the sound
of the left and right channels before the ensemble
effect is applied.
Left
Symphonic
Ensemble
EQ
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no chorus effect.
Specify the frequency at which
the filter will divide the input
signal into high and low frequency ranges. Higher settings
will raise the split point frequency. The chorus effect will
apply only to the portion above
this frequency. The table below
shows the correspondence
between this parameter value
and the actual frequency.
Mix
Right
Mix
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no ensemble effect.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
Reference • Effects
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the ensemble
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞Pagina 178 in questo manuale.
For each of these three flangers, a two-band shelving
equalizer is applied to the signals of the right and left
channels before the flanging effect is applied.
Left
Mix
EQ
Flanger
MOD
Flanger
EQ
Right
Mix
Flanger 1
This Symphonic Ensemble effect cannot be used
simultaneously with any one of the following modulation effects.
Left
Mix
EQ
Flanger
Effect types
MOD
Effect types
Flanger
19
–
20
Chorus
35
–
36
Tremolo
21
–
22
Quadrature Chorus
38
–
39
Chorused/Flanged Delay
EQ
Right
Mix
Flanger 2
Left
23
Harmonic Chorus
42
Delay & Chorus
24
Symphonic Ensemble
43
Delay & Flanger
25
–
27
Flanger
46
Delay & Phaser
32
–
33
Phaser
34
Rotary Speaker
Mix
EQ
Flanger
MOD
Flanger
EQ
Right
Mix
XOver Flanger
47
Delay & Rotary Speaker
T
Delay time
0…200 ms
Set the basic delay length. Both
channels use the same delay
time.
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no flanger effect.
→
S
Modulation speed
1…99
Set the speed of the LFO that
modulates the delay. For a standard flanger effect, set a low frequency (approximately 1 Hz).
☞P. 178.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the signal that will
be returned to the input of the
flanger. As this value is increased, the resonance produced by
the flanger effect will be increased. Negative values will invert
the phase of the feedback, lowering the pitch of the effect sound
by 1 octave.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
25…27: Flanger
Flanging operates on basically the same principle as
chorus-type effects, but adds a feedback loop to the
delay output. It produces a chorus-like effect, but can
also create a feeling of pitch even on non-pitched
sounds. In particular when used on sounds with a rich
overtone structure, such as cymbals, flanging can produce very intense effects.
25: Flanger 1 applies modulation to both channels
using the same phase.
26: Flanger 2 modulates the two channels in opposite
phase, causing the stereo image to move back and
forth.
27: XOver Flanger modulates the two channels in
opposite phase, and swaps the feedback signal.
185
Reference • Effects
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the flanger
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
28: Exciter
→
Dry:Effect balance
DRY,
B1…B99, FX
29: Enhancer
An exciter adds harmonics (overtones) to emphasize a
specific frequency region, adding sparkle and definition to the sound. It is most effective when applied to
solo instruments such as electric guitar or lead synth,
and will push the sound into the foreground.
For example if when playing in an ensemble (whether
using the i40M by itself, or in a band with other instruments) you have ever felt that the i40M sound you
were playing tended to be smothered by the other
sounds or by instruments other people were playing
(unlikely, since the i40M is a powerful-sounding
instrument with plenty of presence!), you might try
using this Exciter effect.
The enhancer effect emphasizes the sound by adding
harmonics that increase the clarity of the sound and
give it greater definition. A short phase-inverted delay
is applied to each channel, giving the sound greater
spaciousness.
29: Enhancer processes the left and right channel signals separately.
The signals are sent through a two-band shelving
equalizer before the exciter effect and delay effect are
applied.
Left
28: Exciter processes the signals of the left and right
channels independently.
Left
Mix
EQ
A two-band shelving equalizer is provided for each
channel.
Right
EQ
Enhancer
Exciter
Right
Delay
–
Mix
D
Harmonic density
1…99
Specify the density of the harmonics that will be added to the
signal. As this value is increased, the exciter effect will be
deeper.
H
S
Hot spot
1…20
Specify the center frequency that
will be emphasized by the exciter
portion of the effect. Harmonics
will be added around this frequency. Higher settings will raise
the frequency at which the
emphasis occurs.
S
W
Stereo width
0…99
Set the proportion at which the
delayed signal of each channel
is added to the output of the
other channel. Higher settings
will widen the stereo image of
the delay effect.
T
Delay time
1…99
Set the basic delay length. Both
channels use the same delay
time.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
Mix
EQ
D
Harmonic density
–99…+99
Specify the density of the harmonics. As this value is increased, the exciter effect will be
deeper. Negative settings will
attenuate the harmonics, producing a thinner sound.
H
S
Hot spot
1…10
Specify the center frequency
that will be emphasized by the
exciter effect. Harmonics will be
added around this frequency.
Higher settings will raise the frequency at which the emphasis
occurs.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
186
–
Enhancer
Exciter
Equalizer high
Delay
Mix
EQ
H
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the exciter
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
☞P. 178.
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
Reference • Effects
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the exciter
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
☞P. 178.
Distortion effects were originally designed for guitar,
and simulate the distortion which occurs in the signal
when the input signal gain exceeds the input capacity.
Distortion adds depth to individual notes, and is effective on solos. If chords are played with this effect in
use, the sound will be muddy, but if you’re after a true
“rock” atmosphere, it may be just what you want.
This effect passes the left and right channels through a
two-band shelving equalizer before applying distortion to create a slight “wah” effect.
30: Distortion produces a hard and solid distortion of
the type often used in hard rock or heavy metal. It is
particularly effective on solo instruments.
31: Overdrive simulates the warm distortion that
occurs on a tube amplifier. Applying it to a guitar or
organ sound will produce a bluesy sound.
Left
Mix
EQ
Mix
Overdrive
Right
Distortion
32: Phaser 1 applies opposite-phase modulation to the
signals of the left and right channels, causing the stereo image to move from side to side.
33: Phaser 2 applies same-phase modulation to the left
and right channels.
Left
Mix
1…111
Set the depth of the distortion
effect. Higher settings will raise
the distortion level.
→
H
S
Hot spot
0…99
Set the center frequency at
which the wah filter will be
applied. As this value is raised,
the wah frequency will rise.
☞P. 178.
R
Resonance
0…99
Set the amount of resonance
that is applied by the wah filter.
Higher settings will produce a
deeper wah effect.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
0…99
Left
Mix
Phaser
Phaser
Mod
Mod
Phaser
Phaser
Right
Mix
Phaser 1
Right
Mix
Phaser 2
H
S
Hot spot
0…99
Set the center frequency at
which the phase shift effect will
be applied. Higher settings will
raise the frequency that is shifted.
→
S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that
modulates the delay. Higher settings will produce faster modulation.
☞P. 178.
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the phase shift.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no phaser effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of delayed signal
that will be returned to the input
of the phaser. As this value is
increased, the resonance produced by the phaser effect will be
increased. Negative values will
invert the phase of the feedback
and increase the resonance.
LFO waveform
SIN, TRI
Select the waveform that the
LFO will use to modulate the
phase of the signal. You can
select either sine wave (SIN) or
triangle wave (TRI).
Overdrive
Drive
Distortion level
While chorus and flanger effects modulate the delay
time, the phaser effect modulates the phase of the
input signal itself, producing a more distinct modulation effect. Phasers (also known more accurately as
phase shifters) are especially effective on electric piano
and electric guitar sounds.
Mix
D
DL
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the distortion
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
Mix
EQ
Distortion
Right
DRY,
B1…B99, FX
32, 33: Phaser
30, 31: Distortion
Left
Dry:Effect
balance
Set the output level of the distorted sound. Higher settings will
produce more distortion. With a
setting of 0 there will be no
distortion effect.
187
Reference • Effects
Dry:Effect balance
DRY,
99:1…1:99,
FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the phaser
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
34: Rotary Speaker
This effect simulates the sound of the rotary speakers
that are popularly used with electric organs. Rotary
speakers contain a motor which rotates the high frequency speaker horn at either a high or a low speed.
The rotary speaker effect can be used in a variety of
ways, but is generally used by changing the rotary
speaker’s rotational speed from slow to fast at points
in the music where the musician wishes to build up or
add excitement. This creates an effect of movement as
if the sound were being shaken.
34: Rotary Speaker mixes the input signals from the
left and right channels, and then creates the rotary
effect using a completely independent LFO (low frequency oscillator). The signal of neither channel will
be equalized.
Left
Mix
Rotary Speaker
Right
Mix
Dry:Effect balance
DRY,
99:1…1:99,
FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the rotary
speaker effect sound will be
heard. Other settings set the
proportion of the direct sound
and effect sound.
You can use dynamic modulation to switch between
slow and fast while you play. Use a switch-type controller for this purpose. I.e., even if a continuous controller is moved rapidly, this will not cause the
rotational speed to follow the motion, and will not
affect the way in which the low and high speeds
switch. The rotational speed is not affected by the
speed at which the controller is moved, but will
change to the new speed at the rate specified by the
AC (acceleration) parameter.
☞P. 178.
35, 36: Tremolo
Tremolo is an effect that uses an LFO (low frequency
oscillator) to modulate the output volume. It is particularly effective on slow melody lines or when playing
spacious chords, but is not very suitable when playing
rapid phrases.
35: Auto Pan applies opposite-phase modulation to
the volume of the left and right channels, causing an
effect as though the sound were being panned
between left and right.
36: Tremolo applies same-phase modulation, producing a standard tremolo effect.
V
I
B
A
C
Vibrato depth
Acceleration
0…15
1…15
Set the depth of the vibrato
effect. (This corresponds to the
diameter of the rotating speaker
horn.) Higher values will produce
a more definite vibrato effect.
When dynamic modulation is
used to switch the rotational
speed, this parameter sets the
time required to accelerate from
low speed to high speed (or to
decelerate from high to low
speed). Higher settings will
result in faster acceleration or
deceleration.
S
Slow speed
1…99
Set the rotational speed for
when the LFO is switched to the
slow speed. Higher settings will
produce faster rotation.
F
Fast speed
1…99
Set the rotational speed for
when the LFO is switched to the
fast speed. Higher settings will
produce faster rotation.
For both effects, the sound passes through a two-band
shelving equalizer before the tremolo effect is applied.
Left
Mix
EQ
Left
Tremolo
Auto Pan
Mod
Mod
Tremolo
Auto Pan
Right
Mix
EQ
Right
Mix
EQ
Auto Pan
W
Mix
EQ
Tremolo
LFO waveform
SIN, TRI
Select the waveform that the
LFO will use to modulate the
input level of the signal. You can
select either sine wave (SIN) or
triangle wave (TRI).
LFO width
–99…+99
Adjust the LFO waveform. Increasingly positive settings will
cause the peak of the waveform
to become broader, and negative settings will cause the peak
of the waveform to become narrower and sharper.
level
Modulation waveform
LFO width =–99
LFO width =0
LFO width =+99
188
Reference • Effects
S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that
modulates the input level. Higher
settings will produce faster
modulation.
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the amplitude.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no tremolo effect.
L
Equalizer low
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region below 1
kHz.
H
Equalizer high
–12 dB…+12
dB
Set the amount of boost or cut
that the shelving type equalizer
will apply to the region above 1
kHz.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the tremolo
effect sound will be heard. Other
settings set the proportion of the
direct sound and effect sound.
☞P. 178.
37: Parametric Equalizer
37: Parametric Equalizer allows you to modify the
tone by adjusting the boost or cut in three frequency
bands. This is a useful way to add punch to drums or
bass.
For the low, center, and high frequency bands, you can
specify the cutoff (center) frequency and the gain.
W
Middle width
0…99
Set the width of the band
affected by the mid-range filter.
Higher settings will cause the
range being cut or boosted by
the filter to be narrower.
H
F
High frequency
0…29
Set the cutoff frequency of the
high frequency filter. Higher settings will raise the cutoff frequency.
G
High gain
–12 dB…+12
dB
Set the amount of boost or cut
that will be applied to the region
above the cutoff frequency specified by the HF parameter.
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the equalized
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
38, 39: Chorused or Flanged Delay
These are dual effects which connect two effects in
series. I.e., the sound of the left and right channels is
processed first by a mono-in stereo-out chorus or
flanger, and then by a stereo delay. This is especially
effective when used on solo instruments.
38: Chorus-Delay connects chorus and delay in series.
39: Flanger-Delay connects flanger and delay. Both the
chorus and flanger use quadrature modulation; i.e.,
modulation is applied at a 90 degree phase difference
to the left and right channels.
