Korg Kronos X Operation Guide

Operation Guide
E
1
6
Thank you for purchasing the Korg KRONOS/KRONOS X. To help you get the most out of your new instrument, please read
this manual carefully.
About this manual
The owner’s manuals and how to use them
For more details on using the Help system, see “HELP button”
on page 3.
References to the KRONOS and KRONOS X
*English-language only.
These manuals apply to both the KRONOS and the KRONOS
X, collectively referred to as “the KRONOS.” The front panel
and rear panel illustrations show the KRONOS X 61-key
model, but they apply identically to the other models.
Supplementary guides
Three manuals
The KRONOS includes three owner’s manuals:
• Quick Start Guide
• Operation Guide
The Voice Name List lists all of the sounds and setups that are
in the KRONOS when it is shipped from the factory, including
Programs, Combinations, Multisamples, Drum Samples, Drum
Kits, KARMA GEs, Wave Sequences, Drum Track Patterns,
Template Songs, and Effect Presets.
• Parameter Guide
Updating and restoring the KRONOS
All of these manuals are available as PDFs on Accessory Disc
2, and are included in the on-board Help system. A printed
version of the Quick Start Guide is also included.
This document contains information on updating and restoring
the KRONOS software. It’s provided separately as a
convenience; all of its information may also be found in the
Parameter Guide.
Quick Start Guide
Please read this first. It introduces all of the basic features of
the KRONOS, and is designed to get you up and running
quickly.
Operation Guide
Put simply, the Operation Guide is designed to answer the
question, “How do I do this?”
It explains the names and functions of each part of the
KRONOS, basic operation, an overview of each mode, how to
edit sounds, record on the sequencer, sample, and so on. This
guide also explains the basics of effects, KARMA, Drum
Track, Wave Sequences, and Drum Kits.
Finally, it also contains a troubleshooting guide and
supplemental information such as specifications.
Parameter Guide
New features in KRONOS software version 1.5
This document provides an overview of the new features in
KRONOS software version 1.5. It’s provided separately as a
convenience; all of its information may also be found in the
Operation Guide.
Conventions in this manual
Abbreviations for the manuals: OG, PG, VNL
In the documentation, references to the manuals are
abbreviated as follows.
QS: Quick Start Guide
OG: Operation Guide
PG: Parameter Guide
VNL: The Voice Name List
The Parameter Guide is designed to answer the question,
“What does this do?”
Symbols
Organized by mode and page, the Parameter Guide includes
information on each and every parameter in the KRONOS.
These symbols respectively indicate a caution, a MIDI-related
explanation, a supplementary note, or a tip.
PDF versions
Example screen displays
The KRONOS PDF manuals are designed for easy navigation
and searching. They include extensive PDF contents
information, which generally appears on the side of the
window in your PDF reader and lets you jump quickly to a
specific section. All cross-references are hyper-links, so that
clicking on them automatically takes you to the source of the
reference.
The parameter values shown in the example screens of this
manual are only for explanatory purposes, and may not
necessary match the values that appear in the LCD screen of
your instrument.
On-board Help system*
In explanations of MIDI messages, numbers in square brackets
[ ] always indicate hexadecimal numbers.
The HELP button gives you built-in, context-sensitive access
to the user manuals, right from the front panel.
For information on any front-panel button, knob, slider, or realtime controller, just hold down HELP and then press the button
or move the controller in question.
For information on the current LCD page, press and release the
HELP button.
ii
Voice Name List
,
, Note, Tips
MIDI-related explanations
CC# is an abbreviation for Control Change Number.
Contents
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Introduction to KRONOS . . . . . . . . . . . . . . 1
Front and rear panels. . . . . . . . . . . . . . . . . . . . . . . . . 1
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
TouchView user interface . . . . . . . . . . . . . . . . . . . . . . 10
Detailed Combination editing . . . . . . . . . . . . . . . . 64
Combination overview . . . . . . . . . . . . . . . . . . . . . . . . .64
Layers, Splits, and Velocity Switches . . . . . . . . . . . . .65
MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Altering Programs to fit within a Combination . . . . . .67
Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Automatically importing a Combination
into Sequencer mode . . . . . . . . . . . . . . . . . . . . . . . . . .68
Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Basic information . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
About the KRONOS’ modes. . . . . . . . . . . . . . . . . . . .
About the KRONOS’ PCM memory . . . . . . . . . . . . .
About polyphony. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
16
16
17
Creating songs (Sequencer mode) . . . .71
Sequencer overview . . . . . . . . . . . . . . . . . . . . . . . . . 71
Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
About the KRONOS’ sequencer . . . . . . . . . . . . . . . . .71
Sequencer mode structure. . . . . . . . . . . . . . . . . . . . . . .71
Turning the power on/off . . . . . . . . . . . . . . . . . . . . . . 20
Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Playing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Update information . . . . . . . . . . . . . . . . . . . . . . . . . 25
New features in software version 2.1 . . . . . . . . . . . . . 25
New features in software version 2.0 . . . . . . . . . . . . . 26
New features in software version 1.5 . . . . . . . . . . . . . 26
Playing and editing Programs . . . . . . . .29
Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Chord Pads . . . . . . . . . . . . . . . . . . . . . . . . .
Using Chord mode . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
33
37
38
Easy Program Editing. . . . . . . . . . . . . . . . . . . . . . . . 41
Quick edits using the knobs, sliders, and switches . . . 41
Detailed Program Editing. . . . . . . . . . . . . . . . . . . . 45
Editing HD-1 Programs . . . . . . . . . . . . . . . . . . . . . . .
Using LFOs and Envelopes (EGs) . . . . . . . . . . . . . . .
Using Alternate Modulation (AMS)
and the AMS Mixers . . . . . . . . . . . . . . . . . . . . . . . . . .
Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . .
Using EXi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Vector Synthesis. . . . . . . . . . . . . . . . . . . . . . . .
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Automatically importing a Program
into Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . .
45
47
Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
The control surface in Sequencer mode . . . . . . . . . . . .76
MIDI recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Preparations for recording . . . . . . . . . . . . . . . . . . . . . .78
Recording MIDI in real-time . . . . . . . . . . . . . . . . . . . .80
MIDI step recording . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Recording the sound of a Combination or Program . . .84
Recording multiple MIDI tracks from
an external sequencer . . . . . . . . . . . . . . . . . . . . . . . . . .86
Recording System Exclusive events. . . . . . . . . . . . . . .87
Recording patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Other ways to record . . . . . . . . . . . . . . . . . . . . . . . . . .90
Audio recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Audio recording overview . . . . . . . . . . . . . . . . . . . . . .91
Audio input settings and recording source selection . .92
Recording procedure . . . . . . . . . . . . . . . . . . . . . . . . . .95
Other variations of audio track recording. . . . . . . . . .101
Placing a WAVE file in an audio track . . . . . . . . . . .103
Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
49
50
51
53
55
56
58
58
Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
Common to MIDI tracks and audio tracks . . . . . . . . .106
Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Using RPPR (Realtime Pattern Play/Record) . . 108
Creating RPPR data . . . . . . . . . . . . . . . . . . . . . . . . . .108
RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Recording an RPPR performance. . . . . . . . . . . . . . . .109
Sampling in Sequencer mode . . . . . . . . . . . . . . . 111
Saving your Song . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Playing and editing Combinations . . . .59
Playing Combinations . . . . . . . . . . . . . . . . . . . . . . . 59
Selecting Combinations . . . . . . . . . . . . . . . . . . . . . . . 59
Easy Combination editing . . . . . . . . . . . . . . . . . . . 62
Changing the Programs within a Combi . . . . . . . . . . . 62
Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Easy KARMA editing. . . . . . . . . . . . . . . . . . . . . . . . . 63
Other notes about Sequencer mode . . . . . . . . . 113
KRONOS sequencer file formats . . . . . . . . . . . . . . . .113
The Compare function . . . . . . . . . . . . . . . . . . . . . . . .113
Memory Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
iii
Set Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Set List Overview . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Selecting and playing sounds . . . . . . . . . . . . . . . 116
Automatically loading sample data. . . . . . . . . . 166
Using the KSC Auto-Load list to select
which samples to load . . . . . . . . . . . . . . . . . . . . . . . .166
Creating and saving .KSC files . . . . . . . . . . . . . . . . .167
Selecting Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Selecting Slots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Connecting to computers
via USB Ethernet and FTP . . . . . . . . . . . . . . . . . . . 169
Editing Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Using Wave Sequences . . . . . . . . . . . . . . . . . . . . . 170
Selecting and re-arranging sounds . . . . . . . . . . . . . . 118
Detailed Set List editing . . . . . . . . . . . . . . . . . . . . . . 119
Set Lists and the Control Surface . . . . . . . . . . . . . . . 120
Smooth Sound Transitions . . . . . . . . . . . . . . . . . 122
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Using Smooth Sound Transitions . . . . . . . . . . . . . . . 122
Wave Sequence Overview . . . . . . . . . . . . . . . . . . . . . 170
Programming Basics . . . . . . . . . . . . . . . . . . . . . . . . .171
Adjusting the sound of an individual step . . . . . . . . . 172
Using rhythmic Wave Sequences. . . . . . . . . . . . . . . . 173
Creating smooth, evolving timbres . . . . . . . . . . . . . .175
Modulating Wave Sequences . . . . . . . . . . . . . . . . . . .176
Saving Wave Sequences. . . . . . . . . . . . . . . . . . . . . . .177
Using Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Sampling (Open Sampling System) . . 125
Sampling overview . . . . . . . . . . . . . . . . . . . . . . . . 125
About sampling on the KRONOS . . . . . . . . . . . . . . 125
Drum Kit Overview . . . . . . . . . . . . . . . . . . . . . . . . . .178
Before you start editing… . . . . . . . . . . . . . . . . . . . . . 178
Editing Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Saving Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Preparations for sampling . . . . . . . . . . . . . . . . . . 128
Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Sampling and editing in Sampling mode . . . . 134
Creating multisample indexes and sampling–
P0: Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Basic examples of sampling . . . . . . . . . . . . . . . . . . .
Editing loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Time Slice . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sample waveform editing . . . . . . . . . . . . . . . . . . . . .
Multisample editing . . . . . . . . . . . . . . . . . . . . . . . . .
Sampling from an Audio CD . . . . . . . . . . . . . . . . . .
Saving, converting to Programs, and Comparing . . .
135
137
141
143
146
147
147
148
Sampling in Program
and Combination modes . . . . . . . . . . . . . . . . . . . 150
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Resampling a KARMA phrase in Program mode . .
Auto Sampling Setup . . . . . . . . . . . . . . . . . . . . . . . .
Mixing a KARMA drum phrase with
a live guitar input, and sampling the result. . . . . . . .
Sampling a guitar from the audio inputs,
while listening to a KARMA drum phrase . . . . . . . .
150
150
150
Loading & saving data,
and creating CDs . . . . . . . . . . . . . . . . . . . 183
Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Writing to internal memory . . . . . . . . . . . . . . . . . . . . 184
Saving to disks, CDs, and USB media . . . . . . . . . . . .188
Loading data from disk . . . . . . . . . . . . . . . . . . . . . 192
Loading Songs, sounds, samples,
and KARMA GEs together . . . . . . . . . . . . . . . . . . . . 192
Loading individual banks from a .PCG file . . . . . . . . 195
Loading data by individual item or bank . . . . . . . . . .195
Creating and playing audio CDs . . . . . . . . . . . . . 197
Creating audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . .197
Playing audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . .199
Other disk operations . . . . . . . . . . . . . . . . . . . . . . 200
151
Setting the date and time . . . . . . . . . . . . . . . . . . . . . . 200
152
Sampling in Sequencer mode . . . . . . . . . . . . . . . 153
Using Effects . . . . . . . . . . . . . . . . . . . . . . . 201
In-Track Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Resampling a song to create a Wave file . . . . . . . . . 154
Effects overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
User Sample Banks. . . . . . . . . . . . . . . . . . . . . . . . . 156
Effects basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . .202
Effects selection and routing . . . . . . . . . . . . . . . . 204
Global Settings, Wave Seq.,
Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . 159
Global mode overview . . . . . . . . . . . . . . . . . . . . . 159
Global Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Global audio settings . . . . . . . . . . . . . . . . . . . . . . . .
MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pedal and other controller settings . . . . . . . . . . . . . .
Creating user scales . . . . . . . . . . . . . . . . . . . . . . . . .
Setting Category Names for Programs,
Combinations, and KARMA . . . . . . . . . . . . . . . . . .
iv
160
162
162
163
164
165
Using effects in Programs . . . . . . . . . . . . . . . . . . . . . 204
Using effects in Combinations and Songs . . . . . . . . . 206
Using effects in Sampling mode . . . . . . . . . . . . . . . .208
Using effects with the audio inputs . . . . . . . . . . . . . .209
Detailed effects editing. . . . . . . . . . . . . . . . . . . . . 211
Dynamic modulation (Dmod) . . . . . . . . . . . . . . . . . . 211
MIDI/Tempo Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Effect Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Other problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .257
Using KARMA . . . . . . . . . . . . . . . . . . . . . .215
Overview - What is KARMA?. . . . . . . . . . . . . . . . . 215
The structure of KARMA . . . . . . . . . . . . . . . . . . . . . 215
Performing with KARMA. . . . . . . . . . . . . . . . . . . . 219
Performing with KARMA in Program mode . . . . . . 219
Performing with KARMA in Combination mode. . . 222
Editing KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Editing KARMA in Program mode . . . . . . . . . . . . . 225
Editing KARMA in Combination mode . . . . . . . . . . 229
Using KARMA in Sequencer mode . . . . . . . . . . . 234
Auto Song Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Recording using KARMA (single-track recording) . 235
Multi-track recording using
settings copied from a Combination . . . . . . . . . . . . . 236
Synchronizing KARMA. . . . . . . . . . . . . . . . . . . . . . 237
Synchronization basics . . . . . . . . . . . . . . . . . . . . . . .
The “Quantize Trigger” parameter . . . . . . . . . . . . . .
Slave operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Master operation . . . . . . . . . . . . . . . . . . . . . . . . . . . .
237
237
238
238
Error and confirmation messages. . . . . . . . . . . . 258
A (ADC–Are You Sure) . . . . . . . . . . . . . . . . . . . . . . .258
B (Buffer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .258
C (Can’t calibrate–Completed). . . . . . . . . . . . . . . . . .258
D (Destination–Disk) . . . . . . . . . . . . . . . . . . . . . . . . .259
E (Error–Exceeded) . . . . . . . . . . . . . . . . . . . . . . . . . .260
F (File–Front) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .261
H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
I (Illegal–Index) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .262
M (Master–Multisample) . . . . . . . . . . . . . . . . . . . . . .263
N (No data–Not enough song memory) . . . . . . . . . . .264
O (Obey copyright rules–Oscillator) . . . . . . . . . . . . .266
P (Pattern–Program) . . . . . . . . . . . . . . . . . . . . . . . . . .266
R (Rear sample–Root) . . . . . . . . . . . . . . . . . . . . . . . .266
S (Sample–Source) . . . . . . . . . . . . . . . . . . . . . . . . . . .267
T (The clock–Track). . . . . . . . . . . . . . . . . . . . . . . . . .267
U (Unable to create directory–USB Hub) . . . . . . . . .268
W (Wave) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Y (You). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Disk and Media information. . . . . . . . . . . . . . . . . 270
Using the Drum Track . . . . . . . . . . . . . . .239
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
What is the Drum Track? . . . . . . . . . . . . . . . . . . . . . 239
Performing with the Drum Track . . . . . . . . . . . . 240
Using the Drum Track in Program mode . . . . . . . . . 240
Using the Drum Track in Combination mode. . . . . . 242
Types of media supported by the KRONOS . . . . . . .270
Operations that the KRONOS
can perform on media . . . . . . . . . . . . . . . . . . . . . . . . .270
Restoring the factory settings . . . . . . . . . . . . . . . . . . .271
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
MIDI Implementation Chart . . . . . . . . . . . . . . . . . 278
Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . 243
Drum Track settings in Program mode . . . . . . . . . . .
Drum Track settings in Combination mode . . . . . . .
Drum Track settings in Sequencer mode . . . . . . . . .
Using KARMA and the Drum Track together . . . . .
Synchronizing the Drum Track. . . . . . . . . . . . . . . . .
243
244
244
245
246
Creating Drum Track patterns. . . . . . . . . . . . . . . 247
Preparing a user pattern. . . . . . . . . . . . . . . . . . . . . . . 247
Converting a Sequencer pattern
to a Drum Track pattern . . . . . . . . . . . . . . . . . . . . . . 247
Appendices . . . . . . . . . . . . . . . . . . . . . . . .249
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Power supply. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LCD screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio input and output . . . . . . . . . . . . . . . . . . . . . . .
Programs and Combinations . . . . . . . . . . . . . . . . . . .
Songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
KARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drum Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Wave Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Disks, CDs, and USB Media. . . . . . . . . . . . . . . . . . .
249
249
250
251
252
253
253
254
255
255
255
255
256
256
256
v
vi
Introduction to KRONOS
Front and rear panels
Front panel
4. Disk Access Indicator
1. Volume
2. Control Surface
3. Data Entry
5. Mode
6. Utility
7. Bank Select
8. KARMA
9. Vector
Joystick
19. TouchView
Display
10. Drum
Track
11. SW 1&2
12. Joystick
13. Ribbon
14. Headphone Jack
15. Exit
16. Sequencer
18. Sampling
17. Tempo
1. MAIN VOLUME knob
This adjusts the volume of the main L/R audio outputs, as
well as the volume of the headphone jack.
It does not affect any of the other audio outputs, including
S/P DIF, individual outputs 1-4, or the USB output.
CONTROL ASSIGN buttons
As explained below, you can use the front panel CONTROL
ASSIGN buttons to switch between the various control
surface functions. You can also view and edit the control
surface settings on the LCD screen (P0– Control Surface
page in each mode).
TIMBRE/TRACK
2. Control Surface
The Control Surface is the set of 9 sliders, 8 knobs, and 16
switches to the left of the LCD screen. It looks like a mixer,
but can do a variety of things such as editing sounds,
controlling KARMA, and sending MIDI messages to
external devices. You can freely change back and forth
between the different functions without losing any of your
edits.
TIMBRE/TRACK lets you use the control surface to adjust
the volume, pan, EQ, and send levels for OSC 1/2, EXi 1/2,
or the Drum Track in Program mode, the current
Multisample in Sample mode, and each of the 16 Timbres or
Tracks in Combi and Sequence modes.
The LEDs to the right of the switch show whether you’re
currently editing Timbres (or Tracks) 1-8 or 9-16; press the
TIMBRE/TRACK button to toggle between the two.
1
Introduction to KRONOS
If you switch to one of the other Control Assign modes, and
then go back to TIMBRE/TRACK, it will automatically
return to the previously selected group (1-8 or 9-16).
AUDIO
AUDIO lets you use the control surface to adjust the
volume, play/mute status, solo, pan, and send levels of the
analog, S/P DIF, and USB audio inputs. In Sequencer mode,
you can also choose to control audio tracks 1–8 (HDR 1-8)
or 9–16 (HDR 9-16).
As with TIMBRE/TRACK, if you switch to one of the
other Control Assign modes, and then go back to AUDIO, it
will automatically return to the previously selected group
(Inputs, HDR 1-8 or HDR 9-16).
You can also reset all of the sliders and switches in the
KARMA Module by holding RESET CONTROLS and then
pressing the KARMA MODULE CONTROL button.
Similarly, to reset a single KARMA Scene, hold RESET
CONTROLS and press any of the SCENE buttons.
Finally, you can also use this to clear all solos, by holding
RESET CONTROLS and then pressing the SOLO button.
For more information, see “RESET CONTROLS” on
page 22 of the Parameter Guide.
EXT
SOLO button
EXT (External) lets you use the control surface to transmit
MIDI messages to external MIDI devices.
This applies only when CONTROL ASSIGN is set to
TIMBRE/TRACK or AUDIO. It toggles the SELECT
buttons between selecting the current Oscillator, Timbre,
Track, or Audio Input (when SOLO is off) or soloing the
channel (when SOLO is on).
RT KNOBS/KARMA
RT KNOBS/KARMA lets you modulate sounds and effects
with the knobs, and control KARMA with the sliders and
switches.
TONE ADJ/EQ
For more information on SOLO in the various modes, see:
Programs: “SOLO switch and SELECT switches 1–3” on
page 23 of the Parameter Guide
TONE ADJ (Tone Adjust) gives you hands-on access to
sound editing, using the sliders, knobs, and switches. In
Combi and Sequence modes, it also lets you edit Programs
within the context of the Combi or Song, without making
any changes to the original Program data.
Combinations: “Solo switch and Select switches 1–8” on
page 432 of the Parameter Guide
EQ is available only in Set Lists. This is a nine-band graphic
EQ applied to the sound after TFX2, which tailors the sound
from the main stereo outputs (including the analog L/R
outputs, S/P DIF, and USB).
3. Data entry
You can use this EQ to compensate for the acoustic
environment of a specific club or other performance venue.
The sliders are mapped to the nine bands of the EQ, for
quick and intuitive adjustments.
Sequencer: “Solo switch and Select switches 1/9–8/16” on
page 536 of the Parameter Guide
When you’ve selected a parameter on the TouchView
display, you can edit it using any of the four front-panel data
entry controls:
• The VALUE slider
• The Inc
and Dec
• The numeric keypad
For more information on how the Control Surface works in
the different modes, see:
VALUE slider
• Combi mode: “0–9: Control Surface” on page 430 of the
Parameter Guide
• Sequence mode: “0–9: Control Surface” on page 534 of
the Parameter Guide
MIXER KNOBS button
This applies only when CONTROL ASSIGN is set to
TIMBRE/TRACK or AUDIO. It toggles the knobs
between controlling the pan of all channels or controlling the
pan, EQ, and sends of the currently selected channel.
buttons
• The VALUE dial
More information on the Control Surface
• Program mode: “0–9: Control Surface” on page 21 of the
Parameter Guide
2
To reset all of the sliders, knobs, and switches of the current
CONTROL ASSIGN mode at once, hold down RESET
CONTROLS and then press the currently-lit CONTROL
ASSIGN button again.
Use this to edit the selected parameter’s value.
This control is convenient for making large
changes to the value, such as moving quickly to
the minimum or maximum setting.
You can also use the VALUE slider as a
modulation source, but only when the following
are true:
• You’re on the Program mode P0-Main page,
and the big Program name is selected, or
• You’re on the Combination mode P0– Prog
Select/Mixer page, and the big Combination
name is selected.
RESET CONTROLS button
• You’re on the Set List P0-Play page.
This feature lets you reset the Vector Joystick to the center
position, or reset any of the Control Surface sliders, knobs,
or switches to their saved value.
In these cases only, the VALUE slider sends
MIDI CC#18, and can be used as a modulation
source.
To reset a single control, hold down RESET CONTROLS
and then move a Control Surface slider or knob, press one of
the control surface buttons, or move the Vector Joystick.
Inc
and Dec
buttons
These are used to increase or decrease the parameter value
by individual steps. They’re convenient for making fine
parameter adjustments.
Front and rear panels Front panel
VALUE dial
SET LIST button
Use this dial to edit the selected parameter’s value. This
control is convenient when you want to scroll through a very
long list of selections.
This selects Set List mode. Set Lists make it simple to play
and organize any of the sounds loaded into the KRONOS,
without regard for what bank they’re stored in or whether
they’re Programs, Combinations, or even Songs.
COMBI button
This selects Combination mode, for playing and editing
complex splits and layers of Programs.
PROG button
This selects Program mode, for playing and editing basic
sounds.
0-9, –, ., and ENTER buttons
SEQ button
These buttons are convenient when you know the exact
value that you want to enter. Use the 0–9, –, and decimal (.)
buttons to enter the value, and then press the ENTER button
to confirm the entry.
This selects Sequencer mode, for recording, playing, and
editing audio and MIDI tracks.
The – button inverts the sign (+/–) of the parameter value;
the decimal (.) button inserts a decimal, for entering
fractional values.
Special functions of the ENTER button
ENTER has a few special functions when it is pressed in
combination with other buttons.
SAMPLING button
This selects Sampling mode, for recording and editing audio
samples and multisamples.
GLOBAL button
This selects Global mode, for making overall settings,
editing Wave Sequences and Drum Kits, and more.
DISK button
Whenever an on-screen parameter lets you enter a musical
note (such as G4 or C#2), or a velocity level, you can enter
the note or velocity directly by holding down ENTER while
playing a note on the keyboard.
This selects Disk mode, for saving and loading data to and
from the internal disk or external USB 2.0 storage devices.
You can also create audio CDs using a USB CD-R drive (not
included).
By holding down the ENTER button while you press a
numeric button (0–9), you can select up to ten menu
commands from the current page.
6. UTILITY buttons
In Program and Combination modes, you can hold down the
ENTER button and press the SEQUENCER REC/WRITE
button to use the Auto Song Setup function. This imports the
current Program or Combi into Sequence mode for quick
and easy recording.
4. DISK access indicator
This LED lights up when data is being saved to or read from
the internal disk.
Never turn off the power while this LED is lit. Doing so
can cause all or part of the data on the disk to be lost, or
may cause malfunctions such as disk damage.
5. MODE buttons
KRONOS has seven different operational modes, each one
optimized for a specific set of functions. These buttons select
the current mode.
Each button has an LED, which lights up to show the mode
you’ve selected.
HELP button
The HELP button gives you built-in, contextsensitive access to the user manuals, right from
the front panel.
For information on any front-panel button,
knob, slider, or real-time controller, just hold down HELP
and then press the button or move the controller in question.
For information on the current LCD page, press and release
the HELP button.
While the help page is on the screen, you can touch any of
the on-screen links (highlighted in blue text) for more
information. You can scroll through the text by using the onscreen scroll bars, pressing the Inc and Dec buttons, or
spinning the Value dial.
The top of the Help page has “breadcrumb” links, which
show the hierarchy of pages above the current one. Touch
any of these links to jump to the corresponding page.
The backwards and forwards buttons function like the
similar buttons on a standard web browser. If you use links
to jump between pages, you can then use the backwards and
forwards buttons to move through the pages you’ve already
viewed.
The Contents page lets you access any part of the Help
system, including almost all of the text and graphics in both
the Parameter and Operation Guides. The Index contains a
shorter list of links to important articles.
To close the help display, just press the HELP button again,
press the EXIT button, or press the on-screen Done button.
3
Introduction to KRONOS
COMPARE button
ON/OFF button
Use this button to compare the sound of the Program or
Combination that you are currently editing with the saved,
un-edited version of the sound. You can also use this button
to make “before and after” comparisons when recording or
editing in Sequencer mode.
This switches KARMA on and off. As with the other
KARMA buttons, the button’s LED will light up to show
you that it is turned on.
7. BANK SELECT buttons
Use these buttons to change banks when selecting Programs
or Combinations. The LEDs in the buttons light up to show
the current bank.
LATCH button
When LATCH is turned on, KARMA will continue to play
even after you’ve stopped holding notes on the keyboard or
MIDI In.
This is convenient when you want to play on top of a
KARMA-generated groove, for instance.
MODULE CONTROL button
In Program mode, these buttons select the Program bank.
They are active only on the Play pages.
In Combination mode, these buttons have two functions:
• When you’re selecting Combinations, they choose the
Combination bank.
• When you’re assigning a Program to a timbre within the
Combi, they select the Program bank.
In Sequencer mode, when a track’s Program name is
selected, these buttons change the Program bank.
General MIDI banks
Selecting General MIDI Program banks is a little different
from selecting other banks. Each time you press the INT-G
button, the bank will step to the next GM(2) bank or GM
drum bank in the following order: G, g(1), g(2)–g(8), g(9),
g(d), G, g(1), etc.
What’s in each bank?
For details on the contents of the Program banks, see
“Program bank contents” on page 29. For details on the
Combi banks, see “Combination bank contents” on page 59.
8. KARMA buttons
KARMA stands for “Kay
Algorithmic Realtime Music
Architecture.” It’s an immensely
powerful recording and live
performance tool, which can provide
a wide range of musical effects
including:
• Arpeggiation
• Drum and instrument grooves
• Complex CC gestures (as if it was
automatically moving knobs or
joysticks for you)
• Musical phrase generation
• Gated and chopped dance production effects
• Any combination of the above
• …and much more.
In Combi and Sequencer modes, KARMA has four
independent Modules, each of which can be generating a
different musical effect. When used to control KARMA, the
Control Surface sliders and switches are five layers deep:
one for each Module (A-D), and then a Master Layer which
controls selected parameters from all of the Modules at once.
The MODULE CONTROL button selects whether the
KARMA SLIDERS, SWITCHES, and SCENES will control
either a single Module independently, or the Master Layer.
In Program mode, only a single Module is available, and the
Master Layer is used to control it; you cannot select other
settings).
9. Vector Joystick
The Vector Joystick is a powerful real-time controller.
Depending on the particular Program, Combi, or Song, it
may modulate Program or effects parameters, or adjust the
volumes of different components of the sound.
For more information on how Vector Synthesis works, see
“Using Vector Synthesis” on page 56.
10. Drum Track
The Drum Track is a built-in drum machine, fueled by the
KRONOS’s high-quality drum sounds. This button turns the
Drum Track on and off.
Depending on various settings, the Drum Track may begin to
play immediately, or may wait until you start to play on the
keyboard. If the button’s LED is blinking on and off, it’s
waiting for you to play.
LINKED LED
If the front panel LINKED LED and KARMA ON/OFF
switches are lit, KARMA will start and stop together with
the Drum Track. For more information, see “Using KARMA
and the Drum Track together” on page 245.
11. SW1 and SW2
These on/off switches can perform a number of different
functions, such as modulating sounds or locking the
modulation values of the joystick, ribbon, or aftertouch.
Also, each one may work either as a toggle, or as a
momentary switch. In toggle mode, each press alternates
between on and off; in momentary mode, the switch only
changes for as long as you hold it down.
Each switch has an LED, which lights up when the switch is
on.
4
Front and rear panels Front panel
Each Program, Combination, and Song stores its own
settings for what the switches will do, and whether each
switch defaults to being on or off.
12. Joystick
The joystick moves in four directions: left, right, forwards
(away from yourself), and backwards (towards yourself).
Each of the four directions can be used to control different
program or effects parameters.
16. SEQUENCER buttons
Most of the buttons in this section apply only to Sequencer
mode and, in Disk and Sampling modes, to audio CD
playback from a connected USB CD drive.
REC/WRITE is the exception; it has special functions in
Program, Combination, and Global modes, as described
below.
The specific assignments can change depending on the
current Program, Combi, or Song. Generally, though, they
will do something like the functions shown below:
Standard Joystick functions
Move the
joystick…
Controller
Normally controls…
Name
Left
JS–X
Pitch bend down
Right
JS+X
Pitch bend up
Forwards
(away from yourself )
JS+Y
Vibrato
Backwards
(towards yourself )
JS–Y
Filter LFO (wah)
13. Ribbon controller
The Ribbon controller lets you modulate Program or effects
parameters by sliding your finger left and right along its
touch-sensitive strip.
As with the other controllers, its specific function will
change depending on the current Program, Combi, or Song.