Left
Left
Mix
Left
Mix
Mix
Chorus
Delay
Chorus
Delay
Mod
3-Band EQ
Flanger
Delay
Flanger
Delay
Mod
Right
Mix
Chorus-Delay
Right
Mix
Flanger-Delay
3-Band EQ
Right
Mix
L
F
Low frequency
0…29
Set the cutoff frequency of the
low frequency filter. Higher settings will raise the cutoff frequency.
G
Low gain
–12 dB…+12
dB
Set the amount of boost or cut
that will be applied to the region
below the cutoff frequency specified by the LF parameter.
→
M
Middle frequency
0…99
Set the center frequency of the
mid-range filter. Higher settings
will raise the middle frequency.
☞Pagina 178 in questo manuale.
G
Middle gain
–12 dB…+12
dB
Set the amount of boost or cut
that will be applied to the region
centered at the frequency specified by the M parameter.
T
Delay time
0…50 ms
Set the basic delay length for the
chorus and flanger effects. Both
channels use the same delay
time.
F
Feedback
–99%…+99%
Set the amount of feedback that
will be returned to the input of
the flanger. As this value is
increased, the resonance produced by the flanger effect will be
increased. Negative values will
invert the phase of the feedback,
lowering the pitch of the effect
sound by 1 octave.
S
Modulation speed
1…99
Set the speed of the LFO that
modulates the delay of the chorus or flanger. Higher settings
will cause faster modulation.
M
Modulation depth
0…99
Set the depth at which the LFO
will modulate the delay time.
Higher settings will cause the
modulation effect to be more
pronounced. With a setting of 0
there will be no chorus effect or
flanger effect.
189
Reference • Effects
T
Delay time
0…450 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback that
will be returned to the input of
the delay. As this value is increased, the number of delay repeats
will increase, and it will take longer for the echoes to disappear.
Negative values will invert the
phase of the feedback, causing
the tone of the echo to be harder, and less hollow-sounding.
→
Dry:Effect balance
DRY,
99:1…1:99,
FX
For both the chorus or flanger
effect and the delay effect, set
the balance between the direct
sound (DRY) and the sound processed by the effect (FX). With a
setting of DRY, the effect will be
turned off. With a setting of FX,
only the echoed sound processed by the chorus or flanger
effect will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
40, 41: Delay & Reverb
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
Reverb time
Depends on
the effect
Set the time over which the
reverberation will decay. Halltype reverb allows a setting from
0.2–9.9 seconds, and room-type
reverb allows a setting from 0.2–
4.9 seconds.
P
Pre delay
0…150 ms
This parameter sets the delay
from the direct sound until when
the early reflections of the reverb
are heard. Higher settings will
cause the reverberation to be
distinct, producing an echo-like
sound.
H
D
High damp
0%…99%
Set the degree to which the high
frequency range of the reverberation will be attenuated. Higher
settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the reverberation will be heard. Other settings
set the proportion of the direct
sound and effect sound.
☞P. 178.
These are dual effects which connect a mono delay and
a mono reverb.
40: Delay/Hall combines a delay and a hall reverb.
41: Delay/Room combines a delay and a room reverb.
You can use dynamic modulation to control the
DRY:FX balance parameters of both the delay and
reverb while you play.
42: Delay & Chorus
Left
Mix
This effect combines a mono delay and mono chorus
in parallel.
Feedback
Delay
Pre Dly
Right
42: Delay/Chorus is an effect which connects a mono
delay and a mono chorus in parallel.
Rev
Mix
You can use dynamic modulation to control the
DRY:FX parameters of both the delay and chorus
effects while you play.
Left
T
Delay time
0…500 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
H
D
190
High damp
0%…99%
Set the degree to which the high
frequency range of the delayed
sound will be attenuated. Higher
settings will cause more rapid
attenuation.
Mix
Feedback
Delay
Mod
Chorus
Right
T
Delay time
Mix
0…500 ms
Set the basic delay length for the
delay effect.
Reference • Effects
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
H
D
High damp
0%…99%
Set the degree to which the high
frequency range of the delayed
sound will be attenuated. Higher
settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
0.03…30 Hz
Set the speed of the LFO that
modulates the delay of the chorus effect. For a standard chorus
effect, set a low frequency
(approximately 1 Hz).
Modulation speed
M
→
Modulation depth
0…99
Set the modulation depth of the
chorus. Higher settings will
cause the modulation effect to
be more pronounced. With a setting of 0 there will be no chorus
effect.
LFO waveform
SIN, TRI
Select the waveform that the
LFO will use to modulate the
delay time. You can select either
sine wave (SIN) or triangle wave
(TRI).
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the chorus
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
43: Delay & Flanger
This effect combines a mono delay and mono flanger
in parallel.
43: Delay/Flanger is an effect that connects a mono
delay and mono flanger in parallel.
You can use dynamic modulation to control the
DRY:FX parameters of both the delay and flanger
effects while you play.
Left
Mix
Feedback
Delay
Mod
Flanger
Feedback
Right
Mix
T
Delay time
0…500 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
H
D
High damp
0%…99%
Set the degree to which the high
frequency range of the delayed
sound will be attenuated. Higher
settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
Modulation speed
0.03…30 Hz
Set the speed of the LFO that
modulates the delay of the flanger effect. For a standard flanger
effect, set a low frequency
(approximately 0.18 Hz).
M
Modulation depth
0…99
Set the modulation depth of the
flanger. Higher settings will
cause the modulation effect to
be more pronounced. With a setting of 0 there will be no modulation effect.
F
Feedback
–99%…+99%
Set the amount of feedback that
will be returned to the input of
the flanger. As this value is
increased, the resonance produced by the flanger effect will be
increased. Negative values will
invert the phase of the feedback,
lowering the pitch of the effect
sound by 1 octave.
191
Reference • Effects
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the chorus
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
R
Resonance
0…99
Set the amount of resonance
that is applied by the wah filter.
Higher settings will produce a
deeper wah effect.
D
L
Distortion level
1…99
Set the output level of the distorted sound. Higher settings will
produce more distortion. With a
setting of 1 there will be no
distortion effect.
44, 45: Delay & Distortion
46: Delay & Phaser
This effect combines a mono delay and mono distortion or overdrive in parallel. For example, this can be
used to apply delay to a lead synth in one channel, and
distortion to a guitar in the other channel.
This effect combines a mono delay and mono phase
shifter in parallel.
44: Delay/Dist combines delay and distortion.
You can use dynamic modulation to control the
DRY:FX parameters of both the delay and phaser
effects while you play.
45: Delay/Overdrv combines delay and overdrive.
Both distortion and overdrive include a wah effect.
Left
46: Delay/Phaser is an effect that connects a mono
delay and mono phaser in parallel.
Left
Mix
Mix
Feedback
Feedback
Delay
Delay
Distortion
Right
Mod
Mix
Phaser
Delay/Distortion
Right
Left
Feedback
Mix
Mix
Feedback
Delay
T
Delay time
0…500 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
H
D
High damp
0%…99%
Set the degree to which the high
frequency range of the delayed
sound will be attenuated. Higher
settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
Modulation speed
0.3…30 Hz
Set the speed of the LFO that
modulates the phase of the input
signal. Higher settings will produce faster modulation.
Overdrive
Right
Mix
Delay/Overdrive
T
Delay time
0…500 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
D
Drive
1…111
Set the depth of the distortion
effect. Higher settings will raise
the distortion level.
H
S
Hot spot
1…99
Set the center frequency at
which the wah filter will be
applied. As this value is raised,
the wah frequency will rise.
192
Reference • Effects
M
Modulation depth
0…99
Set the depth at which the phase
will be modulated. Higher settings will cause the modulation
effect to be more pronounced.
With a setting of 0 there will be
no phaser effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed signal
that will be returned to the input
of the phaser. As this value is
increased, the resonance produced by the phaser effect will be
increased. Negative values will
invert the phase of the feedback
and increase the resonance of
the effect.
→
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the phaser
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
☞P. 178.
47: Delay & Rotary Speaker
This effect combines a mono delay with a mono rotary
speaker in parallel.
47: Delay/Rotary provides a mono rotary speaker that
produces a heavier tremolo than the stereo rotary
speaker (34: Rotary Speaker) effect.
Left
Mix
Feedback
Delay
Rotary
Speaker
Right
Mix
T
Delay time
0…500 ms
Set the basic delay length for the
delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e.,
the amount of the delayed sound
that will be returned to the input
of the delay. As this value is
increased, the number of delay
repeats will increase, and it will
take longer for the echoes to
disappear. Negative values will
invert the phase of the feedback,
causing the tone of the echo to
be harder, and less hollow-sounding.
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the echoed
sound will be heard. Other settings set the proportion of the
direct sound and effect sound.
A
C
Acceleration
1…15
When dynamic modulation is
used to switch the rotational
speed, this parameter sets the
time required to accelerate from
low speed to high speed (or to
decelerate from high to low
speed). Higher settings will
result in faster acceleration or
deceleration.
S
Slow speed
1…99
Set the rotational speed for
when the LFO is switched to the
slow speed. Higher settings will
produce faster rotation.
F
Fast speed
1…99
Set the rotational speed for
when the LFO is switched to the
fast speed. Higher settings will
produce faster rotation.
Dry:Effect balance
DRY,
B1…B99, FX
Set the balance between the
direct sound (DRY) and the
sound processed by the effect
(FX). With a setting of DRY, the
effect will be turned off. With a
setting of FX, only the rotary
speaker effect sound will be
heard. Other settings set the
proportion of the direct sound
and effect sound.
You can use dynamic modulation to switch between
slow and fast while you play. Use a switch-type controller for this purpose. I.e., even if a continuous controller is moved rapidly, this will not cause the
rotational speed to follow the motion, and will not
affect the way in which the low and high speeds
switch. The rotational speed is not affected by the
speed at which the controller is moved, but will
change to the new speed at the rate specified by the
☞P. 178.
AC (acceleration) parameter.
193
Reference • Appendices
13. Appendices
Messages
In the various page displays of Arrangement Play mode and Backing Sequence mode display settings and
parameters, and also when you modify settings such as volume, mute, and transpose, the iS40/iS50 will
sometimes display “popup” screens that appear only for a few seconds.
In addition to these, you may occasionally see messages that provide warnings, ask for confirmation, or indicate that processing is taking place.
If a warning message is displayed, correct the settings for the measure or filename etc. as necessary, and execute the operation once again.
If a confirmation message is displayed, be aware that executing the operation may cause some or all data to be
lost from the iS40/iS50’s internal memory or from a floppy disk.
Then, either save the important data to disk or make a backup copy of the file before continuing the procedure.
If one of these warning or confirmation messages appears, you should also check to make sure that the type of
operation itself that you are attempting to execute is actually the desired operation. (For example, make sure
that while intending to execute Rename Arrangement you are not actually selecting the Write Arrangement
page.)
????????.??? exists.
The filename ????????.??? that you specified as the name of a new file is
already used by a different file on the same disk. Is it OK to replace
(overwrite) the old file with the new file? If this is done, the contents of
the old file will be lost from the disk.
Already formatted. Continue?
This message notifies you that the disk you are attempting to format is
already formatted, and asks whether the operation should be continued. Make sure that you have inserted the correct disk.
Are you sure?
This message is asking whether the operation should be executed. To
execute press the ENTER/YES button. To cancel without executing
press the EXIT/NO button.
Can’t find file
During an operation such as load, delete or rename, did you exchange
disks after specifying a file?
The currently inserted floppy disk does not contain the required file.
Thus, the operation that you are attempting cannot be executed.
Make sure that the correct disk is inserted.
Can’t play all track. Continue?
The iS40/iS50 does not have enough memory to play all the tracks of
the musical data that you specified. If you playback now, some of the
tracks will not be heard.
Can’t read disk.
The currently inserted floppy disk is a format which the iS40/iS50 cannot use, and the operation that you are currently attempting cannot be
executed.
Make sure that the correct disk is inserted. This message may also
appear if the current or voltage of your AC power is unstable.
194
Reference • Appendices
Can’t replace dir.
The filename that you specified is already being used by a directory on
that disk. Thus, the operation that you are attempting cannot be executed.
Specify a different filename, and try the operation again.
Can’t replace system.
The filename that you specified is already being used by a system file on
that disk. Thus, the operation that you are attempting cannot be executed.
Specify a different filename, and try the operation again.
Completed.
Processing has been completed. You may continue operation as desired.
Corrupt SMF.
The specified Standard MIDI File contains damaged data. Thus, this
data cannot be played back on the iS40/iS50.
Corrupt file.
The data in the specified file has been damaged. Thus, the operation
that you are attempting cannot be executed.
Make sure that you have selected the correct file.
If you have a backup copy of that file, load the backup file.
Directory full.
No more directories can be created in the currently inserted floppy disk.
Thus, the operation that you are attempting cannot be executed.
Either delete unneeded files from the disk, or insert a different disk in
which additional files can be created, and try the operation again.
Disk full.
No more data can be written into the currently inserted floppy disk.
Thus, the operation that you are attempting cannot be executed.
Either delete unneeded files from the disk, or insert a different disk that
has remaining space, and try the operation again.
Disk has ??? file(s). Continue?
The disk that you are attempting to format already contains ??? files.
This message asks you whether you still wish to format the disk. If you
execute formatting, the files currently existing on disk will all be lost.
Make sure that you have inserted the correct disk.
Disk protected.
The write protect tab of the disk is in the open (protect) position. Thus,
the operation that you are attempting cannot be executed.
First make sure that the correct disk is inserted. Then, if you are sure
that you don’t mind for the data on the disk to be rewritten, slide the tab
closed and perform the operation once again.
Empty SONG/B.SEQ
The specified backing sequence does not yet contain data. Thus, the
operation that you are attempting cannot be executed.
Empty file.
The selected file does not contain data. Thus, the operation that you are
attempting cannot be executed.
If disk operations are performed incorrectly, it is possible that such an
empty file can be created on disk.
If you find such a file, use the Disk/Global page “Utility” (☞P. 132)
function Delete File (DEL) to delete that file.
Empty measure.
This measure contains no data. Thus, the operation that you are
attempting is invalid. Make sure that you have selected the correct measure.
Empty track.
This track does not contain data. Thus, the operation that you are
attempting cannot be executed. Make sure that you have selected the
correct track.
195
Reference • Appendices
File protected.
The selected file has an attribute of read-only. Thus, the operation that
you are attempting cannot be executed.
First make sure that you have selected the correct file. The attribute of a
file on disk cannot be changed by the iS40/iS50, but you can use a personal computer to do so if you need to. If you are sure that it is OK to
change the attribute of the file, insert the disk into the disk drive of a
personal computer, modify the attribute of that file, insert the disk back
into the iS40/iS50’s disk drive, and perform the operation once again.
For details on file attributes and how to change them, refer to the
owner’s manual for your personal computer or the manual for your
computer’s operating system.
Keyboard Track Empty.
Since the keyboard track contains no data, the operation that you are
attempting cannot be executed. Either record data, or load data into the
track before attempting the operation.
Measure not exists. Continue?
Have you specified the wrong measure? The measure number that you
specified does not exist in the data.
Measure overlaps.
With the settings that you specified, the measures that you wish to copy
overlap with the copy destination.
It is not possible to make settings so that the copy destination is located
within the copy source.
Check the position and length of the copy source measures and the
number of copies, and the location of the copy destination.
Measure won’t fit.
If measures are copied or inserted as you specified, this track will
exceed 999 measures.
The iS40/iS50 cannot create more than 999 measures in a track. Check
the length of the measures that you wish to copy or insert, the number
of copies, and the length of the insert destination track.
Missing Arrangement.
There is no arrangement file in the currently inserted disk.
Missing B.Sequence.
There is no backing sequence file in the currently inserted disk.
Missing HMB file
The setup file of the VOCAL/GUITAR section is missing. The disk
probably comes from a KORG iS40. In spite of the error message, all the
other files will be loaded and no problems will occur when operating
the instrument.
Missing some files.
Some of the files are missing from the currently inserted disk.
No disk in drive.
A floppy disk is not inserted in the disk drive. Correctly insert a disk
into the drive, and try the operation again.
Not SMF.
The specified file is not a Standard MIDI File. Thus, this data cannot be
played back on the iS40/iS50. Make sure that you have not specified the
wrong file.
196
Reference • Appendices
Not enough memory.
The iS40/iS50 does not have enough memory for work area. Thus, the
operation that you are attempting cannot be executed. In order to allocate memory space, you will need to perform one of the operations
described below. However if any of the data in memory is important
and must not be lost, use the Disk/Global page “Save” or Song Edit
“Page 13: Save” operation to save the data to floppy disk.
If this message appears when you are in Song Edit mode, Backing
Sequence mode, or in Disk/Global mode when you are using LOAD
ALL or LOAD ONE to load backing sequence data, you will need to
delete backing sequence data or song edit data. If this message appears
when you are using the Disk/Global mode operation LOAD ONE to
load style data, you will need to delete style data from the user bank.
Okay to erase B.Seq & Song
Edit
The iS40/iS50 does not have enough memory to playback the SMF format 1 data that you specified.
In order to allocate sufficient memory space, is it OK to erase the backing sequence data or the song editing data from internal memory? If
internal memory contains data that you do not wish to lose, use the
Disk/Global “Save” page backing sequence save operation or the Song
Edit mode “Page 13: Save” operation to save that data to disk.
SMF format 2.
The specified file is a Standard MIDI File in Format 2. Thus, this data
cannot be played back by the iS40/iS50. Make sure that the correct file
has been selected.
Source is empty.
If this appears during a Copy Measure operation ...
Are you attempting to copy a measure that contains no data to another
measure? It is not possible to copy a measure which contains no data to
another measure. Re-specify the correct measure.
Alternatively, it is possible that the track itself contains no data at all.
Make sure that you have selected the correct track.
If this appears during a Bounce Track operation ...
Are you attempting to bounce a track containing no data to another
track? It is not possible to bounce a track containing no data to another
track. Re-specify the correct track.
Check once again that you have selected the correct track.
Wait a moment ...
Now loading ...
Now saving ...
Now formatting ...
These message indicate that a disk-related operation is in progress.
Please wait until the operation is completed.
197
Reference • Appendices
Troubleshooting
General problems
Problem
Solution
Page
Make sure that (1) the power cable is plugged into the outlet, (2) the cable is
plugged into the connector on the back of the instrument, (3) and is not damaged, (4) there are any problems with the mains.
Power does not turn on
Is the power switch turned ON?
If the power still does not turn on, contact your dealer or the nearest KORG Service Center.
Check the connections of your amp or mixer.
☞P. 2
Make sure that all the components of the amplifying system are turned on.
No sound
Are the MASTER VOLUME and VOLUME sliders of the i40M set to a position
other than “0”?
☞P. 3
Is the Local Control parameter set to OFF? Turn it ON.
☞P. 137
If the MIDI controller is connected through the Global channel of the i40M (channel 1 by default), and the led of the SPLIT button is lit up, the notes will be
divided into the Lower part (low notes, below the split point) and the Upper 1 and
Upper 2 (high notes, above the split point) parts. The Lower part is muted in
some Arrangements and does not play.
☞P. 29
Do the USER banks contain modified data? Load the appropriate data for the
song, the backing sequence or the arrangement you wish to playback.
☞P. 128
Has one of the two drum kits in RAM been modified? Load the appropriate drum
kits (27 and 28 Drum programs).
☞P. 131
Have the arrangements been modified? Load the appropriate data.
☞P. 129
Arrangements or backing sequences
do not play the correct patterns
Do the arrangements use the USER styles? Load the USER styles required by
the arrangements.
☞P. 131
Sound does not stop
Make sure that the damper switch polarity parameter is set correctly.
☞P. 148
Selected arrangement or backing
sequence does not playback
Make sure that the MIDI Clock parameter is set to INT. If you are using the MIDI
Clock of another device, you must set the MIDI Clock parameter to EXT-IN1 or
EXT-IN2 (if the device is connected to MIDI IN1 or MIDI IN 2, respectively) and
make sure that the external device transmits MIDI Clock data.
☞P. 137
Cannot record in Backing Sequence
mode
Make sure that the MIDI Clock parameter is set to INT. If you are using the MIDI
Clock of another device, you must set the MIDI Clock parameter to EXT-IN1 or
EXT-IN2 (if the device is connected to MIDI IN1 or MIDI IN 2, respectively) and
make sure that the external device transmits MIDI Clock data.
☞P. 137
Make sure that all MIDI cables are connected correctly.
☞P. 4
Make sure that the external device is transmitting through MIDI channels that
are enable to receive in the i40M.
☞P. 4
Make sure that the MIDI Filters of the i40M do not prevent the reception of messages.
☞P. 141
Lowest note are not played
Wrong sounds
Does not respond to MIDI messages
Some drum kit sounds are not played
Check the panpot and effect send level settings.
Percussive instruments played are not
correct
Make sure that the track transposition is set to +00 and that the external device,
if any, transmits without transposition.
198
☞P. 31
Reference • Appendices
Floppy disk related problems
Problem
Action
Are you using a 3.5 inch 2DD or 2HD floppy disk? You must use one of
these types.
Cannot format a floppy disk
Is the disk inserted correctly?
Is the write protect tab of the disk in the protect position?
Is the disk inserted correctly?
Cannot save data to a floppy disk
Is the write protect tab of the disk in the protect position?
Is the disk inserted correctly?
Cannot load data from a floppy disk
Does the disk contain data?
199
Reference • Appendices
List of detected chords
Each of the chords pictured below are shown in root position with a root note of C. In order for the iS40/iS50
to correctly recognize major 6th and minor 6th chords, they must be played in root position as pictured. This
is because these chords consist of the same notes as the minor 7th and minor 7th flatted 5th of the relative
minor key. (For example, the notes C, E, G, and A could be either C6 or Am7.)
Major
3-note
T
2-note
T
T
T
2-note
T
T
T
1-note
T
T
T
Major 6th
2-note
4-note
T
T
Major 7th
4-note
3-note
2-note
T
T
T
T
Sus 2
Sus 4
3-note
2-note
3-note
3-note
2-note
T
T
Dominant 7th
4-note
T
T
T
T
T
T
T
T
T
T
T
T
Dominant 7th Sus 4
4-note
3-note
T
T
T
T
= constituent notes of the chord
200
T = can be used as tension
Reference • Appendices
Minor
Minor 6th
3-note
2-note
T
T
4-note
T
T
Minor 7th
Minor-Major 7th
4-note
T
T
3-note
T
T
Diminished
3-note
4-note
T
T
T
Diminished Major 7th
3-note
4-note
T
T
T
T
Minor 7th 5
4-note
T
T
Augmented
T
Augmented 7th
4-note
3-note
T
T
T
4-note
T
T
Major 7th 5
4-note
T
Augmented Major 7th
Major 7th Sus 4
4-note
T
T
T
T
Dominant 7th 5
4-note
T
T
T
T
= constituent notes of the chord
T
T
T
T = can be used as tension
201
Reference • Appendices
MIDI Implementation chart
Function
Basic Channel
Transmitted
Note
Number:
Velocity
Aftertouch
Recognized
Default
1–16
1–16
Changed
1–16
1–16
Default
Mode
KORG i40M
OS Version 1.0 - Feb. 20, 1999
Remarks
Memorized
3
Messages
X
Altered
******************
X
0–127
0–127
True Voice
******************
0–127
Transmit from sequencer
Note On
O 9n, V=1–127
O 9n, V=1–127
Note Off
X
X
Polyphonic (Key)
O
O
Sequencer data only
*A
Monophonic (Channel)
O
O
Sequencer data only
*A
*C
Pitch Bend
Transmit 2-126 from sequencer
O
O
Sequencer data only
0, 32
O
O
Bank Select (MSB, LSB)
*P
1, 2
X
O
Modulation (pitch, cutoff)
*C
4, 64
O
O
Pedal (scale, damper)
*C
6, 38
X
O
Data Entry (MSB, LSB)
*E
11
X
O
Expression
*C
Control
7, 10, 91, 93
O
O
Volume, A:B panpot, send C, D
*C
Change
12
O
O
Effect controller
*C
72, 73, 74
X
O
EG time (Release, Attack), Brightness
*C
92 ,94
O
O
Effects 1, 2 on/off
*C
Program
Change
96, 97
X
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
O
(Sequencer data)
O 0–127
O 0–127
True #
System Exclusive
System
Common
System
Real Time
Aux
Messages
Notes
0–127
O
O
*3 *E
Song Position
O
O
*1
Song Select
O0
O0
*1
Tune
X
X
Clock
O
O
Commands
O
O
Local On/Off
O
X
All Notes Off
X
O (123–127)
Active Sense
O
O
Reset
X
X
*1
*1
In case Echo back is active.