PAUSE button
In Sequencer mode, this button pauses the playback of the
song. When paused, the button’s LED will light up. Press
PAUSE once again to resume playback, and the LED will
turn off.
In Disk and Sampling modes, this button pauses audio CD
playback.
<<REW button
In Sequencer mode, when the Song is playing or paused, this
button will rewind the song. When you press and hold this
button, its LED will light up, and the playback will rewind.
(Rewind is disabled during recording, and while the Song is
stopped.)
In Disk and Sampling modes, this button rewinds the audio
CD.
FF>> button
14. Headphone jack
This stereo 1/4” headphone jack carries the same signal as
the Main L/R outputs.
The headphone volume is controlled by the MAIN
VOLUME knob.
In Sequencer mode, when the Song is playing or paused, this
button will fast-forward the song. When you press and hold
this button, the button will light, and the playback will fastforward. (Fast-forward is disabled during recording, and
while the Song is stopped.)
In Disk and Sampling modes, this button fast-forwards the
audio CD.
15. EXIT button
LOCATE button
This button makes it easy to return to the main page of the
current mode:
In Sequencer mode, this button will advance or rewind the
song to the specified locate point. This lets you jump
immediately to any point in the current Song. The default
locate point is the first beat of measure 1.
• Press it once to go to the previously-selected tab on the
main P0 page.
• Press it again to go to the first tab on the main P0 page
(such as the main Program Play page). If you had
previously selected a parameter on this page, that
parameter will be selected.
To set the locate point to the current position, hold down
ENTER and then press LOCATE. You can also set the
Locate point directly via the on-screen menu.
• Press it a third time to select the main parameter on the
P0 page, such as the Program name in Program mode.
In Sequencer mode, pressing this button will enter recordready mode. Once you’re in record-ready mode (shown by
the button’s lit LED), you can begin recording by pressing
the SEQUENCER START/STOP button. For more
information, see “Recording MIDI in real-time” on page 80.
Wherever you are in Program, Combi, or Sequencer modes,
pressing EXIT three times (or fewer) will take you back to
Program/Combination/Song Select, where you can
immediately use the numeric keys or
/
switches to
select a Program, Combination, or Song.
When a dialog box is open, this button cancels the settings
made in the dialog box and closes the dialog box, just like
pressing the Cancel button. If a popup menu or page menu is
open, pressing EXIT closes the menu.
REC/WRITE button
In Program, Combination, Set List, and Global modes,
pressing REC/WRITE will open the Save dialog box. For
more details, see “Writing to internal memory” on page 184,
and “Using the SEQUENCER REC/WRITE button” on
page 184.
5
Introduction to KRONOS
In Program and Combination modes, you can hold down the
ENTER button and press the SEQUENCER REC/WRITE
button to use the Auto Song Setup function. This imports the
current Program or Combi into Sequence mode for quick
and easy recording. For more information, see “Auto-Song
Setup” on page 2 of the Parameter Guide.
START/STOP button
START/STOP button
• If Trigger is set to Sampling START SW, sampling will
begin immediately.
This starts or stops recording and playback in Sequencer
mode.
In Disk and Sampling modes, this button starts and stops
playback on the audio CD.
17. TEMPO controls
TEMPO knob
This knob adjusts the tempo for the
KRONOS as a whole, including Songs,
KARMA, the Drum Track, Tempo-synced
LFOs and BPM delays, and EXi Step
Sequencers.
The LED will blink at quarter-note intervals
of the current tempo.
Note: If the GLOBAL MIDI page MIDI CLOCK parameter
is set to External MIDI or USB, or if it is set to Auto and a
clock is currently being received, then neither the TEMPO
Knob nor the TAP TEMPO button will have any effect.
TAP TEMPO button
This button lets you enter tempos simply by tapping your
finger on the button. You can use this interchangeably with
the “TEMPO knob,” above. Two taps are enough to change
the tempo; for greater accuracy, you can continue tapping,
and the tempo will be averaged over the most recent 16 taps.
• If Trigger is set to Note On, sampling will begin as soon
as you play a note on the keyboard.
• If Trigger is set to Threshold, sampling will begin as
soon as the selected audio source reaches a preset
volume level.
On the Sampling mode’s P1: Sample Edit page, pressing this
button will play the selected sample.
This button is also used to play back WAV files from the
disk. You can play back WAV files in the directory window
of various Disk mode pages, in the Disk mode Make Audio
CD page, in the Sequencer mode audio track editing dialog
boxes, and in the Select Directory/File for Sample to Disk
menu command in Program, Combination, Sequencer, and
Sampling modes.
19. TouchView display
The KRONOS features our exclusive TouchView graphic
interface, based on a touch-panel LCD screen.
By touching items on the LCD screen, you can select pages,
tabs, and parameters, and set parameter values via on-screen
menus and buttons.
Shortcuts
For example, you can use TAP TEMPO to control the
KARMA tempo:
The front-panel controls offer a number of shortcuts for
commonly-used features, as detailed below.
1. In Program mode or Combination mode, start
KARMA running.
ENTER + numeric keys 0–9: Menu commands
Turn on the KARMA ON/OFF switch, and play a key or a
pad. If you turn on the LATCH switch, KARMA will
continue playing even after you lift up your hands.
2. Lightly press the TAP TEMPO switch several times at
the desired tempo.
Notice that the “q =” in the upper right of the LCD screen
will change to show the new tempo.
If you press the TAP TEMPO switch at shorter intervals, the
playback tempo will become correspondingly faster.
Note: You can also tap tempos using a foot switch. For more
information, see “Foot Switch Assignments” on page 1097
of the Parameter Guide.
18. SAMPLING buttons
REC button
In Sampling, Program, Combination, and
Sequencer modes, pressing this button enters
the initial sampling-ready mode. The button’s
LED will light up.
To continue, press the SAMPLING START/STOP button, as
described below.
6
In Sampling, Program, Combination, and Sequencer modes,
pressing this when the SAMPLING REC button is lit will do
one of three things, depending on the setting of the Trigger
parameter (on the Sampling mode Recording - Audio Input
page):
Each page has a set of menu commands, which provide
access to different utilities, commands, and options,
depending on the page you’re currently on. You can use the
menu commands entirely from the touch-screen, by pressing
the menu button in the upper right-hand corner of the screen
and then selecting an option from the menu that appears.
Even though each page may have its own unique menu
commands, the menus are standardized as much as possible.
For instance, WRITE is almost always the first menu item in
Program, Combination, and Global modes.
You can take advantage of this standardization by using a
shortcut to access any of the first ten menu items:
1. Hold down the ENTER button.
2. Press a number (0-9) on the numeric keypad to select
the desired menu command, starting with 0.
For instance, press 0 for the first menu command, 1 for the
second, and so on.
If the menu command just toggles an option on and off (such
as Exclusive Solo), then you’re done. If the command calls
up a dialog box, the dialog will appear on the LCD, and you
can proceed just as if you’d selected the command from the
touch-screen.
Front and rear panels Front panel
ENTER + REC/WRITE: Auto Song Setup
EXIT switch: Return to main page
The Auto Song Setup feature copies the current Program or
Combination into a Song, and then puts the KRONOS in
record-ready mode.
This button makes it easy to return to the main page of the
current mode:
If inspiration for a phrase or song strikes you while you’re
playing, you can use this function to start recording
immediately. To do so:
1. Hold down the ENTER key and press the
SEQUENCER REC/WRITE key.
The Setup to Record dialog box will open and ask “Are you
sure?”
2. Press OK.
You will automatically enter Sequencer mode, and will be in
the record-ready state.
3. Press the START/STOP key to start the sequencer
and begin recording.
• Press it once to go to the previously-selected tab on the
main P0 page.
• Press it again to go to the first tab on the main P0 page.
• Press it a third time to select the main parameter on the
P0 page, such as the Program name in Program mode.
Wherever you are in Program, Combi, or Sequencer modes,
pressing EXIT three times (or fewer) will take you back to
Program/Combination/Song Select, where you can
immediately use the numeric keys or
/
switches to
select a Program, Combination, or Song.
EXIT switch: Cancel in dialog boxes
When a dialog box is displayed, this has the same function as
the Cancel, Done, or Exit button.
ENTER + keyboard: Enter note or velocity value
Generally, if a parameter specifies a note number or velocity,
you can enter the value by playing on the keyboard. To do
so:
1. Select one of the Key parameters.
2. Hold down the ENTER button.
3. While holding ENTER, play a note on the keyboard.
You can use this shortcut throughout the KRONOS, such as
for setting keyboard and velocity zones, or selecting the note
to edit in Drum Kits, Multisamples, or RPPR setups.
ENTER + LOCATE: Set locate point
This shortcut sets the Sequencer’s locate point to the current
measure, beat, and tick, similar to using the Set Location
menu command (see “Set Location (for Locate Key)” on
page 625 of the Parameter Guide).
1. Hold down the ENTER button.
2. While holding ENTER, press the LOCATE key.
After this, pressing LOCATE returns the Song to the newly
set measure, beat, and tick.
CONTROL ASSIGN RT KNOBS/KARMA switch (LED
ON) + KARMA MODULE CONTROL switch
In Combination and Sequencer modes, this sets the Module
Control to Master. This is the same as setting Module
Control to M in P0: Control Surface– RT/KARMA.
CONTROL ASSIGN TONE ADJ/EQ switch
(LED ON) + SWITCH 1…16 switches
In Combination and Sequencer modes, you can use a
shortcut to change the current Timbre directly from the
Control Surface, without leaving Tone Adjust mode:
1. Press and hold the TONE ADJ/EQ button.
2. While holding TONE ADJ/EQ, press a PLAY/MUTE
or SELECT button to select a Timbre.
The PLAY/MUTE buttons select Timbres 1–8, and the
SELECT buttons select Timbres 9–16.
This is the same as the selected Timbre/Track in
TIMBRE/TRACK mode; changing one will also change the
other.
3. Release the TONE ADJ/EQ button.
The Control Surface and screen will change to show the
Tone Adjust parameters for the newly selected Timbre.
7
Introduction to KRONOS
Rear panel
2. Power Switch
3. USB
Connect the included power cable here.
We recommend that you first connect the power cable to the
KRONOS, and then connect the other end of the cable to an
AC outlet (see “1. Connecting the power cable” on page 20).
2. POWER switch
This switch turns the power on and off. Before turning
KRONOS off, make sure that you’ve saved any edits to your
Programs, Combis, Songs, or other user data.
After turning the power off, please wait for at least ten
seconds before you turn the power on again.
3. USB ports
5. Analog
Audio Outputs
7. S/PDIF
6. MIDI In & Out 8. Pedals
1. AC Power
connector
1. AC Power connector
4. Analog
Audio Inputs
MIC/LINE switches
These set the input’s nominal signal level. Set these switches
according to the type of device that you’re connecting, and
then use the LEVEL knobs (described below) to optimize
the gain.
Use the LINE setting (button pressed in) when connecting to
mixers, computer audio systems, signal processors, or other
synthesizers. The nominal level is +4dBu, with 12dB of
headroom.
Use the MIC setting (button popped out) only when
connecting a microphone.
LEVEL knobs
These knobs let you make more precise adjustments to the
input level, after setting the basic levels with the MIC/LINE
switches.
The MIN setting is unity gain; the MAX setting provides
about 40dB of gain above unity.
5. Analog AUDIO OUTPUTS
USB A ports
All of the analog audio outputs use balanced TRS 1/4”
phone jacks, referenced to a +4dBu signal level.
There are two external, high-speed USB 2.0 ports. You can
use these to connect storage media such as hard disks, flash
media, etc, as well as class-compliant USB MIDI
controllers. For more information, see “5. Connecting USB
devices” on page 23.
USB B port
This high-speed USB 2.0 port lets you connect to a Mac or
Windows PC, for sending and receiving MIDI and audio,
and for connecting to the computer editor program. For more
information, see “7. Connection to a computer via USB” on
page 24.
Connect these outputs to the input jacks of your amp or
mixer. In addition to the L/MONO and R main stereo audio
outputs, the KRONOS provides four individual audio
outputs.
4. Analog AUDIO INPUTS
The sound from each oscillator, drum, timbre/track, or insert
effect can be freely routed to any output. Additionally, you
can route the metronome sound to an individual output, to
separate it from the stereo mix. For more information, see
“Effects selection and routing” on page 204.
You can use the audio inputs for recording, sampling, and
real-time mixing through the built-in effects.
(MAIN) L/MONO, R
Mic/Line Inputs 1 and 2
These are the main stereo outputs; their volume is controlled
by the MAIN VOLUME knob. All of the factory Programs
and Combis are programmed to play through these outputs.
When editing sounds, or when setting up a Song in
Sequencer mode, you can access the main outputs by setting
Bus Select to L/R.
Inputs 1 and 2 provide 1/4” TRS balanced connectors. You
can use these for either microphone-level or line-level
signals. The two inputs have identical sets of controls, as
described below.
8
If no cable is connected to the R output, L/MONO will carry
a mono summation of the stereo signal. So, if you are
connecting to a device which does not have stereo inputs
(such as a simple keyboard amp), use the L/MONO output.
Front and rear panels Rear panel
(INDIVIDUAL) 1…4
These 4 additional audio outputs let you isolate sounds,
audio inputs, or audio tracks for recording or complex live
sound setups.
These can be used as stereo or mono outputs, in any
combination. You can also use the Global Audio page LR
Bus Indiv. Assign parameter to map the main stereo outputs
to any of these output pairs, if you like.
Note that the individual outputs are not affected by the
MAIN VOLUME knob.
Note that the MAIN VOLUME knob does not adjust the
S/P DIF output level.
IN jack
You can use this optical S/P DIF input for recording,
sampling, and real-time mixing through the built-in effects.
It can be used simultaneously with the analog and USB
audio inputs, if you like.
8. Pedals
6. MIDI
DAMPER jack
MIDI lets you connect KRONOS to computers or other
MIDI devices, for sending and receiving notes, controller
gestures, sound settings, and so on. For more information on
MIDI connections, please see “MIDI applications” on
page 1117 of the Parameter Guide.
MIDI THRU connector
MIDI data received at the MIDI IN connector is retransmitted without change from the MIDI THRU connector.
You can use this to chain multiple MIDI devices together.
MIDI OUT connector
This connector transmits MIDI data. Use this to control
external MIDI devices, or to record into an external
sequencer.
MIDI IN connector
This connector receives MIDI data. Use this to play the
KRONOS from another MIDI device, or from an external
sequencer.
7. S/P DIF IN & OUT
These jacks provide 24-bit, 48kHz optical S/P DIF input and
output, for connecting to computer audio systems, digital
mixers, etc.
Optical S/P DIF is sometimes called TOSLINK, and
formally named (hold your breath!) IEC60958, EIAJ CP1201. Make sure to use optical cables designed for digital
audio.
Whenever you use digital audio connections, make sure that
all connected systems are set so that there is one and only
one word clock master. You can set the word clock for the
KRONOS using the Global page System Clock parameter.
For more information, see “System Clock” on page 750 of
the Parameter Guide.
For the damper–also known as the sustain pedal– you can
connect either a standard footswitch, or Korg’s special halfdamper pedal, the optional DS-1H.
The DS-1H is a continuous pedal designed specifically for
piano-style damper control, with the look and feel of an
acoustic piano’s sustain pedal. It allows more subtle control
of the damper than a simple switch; the further down you
press the pedal, the more that the sound sustains. For more
information, see “Half-Damper Pedal and Release Time” on
page 40 of the Parameter Guide.
You can also connect a simple footswitch, which will work
as a standard on/off damper pedal.
In order to ensure that the pedal functions correctly, please
adjust the switch polarity (see “Damper Polarity” on
page 774 of the Parameter Guide) and the half-damper
sensitivity (see “Half Damper Calibration” on page 799 of
the Parameter Guide).
ASSIGNABLE SWITCH jack
This lets you connect a simple on/off footswitch, such as the
optional Korg PS-1. The footswitch can perform a wide
variety of functions, such as modulating sounds and effects,
tap tempo, sequencer start/stop, etc.
The switch’s function is set in Global mode (on the
Controllers tab of the Controllers/Scales page), so that it
always works the same regardless of the current Program,
Combi, or Song. For more information, please see “Setting
up the Assignable Switch and Pedal” on page 163.
ASSIGNABLE PEDAL jack
This lets you connect a continuous controller pedal, such as
the Korg EXP-2 foot controller or Korg XVP-10 EXP/VOL
pedal, to use as an assignable modulation source.
Like the ASSIGNABLE SWITCH, the pedal’s function is
set in Global mode. For more information, please see
“Setting up the Assignable Switch and Pedal” on page 163.
OUT(MAIN) jack
This optical S/P DIF output carries a digital version of the
main L/R outputs.
9
Introduction to KRONOS
TouchView user interface
Mode name Page group number and name
i: Check box
Page name
j: Page menu button
a: Current page
b: Category popup button
c: Popup button
d: Edit cell
e: Knob
f: Slider
g: Page tab
h: Page group Tab
The KRONOS uses Korg’s TouchView graphical user
interface. By touching objects displayed in the LCD screen,
you can select pages, set parameter values, enter text,
connect virtual patch cables, and more.
a: Current page
Pin
Pin
Many popup menus have a “Pin” in the
upper left. This controls what happens after
you select a value. Touch the pin graphic to
switch between open (unlocked) and closed
(locked).
When locked (pin closed), the popup menu will remain
displayed even after you select a parameter value. To close
the popup, either unlock the pin, or press EXIT.
From the left, the top of the display shows the current mode,
the number and name of the page group, and finally the
name of the individual page.
b: Category button
When unlocked (pin open), the popup menu will close
immediately when you press a parameter value, or when you
touch the screen outside the menu.
Tabbed popup menus
Some popups have a large number of items divided into
groups. The groups are represented by tabs on the left-hand
side of the screen. These include:
• Bank/Program Select and Bank/Combination Select:
Select Programs or Combinations by bank
• Multisample Select: Select a Multisample for a Program
oscillator by category
When you press this button, a tabbed popup menu will
appear, allowing you to select Programs, Combinations, or
GEs organized by category.
• Wave Sequence Select and Drum Kit Select: Select a
Wave Sequences or Drum Kit for a Program oscillators
by bank
For more information, see “Tabbed popup menus,” below.
• Effect Select: Select an effect by category
• Select a user Sample for a user Multisample
c: Popup button & menu
• Select a KARMA GE
When this button is pressed, a popup menu will appear,
showing the a list of options. In some cases, these will be
parameter values. In others, they may be lists of items, such
as Multisamples or FX Presets.
To close a tabbed popup menu, press the OK button or
Cancel button.
To enter a parameter value, touch the desired value.
10
Front and rear panels TouchView user interface
Scroll bar
When a list is too long for all items to fit on the screen at
once, the popup includes scroll bars. You can touch in the
empty areas of the scroll bar to move back and forth in the
list, or touch and drag the scroll handle.
Press here to scroll to left or right.
If the menu command just toggles an option on and off (such
as Exclusive Solo), then you’re done. If the command calls
up a dialog box, the dialog will appear on the LCD, and you
can proceed just as if you’d selected the command from the
touch-screen.
Dialog box
Many menu commands use dialog boxes to make additional
settings. The dialog box that appears will depend on the
currently selected menu command.
Press here and slide to left or right to
scroll to the desired location.
Press here to scroll to the
corresponding location.
To confirm settings in a dialog box, press the OK button. To
exit without making changes, press the Cancel button. After
pressing either OK or Cancel, the dialog box will close.
d: Edit cell
Text edit button
When you touch a parameter in the LCD screen, the
parameter or parameter value will usually be highlighted
(displayed in inverse video). This is called the edit cell, and
the highlighted item is now selected for editing.
The parameter value of the edit cell can be modified using
the VALUE controllers. In some cases, you may also use a
popup menu, as described below.
For parameters that accept a note number or a velocity value,
you can also hold down the ENTER switch and play a note
on the keyboard to enter the note number or velocity value.
e & f: On-screen sliders and knobs
To modify the value of an on-screen slider or knob, first
touch the object, and then use the VALUE controllers to
modify the value.
g & h: Page group tabs and Page tabs
Press the lower row of tabs to select the page group, and then
press the upper row of tabs to select the page. The top of the
screen shows the name of the current page and group, as
described under “a: Current page” on page 10.
i: Page menu button
When this button is pressed, a list of menu commands will
appear. The available commands will vary depending on the
current page. To select a command, just touch it.
The page menu will close when you press the LCD screen at
a location other than the page menu, or when you press the
EXIT switch.
Even though each page may have its own unique menu
commands, the menus are standardized as much as possible.
For instance, WRITE is almost always the first menu item in
Program, Combination, Set List, and Global modes.
Cancel button
OK button
Text edit button
Pressing this button brings up an on-screen keyboard, for
changing the name of Programs, Combis, Songs, Wave
Sequences, Drum Kits, etc. For more information, see
“Editing names” on page 185.
Other objects
j: Radio button
Press a radio button to select one value from two or more
choices.
k: Check box
Each time you press a check box, it alternates between the
checked (red) and unchecked states.
The parameter will be active if it is checked, and inactive if it
is unchecked.
j: Radio button
Menu shortcut: ENTER + numeric keypad
You can use a shortcut to access any of the first ten menu
items:
k: Check box
1. Hold down the ENTER key.
2. Press a number (0-9) on the numeric keypad to select
the desired menu command, starting with 0.
For instance, press 0 for the first menu command, 1 for the
second, and so on.
11
Introduction to KRONOS
Patch panel
The MS-20EX and MOD-7 use on-screen patch panels to
route audio and control signals. To make a connection
between two patch points:
1. Touch one of the two jacks (either input or output).
A yellow square will appear around the selected jack.
2. Touch the same jack again.
The yellow square will begin to blink, showing that you’re
about to make a connection. To cancel this and return to the
normal selected state, just touch the same jack a third time.
3. Touch the other jack.
The two jacks will now be connected.
To delete a connection between two patch points:
1. Touch the input jack.
Note: you can also select the output jack. However, if the
output is connected to more than one input, all of the
connections from that output will be affected.
2. Press the Disconnect button.
The selected connection will be deleted.
Program Play page Overview/Jump graphics
The main P0 Play page in Program Mode features an
interactive overview of the most important parameters, such
as oscillators, filters, envelopes, LFOs, and so on. Just touch
any of these overview areas, and you’ll jump to the
corresponding edit page.
Toggle buttons
This type of button will change its function or switch on/off
each time it is pressed.
Play/Rec/Mute buttons in Sequencer mode:
Solo On/Off buttons in Sequencer mode:
Effects On/Off buttons:
12
Basic information About the KRONOS’ modes
Basic information
About the KRONOS’ modes
The KRONOS has a large number of features that let you
play and edit programs and combinations, record and play
sequence data, record and play back samples, and manage
data on disk. The largest unit used to organize these features
is called a mode.
The KRONOS has seven modes.
Combination mode
Combinations are sets of up to 16 Programs that can be
played simultaneously, letting you create sounds more
complex than a single Program. In Combination mode, you
can:
• Select and play Combinations
Set List mode
• Use KRONOS as a 16-track multitimbral tone generator
Set Lists make it simple to play and organize any of the
sounds loaded into the KRONOS, without regard for what
bank they’re stored in or whether they’re Programs,
Combinations, or even Songs.
• Edit Combinations
Large on-screen buttons make sound selection fast and
foolproof, and the Program Up or Down footswitch
assignments can be used for hands-free sound changes. Cut,
copy, paste, and insert tools make re-ordering a snap.
Smooth Sound Transitions (SST) let the previous sound and
its effects ring out naturally, making it easy to change sounds
during a live performance. SST is active in all of the
KRONOS modes, but Set Lists give you greater control over
the transitions. You can fine-tune the ring-out time for each
sound, so that (for instance) one sound fades out very
quickly, while another sound’s delays continue to repeat for
ten or twenty seconds.
Set Lists are great for live performance, but they’re also
handy for organizing sounds in general. For example, you
could create a Set List with all of your favorite String
sounds, including both Programs and Combinations.
Program mode
Programs are the basic sounds of KRONOS. In Program
mode, you can:
• Select and play Programs
• Edit Programs
Make detailed settings for oscillators, filters, amps, EGs,
LFOs, effects, KARMA, vector synthesis, etc. The
specific parameters will vary depending on the synthesis
type: HD-1, AL-1, CX-3, STR-1, MS-20EX, PolysixEX,
MOD-7, EP-1, or SGX-1.
• Create drum programs using drum kits (as created in
Global mode)
• Play and control one KARMA module
• Sample and resample
For example, you can sample an external audio source
while listening to a performance generated by KARMA,
or you can play a Program and resample your
performance.
Assign Programs to each of the 16 Timbres, each with
separate volume, pan, EQ, and keyboard and velocity
zones; make settings for effects, vector synthesis, Drum
Track, and KARMA.
• Control and play up to four KARMA modules
• Sample or resample
For example you can sample an external audio source
while listening to the performance of the KARMA, or
resample a performance you play using a combination.
Sequencer mode
Sequencer mode lets you record, play back, and edit MIDI
tracks and audio tracks. You can:
• Select and play Songs
• Edit Songs
Assign Programs to each of the 16 MIDI Tracks, with
separate volume, pan, EQ, and keyboard and velocity
zones; make settings for effects, vector synthesis, Drum
Track, and KARMA
• Record up to sixteen MIDI tracks simultaneously
• Record up to four of the sixteen audio tracks
simultaneously, mix using automation, and import
WAVE files.
• Control and play up to four KARMA modules
• Sample or resample
You can sample an external audio input source while
playing a song, and use In-Track Sampling to
automatically create a note event that triggers the sample
at the same time as it was recorded.
You can also resample an entire song, and then use Disk
mode to create an audio CD.
• Use KRONOS as a 16-track multitimbral tone generator
• Record patterns and assign them to individual keys,
using RPPR (Realtime Pattern Play/Recording)
• Create your own Drum Track Patterns
13
Introduction to KRONOS
Sampling mode
Sampling mode lets you record and edit your own Samples
and Multisamples. For example, you can:
• Record samples from external audio sources, including
sampling through effects
• Edit the recorded samples, or samples loaded from disk;
set loop points, truncate, time-slice, etc.
• Create and edit Multisamples, which consist of one or
more Samples spread out across the keyboard
• Quickly convert Multisamples into Programs
• With a USB CD-R drive (not included), sample directly
from audio CDs
• Create massive sounds using the generous internal RAM
(up to about 2GB for the KRONOS X, or for the
KRONOS with memory expansion)—if you like, a
single Multisample can use more than 6 hours of
sampling time
• Load a number of these 6-hour Multisamples at once, via
User Sample Banks and Virtual Memory
Global mode
Global mode lets you make overall settings for the entire
KRONOS, and edit wave sequences and drum kits. For
instance, you can:
• Make settings that affect the entire KRONOS, such as
master tune and global MIDI channel
• Set up sample auto-loading at startup
• Manage currently loaded samples
• Create user scales
• Create user Drum Kits and Wave Sequences using
samples from ROM, EXs, User Sample Banks or
Sampling Mode
• Rename Program, Combination, and KARMA GE
categories
• Set the function of the assignable pedals and assignable
switches
• Transmit MIDI System Exclusive data dumps
Disk mode
Disk mode lets you save, load, and manage data using the
internal disk and external USB 2.0 storage devices. You can:
• Save and load Programs, Combinations, Songs, Samples,
and Global setup data
• Format disks and storage media, copy and rename files,
etc.
• Load AKAI, SoundFont 2.0, AIFF, and WAVE samples,
and export RAM samples in AIFF or WAVE formats
• Export and import sequences to and from SMF (Standard
MIDI Files)
• Use the Data Filer function to save or load MIDI System
Exclusive data
• With a USB CD-R drive (not included), create and play
back audio CDs
14
Basic information About the KRONOS’ modes
SET LIST
Set List 000 ... 127
Multisample
Slot 000
Slot 001
Slot 127
PROGRAM (EXi)
Insert / Master / Total Effect
EXi 1
IFX 1
AL-1
STR-1
PolysixEX
EP-1
CX-3
MS-20EX
MOD-7
SGX-1
MFX 1
MFX 2
TFX 1
IFX 12
TFX 2
EXi 2
SAMPLING MODE
KARMA Module A
AL-1
STR-1
PolysixEX
EP-1
CX-3
MS-20EX
MOD-7
SGX-1
AUDIO INPUT AUDIO INPUT
2
1
USB AUDIO IN USB AUDIO IN
1
2
S/P DIF IN
S/P DIF IN
L
R
Drum Track
Drums Program
PROGRAM (HD-1)
Multisample
Multisample
Sample
Insert / Master / Final Effect
Resampling
IFX 1
Multisample
MFX 1
MS5 (MS/WS)
MS2 (MS/WS)
MS6 (MS/WS)
MS3 (MS/WS)
MS7 (MS/WS)
IFX 1
TFX 1
TFX 2
Sample
MS4 (MS/WS)
PITCH1
Sample
Sample
Sample
Sample
MS8 (MS/WS)
FILTER1
AMP1/
DRIVER1
TFX 1
IFX 12
TFX 2
KARMA Module A
Drum Track
Drums Program
OSC 2
MS1 (MS/WS)
Drum Kit
MS5 (MS/WS)
MS2 (MS/WS)
MS6 (MS/WS)
MS3 (MS/WS)
MS7 (MS/WS)
MS4 (MS/WS)
PITCH2
MFX 1
MFX 2
Sample
MFX 2
IFX 12
Insert / Master / Total Effect
OSC 1
MS1 (MS/WS)
Drum Kit
MS8 (MS/WS)
FILTER2
AMP2/
DRIVER2
COMBINATION
Insert / Master / Total Effect
GLOBAL MODE
DRUM KIT
Key Assign
DS1 (DS/Sample)
DS5 (DS/Sample)
DS2 (DS/Sample)
DS6 (DS/Sample)
DS3 (DS/Sample)
DS7 (DS/Sample)
DS4 (DS/Sample)
DS8 (DS/Sample)
Drum Kit
USB CD-R/RW
DRIVE
Ripping
TIMBRE1
PROGRAM
TIMBRE9
PROGRAM
TIMBRE2
PROGRAM
TIMBRE10
PROGRAM
TIMBRE3
PROGRAM
TIMBRE11
PROGRAM
TIMBRE4
PROGRAM
TIMBRE12
PROGRAM
IFX 1
MFX 1
MFX 2
TFX 1
IFX 12
TFX 2
TIMBRE5
PROGRAM
TIMBRE13
PROGRAM
KARMA Module A
TIMBRE6
PROGRAM
TIMBRE14
PROGRAM
KARMA Module B
TIMBRE7
PROGRAM
TIMBRE15
PROGRAM
KARMA Module C
TIMBRE8
PROGRAM
TIMBRE16
PROGRAM
KARMA Module D
WAVE SEQUENCE
Drum Track
CD-ROM
MS
Write Audio CD
MS
MS
MS
Wave Seq.
SEQUENCER
Insert / Master / Total Effect
MIDI TRACK 1...16
DISK MODE
PCG / SNG
PCG
PROGRAM
PROGRAM
TRACK 10
PROGRAM
TRACK 3
PROGRAM
TRACK 11
PROGRAM
TRACK 4
PROGRAM
TRACK 12
PROGRAM
PROGRAM
TRACK 2
HARD DISK
Hard Disk Recording
MFX 1
MFX 2
TFX 1
IFX 12
TFX 2
TRACK 5
PROGRAM
TRACK 13
PROGRAM
KARMA Module A
PROGRAM
TRACK 14
PROGRAM
KARMA Module B
TRACK 7
PROGRAM
TRACK 15
PROGRAM
KARMA Module C
TRACK 8
PROGRAM
TRACK 16
PROGRAM
KARMA Module D
Drum Track
TRACK 1
REGION
TRACK 9
REGION
TRACK 2
REGION
TRACK 10
REGION
TRACK 3
REGION
TRACK 11
REGION
TRACK 4
REGION
TRACK 12
REGION
TRACK 5
REGION
TRACK 13
REGION
REGION
REGION
TRACK 14
TRACK 7
REGION
TRACK 15
REGION
TRACK 8
REGION
TRACK 16
REGION
TRACK 6
Resampling
IFX 1
TRACK 6
AUDIO TRACK 1...16
KSC
WAVE FILES
TRACK 9
TRACK 1
DRUM TRACK PATTERN
Preset Drum Track Pattern
User Drum Track Pattern
15
Introduction to KRONOS
About the KRONOS’ PCM memory
“PCM” is another way of saying “samples.” The KRONOS
has several types of PCM banks, as described below: ROM,
EXs, User Sample Banks, and Sampling Mode data
For more information on the contents of the included ROM
and EXs sample data, see the Voice Name List (VNL).
ROM
The KRONOS ROM contains the basic multisamples and
samples, and is always loaded and available.
EXs
EXs stands for EXpansion Samples. These can be loaded or
not, as you wish. The KRONOS comes with a number of
EXs libraries, including multiple gigabytes of samples.
User Sample Banks
User Sample Banks may be sounds that you create yourself,
or load from imported Akai or SoundFont 2.0 libraries, or
WAV or AIFF files.
Sampling Mode data
Sampling Mode is used to create and edit samples. When
you save Sampling Mode data, it becomes available as a
User Sample Bank.
Using samples in your own sounds
You can use any of these bank types, together or separately,
when making your own sounds. Simply set the Bank as
desired in the Program or Wave Sequence Step’s
Multisample Select fields, or the Drum Kit Drum Sample
Select fields. For more information, see:
• Program: “Bank (Multisample),” on page 57 of the
Parameter Guide
• Wave Sequence: “Bank (Multisample),” on page 786 of
the Parameter Guide
• Drum Kit: “Bank,” on page 791 of the Parameter Guide
Lossless compression
When EXs data is loaded into RAM, the KRONOS uses a
lossless compression technique. This yields a modest
reduction in size; for instance, EXs1 uses 284MB of RAM
for 313MB of data.
You’ll notice that this is much milder than the dramatic size
reductions of mp3, or the PCM compression sometimes
found in other synthesizers. There is a strong advantage over
these other methods, however: the KRONOS compression is
completely lossless, and causes absolutely no degradation in
audio quality.
Loading samples at startup
The KRONOS can load your favorite samples automatically
at startup. For more information, see “Automatically loading
sample data” on page 166.
User sampling RAM capacity
The KRONOS comes with 2 GB of RAM pre-installed; the
KRONOS X comes with 3 GB of RAM. Approximately 1
GB of this RAM is used by the operating system and ROM
sample data. The remainder is shared between the samples in
EXs, User Sample Banks, and Sampling Mode.
This means that the size of the currently loaded EXs and
User Sample Banks trades off against the memory available
for Sampling Mode. The more space used by EXs and User
Sample Banks, the less is available for Sampling Mode.
Using Virtual Memory for EXs and User Sample Banks
generally lets you load more samples at once, but may still
use a substantial amount of RAM.
Note: To check the amount of sample RAM available, see
“0–1f: Free Sample Memory/Locations” on page 680 of the
Parameter Guide.
For more information, see “Free RAM and approximate
sampling times” on page 125.
About polyphony
Most hardware synthesizers offer a single, fixed method of
synthesis, a predetermined number of voices, and a fixed
amount of effects processing power for a specific number of
effects. KRONOS is different; it has no fixed synthesis
method, its polyphony varies depending on which synth
engines are being used, some synth engines provide
additional effects (augmenting the 16 normal effects slots),
and there are sometimes trade-offs of processing power
between voices and effects.
This flexibility means that the system can deliver power
where you need it the most. As you play different sounds
from different synth engines, the KRONOS automatically
divides its processing power appropriately.
Unlike most computer-based systems, KRONOS also
monitors the overall processing power, reducing the overall
number of voices if necessary, to make sure that there are
never problems with the audio.
16
Normally, you shouldn’t need to think about this at all; it will
just happen automatically. Sometimes, however, it can be
convenient to know how the system is allocating its
resources. The Performance Meters page shows this
information; you can find it on the Perf Meters tab of P0 in
Program, Combination, and Sequencer modes. For more
information, see “0–2: Performance Meters” on page 7 of
the Parameter Guide.
Basic information Basic operations
Basic operations
After you’ve turned on the KRONOS, here’s how to perform
basic operations such as selecting modes and pages.
1. Selecting modes
In order to use a particular function on the KRONOS, you
must first select the appropriate mode.
Press one of the front panel mode buttons to enter the
corresponding mode. These include SET LIST, COMBI
(Combination mode), PROG (Program mode), SEQ
(Sequencer mode), SAMPLING, GLOBAL, and DISK.
Basic Vector tab
2. Selecting pages
Each mode has a large number of parameters, which are
grouped into pages. These are further subdivided by tabs into
up to nine tab pages.
1. Select the desired mode, as described above.
We’ll use Program mode as an example for our explanation,
so press the PROG switch.
3. Press a tab in the upper line (page tabs) to select a
page.
As an example here, press the Vector Control tab. The
current page indication in the upper left of the LCD screen
will stay the same, but the upper right indication will change
to “Vector Control.” You’ve selected the Vector Control
page.
Note: In some cases, there may not be any tabs in the upper
line.
Page tab
Page
group Tab
2. Press a tab in the lower line (page group tabs).
As an example here, press the Basic/Vector tab. The current
page indication in the upper left of the LCD screen will
indicate “PROGRAM P1: Basic/Vector,” and the page group
will change.
When you press the EXIT switch, you will return to P0 from
any page.
Vector Control tab
3. Editing parameters
The parameter value in the edit cell can be set by using the
front panel VALUE controllers (VALUE slider,
/
switches, VALUE dial, numeric keys 0–9, – switch, ENTER
switch, and (.) switch). As necessary, you can also use the
BANK switches and the COMPARE switch.
For some parameters, you can use the BANK SELECT
switches to select the bank of a program etc., or press a
popup button to access a popup menu where you can specify
the value of the parameter. In some cases, you can hold
down the ENTER switch and play a note on the keyboard to
specify a note or a velocity value.
17
Introduction to KRONOS
VALUE entry
VALUE slider
Use this when you wish to make major changes
in the value.
In Program mode and Combination mode, this
slider can also be used as a control source for
alternate modulation or dynamic modulation.
(This is active in Program or Combination P0:
Play when the “Program Select” or
“Combination Select” (the large characters in the
upper part of the LCD) is selected).
/
buttons
Use these when you wish to make small changes
in the value.
When you press the COMPARE switch once again, the LED
will go dark and you will return to the settings that you were
editing.
If you edit the settings that are recalled by pressing the
COMPARE switch (i.e., the settings that are written into
memory), the LED will go dark, and it will not be possible to
return to the previous edits by pressing the COMPARE
switch again.
In Sequencer mode, you can use the COMPARE switch to
make “before and after” comparisons immediately after
using realtime recording or step recording to record a song,
or after performing a track edit operation.
For example, this can be used effectively when realtimerecording a track for a song.
1. Realtime-record a MIDI track. (Take 1)
VALUE dial
2. Once again, realtime-record on the same track. (Take
2)
Use this when you wish to make large changes in
a value.
3. Press the COMPARE switch. The LED will light, and
take 1 will be recalled.
4. Press the COMPARE switch once again. The LED will
go dark, and take 2 will be recalled.
5. If at step 3 you once again realtime-record on the
same track (take 3), the object of the Compare
function will now be take 1.
If at step 4 you once again realtime-record on the same track
(take 3), the object of the Compare function will be take 2.
Numeric keys 0–9, ENTER, –, (.)
Use these when you know the parameter value that you wish
to input.
After using the numeric keys 0–9 to input a number, press
the ENTER switch to finalize the parameter value.
Use the – switch to enter negative numbers.
In this way, the Compare function lets you recall the
previous recording or the previous state of event editing.
The Compare function does not work in Global mode, with
the exception of Sampling, Disk, Wave Sequence, and Drum
Kit editing.
Popup buttons and popup menus
Use the (.) switch to enter a decimal point.
You can press a popup button to access a popup menu, and
then set parameter values.
BANK I–A…G, U–A…G buttons
Keyboard input
When entering a note number or a specific velocity as the
value of a parameter, you can use the keyboard to input the
setting. Hold down the ENTER switch and play the note that
you wish to enter as a value. The note number or velocity
value will be input.
The BANK I–A…G, U–A…G buttons are used in Program
mode to select the program bank and in Combination mode
to select the combination bank. In combination, and
Sequencer modes, these switches are used to select the bank
of the program used by each timbre/track.
COMPARE switch
Use this when you wish to compare the edits you have made
to a program or combination’s sound with the un-edited
original (i.e., the sound that is written into memory).
When editing a program or combination, press this switch.
The LED will light, and the last-written settings for that
program number or combination number will be recalled.
18
When the Global P5: Drum Kit page is displayed, you can
hold down the ENTER switch and play a note to recall the
settings that have been assigned to that note. (If the
parameter you’ve selected expects you to enter a velocity
value, the velocity you played will be entered.)
In Sampling mode, you can hold down the ENTER switch
and play a note to recall the index that is assigned to that
note.
Basic information Basic operations
4. Selecting and executing menu
commands
The menu provides commands that are specific to each page,
such Write (save) or Copy. The available functions will
depend on the current page.
For example, the utility functions in Program mode let you
write (save) the settings, perform convenient editing
operations such as copying settings between oscillators or
effects, “Sync” EGs so that you can edit two of them at once,
and so on.
1. In the upper right of the display, press the menu
button.
Preset/user Drum Track patterns are saved in internal
memory even when the power is turned off. Patterns you
create in Sequencer mode can be converted into user Drum
Track patterns and saved in internal memory.
• User template songs: see “Saving your own Template
Songs” on page 80
Preset/user template songs are saved in internal memory
even when the power is turned off. Track settings and effect
settings of a song you create can be saved in internal
memory by the menu command Save Template Song.
For more information, see “Writing to internal memory” on
page 184 and “Saving to disks, CDs, and USB media” on
page 188.
A list of menu commands will appear.
2. Select a menu command by pressing it with your
finger.
A dialog box for the selected menu command will appear.
Check-type commands will not display a dialog box; their
status will be switches, and the list will close. By holding
down the ENTER switch and pressing a numeric key 0–9
you can access the dialog box for the first ten utility
functions without going through the menu.
• To close the list without selecting a command, press the
display somewhere other than the list, or press the EXIT
switch.
3. For a parameter in a dialog box, select it by pressing it
with your finger, and use the VALUE controllers (e.g.,
VALUE dial or Inc/Dec buttons) to enter its value.
When selecting a program or combination number in a
dialog box, you can also use the BANK SELECT switch to
enter the bank as an alternative to using the VALUE
controllers.
4. To execute, press the OK button or the ENTER
switch. If you decide not to execute, press the Cancel
button or the EXIT button.
The dialog box will close.
5. Writing and saving
After you edit, you should write or save your changes as
necessary. For example if you’ve edited a program, your
changed will be lost if you select another program or turn off
the power. The same applies to a combination. Settings you
edit in Global mode will be remembered as long as the
power is on, but your changes will be lost when you turn off
the power.
For details on the Write operations, see the following pages.
• Programs: see “Saving your edits” on page 44
• Combinations: see “Saving your edits” on page 69
• Effect presets: see “Saving Effect Presets” on page 213
• Global settings: see “Writing Global settings” on
page 187
• Wave Sequences: see “Saving Wave Sequences” on
page 177
• Drum kits: see “Saving Drum Kits” on page 181
• User Drum Track patterns: see “Converting a Sequencer
pattern to a Drum Track pattern” on page 247
19
Introduction to KRONOS
Setup
Turning the power on/off
1. Connecting the power cable
1. Set the KRONOS’s rear-panel POWER switch to the
off position.
2. Connect the included power cable to the KRONOS’
rear panel AC power inlet.
3. Connect the other end of the power cable to the AC
power outlet.
If your power cable uses a separate ground wire, you
must connect this ground wire before inserting the plug
into the AC outlet. When disconnecting, you must first
disconnect the plug before you disconnect the ground
wire. If you are unsure of how to make connections,
please contact your Korg Distributor.
Make sure that your AC outlet is the correct voltage for
your instrument.
2. Turning the power on
1. Press the rear panel POWER switch to turn on the
power.
2. Turn on your powered monitors or stereo amp.
3. Turn the KRONOS’s MAIN VOLUME knob
clockwise to an appropriate level, and adjust the
volume of your powered monitors or stereo amp.
After you’ve turned off the power, you must wait
approximately ten seconds before turning the power on
again.
Tip: You can set the Power On Mode (Global P0: System
Preference page) so that the mode and page that had been
selected when you turned the power off will appear when the
power is turned on.
For more information, see “Recalling the last-selected mode
and page at power-on” on page 161.
3. Turning the power off
When you turn off the power, the programs and
combinations etc. will revert to their unedited state. If you
want to keep your edits, you’ll need to Write them. For
more information, see “Saving data” on page 183.
Similarly, Songs and user multisamples and samples will
disappear when you turn off the power. If you want to use
these songs, user multisamples, and samples the next time
you turn on the power, you’ll need to load them again.
1. Set the front panel MAIN VOLUME knob and the
volume of your powered monitor or stereo amp to
zero.
2. Turn off the power of your powered monitor or stereo
amp.
3. Press the KRONOS’s POWER switch to turn off the
power.
Never turn off the power while data is being written into
internal memory. The display will show the message
“Now writing into internal memory” when this is in
progress.
Never turn off the power while media such as the internal
drive is being accessed, such as while recording or
playing audio tracks, or sampling to disk for an
extended time. Turning off the power while disk access
is occurring may render the media unusable. The DISK
LED shows when the internal drive is being accessed.
Connections
Connections must be made with the power turned off.
Please be aware that careless operation may damage your
speaker system or cause malfunctions.
1. Analog audio output connections
Here’s how to connect the KRONOS to your analog amp or
mixer.
If you’re using a home stereo system, be aware that
playing at high volume may damage your speakers. Be
careful not to raise the volume excessively.
AUDIO OUTPUT (MAIN) L/MONO and R
These are the main outputs, accessed by setting Bus Select
to L/R. All of the factory sounds use these outputs, and the
Master and Total Effects are always routed here as well.
All of the KRONOS analog outputs use 1/4” balanced TRS
jacks. For best results, use balanced connections to your
audio system.
20
1. Connect the AUDIO OUTPUT (MAIN) L/MONO and
R outputs to the inputs of your amp or mixer.
If you’re using KRONOS in stereo, use both the (MAIN)
L/MONO and R jacks. If you’re using KRONOS in mono,
use only the (MAIN) L/MONO jack.
2. Use the MAIN VOLUME knob to adjust the volume.
The MAIN VOLUME knob affects only the main stereo
outputs and the headphones; it does not affect the individual
outputs, the S/P DIF output, or the USB output.
AUDIO OUTPUT (INDIVIDUAL) 1…4
These are 4 additional analog outputs, which can be used as
individual mono outputs, stereo pairs, or any combination of
the two. Almost any signal source can be routed to these
outputs, including:
• Each note in a Drum Kit
• Insert Effect outputs
• Individual Programs in a Combination or Song (or the
sum of the Program’s oscillators in Program mode)
Setup Connections
• Audio tracks
To assign audio inputs directly to outputs, use Bus Select
parameters in the P0– Audio Input (Sampling) page.
• Audio inputs
You can use these to isolate or group together sounds for
recording, or for complex live performance setups.
1. Connect the (INDIVIDUAL) 1…4 outputs to the your
amp or mixer inputs.
2. Use the Bus Select parameters to send the desired
sounds, audio tracks, inputs, or effects to the
individual outputs, as either mono (1…4) or stereo
(1/2 and 3/4) signals.
In Global mode, the Audio page L/R Bus Indiv. Assign
setting lets you mirror the MAIN stereo L/R output on any
pair of individual outputs. You can use this to create a
private monitoring setup in live and studio environments.
For more information, see “L/R Bus Indiv. Assign” on
page 755 of the Parameter Guide.
Note: The MAIN VOLUME knob doesn’t affect the volume
of the individual outputs.
If the signal is going through one or more insert effects, the
output is set at the last IFX in the chain, via the Bus Select
parameter on the P8-5 Insert FX page.
Headphones
If a Program, Timbre, or Track is not going through any
insert effects, the output is set using the Bus Select
parameters on the P8-1 or 8-2 Routing page.
2. Use the VOLUME slide to adjust the volume of the
headphones. The KRONOS’ headphone jack outputs
the same signal as the (MAIN) L/MONO and R jacks.
1. If you’re using headphones, connect them to the
KRONOS’ headphone jack.
Tip: To monitor the signals from the individual outputs, use
an external mixer.
2. Analog audio output connections
Monitor
OUTPUT
INPUT
MIC4
MIC3
MIC2
MIC1
STEREO AUX RETURNS
MIC6
MIC5
TAPE
INPUT
AUX SEND
1
1
MAIN OUTS
TAPE
OUTPUT
L
L
2
2
R
R
LEFT(1/MONO)
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
BAL
OR
UNBAL
MONO
L
10
+10dB
10
60
-40dB
+10dB
U
AUX
1
Computer
-12
+12
-12
+12
-12
+12
PAN
-12
+12
R
R
LEVEL
+4
-10
LEVEL
+4
-10
-12
+12
+12
-12
PAN
-12
+12
+12
PAN
PAN
-12
-12
+12
1
+20
NORMALLED
U
2
EFXTO
MONITOR
AUX
RETURNS
+20
LEFT
MAIN
MIX
Mixer
RIGHT
+28
CLIP
+10
+7
ALT
3-4
+4
+2
+12
0
TAPE
U
-2
LOW
80Hz
LOW
80Hz
+15
PAN
PAN
U
+10
AUX 1
SELECT
SOURCE
MID
2.5kHz
U
-15
PRE
POST
EQ
HI
12kHz
+15
U
LOW
80Hz
+15
U
AUX1MASTER
2
EFX
+15
U
-15
MID
2.5kHz
U
-15
MON/
EFX
+15
U
2
EFX
EQ
HI
12kHz
+15
U
LOW
80Hz
+15
-15
PHONES
AUX
1
MON/
EFX
+15
U
-15
MID
2.5kHz
U
LOW
80Hz
U
AUX
1
+15
U
2
EFX
EQ
HI
12kHz
+15
U
MID
2.5kHz
+15
U
MON/
EFX
+15
U
-15
LINE IN 13-14
LINE IN 11-12
AUX
1
+15
U
2
EFX
EQ
HI
12kHz
+15
U
-15
U
MON/
EFX
+15
U
LOW
80Hz
+15
-15
LINE IN 9-10
AUX
1
+15
U
-15
MID
2.5kHz
U
PAN
PAN
BAL
OR
UNBAL
BAL
OR
UNBAL
R
LEVEL
+4
-10
U
2
EFX
EQ
HI
12kHz
+15
U
LOW
80Hz
+15
U
MON/
EFX
+15
U
-15
MID
2.5kHz
U
-15
L
L
BAL
OR
UNBAL
R
LINE IN 7-8
AUX
1
+15
U
2
EFX
EQ
HI
12kHz
+15
U
LOW
80Hz
60
-40dB
TRIM
U
MON/
EFX
+15
U
-15
MID
2.5kHz
+15
-15
+10dB
AUX
1
+15
U
2
EFX
EQ
HI
12kHz
+15
U
LOW
80Hz
+15
-15
10
60
-40dB
TRIM
U
MON/
EFX
+15
U
MID
2.5kHz
U
LOW
80Hz
+15
10
+10dB
AUX
1
+15
U
-15
+15
U
MID
2.5kHz
U
-15
60
-40dB
TRIM
U
2
EFX
EQ
HI
12kHz
-15
+15
U
MID
2.5kHz
-12
10
U
MON/
EFX
U
HI
12kHz
-15
+10dB
AUX
1
+15
EQ
U
HI
12kHz
+15
U
60
-40dB
+15
U
2
EFX
+15
EQ
U
MONO
MONO
L
BAL
OR
UNBAL
LEVEL
+4
-10
U
U
TRIM
U
MON/
EFX
+15
U
2
EFX
+15
7. Connections to computers
10
+10dB
AUX
1
MON/
EFX
+15
U
-15
60
-40dB
TRIM
TRIM
U
Powered
monitors,
etc.
BAL/UNBAL
ALL BAL/UNBAL
RIGHT
MONO
LOW CUT
75Hz
18dB/OCT
-10 dBV
C GAIN
MI
-10 dBV
C GAIN
MI
U
U
LINE IN 6
LOW CUT
75Hz
18dB/OCT
-10 dBV
C GAIN
MI
-10 dBV
C GAIN
MI
-10 dBV
C GAIN
MI
U
LINE IN 5
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
LOW CUT
75Hz
18dB/OCT
-10 dBV
C GAIN
MI
U
LINE IN 4
LINE IN 3
LINE IN 2
LINE IN 1
-4
+15
-15
-7
PAN
PAN
ASSIGN
TO MAIN MIX
-10
-20
L
L
R
1
L
R
R
L
6
R
L
9–10
NORMAL(AFL)
LEVEL SET(PFL)
R
SOLO
MUTE
PHANTOM
A LT 3 – 4
A LT 3 – 4
CONTROL
ROOM
dB
10
5
U
3. Analog audio input
connections
10
5
U
dB
dB
dB
SOLO
SOLO
10
5
U
SOLO
10
5
U
dB
dB
SOLO
10
5
U
SOLO
10
5
U
dB
dB
SOLO
10
5
U
SOLO
10
5
U
dB
dB
SOLO
10
5
U
SOLO
10
5
U
-30
0dB=0dBu
MODE
13–14
MUTE
A LT 3 – 4
A LT 3 – 4
L
R
11–12
MUTE
MUTE
A LT 3 – 4
A LT 3 – 4
L
R
7–8
MUTE
MUTE
A LT 3 – 4
A LT 3 – 4
L
R
5
MUTE
MUTE
MUTE
A LT 3 – 4
L
R
4
3
2
MUTE
A LT 3 – 4
L
R
SOLO
RUDESOLOLIGHT
POWER
/ PHONES
MAIN MIX
dB
dB
10
10
5
U
5
U
5
5
5
5
5
5
5
5
5
5
5
5
10
10
10
10
10
10
10
10
10
10
10
10
20
20
20
20
20
20
20
20
20
20
20
20
30
30
30
30
30
30
30
30
30
30
30
30
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
40
50
60
Guitar
Mic
6. USB device connections
CD-R/RW, hard disk,
removable disks etc.
USB MIDI Controller
Effect unit
USB
USB cable
AUDIO INPUT
USB A
AUDIO OUTPUT
USB B
PHONES
AC power supply
Power cable (Included)
Power switch
5. Pedal connections etc.
ASSIGNABLE
PEDAL
ASSIGNABLE
SWITCH
to an AC outlet
DAMPER
Synthesizer
1. Connecting the power cable
7. Connections to MIDI equipment
S/P DIF
OUT IN
DIGITAL OUT
4. Digital audio
input/output connections
Digital Recorder, etc.
21
Introduction to KRONOS
2. Analog audio input connections
2. Set System Clock (on the Global P0: Basic Setup
page) to S/P DIF.
You can bring external analog audio sources into the
KRONOS for sampling, recording, or processing through
the internal effects.
3. After turning on the power, use the Audio Input page
to set up the volume, pan, bus routing, and send levels
for the inputs, as desired.
AUDIO INPUT 1, 2
For more information, see “0–8: Audio Input/Sampling” on
page 14 of the Parameter Guide.
These two inputs use 1/4” TRS balanced jacks, and include
preamps with adjustable gain. To set up the audio inputs:
1. Connect your mics or the output jacks of your
external audio sources to the INPUT 1 and 2 jacks.
2. Set the MIC/LINE switch as appropriate for the
device you’ve connected, and use the LEVEL knob to
adjust the gain.
Choose the LINE setting (switch pressed inward) if you’ve
connected a mixer, computer, audio system, signal processor,
or another synthesizer. For best results, use balanced line
connections.
Note: Guitars with active pickups can be connected directly.
Guitars with passive pickups (i.e., guitars that do not have an
internal preamp) can be used, but the impedance mismatch
will cause both a change in tone and a reduction in volume.
For best results, route such guitars through a pre-amp or
effects unit before connecting them.
Choose the MIC setting (switch in the outward position)
only when connecting a mic. Note that some microphones,
such as condensers, may require external phantom power,
which is not supplied by the KRONOS.
3. Adjust the output level on any connected external
equipment.
4. After turning on the power, use the Audio Input page
to set up the volume, pan, bus routing, and send levels
for the inputs, as desired.
4. Connecting Foot Pedals and Switches
Connecting a damper pedal
The damper pedal is also sometimes called the sustain pedal.
It acts like the similarly-named pedal on an acoustic piano;
when you hold down the pedal, notes will continue to sustain
even when you lift your hands off of the keyboard.
1. Connect an optional DS-1H damper pedal to the
DAMPER jack. If you’ve connected a DS-1H, you’ll
be able to obtain half-damper effects.
After turning the power on:
2. Go to the Global P2: Controllers/Scales page, and use
the Damper Polarity parameter to set the damper
polarity.
3. Go to the Global P0 page, and use the Half Damper
Calibration menu command to adjust the sensitivity if
desired.
For more information, see “Damper Pedal (Sustain)” on
page 36, and “Damper Polarity” on page 774 of the
Parameter Guide.
Connecting a foot switch
For more information, see “0–8: Audio Input/Sampling” on
page 14 of the Parameter Guide.
You can use a connected foot switch to perform functions
such as controlling sostenuto, soft pedal on/off, KARMA
on/off, selecting Programs, Combinations, or Set List Slots,
starting/stopping the sequencer, and controlling tap tempo.
3. Digital audio input/output
connections
1. Connect a foot switch such as the optional PS-1 to the
ASSIGNABLE SWITCH jack.
Digital audio output
The KRONOS main stereo output can be digitally
transmitted to an audio system, digital mixer, or other device
that can accept a sampling rate of 48 kHz.
• Use an optical cable to connect the S/P DIF OUT
(MAIN) jack to the optical digital input jack of your
device.
This will carry the same audio signal as the AUDIO
OUTPUT (MAIN) L/MONO and R jacks.
Note: The MAIN VOLUME knob doesn’t affect the volume
of the digital output.
Digital audio input
You can record or sample the digital output of a S/P DIF
device running at 48 kHz, such as a computer audio system
or digital mixer. You can also route the input directly to the
KRONOS outputs, or through the internal effects.
1. Use an optical cable to connect the optical digital
output of your digital audio device to the S/P DIF IN
jack of the KRONOS.
22
You can use the S/P DIF inputs simultaneously with the
analog and USB inputs.
2. After turning the power on, use Global P2: “Foot
Switch Assign” and “Foot Switch Polarity” to assign
the function controlled by the foot switch and to
specify the polarity.
For more information, see “2–1a: Foot Switch &
Pedal/Damper” on page 774 of the Parameter Guide.
Connecting a foot pedal
You can use a connected foot pedal to control volume,
modulation, or other functions.
1. Connect an optional XVP-10 or EXP-2 etc. to the
ASSIGNABLE PEDAL jacks.
2. After turning the power on, use Global P2: “Foot
Pedal Assign” to assign the function controlled by the
foot pedal.
For more information, see “Foot Pedal Assign” on page 774
of the Parameter Guide.
Setup Connections
• nanoPAD and nanoPAD2
5. Connecting USB devices
• microKONTROL
The KRONOS supports high-speed USB 2.0 for connecting
to storage devices, such as hard drives, flash media, and CDR/RW drives, as well as class-compliant USB MIDI
controllers.
USB storage devices
You can save and load samples, sounds, sequences, and other
data to and from USB 2.0 storage devices for backup,
transferring to computers, etc.
Note that HDR tracks must be played from and recorded
onto the internal disk. You can back them up to USB
devices, however.
The maximum supported capacity depends upon the format
of the USB device. With FAT16 format, the maximum
capacity is 4 GB; with FAT32, the maximum is 2 Terabytes
(2,000 GB).
1. Use a USB cable to connect your USB storage device
to one of the KRONOS’s USB A ports.
Standard USB cables have a different connector at each end.
Plug the flat, rectangular connector into the KRONOS, and
plug the square-ish connector into the external USB storage
device.
Note: If the device you are using does not support hotplugging, make connections with the device powered-off,
and then turn on the power of your device.
2. Wait a few seconds for the device to be recognized.
3. Use the Disk mode Drive Select screen to check the
connection.
For more information, see “Loading & saving data,
and creating CDs” on page 183.
Type B
CD-R/RW,
hard disk,
removable disk, etc.
Type A
USB hub
Type B
USB MIDI Controller
USB cable
• padKONTROL
• KONTROL49
When these controllers are connected, the KRONOS will
automatically determine the MIDI assignments of the
controller’s pads 1-8, and map them directly to the
KRONOS pads.
For more information, see “USB MIDI controllers”
on page 1118 of the Parameter Guide.
Hot-plugging
The KRONOS supports USB hot-plugging. This means that
you can connect or disconnect the USB cable while the
power is on.
Note: In order to use hot-plugging, the USB device you are
connecting must also support hot-plugging.
8 USB devices maximum
KRONOS has two separate USB 2.0 ports, and can support
up to 8 USB devices simultaneously. Note that it doesn’t
matter how the devices are connected; even if you use hubs
or different ports, the maximum is always 8 devices.
USB Power
Some USB devices get their power from the USB
connection. These are called “bus-powered” devices, and
they are supported by the KRONOS.
Other USB devices may require a separate power source, in
addition to the USB connection; in this case, you’ll need to
use an appropriate power adaptor for the device.
There is a limitation to the total current supplied to all
connected USB devices, as defined by the USB
specification. If the total current consumption of the
connected devices exceeds this limit, the KRONOS may not
correctly recognize the connected USB devices. If this
happens, an error message of “USB Hub Power Exceeded!”
will appear.
To avoid this problem, if you connect more than one USB
device, please use a self-powered USB hub in self-powered
mode. For details on connections and settings for your hub,
please refer to its documentation.
For details on the electrical current used by a specific USB
device, refer to its owner’s manual.