*C, *P, *A, *E: Sent and received when MIDI Filter (Controller, Program Change, Aftertouch, System Exclusive) is set
to ENA in Global mode.
*1: When clock is set to internal, sent but not received. When set to external, received but not sent.
*2: LSB, MSB = 00,00: pitch bend range, =01,00: fine tune, =02,00: course tune
*3: Includes Inquiry, GM Mode On, Master Balance, and Master Volume messages.
Mode 1:OMNI ON, POLY
Mode 3:OMNI OFF, POLY
202
******************
*P
Mode 2:OMNI ON, MONO
Mode 4:OMNI OFF, MONO
O: Yes
X: No
Reference • Appendices
MIDI Setup
The following chart lists the parameters that are automatically configured by each MIDI Setup.
Parametro
Global
Upper 1
Upper 2
Lower
Drum
Percussion
Bass
Acc.1
Acc.2
Acc.3
Chord 1
Chord 2
Arrangement
Keyboard Set
Program Filter
A.Touch Filter
C.C. Filter
Sysex Filter
MIDI Vel. In
Echo Back
Local Off Tran.
Arr.Harm.Ch.
Har.Octave
Harmony
Range Bottom
Harminy
Range Top
Split Point
MIDI Octave
Input Lower
MIDI Octave
Input Upper
Lower Memory Mode
Default
1
1
1
1
10
11
12
13
14
15
1
0
0
0
X
NOR
DIS
NO
1
+1
Master
1
1
1
1
10
11
12
13
14
15
2
3
0
0
0
X
NOR
DIS
NO
1
+1
Piano 1
2
2
2
2
10
11
12
13
14
15
1
0
0
0
X
NOR
IN 1
YES
1
+1
Piano 2
1
2
2
2
10
11
12
13
14
15
1
0
0
0
X
NOR
IN 1
YES
1
+1
Accordion 1
1
1
1
2
10
11
3
13
14
15
2
3
0
0
0
X
110
DIS
NO
2
-1
Accordion 2
16
1
4
2
10
11
12
13
14
15
2
3
0
0
0
X
110
DIS
NO
2
-1
Accordion 3
16
1
4
2
12
11
3
13
14
15
2
3
10
0
0
0
X
NOR
DIS
NO
2
-1
Guitar
1
1
1
1
10
11
12
13
14
15
0
X
X
X
NOR
DIS
NO
Off
+1
C-1
C-1
C-1
C-1
C-1
C-1
C-1
C -1
B3
B3
B3
B3
G9
G9
G9
G9
C4
C4
C4
C4
A1
C4
C4
C4
0
0
0
0
-1
-1
-1
0
0
0
0
0
0
0
0
0
Harmony
Harmony
Harmony
Harmony
Harmony
Harmony
Harmony
Harmony
203
Reference • Appendices
Styles
8 Beat
16 Beat
Ballroom
Dance 1
8 beat 1
16 beat 1
Slow Pop
Party Polka
8 Beat 2
16 Beat 2
Slow Rock 1
Disco Party
8 Beat 3
16 beat 3
Slow Rock 2
Motown
8 Beat 4
16 Beat 4
Flipper 6/8
Love Disco
8 Beat Analog
16Beat pop
Flipper 4/4
Disco ‘70
8 Beat Rock
16BeatAnalog
Twist
80's Dance
8 Bt. Shuffle
16 Beat Funk
Hully Gully
House
8 R&B
16 Beat Rock
Surf Rock
Techno
Dance 2
Latin 1
Latin 2
Latin Dance
Progress.
Bossa 1
Tango
Mambo
Underground
Bossa 2
Habanera
Salsa
Jungle
Bossa 3
Paso Doble
Merengue
Garage
Samba 1
Cumbia
Meneito
Rap
Samba 2
Bajon
Macarena
Hip Hop
Beguine
Calypso
Tikytikità
Dancing Tribe
Last Rhumba
Reggae
Lambada
Down Beat
Cha Cha Cha
Dance Reggae
Disco Samba
Traditional 1
Traditional 2
Jazz
Jazz & Funk
I. Waltz
Wien Waltz
40's Big Band
Swing Ballad
Mazurka
Slow Waltz 1
Big Band
Medium Swing
Polka
Slow Waltz 2
Fast Big Band
Be bop
German Waltz
Fox Trot 1
Latin Big Band
Acid Jazz
Laendler
Fox Trot 2
Broadway
Latin Jazz
GermanPolka
Big Band Fox
Hollywood
New Jazz
WaltzMusette
Quick step
Jazz Waltz
Party Funk
French March
Charleston
5/4 Swing
Groove
Rhythm and Blues
Rock
World Music 1
World Music 2
R&B
Light Rock
Country
9/8 Roman
6/8 Blues
Pop Rock
Country beat
Ciftetelli
Gospel
Open Rock
Country Bld.
Mariachi
Blues Shuffle
Heavy Rock
Dixieland
Raspa
Pub Shuffle
Rock Ballad
March
Baroque
Hip Blues
Half Time
Tarantella
Minuet
R&B Funk
Rock & Roll
Sevillana
Bolero
Rhythm&Funk
Rock Hip Hop
Gipsy
New Age
204
Reference • Appendices
User 1
User 1
User 2
User 2
Arrangements
You can select the arrangements via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and
Program Change (shown in table as PC) messages through the ARNG channel. The Bank Select MSB is always = 00.
BS
PC
#
BS
PC
8 Beat
000
000
A11
8 Beat
001
A12
002
BS
PC
16 Beat
000
008
A21
16 Beat
Guitar Ballad
009
A22
A13
L.A. R&B
010
003
A14
Sweet Beat
004
A15
005
#
BS
A31
Pop 6/8
Windy Beat
017
A32
A23
Home Beat
018
011
A24
Color Beat
Analog Night
012
A25
A16
8 Beat Rock
013
006
A17
Shuffle
Shade
007
A18
Rhythm&Bea
t
032
A51
Progressive
033
A52
034
000
#
Dance 1
024
A41
Party Polka
Back to 60's
025
A42
NonstopParty
A33
Rock 6/8
026
A43
Motown
019
A34
Flipper 6/8
027
A44
Love disco
Miami Beat
020
A35
Flipper 4/4
028
A45
Disco '70
A26
Analogyst
021
A36
Twist
029
A46
80's Dance
014
A27
Thin Funk
022
A37
Hully Gully
030
A47
House
015
A28
Easy Rock
023
A38
Beach Surfer
031
A48
Techno
Latin 1
000
PC
Ballroom
016
Dance 2
000
#
040
A61
Basic Bossa
Underground
041
A62
A53
Jungle
042
035
A54
Garage
036
A55
037
000
Latin 2
000
048
A71
Tango
Bossa nueva
049
A72
A63
Miss Bossa
050
043
A64
Samba
Euro Rap
044
A65
A56
Hip Hop
045
038
A57
Dancing
Tribe
039
A58
Down Beat
Latin Dance
000
056
A81
Mambo
Habanera
057
A82
Salsa
A73
Paso Doble
058
A83
Merengue
051
A74
Cumbia
059
A84
Meneito
Sambalegre
052
A75
By on
060
A85
Macarena
A66
Beguine
053
A76
Calypso
061
A86
Tikitikità
046
A67
Last Rhumba
054
A77
Reggae
062
A87
Lambada
047
A68
Cha Cha Cha
055
A78
DanceReggae
063
A88
Discosamba
205
Reference • Appendices
BS
PC
#
BS
PC
Traditional 1
000
064
B11
Waltz
065
B12
066
000
072
B21
Wiener Waltz
Mazurka
073
B22
B13
Polka
074
067
B14
German
Waltz
068
B15
069
206
#
BS
Jazz
Big Band 40's
Slow Waltz 1
081
B32
B23
Slow Waltz 2
082
075
B24
Operetta
Laendler
076
B25
B16
German
Polka
077
070
B17
W. Musette
071
B18
French
March
096
B51
R&B
097
B52
098
000
B41
Ballad
Big Band
089
B42
MediumSwing
B33
Fast Big Band
090
B43
Be Bop
083
B34
Latin BigBand
091
B44
Acid Jazz
Fox Trot
084
B35
Broadway
092
B45
Latin Jazz
B26
Club Fox
085
B36
Hollywood
093
B46
Still Life
078
B27
Quick step
086
B37
Jazz Waltz
094
B47
Party Funk
079
B28
Charleston
087
B38
5/4 Swing
095
B48
Groove
B61
Light Rock
112
B71
Country
6/8 Blues
105
B62
Pop Rock
113
B72
B53
Gospel
106
B63
Open Rock
114
099
B54
Blues Shuffle
107
B64
Heavy Rock
100
B55
Pop Shuffle
108
B65
101
B56
Uncle Funk
109
102
B57
Get Funked
103
B58
Electric Funk
U11
001
000
World Music 2
120
B81
9/8 Roman
Country Beat
121
B82
Ciftetelli
B73
Country Ballad
122
B83
Mariachi
115
B74
Dixieland
123
B84
Raspa
Rock Ballad
116
B75
OnTheBridge
124
B85
Venezia
B66
Half Time
117
B76
Tarantella
125
B86
Minuetto
110
B67
Rock & Roll
118
B77
Sevillana
126
B87
Bolero
111
B68
Rock Hip Hop
119
B78
Gipsy
127
B88
New Age
User 2
001
000
World Music 1
104
000
#
088
Rock
000
PC
Jazz & Funk
B31
008
U21
U12
009
002
U13
003
000
User 3
016
U31
U41
U22
017
U32
025
U42
010
U23
018
U33
026
U43
U14
011
U24
019
U34
027
U44
004
U15
012
U25
020
U35
028
U45
005
U16
013
U26
021
U36
029
U46
006
U17
014
U27
022
U37
030
U47
007
U18
015
U28
023
U38
031
U48
032
U51
033
001
User 4
024
User 5
001
PC
080
User 1
001
BS
Traditional 2
Rhythm & Blues
000
#
User 6
001
040
U61
U52
041
034
U53
035
001
User 7
001
048
U71
U62
049
042
U63
U54
043
036
U55
037
User 8
001
056
U81
U72
057
U82
050
U73
058
U83
U64
051
U74
059
U84
044
U65
052
U75
060
U85
U56
045
U66
053
U76
061
U86
038
U57
046
U67
054
U77
062
U87
039
U58
047
U68
055
U78
063
U88
Reference • Appendices
Programs
You can select the programs via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and Program Change (shown in table as PC) messages, through the MIDI channel you wish to change the program to. The
Bank Select MSB is always = 00.
BS
PC
#
BS
Bank A: Piano
000
000
A11
Piano 1
001
A12
002
000
BS
008
A21
Celesta
Piano 2
009
A22
A13
Piano 3
010
003
A14
Honky-tonk
004
A15
005
PC
#
BS
Bank A: Organ
016
A31
Organ 1
Glockenspiel
017
A32
A23
Music Box
018
011
A24
Vibraphone
E. Piano 1
012
A25
A16
E. Piano 2
013
006
A17
Harpsichord
007
A18
Clavinet
032
A51
Acoustic Bs.
033
A52
034
000
000
Organ 2
025
A42
Steel Gtr.
A33
Organ 3
026
A43
Jazz Gtr.
019
A34
ChurchOrgan
027
A44
Clean Gtr.
Marimba
020
A35
Reed Organ
028
A45
Muted Gtr.
A26
Xylophone
021
A36
Musette
029
A46
Overdrive
014
A27
Tubular Bell
022
A37
Harmonica
030
A47
Dist. Gtr.
015
A28
Santur
023
A38
Bandoneon
031
A48
GT.Harm.
Violin
Fingered Bs.
041
A62
A53
Picked Bs.1
042
035
A54
Fretless Bs.
036
A55
037
A71
Strings
Viola
049
A72
A63
Cello
050
043
A64
Contrabass
Slap Bass 1
044
A65
A56
Slap Bass 2
045
038
A57
SynthBass 1
039
A58
SynthBass 2
065
B12
066
000
Bank A: Brass
056
A81
Trumpet
Slow Strings
057
A82
Trombone
A73
SynStrings 1
058
A83
Tuba
051
A74
SynStrings 2
059
A84
MuteTrumpet
Tremolo Str.
052
A75
Choir Aahs
060
A85
French Horns
A66
PizzicatoStr.
053
A76
Voice Oohs
061
A86
Brass
046
A67
Harp
054
A77
SynVox
062
A87
Syn.Brass1
047
A68
Timpani
055
A78
OrchestraHit
063
A88
Syn.Brass2
Bank B: Pipe
000
000
Bank A: Ensemble
048
Soprano Sax
Bank A: Guitar
Nylon gtr
A61
B11
#
A41
040
064
PC
024
Bank A: Strings
Bank B: Reed
000
#
Bank A: Chromatic percussion
Bank A: Bass
000
PC
072
B21
Piccolo
Alto Sax
073
B22
B13
Tenor Sax
074
067
B14
Baritone Sax
068
B15
069
000
Bank B: Synth lead
000
080
B31
SquareWave
Flute
081
B32
B23
Recorder
082
075
B24
Pan Flute
Oboe 1
076
B25
B16
English Horn
077
070
B17
Basson
071
B18
Clarinet
Bank B: Synth pad
000
088
B41
Fantasia
Saw Wave
089
B42
Warm Pad
B33
Syn.Calliope
090
B43
PolySynth
083
B34
Chiffer Lead
091
B44
Space Voice
Bottle Blow
084
B35
Charang
092
B45
BowedGlass
B26
Shaku 1
085
B36
Solo Vox
093
B46
Metal Pad
078
B27
Whistle 1
086
B37
5Th Wave
094
B47
Halo Pad
079
B28
Ocarina 1
087
B38
Bass & Lead
095
B48
Sweep Pad
207
Reference • Appendices
BS
PC
#
BS
Bank B: Synth SFX
000
096
B51
Ice Rain
097
B52
098
B61
Sitar
Soundtrack
105
B62
B53
Crystal
106
099
B54
Atmosphere
100
B55
101
208
PC
#
BS
Bank B: Percussion
112
B71
Tinkle Bell
Banjo
113
B72
B63
Shamisen
114
107
B64
Koto
Brightness
108
B65
B56
Goblin
109
102
B57
Echo Drops
103
B58
Star Theme
000
C11
90’s Piano
001
C12
002
000
000
001
Agogo
121
B82
Breath Noise
B73
Steel Drums
122
B83
Seashore
115
B74
Woodblock
123
B84
Bird
Kalimba
116
B75
Taiko
124
B85
Telephone 1
B66
Bagpipe
117
B76
Melo. Tom
125
B86
Helicopter
110
B67
Fiddle
118
B77
Synth Drum
126
B87
Applause
111
B68
Shanai
119
B78
ReverseCym.
127
B88
Gun Shot
SynCelesta
Rock Piano
009
C22
C13
New Piano
010
003
C14
M1 Piano
004
C15
005
C31
Gospel Org.
Sistro
017
C32
C23
Orgel
018
011
C24
SynVibes
Whirly
012
C25
C16
DW-8000 EP
013
006
C17
HarpsiFunk
007
C18
Clavmation
033
C52
034
001
C41
L&R Ac.Gtr.
ClickOrgan
025
C42
12 Strings
C33
Rotary Org.
026
C43
PedalSteel
019
C34
EuroPipe
027
C44
L&R El. Gtr.
Balaphone
020
C35
SmallPipe
028
C45
Clean Funk
C26
Gamelan
021
C36
Fr.Musette
029
C46
DistoMutes
014
C27
ChurchBell
022
C37
Akordeon
030
C47
Solo Dist.
015
C28
Celtic Plug
023
C38
Cassotto
031
C48
PowerChord
040
C61
The Strings
Bass/ Harm.
041
C62
C53
Picked Bs.2
042
035
C54
Fat Fretty
036
C55
037
C71
Marcato
ChambViola
049
C72
C63
Cello Ens.
050
043
C64
ChamDBass
SuperRound
044
C65
C56
DynaSlap
045
038
C57
Dance Bass
039
C58
SquareBass
D11
AltoBreath
065
D12
066
001
Bank C: Brass
056
C81
FlugelHorn
Exp. Str.
057
C82
Dynabone
C73
AnalogPad
058
C83
OB. Tuba
051
C74
AnaStrings
059
C84
Mute Ens.
Octave Str.
052
C75
Doolally
060
C85
Horns Ens.
C66
OctavePizz.
053
C76
AirVoxDbl
061
C86
Brass Band
046
C67
My dream
054
C77
Glassglide
062
C87
Syn.Brass3
047
C68
SftTimpani
055
C78
ImpactHit
063
C88
Sfz< Brass
Bank D: Pipe
001
001
Bank C: Ensemble
048
064
Bank C: Guitar
024
Bank C: Strings
001
000
Bank C: Organ
016
Upright
Bank B: Effects
Gt.FretNoise
C21
C51
#
B81
008
032
PC
120
Bank C: Chromatic percussion
Bank D: Reed
001
BS
Bank B: Ethnic
Bank C: Bass
001
#
104
Bank C: Piano
001
PC
072
D21
Synth Fife
Folk Sax
073
D22
D13
SoftTenor
074
067
D14
PerkySaxes
068
D15
069
001
Bank D: Synth lead
001
080
D31
Soft Solo
BreathFlute
081
D32
D23
Traverso
082
075
D24
Kawala
Oboe 2
076
D25
D16
Woodwinds
077
070
D17
Small^Orch
071
D18
Clarn. Ens.
Bank D: Synth pad
001
088
D41
Thick Pad
Big Lead
089
D42
Soft Pad
D33
PurePanLd.
090
D43
Farluce
083
D34
Rubby
091
D44
Heaven
BottleBlow
084
D35
Dist.Lead
092
D45
Glass Pad
D26
Shaku 2
085
D36
Vox Lead
093
D46
Panner Pad
078
D27
Whistle 2
086
D37
Big Fives
094
D47
Polar Pad
079
D28
Ocarina 2
087
D38
Big & Raw
095
D48
Celestial
Reference • Appendices
BS
PC
#
BS
Bank D: Synth SFX
001
096
D51
Caribean
097
D52
098
PC
001
104
D61
Tambra
Rave
105
D62
D53
BellPad
106
099
D54
AmbientPad
100
D55
101
#
BS
Bank D: Percussion
D71
WindChimes
Bouzouki
113
D72
D63
Oud
114
107
D64
Kanoon
ElastikPad
108
D65
D56
Bell Choir
109
102
D57
Big Panner
103
D58
Odyssey
000
E11
Piano&Strgs
001
E12
002
001
002
Cowbell
121
D82
Laughing
D73
Claves
122
D83
Wind
115
D74
Castanets
123
D84
Gallop
Ukulele
116
D75
Tsuzumi
124
D85
Telephone 2
D66
Jaw Harp
117
D76
Oil Drum
125
D86
Train
110
D67
MandoTrem.
118
D77
Rev. Tom
126
D87
Stadium!!
111
D68
Hichiriki
119
D78
Rev Snare
127
D88
Explosion
Tone Wheel
PianoPad
009
E22
E13
Midi Piano
010
003
E14
Fresh Air
004
E15
005
E31
R&R Guitar
70' Organ
017
E32
E23
Theatre Org.
018
011
E24
Jimmy Org.
Mark II bis
012
E25
E16
Hard Tines
013
006
E17
FunkyRoads
007
E18
PianoVibes
033
E52
034
002
E41
FingerDark
Dobro
025
E42
Dyno Bass
E33
ElectricAc.
026
E43
Bass/Mute
019
E34
Mr.Clean
027
E44
Stick Bass
DblBrass
020
E35
Hackbrett
028
E45
Deep House
E26
SlowSunset
021
E36
Gtr.Strings
029
E46
Dr.Octave
014
E27
Ultra Rez
022
E37
StereoDist.
030
E47
Rap Bass
015
E28
DanceReMix
023
E38
Gtr/Bass
031
E48
Zap bass
040
E61
i3 Strings
Flute/Muted
041
E62
E53
Trump Ens.
042
035
E54
Lyle Stack
036
E55
037
E71
LiteVoices
N-Strings
049
E72
E63
Ravel Pad
050
043
E64
Dark Pad
Folk Clar.
044
E65
E56
SectWinds
045
038
E57
FallAngels
039
E58
Lylesircs
F11
001
002
Bank E: 8
056
E81
Jet Star
DigitalAir
057
E82
Space Wing
E73
Air Vox
058
E83
Ambience
051
E74
Ambi.Voice
059
E84
Glide Fx
Yoshi Pad
052
E75
Airways
060
E85
SteamCloud
E66
Swell Pad
053
E76
Stab Pad
061
E86
WhiteNoise
046
E67
Light Pizz
054
E77
Poppin'Pad
062
E87
Fragments
047
E68
DblStrings
055
E78
MonoLead
063
E88
Brass Fall
Bank F: User 2
003
002
Bank E: 7
048
000
Bank E: 4
024
Bank E: 6
002
001
Bank E: 3
016
Velo Flute
Bank D: Effects
Heart Beat
E21
E51
#
D81
008
032
PC
120
Bank E: 2
Bank F: User 1
003
PC
112
Bank E: 5
002
BS
Bank D: Ethnic
Bank E: 1
002
#
008
F21
F12
009
002
F13
003
002
Bank F: User 3
003
016
F31
F22
017
010
F23
F14
011
004
F15
005
Bank F: User 4
003
024
F41
F32
025
F42
018
F33
026
F43
F24
019
F34
027
F44
012
F25
020
F35
028
F45
F16
013
F26
021
F36
029
F46
006
F17
014
F27
022
F37
030
F47
007
F18
015
F28
023
F38
031
F48
209
Reference • Appendices
BS
PC
#
BS
PC
Bank F: User 5
003
032
F51
033
#
BS
Bank F: User 6
040
F61
F52
041
034
F53
035
#
BS
F71
056
F81
F62
049
F72
057
F82
042
F63
050
F73
058
F83
F54
043
F64
051
F74
059
F84
036
F55
044
F65
052
F75
060
F85
037
F56
045
F66
053
F76
061
F86
038
F57
046
F67
054
F77
062
F87
039
F58
047
F68
055
F78
063
F88
PC
#
003
210
#
Bank F: User 8
BS
PC
003
#
Drum 1
004
PC
Bank F: User 7
048
BS
003
PC
000, 002007, 074115, 117-127
Dr11
GM Kit 1
001
Dr12
008-015
Drum 2
004
040-047
Dr21
Brush Kit
GM Kit 2
048-055
Dr22
Orchestra Kit
Dr13
Room Kit
064, 066-071
Dr23
Percussion Kit
016-023
Dr14
Power Kit
065
Dr24
Latin Perc. Kit
024, 027-031
Dr15
Electronic Kit
116
Dr25
Arabian Kit
025
Dr16
Analog Kit
056-063
Dr26
SFX Kit
026
Dr17
Dance Kit
072
Dr27
(User 1)
032-039
Dr18
Jazz Kit
073
Dr28
(User 2)
Reference • Appendices
Multisamples
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
0
A.Piano 1
88
Mute Gtr 1
87
E.Guitar 3
261
Viola
348
VS 58
435
MuteTriang
1
A.Piano 1w
89
FunkyGtr1
175
House Bass
262
Cello
349
VS 71
436
OpenTriang
2
A.Piano1LP
90
Mute Guitar1
176
House Bass
263
Cello LP
350
VS 72
437
Agogo
3
A.Piano 2
91
FunkyGtr 1
177
Bass Slide
264
CBs.&Cello
351
VS 88
438
Cow Bell
4
A.Piano 2w
92
FunkyGtr1V
178
StringSlap
265
Pizzicato
352
VS 89
439
Timbale