Type A
6. Connections to MIDI equipment &
computers
USB MIDI controllers
You can connect class-compliant USB MIDI controllers
directly to the KRONOS, and use them just as you would
controllers connected to the 5-pin MIDI jacks. To do so:
1. Use a USB cable to connect your USB MIDI controller
to one of the KRONOS’s USB A ports.
If the controller is set to a different MIDI channel than the
KRONOS’s Global MIDI Channel, you can use it to play a
different sound than the local keyboard in Combinations or
Songs, as controlled by the Timbre or Track MIDI settings.
You can also play the chord pads using Korg USB MIDI
controllers equipped with drum pads, including:
Connections to MIDI equipment
The keyboard, controllers, and sequencer etc. of the
KRONOS can be used to control an external MIDI tone
generator. Conversely, another MIDI keyboard or sequencer
can control the tone generator of KRONOS to produce
sound.
• Use MIDI cables to connect the MIDI connectors of
KRONOS with the MIDI connectors of your external
device.
For more information, see “Connecting MIDI devices &
computers” on page 1117 of the Parameter Guide.
23
Introduction to KRONOS
Connections to a computer via MIDI
In conjunction with MIDI software on your computer, you
can use the KRONOS as a MIDI controller, and transmit the
KRONOS sequencer playback as MIDI data. You can also
play the KRONOS sounds from the computer. To do so:
• Use a MIDI interface to connect the MIDI connectors of
KRONOS to the MIDI connectors of your computer.
For more information, see “Connecting MIDI devices &
computers” on page 1117 of the Parameter Guide.
Note: Some USB-MIDI interfaces may not be able to
transmit or receive the KRONOS’s MIDI System Exclusive
messages.
7. Connection to a computer via USB
The KRONOS’s USB B port lets you connect to a USBequipped Mac or Windows PC, for sending and receiving
MIDI and audio, and for connecting to the KRONOS Editor.
To do so:
1. Install the Korg USB MIDI driver from the included
Accessory DVD 2, or as downloaded from the Korg
website.
On Accessory Disc 2, the installers are located in the
following directories. Double-click the driver installer to
start the installation.
Windows: Windows folder/DrvTools folder/DrvTools_e.exe
Mac OSX: Mac folder/KORG USB-MIDI Driver
folder/KORG MIDI-Driver.pkg
2. Follow the on-screen instructions to complete the
installation.
For both Windows and Mac OSX the KRONOS uses the
standard, built-in USB audio drivers, so no additional
installation is necessary for audio.
3. Turn on the KRONOS.
4. Connect the KRONOS’s USB B port to one of your
computer’s USB ports.
When the KRONOS is connected, the computer will
recognize it as a USB MIDI Device and USB Audio Device.
For more information, including details on setting up and
using the KRONOS Editor/ Plug-In Editor, please see the
“KRONOS Editor/Plug-In Editor Manual” (PDF).
About the software
The most recent versions of the Korg drivers and Editor/
Plug-In Editor can be downloaded from the Korg website
(http://www.korg.com/kronos).
Please note before use
Copyright to all software included in this product is the
property of Korg Inc.
The license agreement for this software is provided
separately. You must read this license agreement before you
install this software. Your installation of this software will be
taken to indicate your acceptance of this agreement.
Windows System Requirements
Computer: USB port required (a USB host controller made
by Intel is recommended)
24
Operating system: Microsoft Windows XP Home
Edition/Professional Service Pack 2 or later; all editions of
Microsoft Windows Vista and Microsoft Windows 7
Macintosh System Requirements
Computer: USB port required
Operating system: Mac OSX 10.4.11, 10.5.8, or OSX 10.6.4
or later
Update information New features in software version 2.1
Update information
New features in software version 2.1
KRONOS software version 2.1 adds several new features,
including a newly improved CX-3 and three new features
tailored for live performance: a polyphony-saving option for
Timbre/Track Mute, realtime indication of Rotary Speaker
speed in all performance modes, and the ability to assign
external MIDI CCs (from a pedal controller, for instance) to
a number of special functions.
In addition to these new features, the update includes various
improvements and resolutions to specific operational issues.
If you’re using an older version, you can download the latest
software free of charge from the Korg website
(http://www.korg.com/kronos).
Improved CX-3
We've added a brand-new effects section to the CX-3, with
many updates and improvements to the Amp, Rotary
Speaker, and Vibrato Chorus, including:
• New amp model with warmer, smoother overdrive and
more natural control from the expression pedal
and all associated AMS modulation. The CX-3’s Play page
graphics now show this as well. For more information, see
“Rotary Speaker speed indicator” on page 226 of the
Parameter Guide.
New CX-3 Programs
We’ve updated the factory preload Programs to take
advantage of the new CX-3. To prevent unexpected changes
to your data, these new Programs are not loaded
automatically. Instead, please download the separate file
PRELOAD_V2.PCG and copy it to your KRONOS. You can
then load the new sounds just as you would any other PCG
file. The original PRELOAD.PCG file remains on your disk
as well, so you can re-load it at any time if desired.
Before loading the new sounds, make sure to back up your
data to a PCG file on disk; the Save All command is a quick
and easy way to do so (see “Saving memory contents to
disk” on page 189).
Mute Mode
• Three new speaker types, including one based on new
measurements of a classic rotary speaker, another
inspired by a popular rotary speaker pedal effect, and a
third for bright sounds to cut through the mix, each with
an option to include some of the direct signal for greater
high- and low-frequency extension
Version 2.1 gives you a choice as to how the Mute buttons
work in Combinations and Songs.
• Improved stereo sensation, including revised mic
distance control
These behaviors are still available when the new Mute
Mode parameter is set to Studio. A second setting, Live,
provides alternative behaviors designed for use in live
performance.
• Many other improvements to the rotary speaker's timbre
and authenticity
• Improved Vibrato/Chorus, more true to the original
hardware
A new parameter on the CX-3 Basic page, Amp/VC/Rotary
Mode, lets you switch between the old (Classic CX-3) and
new (Custom) versions of the effects independently for each
CX-3 instance, as desired. For more details, see “4–1c:
Amp/VC/Rotary mode” on page 229 of the Parameter
Guide.
To prevent unwanted changes to your data, existing sounds
are not automatically updated to use the new effects. For
information on converting sounds, see “Changing a Program
from Classic CX-3 to Custom” on page 229 of the Parameter
Guide. We’ve also provided a revised version of the factory
preload Programs, which you can load separately if desired
(see “New CX-3 Programs,” below).
With either Classic CX-3 or Custom, you also can now use
JSX (pitchbend) like the speaker speed switch on a vintage
organ: move it to the left for Chorale (slow) and to the right
for Tremolo (fast).
Rotary Speaker speed indicators
If you’re using a Rotary Speaker, either as an effect or in the
CX-3, a new graphic at the top of the display shows the
current state of the Rotary Speaker (Fast, Slow, or Stop).
Note that this is the current state —in other words, what you
actually hear—which is a combination of the Speed SW,
Mode SW, Rotary On, and Amp Type parameter settings
Previously, in Combis the Mute buttons muted the Timbre’s
audio output, which is convenient for sound design; in
Songs, they stopped only the sequencer’s output to the
Track, while leaving the keyboard active.
In Live mode, Combination Mute buttons stop the MIDI
input to the Timbre; this saves polyphony, and is well-suited
to muting and un-muting layered sounds as you play.
Similarly, Song Mute buttons control MIDI input from both
the sequencer and the keyboard.
For more information, see “Mute Mode” on page 751 of the
Parameter Guide.
Function Assign for External MIDI In
You can now map incoming MIDI controllers to any of the
special functions previously available only to the rear-panel
foot switch input and SW1/2. This is particularly useful in
conjunction with third-party MIDI and USB MIDI foot
controllers with multiple built-in switches, each of which
can now be mapped to a different function on the KRONOS.
For instance, you can have multiple switches assigned to
Program Up, Program Down, Octave Up, Octave Down, Tap
Tempo, Chord On/Off, Ribbon Lock, etc.—all at the same
time.
For more information, see “2–3: Function Assign” on
page 777 of the Parameter Guide.
25
Introduction to KRONOS
New features in software version 2.0
KRONOS software version 2.0 adds a number of new
features, including User Sample Banks, support for
installing a second internal SSD, improved Akai and
SoundFont 2.0 import, and support for USB ethernet
adapters for transferring files between the KRONOS and
your computer.
In addition to these new features, the update includes various
improvements and resolutions to specific operational issues.
If you’re using an older version, you can download the latest
software free of charge from the Korg website
(http://www.korg.com/kronos).
User Sample Banks
User Sample Banks bring the benefits of EXs to your own
custom sample libraries. You can load and play gigabytes of
your custom or converted samples at once, using Virtual
Memory. Disk and memory management is improved: you
can create subsets of User Sample Banks, and mix and match
parts of different banks, without duplicating samples on disk.
Second Internal SSD support
The KRONOS now supports installation of a second internal
SSD, for more storage of samples, audio tracks, and program
data. Installation must be done by an authorized service
center; user installation is not supported and may void your
warranty. Contact your Korg Distributor for details on
purchase and installation.
USB Ethernet and FTP support
The KRONOS now supports USB Ethernet adaptors and
includes a built-in FTP server for fast, easy file transfer with
personal computers. You can back up files to your computer,
transfer samples to the KRONOS, and organize and re-name
files and directories on the KRONOS internal disks.
The KRONOS supports a specific set of off-the-shelf USB
Ethernet adaptors. Supported devices as of May 2012 are
listed below.
• Apple USB Ethernet Adapter (MC704ZM/A)
It’s also easy to share sounds with friends and collaborators,
since Programs maintain links to User Sample Banks even
when samples are moved on disk or loaded onto different
systems.
• Cisco Linksys USB-300M
For more information, see “User Sample Banks” on
page 156.
• BUFFALO LUA3-U2-ATX
Improved Akai and SoundFont 2.0
import
Version 2.0 features significantly improved Akai and
SoundFont 2.0 import functionality. Most notably, up to 16
stereo velocity zones are now supported within a single HD1 Program, by using stereo Multisamples and both OSC1
and OSC2.
• TRENDnet TU2-ET100
• BUFFALO LUA3-U2-AGT
• BUFFALO LUA-U2-KTX
• IODATA ETX3-US2
• Logitec LAN-TX/U2B
• Logitec LAN-TX/U2H3
• Planex UE-100TX-G3
Adaptors other than those listed above will not function
properly.
For more information, see “Connecting to computers
via USB Ethernet and FTP” on page 169.
New features in software version 1.5
KRONOS software version 1.5 adds a number of new
features, including the ability to load more sounds and
samples at once, support for installing additional RAM, and
support for Korg USB pad controllers such as the
nanoPAD2.
Program Banks are easily accessed from the front-panel
hardware by pressing both the INT and USER buttons
simultaneously. For instance, to select USER-DD, press both
INT-D and USER-D.
Version 1.5 also supports the KRONOS Editor and Plug-in
Editor software, providing editor/librarian capabilities for
Mac OSX and Windows and compatibility with popular
DAW software.
Support for additional RAM
In addition to these new features, the update includes various
improvements and resolutions to specific operational issues.
7 additional User Banks
KRONOS version 1.5 adds 7 more User Banks each of
Programs, Wave Sequences and Drum Kits, numbered
USER-AA through USER-GG. These banks are initialized
by default, free for storing either your own sounds or
libraries from Korg and third party sound developers.
Installation of an additional 1GB of RAM is now supported,
and can be performed at any authorized Korg service center.
This approximately doubles the maximum available sample
RAM, up to about 2 GB. Of course, when loading EXs using
Virtual Memory, the total size of the loaded sample data can
be much greater.
The KRONOS uses widely available, off-the-shelf DIMMs.
Installation by an authorized Korg service center is required;
user installation is not supported and may void your
warranty. For more information on how to purchase and
arrange for installation of RAM, please contact your
country’s Korg Distributor:
http://www.korg.co.jp/English/Distributors/index.html
26
Update information New features in software version 1.5
For compatibility with the KRONOS, RAM must comply
with the following specification:
240-Pin PC2-6400 CL-5 (or CL-6) DDR2-800 non-ECC
Unbuffered DIMM 1GB
4x increase to Sampling Mode
Multisamples, Samples and Multisample
Indexes
The maximum number of Multisamples in Sampling Mode
has been increased from 1,000 to 4,000, and the maximum
numbers of Samples and Multisample Indexes have each
been increased from 4,000 to 16,000. These 4x increases will
be especially helpful when loading libraries with large
numbers of relatively short samples, such as drums.
Note that EXs and User Sample Bank data does not count
towards these maximums; they apply to the Sampling Mode
data only.
Support for USB MIDI and Korg USB pad
controllers
Version 1.5 adds support for connecting USB MIDI classcompliant controllers directly to the KRONOS. For instance,
you can use a Korg microKEY as an auxiliary synth-action
keyboard for a KRONOS 73 or 88.
Even better, Korg USB MIDI controllers with pads–
including the nanoPAD, nanoPAD2, padKONTROL,
microKONTROL, and KONTROL49–are automatically
mapped to the KRONOS chord pads, for playing and
programming drums, triggering chords, and selecting and
assigning chords for Chord Mode.
For more details, see “USB MIDI controllers” on page 1118
of the Parameter Guide.
KRONOS Editor and Plug-In Editor
Version 1.5 adds support for the KRONOS Editor and PlugIn Editor, which let you edit and organize sounds from your
Mac OS X or Windows computer. Plug-in operation allows
you to save settings as part of your project with any VSTcompatible Windows software, or any VST- or AUcompatible software on Mac OS X. The KRONOS Editor
and Plug-In Editor will be available for free download at
www.korg.com/kronos.
27
Introduction to KRONOS
28
Playing and editing Programs
Playing Programs
What’s a Program?
Programs are the basic sounds of the KRONOS. You can
play them by themselves, layer them together in
Combinations, or play a different Program on each of the 16
MIDI tracks, either from the internal sequencer or from
external computer-based sequencers.
This section of the manual takes a quick look at playing
Programs, including tours of the front-panel controllers and
basic editing techniques.
Selecting Programs
There are several different ways to select Programs. Each
one is convenient in a different way:
• Using the front-panel buttons, value slider, and value
knob, you can select Programs quickly via physical
controls
• Selecting by Bank and number (via the touch-screen) lets
you browse through all of the Programs in memory, to
find the one that you want
Program Bank Contents
As shipped from the factory, the contents of the Program
Banks are as follows:
Program bank contents
Bank
Bank
Type
Contents
INT–A
SGX-1, EP-1,
and “best of” all other EXi
EXi
INT–B…F
HD-1 Programs
HD-1
GM (I-G)
GM2 main Programs
g(1)…g(9)
GM2 variation Programs
g(d)
GM2 drum Programs
• MIDI program change messages let you select Programs
remotely, from either a MIDI sequencer or an external
MIDI controller
USER–A
HD-1, including Ambient Drums
and Sound Effects
USER–B
AL-1
Set Lists
USER–C
AL-1 and CX-3
Programs can also be selected in Set Lists, along with
Combinations and Songs. For more information, see “Set
Lists” on page 115.
USER–D
STR-1
USER–E
MS-20EX & PolysixEX
USER–F
MOD-7
USER–G
Initialized HD-1 Programs
USER–AA…CC
Programs for EXs trial versions *
USER–DD…EE
Initialized EXi Programs *
USER–FF…GG
Initialized HD-1 Programs *
• Selecting by Program category (via the touch-screen) lets
you filter Programs by sound type, such as Pianos or
Drums
• Using a foot-switch lets you change Programs even
while both hands are busy playing on the keyboard –
convenient for live applications
Overview: Program Banks
KRONOS ships from the factory with about 1,800 Programs
loaded into memory. All of the factory Programs can be
over-written with your own edits, if desired–except for the
GM banks.
Hundreds of other Program slots are left open for your own
programming or additional sound libraries. The exact
contents may differ depending on the KRONOS model.
Programs are organized into 21 Banks, as described below.
You can also store many more Programs on the internal
disk(s), or on external USB 2.0 devices. Additional banks of
sounds may already be on the internal disk as shipped from
the factory.
USER–G is the default location for Programs created by
resampling.
GM
Bank type
can be set
to either
HD-1 or EXi
* Bank contents may differ depending on the KRONOS
model.
Changing the Bank Type for USER banks
Banks can contain either HD-1 Programs or EXi Programs,
but not both. This assignment is fixed for the Internal banks,
but can be set separately for each of the User banks.
To change the type of a User bank:
1. Press the front-panel GLOBAL button to enter
Global mode.
2. Select the Basic tab.
3. Press the page menu button, and select Set Program
User-Bank Type.
4. Change the Type for the desired banks. Leave all of
the other banks set to “No Change.”
29
Playing and editing Programs
Important: Setting a bank’s type will erase all of the
Program data in the bank - so make sure that you’re not
erasing any Programs you want to keep!
Selecting by bank and number
5. Press the OK button.
You can select Programs from a list organized by Program
bank.
An “are you sure?” dialog appears.
1. Press the Program Select popup button.
6. If you’re certain of the change, press OK again.
The Bank/Program Select dialog appears.
The selected banks will now be initialized to use the new
Program types.
Bank/Program Select menu
Selecting with the front-panel buttons
You can select Programs using the front-panel buttons,
without touching the screen. To do so:
1. Make sure that the front-panel PROG button is lit.
This means that you’re in Program mode, in which you can
select and edit Programs. If the button isn’t lit, press it now;
it will light up, and the main Program Play page will appear.
2. Go to the main Program Play page.
The main Play page shows an overview of the sound
structure, such as oscillators, filters, etc.
3. Make sure that the Program name is selected.
If it is not selected, go to the PROGRAM P0: Play page and
touch the Program’s name, so that it’s highlighted.
In this illustration, bank INT–A is selected. The list on the
right shows the Programs contained in that bank.
4. Use the VALUE controllers to select the program
number that you wish to play.
2. Press the tabs on the left side of the display to select a
bank.
You can use the following methods to select a program.
There are more banks than can be shown at one time, so the
banks are divided into two groups of tabs: INT–A…USER–
G and USER–AA…USER–GG.
• Turn the Value dial.
• Press the Inc
or Dec
buttons.
• Use the numeric keypad [0]–[9] to specify the number,
and press the ENTER key.
3. If necessary, use the “More…” buttons below the tabs
to switch between showing the tabs for INT–
A…USER–G and USER–AA…USER–GG.
5. To select banks INT–A…G or USER–A…G, press and
release the corresponding BANK button.
4. Press one of the Program names in the list to select a
Program.
For example, to select bank INT–B, press the I–B button in
the top row of Bank buttons. The I–B button will light, and
the name INT–B will appear in the upper left of the LCD
screen.
The selected Program will be highlighted, and the keyboard
will immediately switch to the new sound.
When you select a Bank, the button’s LED will light, and the
selected bank will appear on the upper left side of the LCD
screen.
6. To select banks USER–AA…GG, press and hold a
pair of I and U BANK buttons together.
For example, to select bank USER–CC, press and hold the I–
C button, and then press the U–C button. If you prefer, you
can also press them in the opposite order: first U–C, and then
I–C.
30
5. If you like, play a few notes to hear the new Program.
You can play the new Program while the menu is still
showing, without needing to press OK.
6. When you are satisfied with the selected Program,
press the OK button to close the popup menu.
If you press the Cancel button, the selection you made here
will be discarded, and you will return to the program that had
been selected before you opened the menu.
Playing Programs Selecting Programs
Selecting by Category
You can select Programs from within a category, such as
keyboard, organ, bass, and drums. When shipped from the
factory, the Programs are organized into 16 categories, each
with several sub-categories. There are also 2 more
categories, initially named User 16 and User 17, which you
can use and rename as desired.
1. Press the Category popup button.
The Category/Program Select dialog appears.
Category/Program Select menu
2. Touch the Favorite box, underneath the Tempo
parameter, so that the box is filled in with a red square
(this shows that the box is “checked”).
3. Write the Program.
This is an important step. If you don’t write the Program, the
change to the Favorites check-box won’t be retained.
For details on how to write Programs, see “Saving your
edits” on page 44.
Using a footswitch to select Programs
You can assign a footswitch to step through Programs one by
one, either going up (0, 1, 2, 3, etc.) or going down (3, 2, 1
etc.). This lets you change Programs without using your
hands–great for quick Program changes in live performance
situations.
There are two ways of doing this: by assigning the
footswitch to Program Up/Down, or to Value Inc/Dec.
Program Up/Down is recommended for normal use, while
Value Inc/Dec is a special-purpose setting, as described
below.
Note: These settings apply to Set Lists and Combinations, as
well.
Assigning the footswitch to Program Up/Down
In the illustration above, the Motion Synth category is
selected. The list on the right shows the Programs which
belong to that category.
Assigning the footswitch to Program Up or Program Down
lets you directly control Program changes from the
footswitch.
To set this up:
2. Press the tabs located to the left side of the display to
select a different category.
1. Connect a foot switch to the rear-panel
ASSIGNABLE SWITCH input.
The name of the selected category will be displayed in full in
the lower left of the display.
Use a simple on/off footswitch, such as the optional Korg
PS-1.
3. Optionally, focus on a more specific group of sounds
by selecting a sub-category from the second column of
tabs.
2. Press the GLOBAL button to enter Global mode.
The full name of the sub-category also appears in the lower
left of the display.
4. Set the Foot Switch Polarity parameter to match the
connected switch.
4. Press one of the names in the center area to select a
Program.
5. At the top of the page, set the Foot Switch Assign
parameter to Program Up (or Program Down).
The selected Program will be highlighted.
For this setting to persist after power-down, you need to
write the Global settings.
5. When you are satisfied with the selected program,
press the OK button to close the popup menu.
If you press the Cancel button, your selection will be
discarded, and you will return to the Program that had been
selected when you opened the popup menu.
Using the Favorites check-box
The Bank and Category select pop-ups both include a
Favorite check-box at the bottom of the screen. This lets
you trim the list to show only Programs you’ve marked as
favorites.
If the selected Bank or Category contains no Programs
marked as Favorites, the check-box will be grayed out and
unavailable. When shipped from the factory, no Programs
will be marked (we leave that up to you, since they should be
your favorites!).
3. Go to the Controllers tab of the Controllers/Scales
page.
6. Open the menu, and select the Write Global Setting
command.
The Write Global Setting dialog will appear.
7. Press OK, and then OK again to confirm.
Now, when you return to Program mode, the foot switch will
step through the Programs one by one.
Assigning the footswitch to Value Inc/Dec
This lets you use the Assignable Foot Switch to duplicate the
functions of the front-panel Inc
or Dec
buttons.
This is a special-case setting, but it may be convenient if you
like to keep the Bank or Category select windows open as
you play, so that you can see the list of available Programs or
Combinations. In this specific case, the Program Up/Down
assignments will not work (since Program changes are
ignored while the window is open). However, assigning the
To mark a Program as a Favorite:
1. Go to the Program P0: Play page.
31
Playing and editing Programs
Foot Switch to the Inc or Dec button lets you step through
the items in the list, one by one—just like pressing the frontpanel buttons.
To set this up:
1. Follow steps 1-4 under “Assigning the footswitch to
Program Up/Down,” above.
2. At the top of the page, set the Foot Switch Assign
parameter to Value Inc (or Value Dec).
For this setting to persist after power-down, you need to
write the Global settings.
3. Open the menu, and select the Write Global Setting
command.
The Write Global Setting dialog will appear.
4. Press OK, and then OK again to confirm.
Now, the foot switch will act just like pressing the frontpanel Inc or Dec button.
Note: The footswitch will work like this for the entire
KRONOS–not just when the Program or Combination Select
window is open.
Assigning incoming MIDI CCs to Program
Up/Down or Value Inc/Dec
In addition to using the built-in footswitch input, you can
also map incoming MIDI CCs to Program Up/Down or
Value Inc/Dec. This allows you to assign multiple switches
to the different functions—for instance, one for Program Up
and a second for Program Down—using an external MIDI or
USB MIDI foot controller. For more information, see “2–3:
Function Assign” on page 777 of the Parameter Guide.
Selecting Programs via MIDI
You can select any Program from any bank by using MIDI
Program Change messages in conjunction with MIDI Bank
Select messages. When you select Programs from the front
panel, the appropriate MIDI messages are sent automatically
(unless MIDI filters are active; see below).
If you are entering the MIDI messages manually into a
sequencer, note that the Bank Select message needs to come
before the Program Select message.
In Program mode, use the Global MIDI Channel
With the exception of the Drum Track, all transmission and
reception of MIDI data in Program mode is performed on the
Global MIDI Channel. You can set this on the Global mode
P1 MIDI page.
Bank Map
Bank Select messages can work in one of two ways, as
controlled by the Bank Map parameter on the Global P0
Basic Setup page. The factory default setting will work for
most standard applications, and most people will never need
to change it. If you use General MIDI sequences, the
alternative GM(2) setting may be helpful. For more
information, see “Bank Map” on page 749 of the Parameter
Guide.
MIDI filters
You can use MIDI filters to control whether or not Program
Change and Bank Select messages will be transmitted and/or
received. The filters are set up on the Global mode P1 MIDI
page. For more information, see “1–1c: MIDI Filter” on
page 769 of the Parameter Guide.
32
KRONOS Plug-In Editor
The KRONOS Plug-In Editor includes support for patch
lists, allowing you to select Programs, Combinations, Songs,
and Set Lists Slots by name from within your DAW software
of choice.
General MIDI Programs
Internal bank G contains a full set of General MIDI 2
Programs, as well as sub-banks g(1)–g(9) (GM2 variation
programs), and bank g(d) (drums).
When you select Programs using the Bank or Category
windows, you’ll notice that a Variation button appears when
you select bank INT-G. Each time you press this button, or
repeatedly press the front-panel INT-G button, you’ll step
through the General MIDI banks in the following order:
Gg(1)g(2)…g(8)g(9)G…
Playing Programs Using Controllers
Using Controllers
The KRONOS provides a lot of hands-on ways to control the
sound–the mod and pitch-bend joystick, the Vector joystick,
the ribbon controller, two switches (SW1 and SW2), and the
Control Surface knobs, sliders, and switches.
These controls let you modify the tone, pitch, volume,
effects, etc. in realtime while you play.
Joystick
Vector Joystick
The Vector Joystick lets you
control the volume balance
between OSC1 and OSC2, and
can also generate CC messages
to modulate Program and effects
parameters.
In Combi and Sequence modes,
the Vector Joystick can do all of this, plus balance the
volumes of the different Programs in the Combi.
The Vector Joystick does all of this in conjunction with the
Vector Envelope, which is a flexible, multi-segment
envelope with a few interesting twists. For more
information, see “Using Vector Synthesis” on page 56.
Resetting the Vector Joystick to the center
You can use the front-panel RESET CONTROLS button to
reset the Vector Joystick’s output value to its default center
position. To do this:
The joystick moves in four directions: left, right, forwards
(away from yourself), and backwards (towards yourself).
Each of the four directions can be used to control a different
function, such as modulating Program or effects parameters.
These assignments can be different for every Program, but
generally, they do the following:
1. Hold down the RESET CONTROLS button.
2. While holding RESET CONTROLS, move the Vector
Joystick.
3. Release the RESET CONTROLS button.
The joystick’s output value will now be reset to the center
position.
Standard Joystick functions
Move the
joystick…
Controller
Normally controls…
Name
Ribbon Controller
Left
JS–X
Pitch bend down
Move your finger to the left and right on the ribbon
controller to apply an effect.
Right
JS+X
Pitch bend up
Normally, this is used to control pitch, volume or filter etc.
Forwards
(away from yourself)
JS+Y
Vibrato
Backwards
(towards yourself)
JS–Y
Filter LFO (wah)
You can use the Lock function of SW1 or SW2 keys to hold
the effect even after you release your finger from the ribbon
controller. For more details, see “Using the Lock function”
on page 34.
Joystick Lock
The joystick is spring-loaded, so that it automatically returns
to the center position when you let go.
However, you can use either of the two front-panel switches
(SW1 or SW2), or a foot-switch, to “lock” the current
position of the joystick. This leaves your hands free to play
on the keyboard, or to use other controllers. For more
information, please see “Using the Lock function” on
page 34.
SW1 and SW2
These are the two switches
above the joystick and ribbon.
You can use SW1 and SW2 to
control program parameters via AMS (Alternate
Modulation), or effect parameters via DMod (Dynamic
Modulation).
They can also transpose the keyboard by octaves, turn
portamento on/off, or lock the modulation values of the
ribbon controller, joystick, or aftertouch.
Each switch may work as either as a toggle or a momentary
switch. In Toggle mode, each press alternates between on
and off; in Momentary mode, the switch only changes for as
long as you hold it down.
33
Playing and editing Programs
Each Program, Combination, and Song stores its own
settings for what the switches will do, and whether each
switch is on or off (based on their current states when the
Program, Combination, or Song is saved). You can also
make settings for Sampling mode as a whole.
In Program mode, you can check the assignments of SW1
and SW2 on the Play page Assignment tab.
In all modes, you can edit the assignments for SW1/2 on the
Set Up Controllers page.
Programs (HD-1 and EXi)
P1: Basic/Vector
Combinations and Songs
P1: EQ/Vector/Controller
Sampling mode
P4: EQ/Controller
When using SW1/2 for AMS or Dmod, the default settings
are SW1 Mod.:CC#80 and SW2 Mod.:CC#81.
For an example, see “Using Dmod to change the feedback
level via SW1” on page 211. For a complete list of the
possible assignments, see “SW1/2 Assignments” on
page 1095 of the Parameter Guide.
Note: If you wish to keep these settings after the power is
turned off, you must save the Program, Combination, or
Song. Settings for Sampling mode cannot be saved.
An example of settings in a Program
4. Release the joystick, and play the keyboard.
The modulation will stay the same as it was when SW2
was pressed. Moving the joystick away from yourself
will not affect the sound.
5. Press the SW2 key once again to release the Lock
function.
Locking the Ribbon Controller
1. Select Program INT-B044: Real Suit E.Piano.
2. Press the SW2 key.
The LED on SW2 will light up.
3. Touch the ribbon controller, and move your finger left
and right.
Movement in the +X direction will brighten the tone, and
movement in the –X direction will darken the tone.
4. Lift your finger up from the ribbon controller.
The sound will remain as it was when you last touched
the ribbon.
5. Press the SW2 key once again to release the Lock
function.
6. Press the tab labeled Cntrl/View Effect, to go to the
Controller/View Effect page.
In the upper right-hand portion of the screen, notice that
SW2 is assigned to JS Y & Ribbon Lock, and is set to
Toggle. This means that SW2 is assigned to control the Lock
function for both the joystick’s Y axis and the ribbon
controller. Many Programs and Combinations use this
assignment.
Using the Lock function
You can also lock both the ribbon and the joystick at the
same time:
Locking the Joystick
1. Move the joystick in the +Y direction
1. Using the factory sounds, select Program INT-B044:
Real Suit E.Piano, and play the keyboard.
2. Press the SW2 key to turn on the Lock function.
2. Move the joystick away from yourself (the +Y
direction).
4. Release the joystick, and lift your finger up from the
ribbon.
The vibrato effect will deepen.
3. While holding the joystick away from yourself, press
the SW2 switch.
When you press the switch, its LED will light up, and the
modulation effect at this point will be maintained.