5
A.Piano 3
93
FunkyGtr1V
179
Kalimba
266
Voice
353
13-35
440
WoodBlock1
6
A.Piano 3w
94
E.Gtr Harm
180
Music Box
267
Choir
354
DWGSOrg1
441
WoodBlock2
7
M1 Piano
95
E.GtrHramV
181
MusicBoxLP
268
Soft Choir
355
DWGSOrg2
442
WoodBlock3
8
M1 Piano w
96
Dist.Gtr 1
182
Log Drum
269
Air Vox
356
DWGS E.P.1
443
Claves
9
Grand EP
97
DistGtr1LP
183
Marimba
270
Doo Voice
357
ClarinetLP
444
Syn Claves
10
E.Piano 1
98
Dist.Gtr1V
184
Marimba w
271
DooVoiceLP
358
DWGSOrg1
445
Castanet
11
E.Piano 1w
99
Dist.Gtr 2
185
Xylophone
272
DooVoiceLP
359
Saw
446
CastanetNT
12
E.Piano1LP
100
Over Drive
186
Vibe
273
Choir
360
Square
447
Castanet V
13
E.Piano 2
101
OverDrv LP
187
Vibe w
274
MouthHarp1
361
Ramp
448
FingerSnap
14
E.Piano 2w
102
OverDrv F4
188
Celesta
275
Syn Vox
362
Pulse 25%
449
FingSnapNT
15
E.Piano2LP
103
MtDistGtr1
189
Glocken 1
276
Syn Vox LP
363
Pulse 8%
450
Snap
16
DWGS E.P. 1
104
MtDstGtr1V
190
Glocken 2
277
White Pad
364
Pulse 4%
451
Snap NT
17
Soft EP LP
105
Dist.Gtr 2
191
BrightBell
278
Ether Bell
365
Syn Sine
452
Vibraslap
18
Hard EP
106
DstGtrHarm
192
B.Bell LP
279
E.Bell LP
366
Sine
453
Guiro
19
Hard EP w
107
PowerChrd1
193
Metal Bell
280
Ghostly
367
Orch Hit
454
Guiro LP
20
Hard EP LP
108
PowerChd1V
194
M.Bell LP
281
Mega Pad
368
ImpactHitL
455
Hand Clap
21
Stage EP 1
109
OverDvChrd
195
Gamelan
282
Synth Pad
369
ImpactHitR
456
HandClapNT
22
StageEP 1w
110
Power Gtr
196
Tubular
283
Synth PadA
370
Rave Hit L
457
Gun Shot 1
23
Hard EP
111
PowerGtr V
197
ChurchBell
284
Spectrum 1
371
Rave Hit R
458
GlassBreak
24
Stage EP 1
112
PowerChrd1
198
FingCymbal
285
WaveSweep
372
Philly Hit
459
Metal Hit
25
Hard EP
113
Gt Scratch
199
FingCymbNT
286
WavSweepA
373
PowerSnare
460
HandDrill
26
Hard EP
114
Gtr Slide
200
Gong
287
WavSweepB
374
Syn Snare
461
HandDrilNT
27
PianoPad 2
115
GtCutNois1
201
Gong LP
288
MouthHarp1
375
SnareRl/Ht
462
Zap 1
28
Clav
116
GtCutNois2
202
Split Drum
289
MouthHrp1A
376
Stick Hit
463
Zap 2
29
Clav w
117
Chic 1
203
Split Bell
290
MouthHarp2
377
Side Stick
464
Fret Zap 1
30
Clav LP
118
Chic 2
204
Flute
291
MouthHrp2A
378
SideStikNT
465
Fret Zap 2
31
Harpsicord
119
Sitar 1
205
Tin Flute
292
MouthHarps
379
TimbleSide
466
Scratch Hi
32
Harpsicd w
120
Sitar 2
206
TinFluteLP
293
ChromRes
380
TimblSidNT
467
ScratcHiNT
33
HarpsicdLP
121
Sitar 2 LP
207
Pan Flute
294
Applause
381
Indust
468
Scratch Lo
34
PercOrgan1
122
Tambura
208
PanFluteLP
295
Stadium
382
Taiko Hit
469
ScratcLoNT
35
PercOrg1LP
123
Tambura LP
209
White Pad
296
BrushNoise
383
Syn Rim
470
ScratchDbl
211
Reference • Appendices
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
36
PercOrgan2
124
Santur
210
Shakuhachi
297
BruNoiseNT
384
Syn Rim NT
471
ScratDblNT
37
PercOrg2LP
125
Bouzouki
211
ShakhachiV
298
WhiteNoise
385
Click
472
Scratch a
38
Organ 1
126
BouzoukiLP
212
ShakhachLP
299
WhiteNoiNT
386
Crash Cym
473
Scratches
39
Organ 1 LP
127
Kanoun
213
Bottle
300
Jetstar
387
CrashCymLP
474
Rev.Kick
40
Organ 2
128
Mandolin
214
Recorder
301
Jetstar LP
388
CrashLP NT
475
Rev.ConBD
41
Organ 2 LP
129
Banjo
215
Ocarina
302
JetstrLPNT
389
China Cym
476
Rev Snare1
42
Organ 3
130
Shamisen
216
Oboe
303
BrushSwirl
390
ChinaCymLP
477
Rev.Snare2
43
Organ 4
131
Koto
217
EnglishHrn
304
MarcTree 1
391
Splash Cym
478
Rev.Snare3
44
Organ 6
132
Uood
218
Eng.HornLP
305
MrcTree1NT
392
Orch Crash
479
Rev.Cymbal
45
Organ 6 LP
133
Harp
219
BasoonOboe
306
MarcTree1V
393
Orch Perc
480
Rev.Tom 1
46
VoxOrgan 1
134
Ukulele
220
BsnOboeLP
307
MrcTre1VNT
394
Tite HH
481
Rev.Tom 2
47
VoxOrgan 2
135
MandlinTrm
221
Clarinet
308
MarcTree 2
395
Tite HH NT
482
Growl 1
48
VoxOrgan 3
136
A.Bass 1
222
ClarinetLP
309
MrcTree2NT
396
Open HH
483
Growl 1 NT
49
RotaryOrg1
137
A.Bass1 LP
223
Bari.Sax
310
MarcTree2V
397
CloseSynHH
484
Rain
50
Rotary1 LP
138
A.Bass 2
224
Bari.SaxLP
311
MrcTre2VNT
398
OpenSyn HH
485
Thunder
51
RotaryOrg2
139
A.Bass2 LP
225
Tenor Sax
312
Tri Roll
399
Bell Ride
486
Wind
52
Super BX-3
140
E.Bass 1
226
T.Sax LP
313
TriRoll NT
400
Ping Ride
487
Seashore
53
SuperBX3LP
141
E.Bass1 LP
227
Alto Sax
314
Tri Roll V
401
Orch B.Drm
488
Seashore V
54
Dist.Organ
142
E.Bass 2
228
A.Sax LP
315
TriRollVNT
402
Tom 1
489
Stream
55
Dist.OrgLP
143
E.Bass2 LP
229
SopranoSax
316
Cast Roll
403
Tom 2 Hi
490
Bubble
56
PipeOrgan2
144
E.Bass 1
230
S.Sax LP
317
CastRollNT
404
Tom 2 Lo
491
Bird 1
57
PipeOrg2LP
145
PickBass 1
231
Bag Pipe
318
Lore
405
ProccesTom
492
Bird 2
58
PipeOrgan3
146
PicBass1LP
232
Tuba
319
Lore NT
406
OilDrum
493
Kitty
59
PipeOrg3LP
147
PickBass 2
233
Tuba LP
320
Crickets 2
407
Syn Tom 1
494
Dog
60
Cheese Org
148
PickBass 3
234
Horn
321
Crickts2NT
408
Syn Tom 2
495
Growl 2
61
Musette
149
Fretless
235
FlugelHorn
322
MalletLoop
409
SolidHit
496
Gallop
62
Musette V
150
FretlessLP
236
Trombone 1
323
MalletLpNT
410
Steel Drum
497
Laughing V
63
Bandneon
151
SlapBass 1
237
Trombone 2
324
Sporing
411
SteelDrmLP
498
Scream
64
BandneonLP
152
SlapBass 2
238
Trombone 1
325
Rattle
412
Timapni
499
Punch
65
Accordion
153
SlpBass2LP
239
Trumpet
326
Kava
413
Timpani LP
500
Hart Beat
66
AcordionLP
154
SlapBass 3
240
Trumpet LP
327
Fever 1
414
Taiko
501
Footstep 1
67
Harmonica1
155
SlapBass 1
241
Mute TP 1
328
Fever 2
415
Tsuzumi
502
Footstep 2
68
Harmonica1
156
SlapBass 1
242
MuteTP1 LP
329
Scratchar
416
Low Bongo
503
Telephone1
69
G.Guitar 1
157
SlapBass 1
243
Mute TP 1
330
Zappers 1
417
Slap Bongo
504
Telephone2
70
G.Gtr 1 LP
158
SynthBass1
244
Brass 1
331
Zappers 2
418
Open Conga
505
Door Creak
71
G.Guitar 2
159
SynBass1LP
245
Brass 1 LP
332
Bugs
419
Slap Conga
506
Door Slam
72
F.Guitar 1
160
SynthBass2
246
Brass 2
333
Surfy
420
Palm Conga
507
Car Engine
73
F.Gtr 1 LP
161
SynBass2LP
247
Brass 2 LP
334
SleighBell
421
Mute Conga
508
CarEnginLP
212
Reference • Appendices
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
74
F.Guitar1V
162
SynthBass3
248
Brass 2
335
Sagatty
422
Baya
509
Car Stop
75
F.Guitar 2
163
RezBass 1
249
Brass 2 LP
336
Sagatty NT
423
Tabla 1
510
Car Pass
76
F.Guitar 2
164
RezBass 2
250
Brass Fall
337
Idling
424
Tabla 2
511
Car Crash
77
ResoGuitar
165
RezBass 3
251
StringEns.
338
EthnicBeat
425
Djembe
512
Siren
78
A.Gtr Harm
166
RezBass3LP
252
StrEns. V1
339
Tap-A
426
Maracas
513
Train
79
E.Guitar 1
167
MiniBass
253
StrEns. V2
340
Tap-B
427
SynMaracas
514
Helicopter
80
E.Guiter1V
168
Mini 1a
254
StrEns. V3
341
Tap-C
428
SynMarcsNT
515
Gun Shot 2
81
E.Guitar 2
169
SynthBass3
255
AnaStrings
342
Mini 1 a
429
Cabasa
516
MachineGun
82
E.Guitar 3
170
Saw
256
AnaStr. V1
343
vs88
430
Cabasa NT
517
Laser Gun
83
E.Guitar 4
171
MiniBass
257
AnaStr. V2
344
Mini 1a
431
Sagat
518
Explosion
84
E.Guitar 4
172
House Bass
258
AnaStr. V3
345
VS 102
432
Sagat NT
85
E.Guitar 2
173
FM Bass 1
259
PWM
346
VS 48
433
Tambourine
86
E.Guitar 3
174
FMBass1 LP
260
Violin
347
VS 52
434
JingleBell
LOOPS BY JUPITER SYSTEMS
213
Reference • Appendices
Drum kits
The following chart lists the percussive instruments assigned to each note of each Drum program. The Excl (Exclusive) parameter determines the mutual exclusion of two instruments with the same Exclusive number. For example,
if the “Open Hi-Hat” and the “Closed Hi-Hat” have the same Exclusive number, the “Closed Hi-Hat” will immediately stop when you play the “Open Hi-Hat”.
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
214
Inst
Excl
Note
Dr11 - GM Kit 1
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
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
18
58
20
57
40
50
8
1
34
94
12
78
56
55
0
2
78
43
269
40
123
93
123
97
123
94
123
121
81
121
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
GatedSnare
Dry Kick 2
Rock Kick
Snare 2
Open HH 1
Gated Kick
Side Stick
RollSnare2
RollSnare1
Fat Kick
Ambi.Kick
Side Stick
DrySnare 1
Syn Claps
FullRoomSD
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Lo
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Inst
Excl
Dr 12 - GM Kit 2
------------------1
----7
7
--------------1
--1
--1
-------------------------------------------------
18
58
20
57
40
53
8
2
48
93
5
79
56
55
14
0
78
43
269
49
123
93
123
97
123
94
121
121
81
121
117
83
115
206
85
235
81
263
114
147
146
161
160
160
239
240
227
227
190
196
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
-Dry Kick 2
Ambi.Kick
AmbiSnare2
Close HH
PillowKick
-RollSnare2
RollSnare1
ProcesKick
Fat Kick
Side Stick
DrySnare 1
Syn Claps
Rock Snare
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Inst
Excl
Dr13 - Room Kit
------------------1
----7
7
--------------1
--1
--1
-------------------------------------------------
19
47
20
57
39
46
0
12
40
94
10
404
48
51
1
2
78
50
269
39
120
93
120
97
120
94
120
120
81
120
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
Syn Kick 2
AmbiSnare1
Syn Kick 3
SynSnare 1
LightSnare
TightSnare
Fat Kick
Gated Kick
FullRoomSD
Open HH 1
Real Kick
Metronome2
AmbiSnare2
PowerSnare
Rock Kick
Ambi.Kick
Side Stick
GatedSnare
Syn Claps
LightSnare
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Lo
Crash Cym
Tom 1 Lo
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Inst
Excl
Dr14 - Power Kit
------------------1
----------------------1
--1
--1
-------------------------------------------------
16
58
20
57
37
33
1
13
40
94
0
404
48
40
2
12
78
51
268
50
128
93
128
97
128
94
128
128
81
128
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
PicloSnare
Snare 1
Rock Kick
-FullRoomSD
Open HH 1
Fat Kick
Metronome2
AmbiSnare2
FullRoomSD
Ambi.Kick
Gated Kick
Side Stick
PowerSnare
Hand Claps
GatedSnare
ProcessTom
Close HH
ProcessTom
Pedal HH 1
ProcessTom
Open HH 1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
------------------1
----------------------1
--1
--1
-------------------------------------------------
Reference • Appendices
Key
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
Inst
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Inst
Note
Dr15 - Electronic Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
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
16
58
20
57
49
130
18
12
51
104
0
298
50
51
2
21
80
58
269
47
131
93
131
97
131
94
131
131
81
131
117
313
115
206
85
235
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
Rock Snare
OilDrum
Syn Kick 1
Gated Kick
PowerSnare
ClosSynHH1
Fat Kick
Zap 1
GatedSnare
PowerSnare
Ambi.Kick
Syn Kick 4
Syn Rim
SynSnare 2
Syn Claps
AmbiSnare1
Syn Tom 1
Close HH
Syn Tom 1
Pedal HH 1
Syn Tom 1
Open HH 1
Syn Tom 1
Syn Tom 1
Crash Cym
Syn Tom 1
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Excl
Inst
2
2
4
4
------3
3
5
5
--------6
6
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
------------------1
----------------------1
--1
--1
---------------------
401
47
10
50
37
49
0
16
48
93
2
298
40
33
18
20
80
57
269
58
132
104
132
104
132
106
132
132
106
132
117
83
115
206
85
237
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Excl
Inst
2
2
4
4
------3
3
5
5
--------6
6
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
------------------1
----------------------1
--1
--1
---------------------
33
33
20
57
33
48
2
49
358
299
7
298
397
134
18
16
404
40
269
47
128
93
128
104
128
106
128
128
81
128
117
313
115
206
85
237
Dr16 - Analog Kit
Explosion
AmbiSnare1
Real Kick
GatedSnare
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Excl
Inst
2
2
4
4
------3
3
5
5
--------6
6
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
------------------1
----------------------1
--1
--1
---------------------
18
57
20
57
39
48
2
5
40
94
7
404
43
40
2
8
78
39
268
34
120
93
120
97
120
94
120
119
81
119
117
83
115
206
85
235
Dr17 - Dance Kit
Snare 1
Snare 1
Syn Kick 3
SynSnare 1
Snare 1
AmbiSnare2
Ambi.Kick
Rock Snare
WhiteNoise
Zap 2
Dry Kick 1
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Dance Kick
Metronome2
FullRoomSD
Syn Claps
AmbiSnare1
ProcessTom
Close HH
ProcessTom
ClosSynHH1
ProcessTom
OpenSynHH1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
SynCowbell
Excl
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
2
2
4
4
------3
3
5
5
--------6
6
Excl
Dr18 - Jazz Kit
Syn Kick 1
SynSnare 1
Syn Kick 3
SynSnare 1
LightSnare
AmbiSnare2
Ambi.Kick
PillowKick
FullRoomSD
Open HH 1
Dry Kick 1
Metronome2
DrySnare 1
FullRoomSD
Ambi.Kick
Dry Kick 2
Side Stick
LightSnare
Hand Claps
Snare 2
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
------------------1
----------------------1
--1
--1
---------------------
215
Reference • Appendices
Key
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
Inst
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
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
216
81
263
117
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Inst
Note
Dr21 - Brush Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
120
120
120
120
119
43
32
4
260
94
7
78
74
74
5
8
78
357
73
75
135
93
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Hi
DrySnare 1
Orch B.Drm
Punch Kick
FingrSnap1
Open HH 1
Dry Kick 1
Side Stick
Brush Tap
Brush Tap
PillowKick
Dry Kick 2
Side Stick
BrushNoise
Brush Slap
BrushSwish
Brush Tom
Close HH
Excl
Inst
----------------------------2
2
4
4
------3
3
5
5
--------6
6
81
263
117
147
146
132
132
133
239
240
227
227
190
196
266
267
264
265
256
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
Dr22 - Orchestra Kit
Dr23 - Percussion Kit
Dr24 - Lati Perc. Kit
------------------1
----------------------1
OFF
OFF
OFF
56
55
260
93
98
94
114
77
262
403
347
10
32
78
43
258
43
137
137
OFF
OFF
OFF
226
344
154
146
147
146
206
227
366
227
148
254
255
253
233
252
257
170
187
OFF
224
225
226
344
237
257
258
260
262
278
279
154
154
154
32
32
227
227
160
163
162
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
SynTom2 Hi
SynTom2 Hi
SynTom2 Lo
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
RollSnare2
RollSnare1
FingrSnap1
Close HH
-Open HH 1
Ride Edge
Stick Hit
Snap
Metronome1
Tubular 3
Real Kick
Orch B.Drm
Side Stick
DrySnare 1
Castanet1V
DrySnare 1
Timpani
Timpani
Excl
Inst
----------------------------2
2
4
4
------3
3
5
5
--------6
6
81
263
117
147
146
162
160
160
239
240
227
227
190
196
266
267
264
265
256
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
7
7
--1
1
1
---------------------------
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
Flexatone
FingCymbal
Tsuzumi
Lo Bongo
Hi Bongo
Lo Bongo
Tambourine
Agogo 1
Wind
Agogo 1
Slap Bongo
WoodBlockL
Claves
WoodBlockM
BongBellOp
WoodBlockH
Castanet 1
Baya 2
Shaker 1
Excl
Inst
----------------------------2
2
4
4
------3
3
5
5
--------6
6
81
263
117
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
---------------------------------------
Excl
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
----------------------------2
2
4
4
------3
3
5
5
--------6
6
Excl
OFF
MuteTriang
OpenTriang
Flexatone
FingCymbal
SynCowbell
Castanet 1
Castanet1V
FingrSnap1
Snap
MetalHitHi
MetalHitLo
Tsuzumi
Tsuzumi
Tsuzumi
Orch B.Drm
Orch B.Drm
Agogo 1
Agogo 1
Open Conga
Mute Conga
Palm Conga
7
7
------6
----------------1
1
-----------
Reference • Appendices
Key
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
Inst
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
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
135
97
135
94
135
135
81
135
117
83
114
206
85
235
81
263
116
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Brush Tom
Pedal HH 1
Brush Tom
Open HH 1
Brush Tom
Brush Tom
Crash Cym
Brush Tom
Ride Cym 2
China Cym
Ride Edge
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 1
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
--1
--1
------------------------------------------------2
2
4
4
------3
3
5
5
--------6
6
137
137
137
137
137
137
137
137
137
137
137
206
85
235
81
263
87
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
383
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Orch Cym
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Applause 1
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
--------------------------------------------------------2
2
4
4
------3
3
5
5
--------6
6
1
169
191
170
190
173
172
263
171
224
32
225
264
221
265
222
223
191
268
269
301
300
302
266
267
161
163
160
160
185
186
241
238
239
240
256
237
260
138
139
299
55
56
87
87
179
288
288
288
288
288
288
288
288
288
288
288
288
288
Baya 1
Maracas 1
Baya 2
Cabasa
Tabla 3
Tabla 2
Viblaslap
Tabla 1
MuteTriang
Orch B.Drm
OpenTriang
Guiro S
JingleBell
Guiro L
MarcTree 1
MarcTree 2
Maracas 1
Hand Claps
Syn Claps
Scratch Lo
Scratch Hi
ScratchDbl
Whistle S
Whistle L
Slap Conga
Mute Conga
Open Conga
Open Conga
Mute Cuica
Open Cuica
Timbal1Pil
Timbal1HiR
Timbal1HiO
Timbal1LoO
Syn Claves
SynCowbell
FingrSnap1
Taiko Hi
Taiko Lo
Zap 2
RollSnare1
RollSnare2
Orch Cym
Orch Cym
Udu
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Excl
Inst
--------1
1
--1
3
--3
2
--2
----------------4
4
--------------------------------5
5
6
6
-----------------------------
161
196
160
224
225
163
162
161
206
160
146
146
147
240
148
240
206
241
239
241
239
238
238
212
212
212
214
233
254
253
234
191
232
190
189
235
187
187
188
251
249
250
250
249
179
180
191
191
185
265
264
264
186
255
266
267
203
204
Excl
Slap Conga
SynMaracas
Open Conga
MuteTriang
OpenTriang
Mute Conga
Palm Conga
Slap Conga
Tambourine
Open Conga
Lo Bongo
Lo Bongo
Hi Bongo
Timbal1LoO
Slap Bongo
Timbal1LoO
Tambourine
Timbal1Pil
Timbal1HiO
Timbal1Pil
Timbal1HiO
Timbal1HiR
Timbal1HiR
Rek Dom 2
Rek Dom 2
Rek Dom 2
Rek Slap
BongBellOp
WoodBlockL
WoodBlockM
BongBellMt
Maracas 1
Manbo Bell
Cabasa
Shaker 3
Cowbell 1
Shaker 1
Shaker 1
Shaker 2
Tambourim3
Tambourim1
Tambourim2
Tambourim2
Tambourim1
Udu
DjembeOpen
Maracas 1
Maracas 1
Mute Cuica
Guiro L
Guiro S
Guiro S
Open Cuica
Claves
Whistle S
Whistle L
Sagat Open
Sagat HfOp
------2
2
----------------------------------------------------------------------------------------3
3
3
----4
4
5
5
217
Reference • Appendices
Key
101
102
103
104
105
106
107
Inst
F7
F#7
G7
G#7
A7
A#7
G8
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
218
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Inst
Note
Dr25 - Arabian Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
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
404
347
235
235
55
260
299
91
280
280
77
162
404
403
2
10
78
33
268
33
120
91
120
91
120
94
119
119
81
119
117
182
184
206
183
235
183
190
142
145
146
144
147
143
174
178
Metronome2
Tubular 3
Cowbell 1
Cowbell 1
RollSnare1
FingrSnap1
Zap 2
Tite HH 1
Gt Scratch
Gt Scratch
Stick Hit
Palm Conga
Metronome2
Metronome1
Ambi.Kick
Real Kick
Side Stick
Snare 1
Hand Claps
Snare 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Open HH 1
Tom 1 Hi
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
Darabuka O
Darabuka M
Tambourine
Darabuka R