3. Move your finger on the ribbon controller.
The effects of both the ribbon and the joystick will be
maintained until you press SW2 again to release the lock.
Lock can also be applied to aftertouch, by assigning SW1 or
SW2 to After Touch Lock.
For details on the functions that you can assign to SW1 and
SW2, please see the “SW1/2 Assignments,” on page 1095 of
the Parameter Guide.
You can also map incoming MIDI CCs to any of the lock
functions; see “2–3: Function Assign” on page 777 of the
Parameter Guide.
34
Playing Programs Using Controllers
Control Surface knobs, sliders, &
switches
The Control Surface has 8 knobs, 8 sliders plus a master
slider, and 16 switches. You can use these for many different
tasks:
•Controlling mixer
features, including volume,
pan, EQ, FX sends, mute,
and solo
•Modulating and editing
sounds
•Controlling KARMA
•Controlling external MIDI
devices
You can switch the Control
Surface between its
different functions using
either the on-screen tabs on
the Control Surface page
(the left-most tab on P0
Play), or the front-panel
Control Assign switches.
The tabs and the frontpanel switches mirror one
another; when you change
one of them, the other
changes as well.
In Program mode, you can select one of five different
functions:
TIMBRE/TRACK lets you adjust the volume, pan, and
send levels for Oscillators 1 and 2, along with the Program
EQ (plus similar controls for the Drum Track, with the
exception of pan). In Combi and Sequence modes, you can
also use this to select two different banks of Timbres or
Tracks, as shown by the LEDs to the right of the switch.
2. While holding down RESET CONTROLS, move a
slider or knob, or press one of the control surface
buttons.
The slider, knob, or switch will be reset to the value stored in
the Program (or, if applicable, the default value).
3. When you’re done, release the RESET CONTROLS
button.
To reset a group of controls at once:
1. Make sure that the Control Surface is showing the
parameters you want to reset.
As a safety precaution, you can only reset the parameters
currently displayed on the Control Surface. This takes into
account both the current Control Assign setting, and the
MIXER KNOBS button.
For instance, if you want to reset the volume and pan for
both Oscillators, make sure that Control Assign is set to
TIMBRE/TRACK, and that MIXER KNOBS is set to
INDIVIDUAL PAN.
2. Hold down the RESET CONTROLS button.
3. While holding down RESET CONTROLS, press the
current Control Assign button again.
All of the sliders, knobs, and switches in the Control Assign
group will be reset to the values stored in the Program.
You can also reset all of the faders and switches in the
KARMA module, by holding RESET CONTROLS and then
pressing the KARMA MODULE CONTROL button.
Similarly, to reset a single KARMA Scene, hold RESET
CONTROLS and press any of the SCENE buttons.
Finally, you can also use this to clear all solos, by holding
RESET CONTROLS and then pressing the SOLO button.
For more information, see “RESET CONTROLS” on
page 22 of the Parameter Guide.
VALUE slider
AUDIO (INPUTS) lets you adjust the volume, pan, and
send levels for the analog, S/P DIF, and USB audio inputs. In
Sequence mode, you can also use this to select two banks of
hard-disk recording tracks, as shown by the LEDs to the
right of the switch.
When a program number is selected in Program P0: Play
page, or when a combination number is selected in
Combination mode page P0: Play page, you can use the
VALUE slider to modulate Program and effects parameters.
EXT (External) lets you send MIDI messages to external
MIDI devices.
Keyboard
RT KNOBS/KARMA (“RT” stands for Realtime) lets you
modulate sounds and effects with the knobs, and control
KARMA with the sliders and switches. For more details, see
“Editing sounds & effects with the Realtime Knobs,” on
page 41.
TONE ADJ/EQ (Tone Adjust/EQ) gives you hands-on
access to sound editing, using the sliders, knobs, and
switches. For more details, see “Using Tone Adjust,” on
page 43
You can freely change back and forth between the different
functions, without losing any of your edits.
Resetting controls to their saved values
The front-panel RESET CONTROLS button lets you recall
the stored or default settings for any slider, knob, or switch
on the control surface.
To reset a single knob, slider, or switch:
Velocity
Velocity is a measure of how hard you play a note on the
keyboard. This can be used to modulate many different
aspects of the sound, such as volume, brightness, or the
character of the attack.
After Touch
The keyboard can also measure how hard you press down
after you play a note–hence the term “after touch.” You can
use this to shape notes over time, controlling (for instance)
volume or vibrato amount.
Note Number
Sounds can be programmed to change in character based on
the note being played. As you play higher or lower on the
keyboard, the note number can modulate the timbre–such as
becoming brighter as you play higher. Envelopes may also
become faster or slower; the volume may change; and so on.
1. Hold down the RESET CONTROLS button.
35
Playing and editing Programs
Foot Pedals and Switches
Like the Assignable Foot Switch, described above, the Foot
Pedal can be used for many different functions, including:
Damper Pedal (Sustain)
• Master Volume
The damper pedal is also sometimes called the sustain pedal.
It acts like the similarly-named pedal on an acoustic piano;
when you hold down the pedal, notes will continue to sustain
even when you lift your hands off of the keyboard.
• Channel Volume, Pan, or Expression
Damper Switch vs. Half-Damper
• Duplication of many front panel controls, including the
modulation joystick, ribbon, value slider, Real-Time
Knobs, or KARMA sliders
You can use either a standard footswitch (such as the Korg
PS-1) or a special half-damper pedal (such as the Korg DS1H) as the Damper.
If you use a footswitch, it will work like a normal
synthesizer sustain pedal: notes will sustain forever, as long
as the pedal is held down.
A half-damper pedal is a special type of continuous foot
pedal (normal foot pedals won’t work properly for this
application). It offers more subtle control of sustain, which
can be especially useful for piano sounds.
The off and full-on positions of the half-damper work just
like the footswitch, but intermediate positions modulate the
release time to increase sustain without making it infinite.
The KRONOS will automatically sense when a half-damper
is connected to the rear-panel DAMPER input. For proper
operation, you will also need to calibrate the pedal, using the
Calibrate Half-Damper command in the Global page menu.
Damper and MIDI
The Damper Pedal is sent and received as MIDI CC #64. In
Combi and Sequence modes, you can “filter” CC# 64 so that
it only affects some of the sounds in the Combi or Song.
Assignable Foot Switch
This lets you use a simple footswitch, such as the Korg PS-1,
as an assignable controller. The footswitch can perform a
wide variety of functions, such as:
• An assignable source for modulating sounds and effects
• Portamento on/off
• Program select up or down
• Sequencer start/stop or punch in/out
• Tap Tempo
• KARMA on/off, Latch on/off, or Scene select
• Drum Track on/off
• Chord SW
• Duplication of many front panel controls, including the
modulation joystick, ribbon, value slider, Real-Time
Knobs, SW 1/2, the pads, KARMA sliders, or KARMA
switches
The switch’s function is set in Global mode (on the
Controllers tab of the Controllers/Scales page), so that it
always works the same regardless of the current Program,
Combi, or Song.
For more information, please see “Setting up the Assignable
Switch and Pedal” on page 163.
Assignable Foot Pedal
This lets you use a continuous controller pedal, such as the
Korg EXP-2 foot controller or Korg XVP-10 EXP/VOL
pedal, as an assignable controller.
36
• Assignable sound modulation, as several different AMS
or Dmod sources
• Effects Send level control
The pedal’s function is set globally (on the Controllers tab of
the Controllers/Scales page), so that it always works the
same regardless of the current Program, Combi, or Song. For
more information, please see “Setting up the Assignable
Switch and Pedal” on page 163.
Playing Programs Using the Chord Pads
Using the Chord Pads
Overview
Programs, Combinations, and Songs all have a Pads page on
the ninth tab of P1:
Programs: Basic/Vector->Pads
Combinations and Songs: EQ/Vector/Controller->Pads
You can use these pads for:
• Storing and selecting chords for Chord mode
• Selecting and triggering chords, especially for use with
KARMA
• Playing drum sounds, especially in conjunction with a
compatible USB MIDI pad device
The pads can play up to eight-note chords—and they even
remember the velocities of the individual notes within the
chord.
In addition to playing sounds directly, the pads are also used
to select chords for Chord mode. For more information, see
“Using Chord mode” on page 38.
You can also use MIDI CCs, if you prefer. With CCs, the
value of the CC is used as the pad’s “velocity.” (For an
alternative method, see “Playing the pads from external
MIDI CCs,” below.)
It’s as simple as that; the pads will now respond to the
specified notes or CCs on the Global channel.
Be aware, however, that this will completely dedicate these
notes to triggering the pads; they will no longer trigger
sounds normally. For this reason, you may wish to assign
notes either below or above the standard keyboard range (for
instance, C-1 through G-1).
All of this also applies to notes played on the Global
Channel from the local keyboard, with the same restriction:
the assigned notes become dedicated to playing the pads.
For more information, see “2–1c: MIDI CC# Assign —
Vector Joystick / Pads” on page 775 of the Parameter Guide.
Playing the pads from external MIDI CCs
The method above applies to both the local keyboard and
MIDI input on the Global Channel. As an alternative, you
can use the Global Function Assign page to play the pads
from MIDI or USB MIDI input only, without affecting the
local keyboard. This alternative method also allows you to
control the pads from any MIDI Channel—not just the
Global channel.
For more information, see “2–3: Function Assign” on
page 777 of the Parameter Guide.
Playing the pads from Korg USB MIDI controllers
You can also play the pads using Korg USB MIDI
controllers equipped with drum pads, including:
• nanoPAD and nanoPAD2
• microKONTROL
• padKONTROL
To avoid damaging the display, use care when playing the
on-screen pads. Do not press strongly on the display or
strike forcefully; instead, use a light and precise
touch.”Velocity” is controlled by position, and not by
force.
Playing the pads
• KONTROL49
To use any of these Korg controllers, simply connect the
controller to one of the KRONOS’s two USB A ports. The
KRONOS will automatically determine the MIDI
assignments of the controller’s pads 1-8, and map them
directly to the KRONOS pads.
For more details, see “USB MIDI controllers” on page 1118
of the Parameter Guide.
Playing the pads from the screen
You can play the pads directly from the screen. “Velocity” is
controlled by where you touch the pad; lower is softer, and
higher is louder. (You can also enable Fixed Velocity mode;
see “Fixed Velocity” on page 38.)
If individual notes in the chord have different stored
velocities, these are scaled by the overall velocity.
Note: from the screen, only one pad can be played at a time.
Playing the pads from MIDI or the keyboard
Pads can be triggered by incoming MIDI notes or CCs, or
from the local keyboard. To do so:
1. Go to the Global P2: Controllers page.
2. Under MIDI CC# Assign —Vector Joystick / Pads, set
Pads 1-8 to the desired MIDI notes.
Enable Pad Play button
The pads play every time you touch within their boundaries.
If you’re editing the stored notes and velocities manually,
you may wish to temporarily disable this feature. To do so:
1. Touch the Pad Play button at the top of the display, to
turn it off.
The button’s light will go dark, to show that it is disabled.
Once you’re finished editing, turn it on again:
2. Touch the Pad Play button again, to turn it on.
The button’s light will go on, to show that it is enabled.
Note: Enable Pad Play applies only to the on-screen pads,
and does not affect pad triggering from MIDI, the local
keyboard, or USB MIDI devices.
37
Playing and editing Programs
Assigning notes and chords to pads
You can assign single notes and chords to the pads in three
different ways.
Copying notes from one pad to another
To copy the note assignments from one pad to another:
1. Press and release the pad whose notes you want to
copy.
Play the notes, and then press Chord Assign
2. Press the Chord Assign button.
1. Play a single note, or a chord of up to 8 notes.
3. Press the pad to which you’d like to copy the notes.
2. Press the Chord Assign button.
3. Press the pad to which you’d like to assign the notes.
The new pad will now play the same notes as the original
pad.
That’s it! The notes are now assigned to the pad.
Merging two or more pads together
Press Chord Assign, and then play notes
Using the on-screen pads, only one pad can be played at a
time. When using MIDI, the keyboard, or a Korg USB MIDI
pad controller, however, multiple pads can be played at once.
You can use this to merge together the assignments from two
or more pads, as long as the total number of notes is 8 or
fewer. To do so:
This method lets you create a chord out of widely-spaced
notes, even if you can’t play all of the notes simultaneously.
1. Press the Chord Assign button.
2. Play a single note, or a chord of up to 8 notes.
You can play a single note, or a simple chord.
If you like, you can also play up to 8 notes as a legato phrase.
As long as you take care that the notes overlap each other,
the entire phrase will be recorded as a single chord. You can
take as long as you like to play the phrase.
1. Play and hold all of the pads that you’d like to merge ,
so that they’re all sounding at the same time, and then
release them.
All of the pads must be held down at the same time.
2. Press the Chord Assign button.
3. Press the pad to which you’d like to assign the notes.
3. Press the pad to which you’d like to copy the notes.
After pressing the pad, you’re done!
You can even use one of the pads that was being merged, if
you like. After pressing the destination pad, you’re done.
Editing notes and velocities
Once assigned, you can edit the recorded notes and
velocities. If you like, you can also enter new notes this way,
by manually entering them as parameter values. For more
information, please see “1–9: Pads” on page 54 of the
Parameter Guide.
Copying pads
Copying one pad to another is just like assigning notes from
the keyboard.
As with assigning notes to the keyboard, you can either play
the pads first, or press Chord Assign first. In the interest of
saving space and time, only the first method is described
below.
Fixed Velocity
Each pad stores a velocity level for each of its 8 notes. The
Fixed Velocity button, on the display above the pads,
controls whether or not the pads respond to the touch
location.
When Fixed Velocity is on, the pads always use their stored
velocity settings, regardless of where you touch the pad.
When Fixed Velocity is off, touching the top of the pad
produces the preset velocities. When you play lower on the
pad, the preset velocities are scaled down accordingly,
maintaining the balance between the notes in the chord.
Using Chord mode
Overview
Chord mode lets you choose one of the chords assigned to
the pads, and then play it from the keyboard. The chord is
transposed according to the note that you play; the played
note specifies the lowest note of the chord, and the higher
notes are transposed to match. As when playing chords from
the Pads themselves, each note in the chord can have a
different stored velocity, scaled by the played note.
In addition to using the on-screen parameters, you can turn
Chord mode on and off via SW1/2 or the Foot Switch, and
change chords simply by pressing the pads. In Combination
and Sequencer modes, you can make these settings for each
Timbre or Track, as desired. Naturally, you can control all of
this via MIDI as well.
Chord mode can duplicate the way that similar features
worked on classic analog synths (such as the original
Polysix), but it can also use all of the Voice Assign options to
38
create different effects–such as mono legato chords with
fingered portamento, or poly chords that overlap one
another.
Finally, note that you don’t have to use Chord mode to play
full chords; you can also use it to create more subtle effects,
such as stacked octaves or fifths. You can even adjust the
relative levels of these additional pitches via the stored
velocities of the individual chord notes.
Chord Switch
The Chord Switch (abbreviated Chord SW) lets you turn
Chord mode on and off via SW1/2 or the Foot Switch.
Important: Programs will only respond to the Chord SW if
their Chord parameter has been set to either Basic or
Advanced. If it’s set to Off, then the switch will have no
effect.
Playing Programs Using Chord mode
Assigning SW1/2 to control Chord on/off
Within any individual Program, Combi, or Song, you can set
either SW1 or SW2 to turn Chord mode on and off. To do so:
1. In the Program, Combi, or Song, go to the Set Up
Controllers page.
2. Select Chord SW as the assignment for SW1 or SW2.
Assigning the Foot Switch to control Chord on/off
You can also assign the Foot Switch to turn Chord mode on
and off, so that you don’t need to move your hands from the
keyboard while performing. This setting will apply globally,
regardless of the current Program, Combi, or Song. To do so:
1. Go to the Global Foot Switch Assign page.
2. Select Chord SW for the Assignable Foot Switch.
Enabling Chord mode
Program mode
To enable Chord mode for a Program:
1. Go to the Program Basic page
2. Set the Chord parameter to Basic or Advanced.
Once you’ve selected either Basic or Advanced, Chord
mode is enabled immediately. Optionally, you can then turn
Chord mode off and on via the Chord SW, using either
SW1/2 or the Assignable Foot Switch.
If you set Chord to Off, then it will always remain off,
regardless of the Chord SW. This is particularly useful in
Combi and Sequencer modes, since it allows you to create
splits and layers in which some Timbres/Tracks use Chord
mode, but others do not.
Combination and Sequencer modes
To enable Chord mode for a Timbre in a Combi, or a track in
a Song:
1. Go to page 2-2 OSC (under Timbre Parameters or
Track Parameters, respectively).
2. Set the Timbre/Track’s Chord parameter to Basic or
Advanced.
2. Set Timbre 1’s Chord to Off, and Timbre 2’s Chord to
Basic.
Now, the Chord SW will enable/disable the chord for the
right hand only.
Details: initial state of Chord on/off
Normally, when you select a Program, Combi, or Song,
Chord mode will be on or off as set by the Chord parameter.
The exception is when SW1 or SW2 is assigned to the Chord
Switch. In this case, the stored on/off state of SW1/2 controls
whether Chord mode will be on or off by default.
Note that this default state is slightly more complex in
Combination and Sequencer modes:
• In Combination mode, SW1/2 affect only Timbres on the
Global channel. Other tracks will be as set by their Chord
parameters.
• In Sequencer mode, SW1/2 affect only the Tracks on the
same channel as the current Keyboard Track. This
determines the initial state when a Song is first selected,
since the current Keyboard Track is stored with the
Song. Other tracks will be as set by their Chord
parameters.
Basic and Advanced modes
There are two “on” settings for Chord mode: Basic (Bsc)
and Advanced (Adv).
Basic re-creates the chord mode of the original Polysix.
Each time you play a new chord, it will cut off the previous
chord. This option ignores the Voice Assign settings.
Advanced uses the Program’s Voice Assign parameters to
create a variety of different effects, such as mono legato
chords with fingered portamento, or poly chords that overlap
one another. The Voice Assign settings apply as if the entire
chord was a single note, with each pitch in the chord created
by an additional transposed oscillator.
Poly, Poly Legato, Single Trigger, Mono, Mono Legato,
Mono “Mode,” Legato Offset, Mono Priority, and Mono
and Poly Unison all apply.
Alternatively, you can set the Timbre/Track to PRG. This is
the default, which uses the setting from the Program. Note
that if the Program’s Chord mode is set to Off, the
Timbre/Track will not respond to the Chord Switch.
You can achieve the same effect as Basic, above, by setting
Chord to Advanced, Voice Assign to Mono, Priority to
Last Note, and Legato to Off.
What if Timbres/Tracks share the same channel,
but have different Chord settings?
Creating and editing chords
If Timbres/Tracks share the same channel, but have different
Chord settings, then the Chord SW affects each
Timbre/Track individually, as below:
Stored Setting
Off
Basic
Advanced
Chord SW = On Off
Basic
Advanced
Chord SW = Off Off
Off
Off
Example setup: keyboard split
To create a split with a single-note bass in the left hand, and
a chord on the right:
1. Select a bass Program for Timbre 1, and a piano
Program for Timbre 2.
Chords are assigned to the pads, stored, and edited as
described under “Using the Chord Pads” on page 37.
Selecting chords
The Chord function uses the chords assigned to the Pads. To
select a chord to play from the keyboard (or via MIDI):
1. Select the desired Pad from the Source pop-up menu
or:
When Chord is enabled, play a Pad using any of the
methods described under “Playing the pads” on
page 37.
When Chord mode is enabled, playing a Pad edits the
Source parameter. The Pad will not play any sounds by
itself; it only selects the chord to be played from the
keyboard.
39
Playing and editing Programs
Chord mode is enabled when the Chord SW is either
unassigned or turned On, and...
• In Program mode, Chord is set to Basic or Advanced
• In Combi mode, Chord is set to Basic or Advanced on
any Timbre (with Status set to INT) on the Global
channel
• In Sequencer mode, Chord is set to Basic or Advanced
on any Track (with Status set to INT or BTH) on the
same MIDI channel as the current Keyboard Track
In Combi mode, selection via the Pads affects all Timbres on
the Global Channel. In Sequencer mode, this affects Tracks
on the same MIDI channel as the current Keyboard Track.
What if Timbres/Tracks share the same channel,
but have different Source settings?
If Timbres/Tracks share the same channel but have different
Source settings, they will maintain the different settings as
long as the Pads are not used to select a different chord. As
soon as a Pad is used, all the Timbres/Tracks will be set to
the same chord–unless they are set to PRG.
When Source is set to PRG, the Timbre/Track uses the
Source chord stored in the Program, instead of any of the
chords from the current Combi or Song. This makes it easy
to use Chord mode for sound-specific effects, such as
octaves, stacked fifths, and so on.
Playing chords
The lowest note of the selected chord is transposed to match
the note played on the keyboard. Higher notes are transposed
accordingly. For instance, let’s say that:
• The stored chord is F4, Bb4, and Eb5
• You play a D3 on the keyboard (or via MIDI)
In this case, the resulting chord will be D3, G3, and C4.
Just as with the Pads, the stored velocities are scaled by the
velocity of the played note.
In Combi and Sequencer modes, as long as the root note of
the chord is within the Timbre/Track keyboard zone, the
entire chord will be played in that Timbre/Track–even if
some of the notes extend beyond the Timbre/Track’s key
zone.
Chords and MIDI
The Chord SW and Source Pad settings (including
selections via the Pads) are transmitted and received via
SysEx, which can be recorded and played back via internal
or external sequencers.
In Combi and Sequencer modes, there are discrete SysEx
messages per Timbre/Track for both Chord SW and Source
Pad, so that each Timbre/Track can be set individually if
desired. Note that this allows more flexibility than when
using the local keyboard’s Chord SW and Pads.
When the Chord SW or the front-panel Pads are used to
change the chord state, separate messages are sent for each
affected Timbre or Track, including:
• In Combi mode, each Timbre on the Global Channel
• In Sequencer mode, each Track on the same MIDI
channel as the Keyboard Track
40
Easy Program Editing Quick edits using the knobs, sliders, and switches
Easy Program Editing
Quick edits using the knobs, sliders, and switches
You can edit any of the Programs shipped with KRONOS, or
you can start with an initialized Program to create sounds
from scratch.
You can do many basic edits directly from the front panel
Control Surface knobs, switches, and sliders, without ever
delving deeper into the LCD interface. For instance, you can
use the knobs to change attack and release times, make
sounds brighter or darker, alter effects depths, modulate
KARMA’s phrase generation, and so on.
The knobs, sliders, and switches will
do different things, depending of the
Control Surface CONTROL ASSIGN
setting. For editing Programs, the three
important CONTROL ASSIGN
settings are TIMBRE/TRACK, RT
KNOBS/KARMA, and TONE
ADJ/EQ.
TIMBRE/TRACK lets you adjust the
volume, pan, and send levels for
Oscillators 1 and 2 and the Drum
Track, along with the Program EQ.
RT KNOBS/KARMA lets you
modulate sounds and effects with the
knobs, and control KARMA with the
sliders and switches.
TONE ADJ/EQ (Tone Adjust) gives you hands-on access to
more detailed sound editing, using the sliders, knobs, and
switches.
Note: EQ is only available in Set List mode. For more
information, see “Graphic EQ” on page 121.
Adjusting volume, Pan, EQ, and FX sends
In TIMBRE/TRACK mode, the Control Surface puts all of
the basic mixing controls under your fingertips.
1. Press the TIMBRE/TRACK button under
CONTROL ASSIGN.
The button’s LED will light up.
2. Optionally, go to the Control Surface tab of the Play
page.
This page mirrors the Control Surface. Often, it will show
you a little more information about the knob assignments,
exact values, and so on.
3. Press the MIXER KNOBS button until
the INDIVIDUAL PAN LED lights up.
6. Press the MIXER KNOBS button until
the CHANNEL STRIP LED lights up.
This makes the knobs control a virtual
channel strip, including pan, EQ, and effects
sends.
7. Use knobs 2-6 to adjust the Program’s 3-band EQ.
The EQ affects both OSC1 and OSC2. Notice that the
display shows you the gain values in dB, and the Mid
Frequency in Hz. Also note that knob 2, EQ Trim, lets you
compensate for gain changes caused by the EQ.
8. Press SELECT button 1.
This selects OSC1. When the knobs are in CHANNEL
STRIP mode, the selected Oscillator is important. While EQ
always applies to both Oscillators, the Pan and Effects Send
1/2 knobs affect only the selected Oscillator.
Notice that Pan is available, in different ways, with both
settings of the MIXER KNOBS button.
9. Use knobs 7 and 8 to adjust Effects Sends 1 and 2 for
OSC1.
Internally, the system figures out how the Oscillator is routed
to the Master Effects, and automatically adjusts the
appropriate send parameters.
Editing sounds & effects with the
Realtime Knobs
The Realtime Knobs are a traditional feature of Korg
workstations, combining modulation, quick edits, and handson control.
In RT KNOBS/KARMA mode, knobs 1-4 have dedicated
functions, as printed on the front panel: Filter Cutoff, Filter
Resonance, Filter EG Intensity, and Release Time. All of
these correspond to standard MIDI CCs.
Knobs 5-8 can be assigned to a wide variety of functions,
many of which also have corresponding MIDI CCs. Often
(but not always), knobs 5 and 6 modulate synthesis
parameters, knob 7 controls the depth of a chorus or other
modulation effect, and knob 8 controls reverb depth.
This makes knobs 1 & 2 control pan for
OSC1 and OSC2, respectively.
4. Use sliders 1 …3 to adjust the volumes
of OSC1, OSC2, and the Drum Track.
5. Use knobs 1 & 2 to adjust the pan positions of OSC1
and OSC2.
The Drum Track’s pan is controlled separately, in the Drum
Kit itself.
41
Playing and editing Programs
Real-Time Knob functions
Knob
MIDI CC
6. Hold the RESET CONTROLS button.
Normally controls…
1
74
Filter Cutoff Frequency
2
71
Filter Resonance
3
79
Filter EG Intensity
EG Release Time
As you move the knobs, their values will be
reset to the default, center positions.
8. Release the RESET CONTROLS
button.
4
72
5-6
Varies for each Program
7
Often Chorus Depth - but can vary per Program
8
Often Reverb Depth - but can vary per Program
Now, you’re back to the original electric piano sound.
When you move a knob, it sends out the corresponding
MIDI CC. Also, when the CC is received via MIDI or
generated by KARMA, the knob value changes to match the
CC value.
Generally, the knobs “scale” the Program’s internal settings.
When the knob is in the center, the settings are as
programmed. To move the settings to their maximum value,
turn the knob all the way to the right; to move them to their
minimum value, turn the knob all the way to the left.
Knob edits can be saved
The Real-Time Knobs are great for modulating sounds in
performance, or for recording. If you like, you can also save
the edited version of the sound, using the normal Write
Program command (see “Saving your edits” on page 44).
Internally, a single knob usually affects several different
parameters. When you write a Program, the edits are saved
into the individual parameters, and not to the knob itself.
After writing the Program, you’ll notice that the knobs have
returned to their center positions–since the old “edited”
values are now the new “saved” values.
Assigning functions to REALTIME KNOBS 5–8
When the Control Surface CONTROL ASSIGN is set to
RT KNOBS/KARMA, the four knobs on the right function
as Realtime Knobs 5-8 (User 1-4). These can perform a
number of different functions, such as modulating sounds or
effects, adjusting effects send levels, and so on.
Knob scaling
99
Parameter
Value
Each Program, Combination, and Song stores its own
settings for what the knobs will do. You can also make
settings for Sampling mode as a whole.
As Programmed
00
0
64
127
CC Value
For example:
1. Select Program INT-B 017, “Smooth Operators.”
This is an electric piano sound; let’s see what we can do to
make it sound a bit different.
2. Press the RT KNOBS/KARMA button under
CONTROL ASSIGN.
The TONE ADJUST LED will light up.
3. While playing the sound, turn knob 1 (Filter
Frequency) to the right, slowly, to about 3 o’clock.
Notice how the piano becomes a sort of synth sweep.
42
7. While holding RESET CONTROLS,
move first knob 1, and then knob 2.
When using the knobs for AMS or Dmod, it’s important to
understand that assignment is a two-step process. First, you
assign the knob to send a MIDI controller, such as Knob
Mod.1 (CC#17). Second, you assign that MIDI controller to
modulate one or more Program or effects parameters.
For the first part of the above, use the mode’s Set Up
Controllers page. For more information, See “SW1 and
SW2” on page 33.
The default assignments for knobs 5-8 are Knob Mod.1
(CC#17), Knob Mod.2 (CC#19), Knob Mod.3 (CC#20), and
Knob Mod.4 (CC#21), respectively. For a complete list of
the possible assignments, see “Realtime Knobs 5–8
Assignments” on page 1096 of the Parameter Guide.
Here’s an example of how to set up knob 5 (User 1) to
control a Program’s filter and amp EG attack time:
1. Press the PROG switch to enter Program mode.
4. Next, turn knob 2 (Filter Resonance) to the right, also
to about 3 o’clock.
2. Press the Basic/Vector tab, and then the Controllers
tab above it, to go to the P1: Basic/Vector– Set Up
Controllers page.
5. With knob 2 in that position, try moving knob 1 back
and forth as you play.
3. Press the Modulation Knob Assign “Knob 5” popup
button, and choose F/A Attack.
With the resonance increased, it now sounds like you’re
playing through a wah pedal.
4. Press the front-panel RT KNOBS/KARMA button
(under CONTROL ASSIGN).
Next, let’s say that you decide that’s not really what you
wanted–so, we’ll set the knobs back to their default values.
You could move them back to the straight-up, 12 o’clock
position, and then adjust them so that they’re exactly in the
middle, but there’s an easier way…
5. Turn knob 5 (USER 1) to control the filter and amp
EG attack.
Note: If you wish to keep these settings after the power is
turned off, you must save the Program, Combination, or
Song. Note that the settings for Sampling mode cannot be
saved.
Easy Program Editing Quick edits using the knobs, sliders, and switches
Using Tone Adjust
Tone Adjust lets you use all of the sliders, knobs, and
switches on the Control Surface to edit Program parameters,
like the knobs on an analog synth. Each physical control can
be assigned to any one of a number of Program parameters.
The specific parameters available through Tone Adjust will
vary depending on the type of Program. HD-1 Programs
support a certain set of parameters; each EXi also has its
own set of parameters. For more information, see:
“Common Tone Adjust Parameters” on page 32 of the
Parameter Guide.
“HD-1 Tone Adjust Parameters” on page 33 of the
Parameter Guide.
The pitch modulation has added some shimmer to the sound.
Now, maybe it could use a bit more edge…
11.Look at the assignments for SELECT switches 1 and
2.
These are programmed to raise the Filter Frequency and
Filter Resonance, respectively. Switches are just on/off, but
you can set a specific value for the On position; notice the
+10 and +40 in the switch’s value boxes.
12.Press the two switches, one by one.
The sound now has a more interesting character, due to the
filters. Since it’s brighter, we’ve also restored some of the
electric piano character.
“AL-1: Tone Adjust” on page 222 of the Parameter Guide.
Pretty easy, huh? Note - depending on the parameter, you
may sometimes hear glitches in the sound as you move the
control.