Cowbell 1
Darabuka R
Cabasa
Douf Dom
Douf Tak 2
Lo Bongo
Douf Tak 1
Hi Bongo
Douf Rim
Tabla Dom
Tabla Roll
Inst
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
------------------------------------------1
--1
--1
----2
--3
----------------------------4
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
304
305
282
283
285
284
286
280
298
358
300
301
77
382
404
403
281
282
282
287
287
377
378
379
380
381
381
383
387
388
303
223
389
390
391
392
Excl
OFF
OFF
OFF
OFF
OFF
OFF
OFF
288
288
288
288
288
288
288
Excl
Dr26 - SFX Kit
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Scratch b
Scratch c
GtCutNois1
GtCutNois2
Chic 2
Chic 1
Bass Slide
Gt Scratch
Zap 1
WhiteNoise
Scratch Hi
Scratch Lo
Stick Hit
Footstep 2
Metronome2
Metronome1
Gtr Slide
GtCutNois1
GtCutNois1
StringSlap
StringSlap
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 1
Applause 1
Door Creak
Door Slam
Scratch a
MarcTree 2
Car Engine
Car Stop
Car Pass
Car Crash
Inst
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Inst
Dr27 - User 1
1
1
----------------2
2
-------------------------------------------------
Excl
Inst
---------------
205
221
222
223
360
361
403
Excl
Inst
Excl
SagatClose
JingleBell
MarcTree 1
MarcTree 2
Tri Roll
Cast Roll
Metronome1
Dr28 - User 2
5
------2
6
---
Excl
Reference • Appendices
Key
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
Inst
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
G8
175
176
177
148
172
212
213
211
215
215
214
206
212
206
213
215
214
203
204
205
221
180
180
182
203
204
205
221
10
361
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Tabla Tak
Tabla Flam
Tabla Rim
Slap Bongo
Tabla 2
Rek Dom 2
Rek Tak
Rek Dom 1
Rek Rim
Rek Rim
Rek Slap
Tambourine
Rek Dom 2
Tambourine
Rek Tak
Rek Rim
Rek Slap
Sagat Open
Sagat HfOp
SagatClose
JingleBell
DjembeOpen
DjembeOpen
Darabuka O
Sagat Open
Sagat HfOp
SagatClose
JingleBell
Real Kick
Cast Roll
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
4
------------------------2
2
----5
5
5
--6
6
6
7
7
7
-------
394
395
359
396
400
398
399
400
401
374
376
371
364
365
366
367
369
370
373
372
375
356
385
386
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Siren
Train
Jetstar
Helicopter
Laser Gun
Gun Shot 2
MachineGun
Laser Gun
Explosion
Dog
Gallop
Bird 1
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird 2
Growl 2
Stadium
Telephone1
Telephone2
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Inst
Excl
Inst
Excl
----------------------3
-------------------------
219
Reference • Appendices
Drum samples
#
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
220
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
Fat Kick
Rock Kick
Ambi.Kick
Crisp Kick
Punch Kick
PillowKick
-Dry Kick 1
Dry Kick 2
-Real Kick
-Gated Kick
-ProcesKick
Metal Kick
Dance Kick
-Syn Kick 1
Syn Kick 2
Syn Kick 3
Syn Kick 4
----------Orch B.Drm
Snare 1
Snare 2
Snare 3
Snare 4
PicloSnare
Soft Snare
LightSnare
FullRmSD
--DrySnare 1
--TightSnare
AmbSnar1
AmbSnar2
Rock Snare
GatdSnare
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
PoweSnare
---RollSnare1
RollSnare2
SynSnare 1
SynSnare 2
--------------Brush Slap
Brush Tap
BrshSwish
BrushSwirl
Stick Hit
Side Stick
-Syn Rim
Crash Cym
Crash LP
China Cym
China LP
SplashCym
Splash LP
Orch Cym
OrchCmLP
--Tite HH 1
-Close HH
Open HH 1
--Pedal HH 1
-----
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
--ClsSynHH1
-OpSynHH1
-------Ride Edge
Ride Cup
Ride Cym 1
Ride Cym 2
-Tom 1 Hi
Tom 1 Lo
Tom 2 Hi
Tom 2 Hi V
Tom 2 Lo
Tom 2 Lo V
---ProcesTom
-OilDrum
Syn Tom 1
SynTom2Hi
SynTom2L
SolidHit
Brush Tom
BrshTom V
Timpani
Taiko Hi
Taiko Lo
--Douf Dom
Douf Rim
Douf Tak 1
Douf Tak 2
Lo Bongo
Hi Bongo
Slap Bongo
-----
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
-Tsuzumi
-----OpnConga
Slap Conga
PalmConga
MuteConga
-----Baya 1
Baya 2
Tabla 1
Tabla 2
Tabla 3
Tabla Dom
Tabla Tak
Tabla Flam
Tabla Rim
Tabla Roll
Udu
DjembeOp
-DarabukaO
Darabuka R
DarabukaM
Mute Cuica
Open Cuica
Shaker 1
Shaker 2
Shaker 3
Cabasa
Maracas 1
----SynMaracs
------SagatOpen
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
Sagat HfOp
SagatClose
Tambourine
----Rek Dom 1
Rek Dom 2
Rek Tak
Rek Slap
Rek Rim
-----JingleBell
MarcTree 1
MarcTree 2
MuteTriang
OpenTriang
Flexatone
Agogo 1
----Manbo Bell
BongBellO
BongBellMt
Cowbell 1
-SynCowbell
Timbal1HiR
Timbal1HiO
Timbal1LO
Timbal1Pil
-------Tambrim1
Tambrim2
Tambrim3
WoodBlkH
WoodBlkM
WoodBlkL
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
Claves
Syn Claves
Castanet 1
Castanet1V
-FingrSnap1
-Snap
Viblaslap
Guiro S
Guiro L
Whistle S
Whistle L
Hand Claps
Syn Claps
--------MetalHitHi
MetalHitLo
Gt Scratch
Gtr Slide
GtCutNois1
GtCutNois2
Chic 1
Chic 2
Bass Slide
StringSlap
Orch Hit
ImpactHitL
ImpactHitR
Rave Hit L
Rave Hit R
Philly Hit
BrassFall1
BrassFall2
BrassFall3
BrassFall4
Zap 1
Zap 2
Scratch Hi
Scratch Lo
ScratchDbl
Scratch a
Scratch b
Scratch c
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
Growl 1
Monkey 2
Rev.Kick
Rev.ConBD
Rev.Snare1
Rev.Snare2
Rev.Snare3
RevCymbal
Rev.Tom 1
Rev.Tom 2
Kalimba 1
Kalimba 2
MusicBox 1
MusicBox 2
Log Drum 1
Log Drum 2
Log Drum 3
Log Drum 4
Log Drum 5
Marimba 1
Marimba 2
Marimba 3
Marimba 4
Xylofon 1
Xylofon 2
Xylofon 3
Vibe 1
Vibe 2
Vibe 3
Vibe 4
Celeste
Glocken 1
Glocken 2
Glocken 3
BrightBell
Metal Bell
Gamelan 1
Gamelan 2
FingCym
Tubular 1
Tubular 2
Tubular 3
ChurchBell
Gong Hi
Gong Lo
MouthHrp1
MthHrp1A
MouthHrp2
MthHrp2A
Spectrum 1
Stadium
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
BrushNoise
WhiteNoise
Jetstar
Tri Roll
Cast Roll
Lore
MalletLoop
Rain
Thunder
Wind
Seashore
Seashore V
Stream
Bubble
Bird 1
Bird 2
Kitty
Dog
Growl 2
Gallop
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 2
Applause 1
Applause 2
Telephone1
Telephone2
Door Creak
Door Slam
Car Engine
Car Stop
Car Pass
Car Crash
GlassBreak
Siren
Train
Helicopter
Gun Shot 1
Gun Shot 2
MachinGun
Laser Gun
Explosion
HandDrill
Metron1
Metron2
testwave
Reference • Appendices
Technical specifications
Features
Generation system
AI2 Synthesis System
Tone generator
32voices, 32 oscillators
Sample memory
14MB PCM ROM
Effects
Two stereo digital multi-effect systems, 47 effects, edit function
Vocal/Guitar section
Input sensitivity: Microphone, Guitar, Line (Mono).
Controls: Volume, A/B programmable knob, C programmable button (mute).
LED indicator: Signal (presence and clip).
Vocal model: 4 harmonization voices, separate MIDI channel for the Arrangement Play, Backing Sequence and Song Play modes.
Vocal mode effects: Compressor, Tone controls, Chorus/Delay, 2 Reverbs.
Guitar mode effects: 3 Drive, Tone controls, Noise reduction, Speaker simulator, 7 Modulating
effects, 3 Ambience effects.
Programs
320 programs (including GM programs) + 14 drum kits + 64 USER programs + 2 USER drum
kits
Styles
128 styles + 16 USER styles
Arrangements
128 arrangements + 64 USER arrangements
Keyboard Set
15
Song
Reads SMF in format 0 and 1 (16 tracks), GM compatible, Lyrics function
Backing Sequence
10, stored in RAM (40,000 events)
External controls
Damper Pedal, Assignable Pedal/Switch, EC5
Audio outputs
Left/Mono, Right
Audio inputs
Mic/Gtr with gain control
MIDI
In 1, In 2, Out, Thru
Floppy Disk
3,5” 2DD/2HD (MS-DOS® 1,44 MB and 720KB, IBM-PC® and Macintosh® compatible)
Display
Backlit custom LCD
Dimensions (W x D x H)
400 x 287 x 87 mm (15.7 x 11.2 x 3.4 inch)
Weight
4,3kg (9.5 lbs)
221
Index
Index
Symbols
“All songs” 23
chords 56, 83, 147
compressor (Vocal) 68
A
D
amplitude envelope tracking, see VDA tracking
amplitude envelope, see VDA EG
arrangement
fade in/out 27
fill 27
intro/ending 27
MIDI channels 139
name 79
overview 25
play with 26
saving to USER locations 79
selecting 25
selecting via MIDI 140
synchro start/stop 26–27
tempo 28
variation 27
Arrangement Preview 8, 25
ASSIGNABLE PEDAL/SW 143
attack 154
auto chord scanning 148
damper
in Arrangement Play mode 60
demo 20–21
disk
data type 126
load 128
save 131
write protection 126
display page 18–19
DOC files 107, 113
B
backing sequence
chaining 104
chord track 86
control track 86
copy measures 95
copying 92
delete measure 93
deleting 34, 92
erase data 94
extra track 87
insert measures 93
name 105
playback 81
recording 32–33, 82–84, 85–88
saving as SMF 105
saving on disk 33
selecting 81
solo part 87
step recording 89–92
Bank Select 54, 106
Bass Inversion 9, 50
C
chord recognition 56, 83
chord recognition mode 147
222
E
Echo Back, see MIDI, Echo Back
effects 175–193
in Arrangement Play mode 64–78
in Backing Sequence mode 102, 103
in Program mode 173
in Song Edit mode 117, 123
in Song Play mode 109, 111
effects send, see effects
ensemble 61
EQ (Vocal) 67
equal temperament 149
event edit 118
EXT 137
extra track 84, 87
MIDI channel 83, 88
F
fade in/out 27
fill 27, 61
filter envelope, see VDF EG
filter modulation, see VDF MG
filter tracking, see VDF tracking
filter, see VDF
G
General MIDI 46, 54
Global 45
loading from disk 131
saving on disk 132
saving to memory 152
GM, see General MIDI
I
intro/ending 27
Index
J
keyboard
how to block sounds 30
Keyboard Set 31
loading from disk 131
saving on disk 132
saving to memory 80
selecting via MIDI 140
editing 42–43
name 174
recovering lost changes 153
saving to memory 174
selecting in Arrangement Play mode 57
selecting in Backing Sequence mode 101
selecting in Song Edit mode 117
selecting in Song Play mode 109
Program Change 54
Program Preview 8
punch in/out 115
L
R
JukeBox, see song, play all with jukebox
K
local control off 137
lower memory 146
M
MIDI
accompaniment track channels 139
channels 53, 139
CHRD1 track channel 140
CHRD2 track channel 140
data dump 150
Echo Back 135
Global channel 45
global channel 139
MIDI channel 139–??
MIDI clock 137
MIDI controller 53
MIDI OUT 60
Panic 10
Setup 136
Upper1 track channel 139
MIDI file, see SMF
MIDI Panic 10
mode
arrangement play 56–80
backing sequence 16, 81–105
disk/global 18, 125–152
program 17, 153–174
song edit 17, 113–124
song play 17, 106–111
O
overdub 115
overwrite 115
P
pan, see effects
parameter 19
pedal 143
performance edit 154
Pitch EG 157
program
real time
selecting sounds 30
release 154
S
scale 149
user 150
single touch 57
SMF
adding parts 38
assigning sounds to the tracks 36
editing 36–38, 113–124
erasing from memory 120
erasing parts 37
overview 46
play all 23, 107
play all with jukebox 23–24, 107
play one 22–23, 107
recording 34–35
saving on disk 35
tempo 108, 115
time signature 116, 118
SMF Converter 105
song edit 36–38
song, see SMF
split point 7, 18, 45
Standard MIDI File, see SMF
step recording, see backing sequence, step recording
style
overview 25
selecting 58
subpage 9, 19
synchro start/stop 26–27
system exclusive 141
T
tempo 28, 56
tempo lock 57, 58
track
of the arrangement 59
of the backing sequence 89
of the song 109
223
Index
selecting 57
transpose
in Song Play mode 110
semitones 31
U
user
arrangement 79
programs 174
styles 58
user scale 150
V
variation 27
VDA EG 164
224
VDA tracking 165
VDF 159
VDF cutoff 154
VDF EG 154, 160
VDF MG 170
VDF tracking 161
velocity input (fixed) 138
velocity sensitivity
of the VDA 154, 167
of the VDF 154, 163
vibrato 154, 168
Vocal/Guitar 65
W
wrap around 60
Address
KORG ITALY Spa
Via Cagiata, 85
I-60027 Osimo (An)
Italy
Web server
www.korg.it
www.korg.net
www.korg.com
www.korg.co.jp
PART CODE: MAN0001050 ENG
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