“CX-3: Tone Adjust” on page 245 of the Parameter Guide.
Changing parameter assignments
“STR-1: Tone Adjust” on page 294 of the Parameter Guide.
The factory Programs include default assignments of Tone
Adjust parameters to the knobs, sliders, and switches. If you
like, you can change any of the assignments. To do so:
“MS-20EX: Tone Adjust” on page 321 of the Parameter
Guide.
“PolysixEX: Tone Adjust” on page 336 of the Parameter
Guide.
“MOD-7: Tone Adjust” on page 387 of the Parameter Guide.
“SGX-1: Tone adjust” on page 394 of the Parameter Guide.
“EP-1: Tone Adjust” on page 415 of the Parameter Guide.
Editing HD-1 sounds
1. Select Program INT-C 115, “Smooth Operators.”
2. Press the TONE ADJ/EQ button under CONTROL
ASSIGN.
The button’s LED will light up.
3. Go to the Control Surface tab of the Play page.
This page mirrors the Control Surface. It’s very useful with
Tone Adjust, since it shows you the parameter assignments,
exact values, and so on.
4. Look at the assignments for sliders 5, 6, and 8.
Slider 5 is assigned to Amp EG Attack; slider 6 is assigned
to Amp EG Decay; and slider 8 is assigned to Amp EG
Release.
5. Raise each of the three sliders so that they are about
4/5 of the way to the top.
The LCD should show their values as between +60 and +70.
In other words, you’ve just edited the amp envelope so that
the attack, decay, and release are all much longer than they
were before.
6. Play a few notes.
Notice that the sound has changed from an electric piano
into a soft pad. Next, let’s add just a bit of pitch modulation,
to make the sound more rich.
1. Go to the Control Surface tab of the Play page.
On this page, you can see the parameter assignments for
each controller, such as Filter EG Attack, Pitch Stretch,
and so on.
2. Press the popup button next to one of the parameter
assignments.
A popup window will appear, with a long list of parameters.
You can tell various things about the selections, just from the
way they appear in the list:
• Parameters which affect only OSC1 or OSC2 are
prefixed with [OSC1] and [OSC2], respectively.
• Parameters which affect both Oscillators, but which are
specific to HD-1 Programs, are prefixed with [OSC1&2].
• The other group of parameters, at the beginning of the
list, are “Common.” That is, you can use them with most
EXi Programs, as well as HD-1 Programs.
• Parameters can only be assigned to one Tone Adjust
control at a time. If a parameter is already assigned, it’s
grayed out.
3. Select a parameter from the list.
The parameter is now assigned to the control. To cancel out
of the list without making a change, just touch on the screen
outside of the popup window.
Editing EXi sounds
The PolysixEX works particularly well with Tone Adjust, so
let’s take a look at it now.
1. Select Program USER-E 004 Phunky Power Bass.
This uses the PolysixEX.
7. Look at the assignments for knobs 2 and 5.
2. Under CONTROL ASSIGN, press the TONE
ADJ./EQ button.
Knob 2 is assigned to Pitch LFO 1 Intensity–in other
words, the amount of pitch modulation from LFO1. Knob 5
is assigned to LFO1 Speed.
3. Play the keyboard while moving sliders 1-4 and knobs
1-2.
8. Turn knob 2 ever so slightly to the right, so that the
LCD reads +01 or +02.
Notice as the knob graphics on the display move as well.
Sliders 1-4 control the envelope shape; knobs 1-2 control the
filter cutoff and resonance.
9. Turn knob 5 to the right, until about 2 o’clock, so that
the LCD reads about 40.
4. On the display, press the Control Surface tab.
10.Play a few more notes.
This page shows the assignments and values for all of the
sliders, knobs, and switches.
43
Playing and editing Programs
5. Press the Main tab to return to the main Play page.
7. Press OK again to start the write process.
6. Touch the PolysixEX graphic around the Cutoff and
Resonance knobs.
8. If you’re sure you want to write to this location, press
OK again.
The display jumps to the PolysixEX Main page.
After that, you’re done!
7. Experiment with playing while using the Control
Surface sliders, knobs, and switches.
For more information, see “Writing Programs and
Combinations” on page 184.
Notice how the graphics respond, as well. You can also
select a graphic control on the screen and edit its value using
any of the data entry controls.
Using COMPARE
Saving edits to GM Programs
When you’re in the process of editing a sound, pressing the
COMPARE button will recall the saved version of the sound,
as it was before you started editing. To indicate that you are
listening to the saved version, the button’s LED will light up.
You can edit GM Programs, but you must then save them to
a Bank other than INT-G; the GM Programs themselves
cannot be over-written.
Pressing COMPARE again returns you to the version you are
editing, and the LED will go out again.
If you edit while the COMPARE LED is lit, the key will
again go dark and your previous edits will be lost.
Shortcut: SEQUENCER REC/WRITE
You can also use the SEQUENCER REC/WRITE button to
quickly update the current Program, using the existing name,
bank, number, and category. To do so:
1. Press the SEQUENCER REC/WRITE button.
Resetting individual controls
The Update Program dialog will appear.
The RESET CONTROLS button lets you revert an
individual knob, slider, or switch to its saved setting. For
more information, see “Resetting controls to their saved
values” on page 35.
2. Press OK to write the program.
Saving your edits
Once you’ve tweaked the sound to perfection, you’ll want to
save your work. To save your edits:
1. Select the Write Program command from the page
menu, at the upper right-hand corner of the screen.
You can also call up this menu command by holding ENTER
and pressing 0 on the numeric keypad.
This brings up a dialog box which allows you to save the
Program. Optionally, you can also select a new location,
change the Program’s name, and assign it to a sound
category (such as keyboard, guitar, etc.).
2. Press the “T” button to bring up the text edit dialog.
You can give the Program a descriptive name using the onscreen keyboard.
3. After entering the name, press OK.
The text edit window will disappear, returning you to the
main Write dialog.
4. Under “To” at the bottom of the dialog, press the
popup button next to Program to bring up the save
location dialog.
5. Select a location to save the edited Program.
You can write to any location in banks INT–A…F, USER–
A…G, and USER–AA…GG. To avoid overwriting the
factory sounds, it’s safer to use a slot in one of the empty
User banks.
Important: HD-1 Programs can only be written to HD-1
Banks, and EXi Programs can only be written to EXi
Banks. For more information on the default Bank types,
and on how to change them, please see “Program Bank
Contents” on page 29, and “Changing the Bank Type for
USER banks” on page 29.
6. After selecting the location, press OK.
44
Do not turn off the power for at least 10 seconds after
writing the Program. This allows the system time to
complete the process, which includes saving a backup of
the data to the internal disk.
Saving to disk
You can also save and manage Programs on the internal hard
drive, and on USB storage devices. For more information,
see “Saving to disks, CDs, and USB media” on page 188.
Detailed Program Editing Editing HD-1 Programs
Detailed Program Editing
Editing HD-1 Programs
Creating your own Programs
You can create your own original HD-1 sounds by editing
the factory Programs, or by initializing a Program and
starting from scratch. You can save these Programs into any
bank other than INT–A (which is reserved for EXi
Programs) and INT–G (which contains General MIDI
Programs).
You can also create Programs using your own Multisamples,
either from Sampling Mode or User Sample Banks. In
addition, you can play a Program and resample your
performance, or sample an external audio source while
listening to the sound of a Program.
Overview of editing pages
P0: Play is where you select and play programs, make quick
edits using the Control Surface, and adjust the KARMA
settings. The other pages let you modify the sound in more
detailed ways.
Page
P0: Play
P1:Basic/
Vector
Main features
• Select and play Programs
• Perform easy edits using the Realtime Knobs,
KARMA sliders, and Tone Adjust
• Adjust mix parameters including volume, pan,
EQ, and send levels
• Quick sampling and re-sampling
• Set the Program to Single, Double, Single
Drum, or Double Drum
• Select Mono or Poly voice allocation
• Select a scale (e.g., Equal Temperament)
• Set up controllers
• Set up Vector synthesis
• Set up the Drum Track
• On-screen pads
For details on how to select the different pages, see “Basic
operations” on page 17.
You can sample from within Program mode—including
resampling the Program itself. For more information, see
“Sampling in Program and Combination modes” on
page 150.
You can also mix in live audio inputs, and process them
through effects. For more information, see “Using effects
with the audio inputs” on page 209.
Note that the page and parameter structures of EXi Programs
are different than those of HD-1 Programs.
Basic HD-1 Structure
Multisamples and Wave Sequences
The sound of the HD-1 starts with one or more
Multisamples. These can be recordings of instruments like
piano, bass, guitar, strings, organs, analog synths, and so on,
or purely digitally-created timbres.
You can play these Multisamples directly, or use them
through Wave Sequences, which play a series of different
Multisamples over time to create rhythms or complex,
evolving timbres.
Oscillator Mode
HD-1 Single Programs have one oscillator, and Double
Programs have two oscillators. Each oscillator includes a
complete synthesis voice, with velocity-switched
Multisamples, dual filters, EGs, LFOs, and so on.
Single and Double Drum modes are similar, but use Drum
Kits (as created in Global mode) instead of Multisamples.
Single and Single Drum Programs use one oscillator, for a
maximum of 140-note polyphony.
P2: Osc/Pitch
• Select Multisamples, Wave Sequences. or
Drum Kits
• Settings related to the pitch, including the
pitch EG.
P3: Filter
• Settings related to the filter (tone), including
the filter EG.
P4: Amp/EQ
• Settings related to the amplifier (volume),
including amp EG and pan.
• Settings for the 3-band EQ
P5: Common
LFO
• For each of the two LFOs provided for each
oscillator, select the LFO type and speed, etc.
(Settings in the pitch, filter, and amp pages
determine how much the LFOs affect the
sound.)
• Double Programs use twice as many voices as Single
Programs.
P6: AMS
Mixer/
Common Key
Track
• Mix and modify AMS sources using the two
AMS mixers provided for each oscillator.
• Set up how the Common Key Track output
changes as you play up and down the
keyboard
• Stereo Multisamples use twice as many voices as Mono
Multisamples, and Stereo Wave Sequences use twice as
many voices as Mono Wave Sequences.
P7: KARMA
• Settings related to KARMA.
P8: Insert
Effects
• Select insert effects and make settings for
them. Specify send levels to the Master effects
and routing to the outputs.
P9: Master/
Total Effects
• Select Master send effects and Total effects,
and adjust their settings.
Double and Double Drum Programs use two oscillators, for
a maximum of 70-note polyphony.
A note about polyphony
Polyphony means the number of notes that you can play at a
time. This number will vary depending on the particular
sound being played, and how that sound is produced.
Generally speaking:
• Wave Sequences use twice as many voices as
Multisamples.
• If the Vector EG is enabled, the number of voices used
increases slightly.
45
Playing and editing Programs
Program Basic: P1 - 1
Vector: P1 - 5, 6
Controllers: P1 - 8
Drum Track: P1 - 3
KARMA: P7
Pads: P1 - 9
Tone Adjust: P0 - 9
Audio Input: P0 - 8
Common LFO: P5 - 9
OSC1 LFO2: P5 - 2
OSC1 LFO1: P5 - 1
Master
Effects
1, 2: P9
Routing: P8-1
Amp1/Driver1: P4 - 1
Filter1(A/B): P3 - 1
OSC1 Basic: P2 - 1
OSC1 Pitch: P2 - 2
3Band EQ
: P4 - 9
OSC1, 2
Total
Effects
1, 2: P9
Insert
Effects
1…12: P8
AUDIO OUTPUT
L/MONO, R
Amp1 Mod: P4 - 2
Filter Key Track: P3 - 2
Insert Effects
Master Effects
Individual Outputs
Filter1 Mod: P3 - 2
Filter1 EG: P3 - 4
Filter1 LFO Mod: P3 - 3
REC Bus
FX Control Bus
AMS Mixer: P6 - 1
Pitch EG : P2 - 9
AUDIO OUTPUT
INDIVIDUAL 1, 2, 3, 4
Amp1 EG: P4 - 3
Common KeyTrack: P6 - 9
OSC 1
OSC 2
Oscillator / Pitch
Filter
Amplifier
EQ
Effects
P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the KRONOS.
Voice Assign Mode
The Voice Assign Mode selects whether the Program will
play polyphonically (Poly) or monophonically (Mono).
When this is set to Poly, you can play both chords and
melody lines. When this is set to Mono, only one note will
sound even if you play a chord.
Normally you’ll set this to Poly, but Mono is useful when
playing sounds such as synth basses, synth leads, and other
solo instruments. Try switching between Poly and Mono,
and listen to the results.
Working with Multisamples
As described above, the sound of the HD-1 starts with one or
more Multisamples. You can play these Multisamples
directly, or use them through Wave Sequences, which play a
series of different Multisamples over time to create rhythms
or complex, evolving timbres.
In Single and Double modes, each Oscillator can play up to
eight Multisamples or Wave Sequences. In Single and
Double Drums modes, each Oscillator plays a Drum Kit.
Multisamples, Wave Sequences, and Drum Kits
Using Drum Kits
You can create and edit Drum Kits in Global mode. For each
note on the keyboard, you can select up to eight velocitycrossfaded drum samples, make filter and amp settings, and
specify routing to the effects and to the individual audio
outputs.
For more information, see “Using Drum Kits” on page 178.
In Programs, once you’ve set the Oscillator Mode to Single
or Double Drums, you can select between the 152 userprogrammable Drum Kits, plus an additional 9 GM2 kits.
For more information on the factory sounds, see the Voice
Name List.
Copying settings between OSC1 & OSC2
Many of the Program parameters can be set differently for
OSC1 and OSC2. These include all of the parameters on:
• All of the tabs on the OSC/Pitch page, except for the
Pitch EG
• All of the tabs on the Filter page
• All of the tabs on the Amp page, except for EQ
• All of the tabs on the LFO page, except for Common
LFO
• The AMS Mixer tabs
You can use the page menu’s Copy Oscillator command to
copy these parameters from one Oscillator to another. You
can even copy parameters from an Oscillator in a different
Program.
This command is useful when you want to set both
Oscillators to the same settings, or when you want to
duplicate settings you’ve used before.
46
Multisamples, Drum Kits, and Wave Sequences allow you to
play samples in different ways.
• Multisamples lay out one or more samples across the
keyboard. For instance, a very simple guitar Multisample
might have six samples–one for each string.
• Wave Sequences play back a series of different
Multisamples over time. These Multisamples may
crossfade to create smooth, evolving timbres, or change
abruptly to create rhythms.
• As the name suggests, Drum Kits are optimized for
playing drum samples.
Velocity splits, crossfades, and layers
As mentioned above, unless you’re in Single or Double
Drum mode, each Oscillator has eight velocity zones, named
MS1 (the highest velocity) through MS8 (the lowest). This
means that the Program can play different Multisamples or
Wave Sequences, depending on how hard you play.
Each of these zones has separate settings for Level, Start
Offset, and so on. Also, each of the zones can fade into the
next, to create smooth velocity transitions. Zones can even
be layered together, two at a time.
Selecting Multisamples
Let’s create a simple velocity crossfade between two
Multisamples, using just OSC1.
1. Go to the OSC1 Basic tab of the OSC/Pitch page.
2. Set the MS1 and MS2 Type parameters to
Multisample.
3. Set the Types for MS3…8 to Off.
4. Select ROM Stereo as the Multisample Bank for MS1
and MS2.
Detailed Program Editing Using LFOs and Envelopes (EGs)
There are four main types of Multisample Banks: ROM,
Sampling Mode, EXs, and User Sample Banks. For each
type, you can also choose between looking at mono and
stereo Multisamples. Note that stereo Multisamples will
require twice as many voices as mono Multisamples.
ROM Multisamples are the built-in “factory” sounds, and
are always available. These are organized by category, such
as pianos, guitars, bells, etc.
Sampling Mode (Smp) Multisamples are the ones that you
can see and edit in Sampling Mode. These may include
Akai, SoundFont 2.0, AIFF or WAV files loaded from disk,
or native KRONOS samples (including third-party sound
libraries and samples that you create yourself). Anything that
can be used in Sampling Mode can also be loaded as a User
Sample Bank.
EXs Multisample banks are PCM expansion sets created
especially for the KRONOS. Each has its own unique
number; for instance, the ROM Expansion is EXs1, and the
Concert Grand Piano is EXs2. Only the currently loaded
EXs banks will appear in this menu.
User Sample Banks bring the benefits of EXs to your own
sample libraries. You can load and play gigabytes of your
custom or converted samples at once, using Virtual Memory.
They are shown as a path to a file on an internal disk,
including the file name and the names of all enclosing
directories. Only the currently loaded User Sample Banks
will appear in this menu. For more information, see “User
Sample Banks” on page 156 of the Operation Guide.
5. Press the Multisample popup for MS1.
This brings up a list of Multisamples, organized by category.
Use the tabs at the left of the screen to browse through the
different categories.
6. Select a Multisample by touching its name in the list.
7. Press the OK button to confirm your selection.
8. Do the same for MS2.
Now that you’ve assigned Multisamples to MS1 and MS2,
let’s set up the velocity ranges and crossfades.
9. Set MS2’s Bottom Velocity to 001, and its Xfade
Range to 0.
10.Set MS1’s Bottom Velocity to 80.
Now, MS2 will sound when you play softly, at velocities of
79 or less–and MS1 will sound when you play harder, with
velocities of 80 or more.
You can also see this split visually, in the graphic on the right
side of the LCD.
11.Next, set MS1’s Xfade Range to 20, and its Curve to
Linear.
Notice that the graphic now shows the two ranges tapering
into one another. Between 80 and 100, MS2 will fade out,
and MS1 will fade in, creating a gradual velocity transition
instead of a hard split.
12.If you like, adjust the Levels for the two Multisamples.
Rev. (Reverse) check box
Rev. (Reverse) lets you play the selected Multisample
backwards, without looping. This can produce interesting
results for sound effects or other unusual timbres. Reverse
applies only to Multisamples; when the Type is set Wave
Sequence, this is grayed out.
Note: this does not apply to samples from EXs or User
Sample Banks whose Load Method is set to Virtual Memory.
Using LFOs and Envelopes (EGs)
Using LFOs
Each Oscillator has two LFOs: LFO1 and LFO2. There is
also a single Common LFO, shared by both Oscillators.
While LFO1 and LFO2 are separate for each voice, the
Common LFO is shared by all voices in the Program. This
makes it useful when you want all of the voices to have an
identical LFO effect.
You can use these LFOs to modulate many different
Program parameters, including:
• Pitch (for vibrato)
Basic LFO programming
The KRONOS LFOs are very powerful, and offer lots of
control for the power user. It’s simple to get started with
them, though–and the graphics on the LCD show how the
parameters affect the sound. Let’s take a brief tour.
1. Go to the OSC1 LFO1 tab of the LFO page.
2. Select the Waveform parameter.
3. Use the Inc
or Dec
buttons to scroll through
the different waveforms, and look at their shapes in
the graphic display.
• Filters (for wah effects)
• Volume (for tremolo)
• Pan (for auto-panning)
The LFOs can modulate many other parameters, in addition
to those listed above.
47
Playing and editing Programs
This lets you produce vibrato, wah, auto-pan, or tremolo
effects that lock to the Drum Track, KARMA, Wave
Sequences, the internal sequencer, or external MIDI
sequencers.
EGs (Envelope Generators)
An envelope creates a modulation signal by moving from
one level to another over a specified time, and then moving
to another level over another period of time, and so on.
note-on
Attack Level
Level
Break Level
Sustain Level
There are a number of waveforms to choose from. Each are
suited to different applications:
• Triangle and Sine are the classic LFO shapes for
vibrato, tremolo, panning, and filter wah effects.
• Square is useful for gated filter and amp effects, and
creates a police siren effect when modulating pitch.
• The Guitar waveform is designed especially for guitar
vibrato, since it bends only upwards from the base value.
• Saw and Exponential Saw Down are good for rhythmic
filter and amp effects.
• Random 1 (S/H) creates the classic sample-and-hold
effect, which is great for modulating a resonant filter.
4. After looking at the different waveforms, select
Triangle.
5. Select the Shape parameter, and use the VALUE slider
to move through its different settings, from -99 to +99.
Notice how the shape of the waveform becomes more
curved, and how -99 emphasizes the lower part of the shape,
and +99 emphasizes the upper part.
6. Select the Start Phase parameter, and use the VALUE
slider to sweep through its range of values.
Notice how the waveform shifts from side to side. Among
other things, this lets you offset the LFOs from one another
in time, which can create interesting organic effects.
7. Use the Frequency parameter to set the speed of the
LFO.
8. Use the Fade and Delay settings to control the way the
LFO sounds at the beginning of the note.
For more information on LFOs, see “Program P5: LFO” on
page 91 of the Parameter Guide.
All of these parameters control the way that the LFO itself
works. In order for the LFO to actually affect the sound, you
can use the dedicated LFO routings on the Filter, Pitch, and
Amp pages, or use the LFOs as AMS sources for a wide
variety of parameters.
Frequency Modulation
AMS can be used to vary the LFO speed. This lets you
change the LFO speed by operating a controller, or by the
EG or Keyboard Track settings.
MIDI/Tempo Sync.
If MIDI/Tempo Sync is checked, the Frequency setting
will be ignored, and the LFO will synchronize to the system
tempo, as set by the TEMPO knob or external MIDI clocks.
48
Decay Time
Attack Time
Slope Time
note-off
Release Level
Time
Release Time
Start Level
The HD-1 includes three EGs, for Pitch, Filter, and Amp.
These produce time-varying changes in pitch, tone, and
volume respectively. They can also be used to modulate a
number of other Program parameters via AMS.
Detailed Program Editing Using Alternate Modulation (AMS) and the AMS Mixers
Using Alternate Modulation (AMS) and the AMS Mixers
AMS (Alternate Modulation Source) refers to any of the
assignable modulation sources in KRONOS, including:
AMS Mixer A+B example
• Built-in physical controllers, such as the Joystick,
Ribbon, and Real-Time Knobs
AMS A: LFO
• Incoming MIDI controllers, or MIDI controllers
generated by KARMA or the Vector EG
AMS B: EG
• Modulators such as the Filter, Pitch, and Amp EGs, the
LFOs, or the AMS Mixers
Intensity is a parameter that sets the degree (speed, depth,
amount etc.) to which AMS will control the modulation.
A number of frequently-used modulation routings, such as
using the joystick to vary the pitch, are provided as
additional, dedicated routings, separate from AMS.
Note that not all AMS sources may be available for some
modulation destinations.
For details on alternate modulation and AMS, see “Alternate
Modulation Sources (AMS),” on page 1081 of the Parameter
Guide.
A+B Output
Scaling one AMS source with another
When the Type is set to Amt A x B, the mixer uses the AMS
B input to scale the amount of AMS A. For instance, you can
control the amount LFO1 with the Filter EG, or control the
amount of the Pitch EG with the ribbon.
AMS Mixer Amt AxB example
Using the AMS Mixers
The AMS Mixers combine two AMS sources into one, or
process an AMS source to make it into something new.
For instance, they can add two AMS sources together, or use
one AMS source to scale the amount of another. You can
also use them to change the shapes of LFOs and EGs in
various ways, modify the response of realtime controllers,
and more.
AMS A: LFO
AMS B: EG
The AMS Mixer outputs appear in the list of AMS sources,
just like the LFOs and EGs.
This also means that the original, unmodified inputs to the
AMS Mixers are still available as well. For instance, if you
use LFO 1 as an input to a AMS Mixer, you can use the
processed version of the LFO to control one AMS
destination, and the original version to control another.
Finally, you can cascade the two AMS Mixers together, by
using AMS Mixer 1 as an input to AMS Mixer 2.
Adding two AMS sources together
AMS mixers will do different things depending on their
Type setting. The A+B setting merges two AMS sources
into one. This can be handy when you need to add one more
modulation source to a parameter, but you’ve already used
up all of the available AMS slots.
For instance, let’s say that you’re using an LFO to modulate
Filter Resonance, and then you decide that it would be
interesting to scale that parameter with an EG as well.
Resonance has only a single AMS input, but you can easily
merge the LFO and the EG together using the A+B AMS
Mixer:
Amt A*B Output
Smoothing
The Smoothing Type smooths out the AMS input, creating
more gentle transitions between values. You have separate
control of the amount of smoothing during the attack (when
the signal is increasing) and decay (when it’s decreasing).
Low settings provide subtle controller smoothing, creating
more gradual aftertouch, for instance. Higher settings create
auto-fade effects, transforming a quick gesture into a longer
fade-in and/or fade-out event.
Smoothing can also be used to alter the shape of
programmable mod sources, such as LFOs and EGs. For
instance, you can turn a “blip” into a simple envelope shape,
as shown below.
1. Assign the LFO to AMS A.
2. Assign the EG to AMS B.
3. Assign the AMS Mixer as the Filter Resonance AMS
source.
49
Playing and editing Programs
AMS Mixer Smoothing examples
Original AMS A:
Smoothing with Long Attack
and Short Release:
• “Quantized Ribbon Pitch Bend” on page 101
• “Selective pitch-bend, using a switch” on page 102
• “Selective pitch-bend, using only the joystick” on
page 102
• “Generating a static value” on page 103
Suggestions on using AMS
Smoothing with Short Attack & Long Release:
More AMS Mixer features
There are more mixer Types, including Offset, Shape, and
Quantize, which offer even more possibilities for creative
programming. For more details, see these sections in the
Parameter Guide:
When making settings for alternate modulation, think of the
effect that you wish to produce, what type of modulation will
be necessary to produce that effect, and what parameter of
the oscillator, filter, or amplifier needs to be controlled.
Next, select a source (AMS) and set the Intensity. If you
proceed logically in this way, you will achieve the desired
effect.
• “6–1: OSC 1 AMS Mixer” on page 97
For example, if you want to control a guitar sound so that it
approaches feedback when you move the joystick, you might
set up the joystick to modulate the filter frequency and
resonance.
• “Using SW 1/2 to turn an AMS source on and off” on
page 98
Controller Setup page
• “Muting individual Wave Sequence steps with SW1” on
page 99
• “Converting from bipolar to unipolar” on page 99
• “Converting from unipolar to bipolar” on page 99
For each program, this tab lets you make settings for the
SW1 and SW2 key, and for Real-Time Knobs 5-8. For more
information, see “SW1 and SW2” on page 33, and “1–8: Set
Up Controllers,” on page 53 of the Parameter Guide.
Controlling Pitch
Pitch bend
Pitch EG
The JS (+X) and JS(–X) settings specify the amount of pitch
change (in semitones) that will occur when MIDI pitch bend
messages are received or when the joystick is moved to left
or right. A setting of +12 allows the pitch to be controlled a
maximum of one octave upward; a setting of –12 allows the
pitch to be controlled a maximum of one octave downward.
When the Intensity value is set to +12.00, the pitch EG
specified in the Pitch EG page will produce a maximum of
±1 octave of pitch change.
Ribbon specifies the amount of pitch change (in semitones)
that will occur when MIDI control change (CC) #16
messages are received, or when you move your finger left
and right on the ribbon controller. With a setting of +12, the
pitch will be raised one octave at the far right of the ribbon
controller, and will be lowered by one octave at the far left of
the ribbon controller.
Creating Vibrato
You can use an LFO to create vibrato.
LFO 1/2 Intensity sets the depth to which the selected LFO
will affect the pitch. With a setting of +12.00, vibrato will
produce a maximum of ±1 octave of pitch change.
JS+Y Int specifies the amount of vibrato that the LFO will
produce when the joystick is pushed away from yourself.
Intensity (AMS Intensity) specifies the depth of vibrato that
will be applied by the LFO when modulated by the selected
AMS (Alternate Modulation Source). For example, if LFO1
AMS is set to After Touch and you set an appropriate value
for Intensity, vibrato will be applied when you apply
pressure to the keyboard or when MIDI aftertouch messages
are received.
50
To realistically simulate the slight change in pitch that
occurs when a string is plucked or at the attack of a brass or
vocal sound, you can use the EG to create a subtle change in
pitch at the attack.
Portamento
Portamento makes the pitch change smoothly when you play
the next note before releasing the previous note.
The Time parameter controls how long it take the pitch to
change. As this value is increased, the pitch will change over
a longer time. With a value of 000, there will be no
portamento.
You can turn Portamento on and off via SW1 or SW2, by
assigning them to Porta.SW CC#65.
Detailed Program Editing Using Filters
Using Filters
The filters allows you to diminish or emphasize specified
frequency areas of the sound.
The tone of the sound will depend significantly on the filter
settings.
The basic filter settings, including the routing, type, cutoff
frequency, and resonance, are set on the P3: Filter page.
Filter Routing
Each oscillator has two filters, Filter A and Filter B. The
Routing parameter controls whether one or both of the
filters are used, and if both are used, it controls how they are
connected to each other.
The Single routing uses only Filter A as a single 2-pole,
12dB/octave filter (6dB for Band Pass and Band Reject).
The Serial routing uses both Filter A and Filter B. The
oscillator first goes through Filter A, and then the output of
Filter A is processed through Filter B.
Parallel also uses both Filter A and Filter B. The oscillator
feeds both filters directly, and the outputs of the two filters
are then summed together.
The 24dB/4-pole routing merges both filters to create a
single 4-pole, 24dB/octave filter (12dB for Band Pass and
Band Reject). In comparison to Single, this option produces
a sharper roll-off beyond the cutoff frequency, as well as a
slightly more delicate resonance. Many classic analog synths
used this general type of filter.
Serial and Parallel Routing
Oscillator
Filter A (Low Pass)
Filter B (High Pass)
Filter Types
This selects the parts of the sound which will be affected by
the filter, as described below. With the Serial and Parallel
routings, you can independently set the types for Filter A and
Filter B.
The filters will produce very different results depending on
the selected filter type. The selections will change slightly
according to the selected Filter Routing, to show the correct
cutoff slope in dB per octave.
Low Pass. This cuts out the parts of the sound which are
higher than the cutoff frequency. Low Pass is the most
common type of filter, and is used to make bright timbres
sound darker.
High Pass. This cuts out the parts of the sound which are
lower than the cutoff frequency. You can use this to make
timbres sound thinner or more buzzy.
Band Pass. This cuts out all parts of the sound, both highs
and lows, except for the region around the cutoff frequency.
Since this filter cuts out both high and low frequencies, its
effect can change dramatically depending on the cutoff
setting and the oscillator’s multisample.
With low resonance settings, you can use the Band Pass
filter to create telephone or vintage phonograph sounds.
With higher resonance settings, it can create buzzy or nasal
timbres.
Band Reject. This filter type–also called a notch filter–cuts
only the parts of the sound directly around the cutoff
frequency. Try modulating the cutoff with an LFO to create
phaser-like effects.
Filter Types and Cutoff Frequency
Low Pass
Filter A (Low Pass)
High Pass
Oscillator
Filter B (High Pass)
Band Pass
Band Reject
Cutoff Frequency
51
Playing and editing Programs
Resonance
Resonance emphasizes the frequencies around the cutoff
frequency, as shown in the diagram below.
Low resonance
The Filter EG is a multi-stage envelope, which you can use
to modulate the filter (naturally!) as well as other Program
parameters. The EG itself is set up on the Filter EG tab; the
way that it affects the filters is controlled by the parameters
described below, on the Filter Mod tab:
The Intensity to A and Intensity to B settings control the
basic amount of EG modulation for filter frequencies A and
B, respectively, before other modulation.
The Velocity to A and Velocity to B settings let you use
velocity to scale the amount of EG modulation.
The AMS setting selects a AMS modulation source to scale
the amount of the Filter EG applied to Filters A and B. The
two filters share a single AMS source, with separate
intensity settings.
LFO modulation
You can modulate the filter via LFO1, LFO2, and the
Common LFO. Among other applications, LFO modulation
of the filter can produce the classic “auto-wah” effect.
The Filter LFO Mod tab lets you set up the following
parameters separately for each LFO:
Intensity to A and Intensity to B specify how much the
LFO changes the tone.
High resonance
When this is set to 0, there is no emphasis, and frequencies
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the
filter, making it sound more nasal, or more extreme. At very
high settings, the resonance can be heard as a separate,
whistling pitch.
To make the resonance track the keyboard pitch, see “Key
Follow,” on page 73 of the Parameter Guide.
Modulating the filters
You can modulate the filter cutoff frequency using the Filter
EG, the LFOs, keyboard tracking, and other built-in and
MIDI controllers. This is a great way to add a rich variety of
tonal change to the sound.
Filter EG
JS-Y Intensity to A and JS-Y Intensity to B specify the
depth of the wah effect produced by the LFO when the
joystick is moved toward yourself, or when CC#2 is
received.
The AMS setting selects a AMS modulation source to scale
the amount of the LFO applied to Filters A and B. The two
filters share a single AMS source, with separate intensity
settings.
For example if, AMS is set to After Touch, applying
pressure to the keyboard produces an “auto-wah” effect.
Keyboard Track
Most acoustic instruments get brighter as you play higher
pitches. At its most basic, keyboard tracking re-creates this
effect by increasing the cutoff frequency of a lowpass filter
as you play higher on the keyboard. Usually, some amount
of key tracking is necessary in order to make the timbre
consistent across the entire range.
The KRONOS keyboard tracking can also be much more
complex, since it allows you to create different rates of
change over up to four different parts of the keyboard. For
instance, you can:
• Make the filter cutoff increase very quickly over the
middle of the keyboard, and then open more slowly–or
not at all–in the higher octaves.
• Make the cutoff increase as you play lower on the
keyboard.
• Create abrupt changes at certain keys, for split-like
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps, or
slopes, between five keys on the keyboard. The bottom and
top keys are fixed at the bottom and top of the MIDI range,
respectively. You can set the other three keys–named Low
Break, Center, and High Break–to be anywhere in between.
52
Detailed Program Editing Using the Amp section
The four Ramp values control the rate of change between
each pair of keys. For instance, if the Low-Center Ramp is
set to 0, the value will stay the same between the Low Break
key and the Center key.
You can think of the resulting shape as being like two
folding doors attached to a hinge in the center. At the Center
key (the main hinge), the keyboard tracking has no effect.
The two folding doors swing out from this center point to
create changes in the higher and lower ranges of the
keyboard.
Intensity to A and Intensity to B adjust the effect that
keyboard tracking will have on filters A and B. For more
information, see “3–2a: Keyboard Track,” on page 71 of the
Parameter Guide.
Keyboard Track Shape and Intensity
Intensity = +99 (Original Shape)
Intensity = +50 (Less Effect)
Intensity = 0 (No Effect)
AMS Modulation
In addition to the EG, LFOs, and Key Track, you can use two
AMS sources to modulate the filters. For instance, you could
use the ribbon to change the brightness, or use the AMS
output of a Wave Sequence.
Intensity = –99 (Inverted)
Using the Amp section
The Amp section includes controls for volume, pan, and the
driver circuit. You can control the volume using the Amp
EG, LFO 1/2, Key Track, and velocity, along with other
AMS sources.
Pan
Each Oscillator has its own Amp section: Amp1 for OSC1,
and Amp2 for OSC2.
Background: what does “Amp” mean?
Different sounds have characteristic shapes to their volume
levels.
For example, the volume of a piano note begins at a high
volume the instant you play the note, and then decreases
gradually.
The volume of an organ note, on the other hand, remains
constant as long as you continue pressing the key.
The volume of a note on a violin or wind instrument can be
varied during the note by the musician (i.e., by regulating the
amount of pressure on the bow or the force of the breath).
Volume
Piano
Volume
Volume decays gradually
Time
Organ
Volume remains constant
until note is released
Time
Pan
The main Pan parameter controls the stereo position after
the signal has passed through the oscillator, filter, and amp.
Normally you’ll set this to C064, so that the sound is
centered equally between the left and right speakers.
To create a stereo effect when Oscillator Mode is set to
Double, set the Amp1/Driver 1 page Pan to L001, and the
Amp2/Driver2 page Pan R127. This will make OSC1 go to
the left speaker, and OSC2 go to the right speaker.
With a setting of Random, the pan will change randomly
each time you play a note on KRONOS, producing an
interesting effect.
Pan AMS and Intensity
Intensity specifies the depth of the pan modulation from the
selected AMS source.
53
Playing and editing Programs
If you set AMS to Note Number, the pan will change
according to the keyboard position of each note played. With
a setting of LFO1 or 2, the sound will sweep from side to
side, creating an auto-pan effect. Other settings allow you to
move the oscillator pan by using a real-time controller, an
envelope, or other modulation sources.
Pan - Use DKit Setting
Use DKit Setting applies when Oscillator Mode is set to
Drums. If this is checked, the Program can use a different
pan position for each drum sound, as specified by the Drum
Kit. If this is unchecked, all drum sounds will use the
Program’s pan position. The factory presets and GM drum
kits use individual pan positions for the different drums, so
normally it’s best to leave this checked.
Amp modulation
Amp EG
The Amp EG lets you control how the volume changes over
the course of a note.
Every instrument has its own characteristic volume
envelope. This is part of what gives each instrument its
identifiable character.
Conversely, by changing the volume contour—for instance,
applying a string-like Amp EG curve to an organ
multisample—you can produce interesting and unusual
sounds.
Piano
Organ
Strings
Drive
The Drive circuit adds saturation and overdrive to the sound,
for everything from subtle fattening to drastic distortion.
Unlike an overdrive effect, Drive processes each voice
individually, so the timbre stays the same regardless of how
many voices are being played.
The basic volume level is set by the Amp Level parameter.
You can then alter this using the modulation sources below:
Keyboard Track
This lets you vary the volume relative to the note you play.
For more information, see “Keyboard Track” on page 52.
Amp Modulation
Velocity Intensity is used by most programs to decrease the
volume of softly played notes and increase the volume of
strongly played notes, and the Amp Modulation parameter
adjusts the depth of this control. Normally you will set Amp
Modulation to positive (+) values. As this setting is
increased, there will be greater volume difference between
softly played and strongly played notes.
LFO1/2
Specifies how the LFOs will produce cyclic changes in
volume (tremolo effect).
The volume will be affected by the LFO(s) for which you set
an LFO1 Intensity, LFO2 Intensity value.
Intensity (AMS Intensity) adjusts the depth by which the
tremolo effect produced by the LFO will be affected when
you assign an AMS (LFO1 AMS, LFO2 AMS).
For example if you set AMS to JS-Y (CC #02), tremolo will
be applied when you move the joystick of KRONOS toward
yourself, or when CC#02 is received.
54
The two main parameters, Drive and Low Boost, work
together to create the overall effect.
Drive controls the amount of edge and bite in the timbre.
Low settings will produce mild saturation, and higher
settings create more obvious distortion.
Often, it’s useful to increase the Low Boost along with the
Drive.
Note: even when the Drive amount is set to 0, the Drive
circuit still affects the timbre. If your goal is a completely
pristine sound, use the Bypass control instead.
Low Boost is a special low-frequency EQ which controls the
body character of the sound. The specific EQ frequencies
affected will change with the Drive setting.
Higher amounts increase the bass boost, and will also
intensify the effect of the Drive parameter.
Detailed Program Editing Using EXi
Using EXi
In EXi Programs, you can select one or two EXi to be split or
layered together. Each EXi has its own sonic character and
different pages of parameters.
Subtle performance nuances integrate seamlessly with the
KRONOS hardware, including release velocity and damper
pedal velocity.
To select different EXi:
The SGX-1 also provides the exceptionally high polyphony
that real acoustic piano sounds require—up to 100 dualstereo notes, the equivalent of 400 mono voices.
1. Select an EXi Program.
Note: EXi Programs are stored in EXi Banks, separate from
HD-1 Programs. INT–A is always an EXi Bank; depending
on settings, any of USER–A…G and AA…GG may also be
EXi banks.
2. Press the Common button.
3. Press the Basic/Vector tab.
The P4: Basic/Vector Program Basic page appears.
EP-1 MDS Electric Piano
New technology, classic sounds
The EP-1 provides incredible recreations of six classic tine
and reed electric pianos, along with modeled vintage effects.
Based on Korg’s Multi-Dimensional Synthesis (MDS), the
EP-1 delivers natural real-time expression without the
limitations of ordinary sample playback. For instance, you’ll
appreciate the natural decay and astonishingly smooth
gradation of dynamics from pp to ff, without tell-tale split
points - just like the real instruments.
Real-time control over noise elements, including mechanical
key-off noises controlled by release velocity, gives your
performances even greater realism and detail.
CX-3 Tonewheel Organ
Modeled organ with drawbar control
Based on Korg’s ground-breaking CX-3 keyboard (with
additional refinements), the CX-3 is a detailed tone-wheel
organ model with live drawbar control,
4. Under EXi 1 Instrument Type, at the top left of the
display, select any of the EXi.
You can also select a second EXi under EXi 2 Instrument
Type, but for now let’s concentrate on EXi 1.
5. Press the EXi 1 button at the bottom of the display.
The tabs will change to show the pages for the selected EXi.
Time to explore!
Perfect tone-wheel phase coherency means solid, powerful
sounding chords just like the real thing. A choice of tone
wheel types, adjustable overtones, leakage, noise, and keyclick modeling provide unparalleled realism.
Amp modeling, Vibrato/Chorus, and Rotary Speaker effects
are built in. EX mode lets you introduce additional drawbar
and percussion harmonics, for new timbres unavailable on
traditional organs.
AL-1 Analog Modeling Synthesizer
Modern virtual analog synth
The AL-1 is our feature-packed, modern virtual analog
synth. Its patented ultra-low-aliasing oscillators (using
completely different technology than the HD-1) recreate all
the power and glory of true analog synthesis—without the
artifacts that can plague lesser instruments.
Morphing waveforms allow you to change the oscillator
shapes in real-time. Resonance modeling lets you choose
between classic filter sounds, and the extraordinarily flexible
MultiFilter lets you create your own hybrid filter shapes.
Hard sync, analog-style FM, drive, low-boost, and ring
modulation offer plenty of tone-twisting power.
SGX-1 Premium Piano
Redefining the workstation piano
You’ve never heard a piano like this on a workstation. Every
note is sampled in stereo at 8 velocity levels with no loops,
for smooth response and natural decays—plus multiple
velocity layers of true damper resonance.
55
Playing and editing Programs
MS-20EX
STR-1 Plucked String
Patch-panel synth with unique, aggressive tone
Physical modeling, from the real to the fantastic
A dramatic expansion of Korg’s classic MS-20 analog synth,
the MS-20EX puts modular patch cables under your
fingertips. Modulate filters with audio-rate oscillators; turn
audio inputs into control signals; control all of the original
knobs with mod sources including additional envelopes,
LFOs, and real-time controllers.
Physics has brought us lasers, cell phones, electric cars—and
now the STR-1. What would it sound like to play harmonics
on a metal bar “plucked” by a piano, or to sing into a guitar
string? Play with the STR-1 and discover.
It’s a tweaker’s dream, but even without the patch panel, the
MS-20EX would make waves with its unique, aggressive
tone—due in large part to its unusual filters, which are
completely different from those in either the AL-1 or the
PolysixEX.
In addition to unique, experimental timbres, the STR-1 is
great for traditional instruments from guitars, basses, harps,
and world/ethnic sounds to clavinets, harpsichords, bells,
and electric pianos.
You can also process samples and live audio input through
the physical model—including audio feedback from any of
the KRONOS effects.
PolysixEX
MOD-7 Waveshaping VPM Synthesizer
Rich-sounding, versatile, and easy-to-use synth
Patch-panel VPM/waveshaping/PCM processor
With its self-oscillating four-pole filter, smooth analog
oscillator and sub-oscillator, and rich, built-in chorus and
ensemble effects, the PolysixEX proves you don’t have to be
fancy in order to be great.
Combine Variable Phase Modulation (VPM), waveshaping,
ring modulation, samples, and subtractive synthesis with a
modular patch-panel system, and you have the MOD-7.
Exceptionally versatile, it offers everything from classic FM
keyboards, bells and basses (including the ability to import
sounds from vintage DX synths) to rhythmic soundscapes
and sparkling, epic pads.
Based on the classic Korg Polysix analog synth, its timbre is
distinctly different from the AL-1 and the MS-20EX, but we
didn’t stop there; we added modulation of every control on
the front panel, for a world of sounds impossible on the
original.
It’s also very well-suited to hands-on control with Tone
Adjust, with a knob, slider, or switch for almost all of the
original Polysix controls. As a bonus, it’s also capable of
extremely high polyphony—up to 180 voices!
Vast sample-mangling capabilities, with incredible
flexibility and power, let you create incredibly rich
processing environments: combine multiple stages of
filtering, waveshaping, and ring modulation, even use
samples as FM modulators, all patched together however
you like.
Using Vector Synthesis
Vector Synthesis lets you control Program and Effects
parameters by moving the Vector Joystick, by using the
programmable Vector Envelope, or by the combination of
the two.
Vector Point and X and Y axis values
Vector Point
+127
What does Vector mean?
Modulation generally works by moving a single control. like
a slider, in a straight line. At one end of the control, the
modulation is at its minimum; at the other end, it’s at its
maximum.
Vector Synthesis is a little different. It works by moving
around a point on a two-dimensional plane, both left-right
and up-down.
You can think of this point as being positioned on two
different lines at once: a left-right line (the X axis), and an
up-down line (the Y axis).
In other words, instead of just having one value (like a
slider), each Vector point has two values: one for X, and one
for Y. See the graphic below for an example.
56
Y value: +50
Y-Axis
0
–127
0
+127
X-Axis
X value: –90
In addition to moving the point directly with the Vector
Joystick, you can also use the Vector Envelope to move its
position automatically over time, as shown below.
Detailed Program Editing Using Vector Synthesis
Vector Envelope moving the Vector Point
Hint: to quickly reset the Vector Joystick to its center value,
hold down the front-panel Control Reset button and move
the joystick.
+127
Vector Volume Control and CC Control
Y-Axis
The Vector does two main things: it can control the relative
volume of the two Oscillators in Program mode (or of up to
16 Programs at once in Combi mode), and it can generate
CCs for controlling Program and Effects parameters.
0
–127
0
Vector and MIDI
+127
The Vector features interact with MIDI in two different
ways: through the Vector Joystick, and through the Vector
CC Control.
X-Axis
Vector Joystick and Vector Envelope
You can move the Vector point using the combination of the
Vector Joystick and the Vector Envelope. The two work
together, although you don’t necessary have to use them both
at the same time.
When the Vector Joystick is in its center position, the Vector
Envelope has complete control over the point’s position.
Likewise, when the Vector Envelope is in the center, the
Vector Joystick has complete control.
When the Vector Envelope is in use, the Vector Joystick
offsets the position by up to halfway across either axis. For
instance, if the Envelope is all the way to the right of the X
axis, and the Joystick is all the way to the left, the actual
Vector position will be in the center of the X axis.
Vector Synthesis System
The Vector Joystick sends and receives two MIDI
controllers: one for the X axis, and the other for the Y axis.
In Global mode, you can assign these to any MIDI CC
numbers you like. The defaults are CC#118 for the X axis,
and CC#119 for the Y axis.
The Vector Joystick and its CCs control the Vector position,
in conjunction with the Vector EG.
The Vector CC Control, on the other hand, is generated by
the Vector position. Normally, this will only affect internal
sounds and effects. If you like, however, you can also enable
a Global parameter to send these generated CCs to external
MIDI devices.
For more information on Vector Synthesis, see “1–5: Vector
Control” on page 46 of the Parameter Guide.
Vector CC MIDI Output
Global switch:
Vector MIDI Out
Vector Joystick
Global Controllers
MIDI CC Assignments
Defaults: X=118, Y=119
Vector Joystick
Vector CC MIDI Output
Vector CC Control
Vector Joystick
MIDI In
Vector CC Control
Vector EG
scale
VJS X and Y modes
X+/– and Y+/–
CC Assignments
Vector CC Modulation of
Program and FX Parameters
Program switch:
Enable CC control
Vector Volume Control
Osc 1/2 Center Volume
and Equal Power settings
Program switch:
Enable Volume control
Vector Modulation of
Oscillator Volume
57
Playing and editing Programs
Effects
Effects are covered in their own section of the manuals, so
we won’t go into too much detail here. See the crossreferences below for more information.
Insert Effects
Insert Effects let you send either individual Oscillators or the
entire Program through up to 12 effects, in series. You can
use any type of effects, from distortions and compressors to
choruses and reverbs. The Insert Effects can be routed to the
main outputs, or to any of the individual outputs.
For more information, see “Insert effects” on page 204.
Master Effects
There are two Master Effects, which are accessed through
Sends 1 and 2. These are best-suited to effects such as
reverbs and delays, but you can use them with any type of
effect.
For more information, see “Master effects” on page 205.
Total Effects
The two Total Effects are dedicated to processing the main
L/R outputs. They’re ideally suited to overall mix effects,
such as compression, limiting, and EQ–but as with the other
effects sections, you can use any type of effect that you like.
For more information, see “Program P9: Master/Total
Effect” on page 144 of the Parameter Guide.
Automatically importing a Program into Sequencer mode
The Auto Song Setup feature copies the current Program or
Combination into a Song, and then puts the KRONOS in
record-ready mode.
If inspiration for a phrase or song strikes you while you’re
playing, you can use this function to start recording
immediately. To do so:
1. Hold down the ENTER key and press the
SEQUENCER REC/WRITE key.
The Setup to Record dialog box will open and ask “Are you
sure?”
2. Press OK.
You will automatically enter Sequencer mode, and will be in
the record-ready state.
3. Press the START/STOP key to start the sequencer
and begin recording.
58
Playing and editing Combinations
Playing Combinations
What’s a Combination?
Combinations, or “Combis” for short, let you split and layer
up to 16 Programs at once.
A Combi is made up of 16 Timbres. Each Timbre has a
Program, along with parameters for key and velocity zones,
mixer settings, MIDI channel and controller filtering, and so
on.
As with Programs, each Combi has 12 Insert Effects, 2
Master Effects, and 2 Total Effects, for shaping and
transforming the sounds of the individual Timbres. Finally,
Combis can use 4 KARMA modules at once, for complex
and layered generated effects.
Selecting Combinations
There are several different ways to select Combinations.
Each one is convenient in a different way:
• Using the front-panel buttons, value slider, and value
knob, you can select Combinations quickly via physical
controls
• Selecting by Bank and number (via the touch-screen) lets
you browse through all of the Combinations in memory,
to find the one that you want
• Selecting by Combination category (via the touchscreen) lets you filter Combinations by sound type, such
as Pianos or Drums
• Using a foot-switch lets you change Combinations even
while both hands are busy playing on the keyboard convenient for live applications
• MIDI program change messages let you select
Combinations remotely, from either -a MIDI sequencer
or an external MIDI controller
Set Lists
Combinations can also be selected in Set Lists, along with
Programs and Songs. For more information, see “Set Lists”
on page 115.
Overview: Combination Banks
KRONOS ships from the factory with hundreds of factoryprogrammed Combinations. You can create your own
original combinations by editing these factory-set
combinations, or by initializing a combination and starting
“from scratch.”
Over 1,400 Combination slots are left open for your own
programming, or additional sound libraries.
These Combinations are organized into 14 Banks of 128
Combinations each, as described below. You can also store
many more Combinations on the internal drive, or on
external USB 2.0 devices.
For more details on the factory Combinations, please refer to
the Voice Name List.
Combination bank contents
Bank
No.
INT–A…C
000…127
INT-D
000…095
INT-D
096…127
INT–E…G,
USER–A…G
000…127
Description
Factory Combinations
User Combinations
Selecting with the front-panel buttons
1. Make sure that the COMBI button is lit.
This means that you’re in Combination mode, in which you
can select and edit Combinations. If the button isn’t lit, press
it now; it will light up, and the main Combination Play page
will appear.
2. Go to the main Combination Play page.
The main Play page shows the selected Program, status, pan,
and volume for timbres 1-16.
3. Make sure that the Combination name is selected.
If it is not selected, go to the Combination P0: Play page and
touch the Combination’s name, so that it’s highlighted.
4. Use the VALUE controllers to select the Combination
number that you wish to play.
You can use the following methods to select a Combination.
• Turn the Value dial.
• Press the Inc
or Dec
buttons.
• Use the numeric keypad [0]–[9] to specify the number,
and press the ENTER key.
5. Press a BANK button (INT or USER A-G) to switch
banks.
When you select a different Bank, the button’s LED will
light, and the selected bank will appear on the upper left side
of the LCD screen.
For example, to select bank INT-B, press the I-B button in
the top row of Bank buttons. The I-B button will light, and
the name INT-B will appear in the upper left of the LCD
screen.
59
Playing and editing Combinations
Combination Select
Category (Category/Combination) Popup button
Favorite
Combination Select
Popup button
Category (Category/Program)
Popup button
Bank/Program Select Popup button
Program Select
Status
Play/Mute
Solo On/Off
Pan
Volume
Timbre 01
Selecting by Bank and number
You can select Combinations from a list organized by
Combination bank.
If you press the Cancel button, the selection you made here
will be discarded, and you will return to the Combination
that had been selected before you opened the menu.
1. Press the Combination Select popup button.
Selecting by Category
The Bank/Combination Select dialog appears.
You can select Combinations from within a category, such as
keyboard, organ, bass, and drums. When shipped from the
factory, the Combinations are organized into 16 categories,
each with several sub-categories. There are also 2 more
categories, initially named User 16 and User 17, which you
can use and rename as desired.
Bank/Combination Select menu:
1. Press the Category popup button.
The Category/Combination Select dialog appears.
Category/Combination Select menu
In this illustration, bank INT–A is selected. The list on the
right shows the Combinations contained in that bank.
2. Press the tabs on the left side of the display to select a
bank.
3. Press one of the names in the list to select a
Combination.
The selected Combination will be highlighted, and the
keyboard will immediately switch to the new sound.
4. If you like, play a few notes to hear the new
Combination.
You can play the new Combination while the menu is still
showing, without needing to press OK.
5. When you are satisfied with the selected Combination,
press the OK button to close the popup menu.
60
In the illustration above, the Keyboard category is selected.
The list on the right shows the Combinations which belong
to that category.
2. Press the tabs located to the left side of the display to
select a different category.
The name of the selected category will be displayed in full in
the lower left of the display.
Playing Combinations Selecting Combinations
3. Optionally, focus on a more specific group of sounds
by selecting a sub-category from the second column of
tabs.
The full name of the sub-category also appears in the lower
left of the display.
4. Press one of the Combination names in the center area
to select a Combination.
The selected Combination will be highlighted.
5. When you are satisfied with the selected Combination,
press the OK button to close the popup menu.
If you press the Cancel button, your selection will be
discarded, and you will return to the Combination that had
been selected when you opened the popup menu.
Using the Favorites check-box
The Bank and Category select pop-ups both include a
Favorite check-box at the bottom of the screen. This lets
you trim the list to show only Combinations you’ve marked
as favorites. For more information, see “Using the Favorites
check-box” on page 31.
Using a footswitch to select
Combinations
You can assign a footswitch to step through Combinations
one by one, either going up (0, 1, 2, 3, etc.) or going down
(3, 2, 1 etc.). This lets you change Combinations without
using your hands–great for quick Program changes in live
performance situations.
For more information, see “Using a footswitch to select
Programs” on page 31.
Selecting Combinations via MIDI
You can send MIDI Program Change messages to KRONOS
from external MIDI devices, such as computer sequencers or
other MIDI controllers. In conjunction with MIDI Bank
Select, you can use these to select any Combination from all
14 Banks.
For more information, see “Selecting combinations,” on
page 1120 of the Parameter Guide.
Using controllers to modify the sound
You can use the joystick, ribbon controller, SW1, SW2,
Vector Joystick, VALUE slider, keyboard, foot pedals and
switches, and the Control Panel knobs, sliders, and switches
to control the sound.
For more information, see the corresponding explanation for
Programs: “Using Controllers” on page 33.
Drum Track
The Drum Track integrates with all the other features of
Combination mode, including KARMA. For details, see
“Using the Drum Track in Combination mode” on page 242.
61
Playing and editing Combinations
Easy Combination editing
Changing the Programs within a Combi
Changing the Programs assigned to the 16 Timbres is a quick
way to dramatically alter the sound of the Combination.
The Category Select window will disappear. Note that the
new Program is now selected for Timbre 1.
There are two ways to select Programs for a Timbre:
4. Press the popup button directly under the Category
button.
• Selecting Programs from the front panel and LCD, either
by Bank or by Category
• Selecting Programs via MIDI program change messages
This is the Bank/Number select button. It brings up a
window which lets you select Programs by Bank–again, just
like the similar window in Program mode.
Note: MIDI program changes only work for Timbres whose
Status is set to INT.
5. Select a different Program, and press OK.
Selecting Programs for Combi Tracks
The Program in the Timbre is now changed to the one you
just selected. Also, the Bank /Number parameter is now
highlighted, which means that we can use the front panel
buttons to select Banks and Programs.
To change the Program assigned to a Timbre:
1. Go to the Prog Select/Mixer tab of the Play page.
This page shows all 16 Timbres at once, including their
Program assignments, volume, pan, play/mute, solo, and
more.
2. Touch the popup button at the top of Timbre 1.
This is the Category select button. It brings up a window
which allows you to select a Program by Category, identical
to the similar function in Program mode.
3. Select a Program, and press OK.
6. Press one of the front-panel Bank buttons.
or:
To select banks USER–AA…GG, press and hold a
pair of I and U BANK buttons together. For example,
to select bank USER–CC, press and hold the I–C
button, and then press the U–C button.
Notice that Timbre 1’s Bank and Program change to match
the selected Bank.
7. Use Inc/Dec, the VALUE dial, or the numeric keypad
to select the Program.
Adjusting the mix
You can use both the Control Surface and the LCD to set the
volume, pan, and EQ settings for each Timbre, as well as
their PLAY/MUTE and Solo On/Off states.
2. Optionally, go to the Control Surface tab of the Play
page.
Setting mix parameters from the LCD
This makes knob 1 control Timbre 1’s pan,
and knob 2 control Timbre 2’s pan, and so
on.
1. Go to the Prog Select/Mixer tab of the Play page.
This page shows the volume, pan, play/mute, solo, and
Program assignments for all 16 Timbres.
2. Select the on-screen Volume slider for Timbre 1.
3. Use Inc/Dec, the VALUE dial, or the numeric keypad
to set the volume as desired.
4. Select the on-screen Pan knob for Timbre 1, and edit
its value as desired.
Timbre pan interacts with the pan stored in the Program. A
setting of C064 reproduces the Program’s oscillator pan
settings. Adjusting the Timbre Pan will move the sound to
left or right while preserving the pan relationship between
the oscillators. A setting of L001 is far left, and R127 is far
right.
Using the Control Surface for the mix
You can also edit the mixer parameters directly from the
Control Surface, eight Timbres at a time.
1. Press the TIMBRE/TRACK button under
CONTROL ASSIGN, so that the 1-8 LED lights up.
The button has two LEDs: one for Timbres 1-8, and the other
for Timbres 9-16. Press the button to switch between the
two.
62
3. Press the MIXER KNOBS button until
the INDIVIDUAL PAN LED lights up.
4. Use sliders 1 -8 to adjust the volumes of Timbres 1-8,
respectively.
5. Use knobs 1-8 to adjust the pan positions of Timbres
1-8.
6. Press the MIXER KNOBS button until
the CHANNEL STRIP LED lights up.
This makes the knobs control a virtual
channel strip, including pan, EQ, and effects
sends.
7. Press MIX SELECT button 1.
The Channel Strip now controls the Pan, EQ, and FX Sends
for Timbre 1.
8. Use knobs 2-6 to adjust the Timbres’s 3-band EQ, and
knobs 7 and 8 to control the Timbre’s Effects Sends 1
and 2.
Internally, the system figures out how the Oscillator is routed
to the Master Effects, and automatically adjusts the
appropriate effects send parameters.
Easy Combination editing Easy KARMA editing
9. Press MIX SELECT button 2.
10.Edit the Channel Strip for Timbre 2 as desired.
The Channel Strip now controls the Pan, EQ, and FX Sends
for Timbre 2. Each Timbre has its own, dedicated stereo 3band EQ.
Notice that Pan is available, in different ways, with both
settings of the MIXER KNOBS button.
Easy KARMA editing
KARMA stands for “Kay Algorithmic Realtime Music
Architecture.” It’s an immensely powerful performance tool,
and can provide a wide range of musical effects including:
The LCD will now show the KARMA parameters assigned
to the sliders and switches.
• Arpeggiation
For more information on KARMA, see “Using KARMA” on
page 215.
• Drum and instrument grooves
3. Move the sliders to change the KARMA parameters.
• Complex CC gestures (as if it was automatically moving
knobs or joysticks for you)
• Musical phrase generation
• Any combination of the above
• …and much more.
You can control many KARMA parameters directly from the
front panel.
Turning KARMA on and off
The overall control for KARMA is the ON/OFF button. Turn
the button on (LED lit) to enable KARMA; turn the button
off (LED off) to disable KARMA.
LATCH button
When LATCH is turned on, KARMA will continue to play
even after you’ve stopped playing on the keyboard,
drum/chord pads, or MIDI In.
This is convenient when you want to play on top of a
KARMA-generated groove, for instance.
Selecting KARMA Scenes
Each Combi can have up to 8 KARMA “Scenes,” which are
presets for the KARMA parameters. Different Scenes may
produce dramatically different effects. You can select Scenes
directly from the Control Surface:
1. Press the RT KNOBS/KARMA button under
CONTROL ASSIGN.
The Control Surface will switch to Real-Time Knobs and
KARMA mode.
2. Select Scenes by pressing the top row of Control Panel
switches.
Note that not all Combis will necessarily have 8 different
Scenes.
Editing KARMA parameters via the
sliders
You can also edit various KARMA parameters in real time,
using the Control Surface sliders. The specific parameters
will vary depending on the Combi, so it may be helpful to
look at the LCD:
1. Go to the Control Surface tab of the Play page.
2. Press the RT KNOBS/KARMA button under
CONTROL ASSIGN.
63
Playing and editing Combinations
Detailed Combination editing
You can edit any of the Combinations shipped with
KRONOS, or you can start with an initialized Combination
to create sounds from scratch.
Naturally, you can use the factory Programs to create new
Combis, or use your own custom Programs. If you’re in the
process of editing a Program in Program mode, and you use
the Program in a Combi, you’ll hear the edited version in
Combi mode as well.
As with Programs, you can do many basic edits directly from
the front panel Control Surface knobs, switches, and sliders,
without ever delving deeper into the LCD interface. For
instance, you can use the knobs to change attack and release
times, make sounds brighter or darker, alter effects depths,
modulate KARMA’s phrase generation, and so on. For
details on how these work in Program mode, see “Quick
edits using the knobs, sliders, and switches” on page 41.
A suggested approach for editing
First, select a Program for each Timbre, on the Program
Select/Mixer tab of the P1: Play page. (Note that you don’t
have to use all 16 Timbres!)
To add finishing touches to the sound, set up the Insert,
Master, and Total Effects as desired (on the P8: Insert Effects
andP:9 Master/Total Effects pages, respectively.) These
effects can be different from those of the individual
Programs in Program mode, if desired.
In addition, you can make KARMA settings (on the P7:
KARMA page) and controller settings (on the P3: MIDI
Filter/Zones page) to create the finished Combination.
Soloing timbres
You can use the Control Surface Solo function to listen to the
Combi’s individual Timbres. For more information, see
“Solo switch and Select switches 1–8” on page 432.
Using COMPARE
When you’re in the process of editing a sound, pressing the
COMPARE button will recall the saved version of the sound,
as it was before you started editing. To indicate that you are
listening to the saved version, the button’s LED will light up.
Pressing COMPARE again returns you to the version you are
editing, and the LED will go out again.
Next, create any desired keyboard or velocity splits, layers,
or crossfades between the different Timbres. You can do this
on the Keyboard Zones and Velocity Zones tabs of the P3:
MIDI Filter/Zones page.
If you edit while the COMPARE LED is lit, the key will
again go dark and your previous edits will be lost.
After this, adjust the volumes of the Timbres (back on the
Program Select/Mixer tab), and set up any other Timbre
parameters as desired.
The RESET CONTROLS button lets you revert an
individual knob, slider, or switch to its saved setting. For
more information, see “Resetting individual controls” on
page 44.
Resetting individual controls
Combination overview
Page
Combination page structure
The main P0: Play page offers access to the most important
aspects of Combis, including:
• Selecting and playing Combinations
P1:EQ/Vector/
Control
P2: Timbre Params
• Set various parameters for each timbre,
such as MIDI channel, OSC select, Pitch
etc.
P3: MIDI
Filter/Zone
• Set up MIDI transmission/reception
filters for each Timbre.
• Set up keyboard and velocity zones for
each Timbre.
P4:
---
P5:
---
P6:
---
• Selecting individual Programs
• Making basic settings for KARMA
• Editing mixer settings and sound parameters via the
Control Surface
• Quick sampling and resampling
The detailed editing pages, P1 through P9, give you more indepth access to the Combi’s powerful key and velocity
zones, MIDI filtering, Vector Synthesis, KARMA, Drum
Track, and Effects.
Page
P0: Play
Main features
• Select and play Combinations
• Perform easy edits using the Realtime
Knobs, KARMA sliders, and Tone Adjust
• Adjust mix parameters including
volume, pan, EQ, and send levels
• Select a Program for each timbre
• Quick sampling and re-sampling
Main features
• Adjust EQ settings for each Timbre
• Assign functions to SW1/2 and Real-Time
knobs 5-8
• Set up Vector synthesis
• Set up the Drum Track
• Set up the on-screen pads
P7: KARMA
• Make detailed KARMA settings.
P8: Insert Effects
• Select insert effects and make settings
for them. Specify send levels to the
Master effects and routing to the
outputs.
P9: Master and
Total Effects
• Select Master send effects and Total
effects, and adjust their settings.
For details on how to access each mode and page, please see
“Basic operations” on page 17.
64
Detailed Combination editing Layers, Splits, and Velocity Switches
You can sample from within Combination mode—including
resampling the Combination itself. For more information,
see “Sampling in Program and Combination modes” on
page 150.
You can also mix in live audio inputs, and process them
through effects. For more information, see “Using effects
with the audio inputs” on page 209.
Combination structure and corresponding pages
Timbre1
Parameters
Program
Vector: P1 - 5,6,7
Controllers: P1 - 8
Drum Track: P1 - 3
KARMA: P7
Pads: P1 - 9
Tone Adjust: P0 - 9
Audio Input: P0 - 8
Routing: P8-1, 2
3Band EQ
Timbre2
Parameters
Master
Effects
1, 2: P9
3Band EQ
Program
Timbre3
Parameters
Timbre
Total
Effects
1, 2: P9
Insert
Effects
1…12: P8
AUDIO OUTPUT
L/MONO, R
3Band EQ
Program
Insert Effects
Master Effects
Individual Outputs
Timbre4
AUDIO OUTPUT
INDIVIDUAL 1,2,3,4
Parameters
Program
3Band EQ
Timbre16
REC Bus
FX Control Bus
Parameters
Program
3Band EQ
P1–1, P2–2, etc. indicate the KRONOS on-screen pages and tabs.
Layers, Splits, and Velocity Switches
Within a Combination, you can use note number and
velocity to determine which Timbres will sound.
The Programs assigned to each Timbre can sound in three
ways: as part of a layer, a split, or a velocity switch. A
Combination can be set to use any one of these methods, or
to use two or more of these methods simultaneously.
Layer
Layers cause two or more Programs to sound simultaneously
when a note is played.
Program B
Program A
Strong
Soft
Velocity Switch:
Keyboard playing dynamics
(velocity) switches between
different programs.
On KRONOS, you can use a different Program for each of
up to sixteen Timbres, and combine two or more of the
above methods to create even more complex setups.
Program B
Program A
Program B
Program A
Program D
Program C
Splits cause different Programs to sound on different areas of
the keyboard.
Program A
Strong
Soft
Keyboard playing
dynamics
Example:
B and C/D are split. In the lower
keyboard range, A and B are
layered. In the higher keyboard
range, C and D are switched by
velocity and layered with A.
Layer:
Two or more programs sound
simultaneously.
Split
Keyboard playing
dynamics
As an additional possibility, you can set the slope for a key
zone or velocity zone so that the volume diminishes
gradually. This lets you change a split into a keyboard
crossfade, or a velocity switch into a velocity crossfade.
Program B
Split:
Different programs will sound in
different areas of the keyboard.
Program A
Program B
Keyboard X-Fade (keyboard
crossfade):
As you play from low notes to
high notes, the volume of A
will fade out, and the volume
of B will fade in.
Velocity Switch
Velocity Switches cause different Programs to sound
depending on the velocity (how hard you play the notes).
65
Playing and editing Combinations
Creating Key Splits and Layers
Let’s create a Combi which combines both splits and layers,
like the diagram below:
Timbre 1
Brass
Timbre 3
Strings
C-1…
Creating Velocity Switches
Piano
Timbre 2
C2
Next, if you set the Bottom Slope of timbre 1 to 12, and set
the Top Slope of timbre 2 to 12, the sound will change
gradually instead of changing suddenly.
Next, let’s create a simple velocity switched Combination,
like the diagram below:
B3
C4
C7
…G9
Timbre 1
Brass
Timbre 2
Strings
127
64
63
1
Velocity
switch
1. Go to the Prog Select /Mixer page.
2. Select a piano sound for Timbre 1, a brass sound for
Timbre 2, and a strings sound for Timbre 3.
1. Go to the Prog Select /Mixer page.
3. Go to the MIDI tab of the P2: Timbre Parameters
page.
2. Select a brass sound for Timbre 1, and a strings sound
for Timbre 2.
4. For Timbres 1-3, set Status to INT and MIDI Channel
to Gch (the Global Channel).
3. Go to the MIDI tab of the P2: Timbre Parameters
page.
5. Go to the Keyboard Zones tab of the MIDI
Filter/Zones page.
4. For Timbres 1 and 2, set Status to INT and MIDI
Channel to Gch (the Global Channel).
6. Set Timbre 1’s Top Key to G9, and its Bottom Key to
C4.
5. Go to the Velocity Zones tab of the MIDI Filter/Zones
page.
7. Set Timbres 2 and 3 to a Top Key of B3, and a Bottom
Key of C-1.
6. Set Timbre 1’s Top Velocity to 127, and its Bottom
Velocity to 64.
You can also enter these values by selecting the parameter,
and then holding down the ENTER key and playing a note
on the keyboard.
7. Set Timbre 2 to a Top Velocity of 63, and a Bottom
Velocity of 1.
Key Zone Slope
In addition to “hard” splits, in which the sound changes
abruptly, you can use the Slope parameters to gradually fade
a sound in or out over a range of keys.
In the example above, you could set the Bottom Key of
timbre 1 to G3, and set the Top Key of timbre 2 to G4, so
that these two timbres overlap.
Velocity Zone Slope
Similar to Key Zone Slopes, as described above, these let
you fade in and fade out sounds gradually over a velocity
range, instead of a simple hard switch.
In the case of the above example, you could set the velocity
zones of the two Timbres so that they partially overlap.
Then, set the Top Slope and Bottom Slope so that the sound
changes gradually, instead of changing suddenly between
velocity values of 63 and 64.
MIDI Settings
Timbre Parameters MIDI page
Status
This controls the status of MIDI and the internal tone
generator for each Timbre. Normally, if you’re playing an
internal Program, this should be set to INT.
If the status is set to Off, EXT, or EX2, that internal sounds
will not be played. Off simply disables the Timbre entirely.
The EXT and EX2 settings allow the Timbre to control an
external MIDI device. For more information, see “Status” on
page 456 of the Parameter Guide.
sound any timbre that matches this channel. Normally you
will set this to Gch. When this is set to Gch, the MIDI
channel of the timbre will always match the global MIDI
channel, even if you change the global MIDI channel.
On some preloaded combinations, Timbres used by
KARMA may have their MIDI Channels set to something
other than Gch. These will be timbres that play only when
KARMA is on–a very useful technique for creating
“KARMAlized” combinations.
For more information, see “7–1c: MIDI I/O” on page 473 of
the Parameter Guide. In particular, note the relationships
between KARMA assignments and MIDI Channel.
Bank Select (when status=EX2)
When the Status is set to EX2, these parameters allow you
to transmit MIDI Bank Select messages for changing banks
on external MIDI devices.
MIDI Channel
Timbres that you wish to play from KRONOS’s keyboard
must be set to the global MIDI channel. Your playing on the
keyboard is transmitted on the global MIDI channel, and will
66
MIDI filter settings
For each MIDI Filter item, you can specify whether or not
the corresponding MIDI message will be transmitted and
received. The checked items will be transmitted and
received.
Detailed Combination editing Altering Programs to fit within a Combination
The MIDI filters don’t turn the functions themselves on or
off. Instead, the filter just controls whether or not that MIDI
message will be transmitted and received.
For example, if portamento is on, portamento will be applied
to the internal KRONOS sound even if Portamento SW
CC#65 is unchecked.
As another example, let’s say that you’ve selected a bass
Program for Timbre 1, and a piano Program for Timbre 2,
with the goal of creating a bass/piano split. You could make
the following settings so that pressing the damper pedal
affects only Timbre 2’s piano sound:
1. Go to the MIDI Filter 1 tab of the MIDI Filter/Zones
page.
2. Check the Enable Damper box for Timbre 1.
3. Un-check the Enable Damper box for Timbre 2.
Altering Programs to fit within a Combination
You can make various changes to Programs within the
context of a particular Combination, to make them fit better
with other Programs, or to create particular sonic effects.
These changes do not affect the original Programs, or how
those Programs sound in other Combinations.
Timbre Parameters: OSC
Portamento
Normally, this should be set to PRG.
If the Program uses portamento, but you’d like to disable this
for the current Combination, set this parameter to Off.
Conversely, if you want to force the portamento to be on, or
just to change the portamento time, set this to a value of
001–127. The portamento will change to use the newly
specified time.
Timbre Parameters: Pitch
Force OSC Mode
Normally this should be set to PRG, so that the sound will
play as set by the original Program.
If you wish to force a polyphonic program to sound
monophonically, set this either to MN (Mono) or LGT
(Legato). Conversely, set this to Poly if you wish to force a
monophonic program to play polyphonically.
For more information, see “Force OSC Mode,” on page 457
of the Parameter Guide.
OSC Select
Normally, this should be set to BTH (Both).
If the timbre is using a program whose Oscillator Mode is
Double or Double Drums, and you want only OSC1 or
OSC2 (not both) to sound, set this to OSC1 (only OSC1 will
sound) or OSC2 (only OSC2 will sound).
Transpose, Detune (BPM Adjust)
These parameters adjust the pitch of the timbre.
• In a layer-type combination, you can set two or more
timbres to the same program, and create a richer sound
by using Transpose to shift their pitch apart by an octave
or by using Detune to create a slight difference in pitch
between the two.
• In split-type combinations, you can use Transpose to
shift the pitch (in semitone units) of the programs
specified for each key zone.
• If you wish to change the playback pitch of a drum
program, use Detune. If you change the Transpose
67
Playing and editing Combinations
setting, the relationship between notes and drum sounds
will change.
Adjusting the BPM of multisamples or
samples created in Sampling mode
If a timbre’s program uses multisamples or samples that you
created in Sampling mode (or loaded in Disk mode) at a
specific BPM value, you can use the page menu command
Detune BPM Adjust to call up a new BPM value. This
changes the BPM by adjusting the playback pitch.
For more information, see “Detune BPM Adjust,” on
page 505 of the Parameter Guide.
Use Program’s Scale, Scale
This specifies the scale for each timbre. If you check Use
Program’s Scale, the scale specified by the program will be
used. Timbres for which this is not checked will use the
Scale setting.
Delay
You can set some Timbres so that they don’t sound
immediately at note-on. This can create cool effects, and
more dramatic layers.
You can specify the delay for each Timbre either in
milliseconds (ms), or in rhythmic values which sync to the
system tempo.
Editing Programs with Tone Adjust
Using Tone Adjust, you can make detailed edits to Programs
within the context of the Combi. These edits will not affect
the original Program, or any other Combis which use the
Program. To edit a Program with Tone Adjust:
1. Press the TONE ADJ/EQ button under CONTROL
ASSIGN.
The TONE ADJUST LED will light up.
2. Go to the Control Surface tab of the Play page.
This page mirrors the Control Surface. It’s very useful with
Tone Adjust, since it shows you the parameter assignments,
exact values, and so on.
3. Select the Timbre whose parameters you’d like to
adjust.
This corresponds to the Timbre selected in
TIMBRE/TRACK mode. You can set this using the Timbre
parameter on the right side of the LCD, or by holding down
the TONE ADJ/EQ button and pressing any of the Control
Panel switches. The top row selects Timbres 1-8, and the
bottom row selects Timbres 9-16.
4. Edit the controls as desired.
In addition to editing the values, you can also change the
assignments of Tone Adjust parameters to the sliders, knobs,
and switches. For more information, see “Using Tone
Adjust” on page 43.
If you set the Delay to Key Off, the Timbre will sound when
the note is released.
Effects
Effects are covered in their own section of the manuals, so
we won’t go into too much detail here.
Master Effects
Insert Effects
There are two Master Effects, which are accessed through
Sends 1 and 2. These are best-suited to effects such as
reverbs and delays, but you can use them with any type of
effect.
Insert Effects let you send either individual Oscillators or the
entire Program through up to 12 effects, in series. You can
use any type of effects, from distortions and compressors to
choruses and reverbs. The Insert Effects can be routed to the
main outputs, or to any of the individual outputs.
For more information, see “Insert effects” on page 204.
For more information, see “Master effects” on page 205.
Total Effects
The two Total Effects are dedicated to processing the main
L/R outputs. They’re ideally suited to overall mix effects,
such as compression, limiting, and EQ–but as with the other
effects sections, you can use any type of effect that you like.
Automatically importing a Combination into Sequencer mode
The Auto Song Setup feature automatically applies the
settings of the current Combination to a song.
If inspiration for a phrase or song strikes you while you’re
playing a program or combination, you can use this function
to start recording immediately.
Hold down the ENTER key and press the SEQUENCER
REC/WRITE key. The “Setup to Record” dialog box will
open and ask “Are you sure?”. Press “OK”. You will
automatically enter Sequencer mode, and will be in the
record-ready state. Press the START/STOP key to start the
sequencer and begin recording.
68
Detailed Combination editing Saving your edits
Saving your edits
Once you’ve tweaked the sound to perfection, you’ll want to
save your work. To save your edits:
1. Select the Write Combination command from the
page menu, at the upper right-hand corner of the
screen.
You can also call up this menu command by holding
ENTER and pressing 0 on the numeric keypad.
This brings up a dialog box which allows you to save the
Combination. Optionally, you can also select a new location,
or change the Combination’s name.
2. Press the “T” button to bring up the text edit dialog.
You can give the Combination a descriptive name using the
on-screen keyboard.
3. After entering the name, press OK.
The text edit window will disappear, returning you to the
main Save dialog.
4. Under “To” at the bottom of the dialog, press the
popup button next to Combination to bring up the
save location dialog.
5. Select a location to save the edited Combination.
You can write to any location in banks INT and USER A-G.
To avoid overwriting the factory sounds, it’s safer to use a
slot in one of the empty User banks.
6. After selecting the location, press OK.
7. Press OK again to start the write process.
8. If you’re sure you want to write to this location, press
OK again.
After that, you’re done!
For more information, see “Writing Programs and
Combinations” on page 184.
Do not turn off the power for at least 10 seconds after
writing the Combination. This allows the system time to
complete the process, which includes saving a backup of
the data to the internal disk.
Saving to disk
You can also save and manage Combinations on the internal
disk and USB storage devices. For more information, see
“Saving to disks, CDs, and USB media” on page 188.
69
Playing and editing Combinations
70
Creating songs (Sequencer mode)
Sequencer overview
About the KRONOS’ sequencer
The KRONOS’ sequencer can hold up to 200 songs and
400,000 MIDI events or 300,000 audio events. It consists of
a 16-track MIDI sequencer and a 16-track audio recorder,
giving you a total of 32 tracks.
Via MIDI, you can record from and play through external
MIDI devices, as well as the KRONOS keyboard, physical
controllers, and internal sounds.
The 24-bit, 48kHz audio recorder supports 16 tracks of
playback and four simultaneous channels of recording.
Audio tracks can record external audio sources such as
guitars and vocals as well as the KRONOS’ internal sounds.
You can even record mix automation for volume and pan.
When you’ve completed a song, you can resample it to a
WAVE file and use Disk mode to burn your WAVE files to
an audio CD on a USB CD-R/RW drive (not included).
Sequencer edits must be saved to disk
When you turn off the power, the settings made in
Sequencer mode and the song data, and any user pattern
data that you recorded will not be backed up. If you wish
to keep this data, you must save it to the internal drive or
an external USB device before turning off the power.
(You could also do a MIDI data dump to an external data
filer, if you prefer.)
Immediately after the power is turned on, the KRONOS will
not contain any song data. If you wish to play a song on the
sequencer, you must first load data from disk. (Alternatively,
you could send KRONOS a MIDI data dump with Song
data). For more information, see “Loading data from disk”
on page 192, and “Receiving SysEx data dumps” on
page 802 of the Parameter Guide.
With its broad range of capabilities such as In-track
Sampling, Time Stretch/Slice, KARMA, high-quality
effects, and physical controllers, the KRONOS is the ideal
environment for music production or live performance.
Sequencer mode structure
Songs
A song consists of MIDI tracks 1–16, a master track, audio
tracks 1–16, song parameters such as the song name, Vector,
KARMA, Drum Track, effects, and RPPR settings, and 100
user patterns.
A maximum of 200 songs can be loaded into the KRONOS
memory at once. Thousands can be stored on the internal
disk, or on USB storage media.
MIDI tracks 1–16 and audio tracks 1–16 each consist of
setup parameters located at the start location, and musical
data within the track. The master track consists of tempo and
time signature data.
For more information, see “Setup parameters & Musical
data” on page 511 of the Parameter Guide.
Song recording and editing
Song recording is performed on tracks. You can record MIDI
tracks in either of two ways; real-time recording or step
recording. For real-time recording you can choose one of six
recording modes.
Audio tracks can be recorded in real-time, or created by
adding WAVE files.
You can edit MIDI tracks by using Event Edit operations to
modify the recorded data or insert new data, and by using
Track Edit operations such as Create Control Data, which
inserts pitch bend, aftertouch, or control change data.
Region Editing allows you to select WAVE files and to edit
the start/end addresses of a WAVE file in single-sample
units.
Patterns
There are two types of patterns: preset patterns and user
patterns.
• Preset patterns: Patterns suitable for drum tracks are
preset in internal memory, and can be selected for any
song.
• User patterns: Each song can have up to 100 patterns.
When using a pattern in a different song, use the Utility
menu commands Copy Pattern or Copy From Song
etc. to copy the pattern. You can set the pattern length to
one or more measures, as desired.
Patterns always contain only a single track of musical data.
If you want to use patterns on multiple tracks, you’ll need to
use a separate pattern for each track.
To use patterns in a Song, either place them in a MIDI track
using the Put to MIDI Track menu command, or copy them
using the Copy to MIDI Track menu command.
You can also use patterns with the RPPR. For more
information, see “Using RPPR (Realtime Pattern
Play/Record)” on page 108.
You can also edit audio tracks in a variety of ways including
Event Editing operations that let you insert or delete audio
events, and Region Editing operations.
71
Creating songs (Sequencer mode)
Sequencer patterns and Drum Track patterns
Preset patterns are directly available for use as Drum Track
patterns.
User patterns can also be used with the Drum Track, but they
must first be converted into user Drum Track patterns (via
the Convert to Drum Track Pattern menu command on
P5: Pattern/RPPR).
When you convert a user pattern, it will be stored in internal
memory, and will not disappear even when you turn off the
power.
Sequencer mode page structure
Page
Explanation
P0: Play/REC
• Song playback/recording
• Easy editing using the realtime knobs,
KARMA sliders, and Tone Adjust
• Edit mix parameters such as volume, pan,
Play/Mute, and Solo On/Off
• Select programs for MIDI tracks
• Choose the recording mode
• Make settings for sampling, resampling,
and audio
P1: EQ/Vector/
Controller
• EQ adjustments for each track
• Function assignments for the SW1 and
SW2 switches and realtime knobs 5–8
• Vector Synthesis settings
• Drum Track settings
• Assignments for the on-screen pads
P2: Track
Parameters
• Parameter settings for each track (MIDI
channel, OSC selection, pitch settings,
etc.)
P3: MIDI
Filter/Zone
• MIDI receive/transmit filter settings for
each track
• Keyboard zone and velocity zone settings
for each track
P4: Track Edit
• Track editing
P5: Pattern/RPPR
• Pattern recording and editing
• RPPR settings
• Convert User patterns to User Drum Track
patterns
P6:
—
P7: KARMA
• Detailed KARMA settings
P8: Insert Effect
• Insert effect selection, settings, send level
to master effects, output routing
P9: Master/Total
Effect
• Master effect and total effect selection
and settings
For details on how to access each mode and page, see “Basic
operations” on page 17.
You can sample from within Sequencer mode—including
resampling the Song itself. For more information, see
“Sampling in Program and Combination modes” on
page 150.
You can also mix in live audio inputs, and process them
through effects. For more information, see “Using effects
with the audio inputs” on page 209.
Set Lists
Songs can also be selected in Set Lists, along with Programs
and Combinations. For more information, see “Set Lists” on
page 115.
72
Sequencer overview Sequencer mode structure
This is a conceptual diagram of Sequencer mode including the hard disk recording function.
Sampling memory
(RAM)
Sample
Sample
Song
MIDI Track 01..16
Setting
parameters
Performance data
Setting
parameters
Performance data
Setting
parameters
Performance data
Setting
parameters
Performance data
Setting
parameters
Performance data
Pattern U00...U99
RPPR Setup (P5)
(Routing: P8)
MIDI Routing 1,2
Audio Routing 1,2
Vector, Controllers,
Drum Track Setup (P1)
KARMA
(P7)
Master Effect 1, 2
(P9)
Track
Master Track
Insert Effect 1...12
(P8)
Audio Track 01..16
Audio events
Setting
parameters
Performance
Setting
parameters
Performance
Automation events
Setting
parameters
Performance
Automation events
Setting
parameters
Performance
Automation events
Setting
parameters
Performance
Region
(FX Ctrl BUS)
(REC BUS)
Automation events
Audio events
Region
Audio events
AUDIO OUTPUT
L/MONO, R
AUDIO OUTPUT
INDIVIDUAL 1...4
Region
Audio events
Audio events
Total Effect 1, 2
(P9)
Insert Effects
Master Effects
Individual Outputs
Tempo and time signature data
Region
Region
Region
Automation events
Audio recording function
WAVE (Mono)
Internal disk
Make Audio CD
WAVE (Stereo)
Resampling (L/R 2ch Mix)
Parentheses such as (P7) indicate the KRONOS page used for editing.
73
Creating songs (Sequencer mode)
Playing Songs
Playback
In order to play back a Song in the sequencer, you must first
either load the Song from disk, send the Song to the
KRONOS via MIDI SysEx, or record a new Song.
Let’s start by loading and playing the demo song data.
1. Follow the instructions for loading and playing the
demo songs under “Listening to the demo songs” on
page 1347 of the Quick Start Guide.
Now, let’s experiment with the different controls.
3. Press the LOCATE button to return to the start of the
Song.
The locate point defaults to the start of the Song. You can
change this as desired; see “LOCATE settings” on page 75.
4. Press the PAUSE button to pause playback.
Press the PAUSE switch once again to resume playback.
5. Press the <<REW or FF>> buttons to rewind or fastforward.
You can use <<REW and FF>> during playback or while
paused. They are disabled during recording, and while the
Song is stopped.
If you like, you can adjust the rewind and
fast-forward speeds using the FF/REW
SPEED page menu command.
2. Press the SEQUENCER START/STOP button.
Pressing this once starts playback; pressing it again stops
playback. Pressing it a third time resumes playback from
where it stopped.
6. To set the tempo, turn the TEMPO
knob or press the TAP TEMPO switch
at the desired interval.
Note: SEQUENCER START/STOP has a special function
on P5: Pattern/RPPR. On this page, instead of playing the
Song, START/STOP plays the selected pattern.
Meter
Tempo
Song Select
Popup
Track 2
Track 1
Category
Program Select
Play/Mute/Rec
Solo
Pan
Volume
Mute and Solo
Mute lets you silence any of the MIDI tracks 1–16, audio
tracks 1–16, or any of the audio inputs (analog 1, 2, USB 1,2,
S/P DIF L/R). Solo lets you hear any of these tracks or
inputs by itself. These functions can be used in various ways.
For example, you can listen only to the rhythm section of the
previously-recorded tracks while you record new tracks.
Let’s try out the Mute and Solo functions.
1. Use “Song Select” to select the song that you want to
play back.
2. Press the SEQUENCER START/STOP switch.
74
3. Press track 1 Play/Rec/Mute.
The display will change from Play to Mute, and the
playback of track 1 will no longer be heard. In this way,
the “mute” function allows you to silence a specified
track until the track is un-muted.
Press track 2 Play/Rec/Mute. The display will change,
and the playback of track 2 will also be muted. To cancel
muting, press Play/Rec/Mute once again.
Playing Songs Playback
Tip: Play/Rec/Mute can be controlled from the front
panel mixer section, or from the P0– Control Surface
page of the LCD screen. (See “The control surface in
Sequencer mode” on page 76.)
4. Press track 1 “Solo On/Off.”
For more information, see “Set Location (for Locate Key)”
on page 625 of the Parameter Guide.
Loop playback
“Solo” will be highlighted, and this time, only track 1
will be heard. This is known as “soloing” the track.
When recording or playing back a song, you can individually
loop the MIDI tracks that are playing.
If both Mute and Solo are used, the Solo function will be
given priority.
In the P0: Play/REC– MIDI Track Loop page, check Track
Play Loop for the MIDI tracks you want to loop, and use
Loop Start Measure and Loop End Measure to specify the
starting and ending measure of the region that will play back
as a loop.
Press track 2 “Solo On/Off.”
The display will change, and you will hear the playback
of tracks 1 and 2.
Note: Solo (on) applies to all tracks, including MIDI
tracks 1–16, audio tracks 1-16, and all audio inputs
(analog, USB, and S/P DIF). If, as in this example,
you’ve turned Solo on for only MIDI tracks 1 and 2, you
will not hear MIDI tracks 3–16, audio tracks 1–16, or any
of the audio inputs.
5. To switch Solo off, press Solo On/Off once again. Press
Solo On/Off for both MIDI tracks 1 and 2.
The display will change, and the playback of tracks 1 and
2 will be muted. If the Solo function is turned off for all
tracks, playback will be according to the Play/Rec/Mute
settings.
Tip: Play/Rec/Mute can be controlled from the front
panel mixer section, or from the P0– Control Surface
page of the LCD screen. (See “The control surface in
Sequencer mode” on page 76)
If Play Intro is checked (enabled), the measures preceding
the loop will be played back as an introduction before the
loop begins.
If you play back from the first measure with the settings
shown in the screenshot below, the specified region of
measures will repeat as follows. Note that Play Intro is
enabled for Track 1, but disabled for Track 2.
Measure 1
2
3
4
5
6
7
8
9
10 11 12 13
Track 1
1
2
3
4
5
6
7
8
5
6
Track 2
9
10 9
10 9
10 9
10 9
7
10 9
8
5
10 9
If Play Intro is disabled (un-checked) for Track 1, the
specified region of measures will repeat as follows.
Measure 1
2
3
4
5
6
7
8
9
10 11 12 13
Track 1
5
6
7
8
5
6
7
8
5
6
Track 2
9
10 9
10 9
10 9
10 9
7
10 9
8
5
10 9
Exclusive Solo
Normally, Solo works in “Exclusive Solo off” mode, in
which you can solo more than one track at a time (as in the
example above). In contrast, “Exclusive Solo on” mode
allows only one track to be soloed at a time, making it easy
to switch between soloed tracks.
Use the “Exclusive Solo” page menu command to specify
how the Solo function will operate.
Exclusive Solo off: You will be able to solo more than one
track at a time. The status of a track will change each time
you press its Solo On/Off button.
Track Play
Loop
Loop Start
Measure
Loop End
Measure
Play Intro
Exclusive Solo on: When you press a Solo On/Off button,
only that track will be soloed.
The SOLO setting is not stored when you save the song.
Tip: You can turn Exclusive Solo on/off by holding down the
ENTER switch and pressing numeric key 1 (when not in P4
or P5).
LOCATE settings
You can press the LOCATE switch to move to the registered
location. Initially, this will move to 001:01.000.
To change the registered location, use the Set Location page
menu command. Alternatively, you can register a location
during playback by holding down the ENTER switch and
pressing the LOCATE switch.
When you select a song, the “LOCATE” setting is
automatically initialized to 001:01.000.
75
Creating songs (Sequencer mode)
The control surface in Sequencer mode
In Sequencer mode, you can use the nine sliders, eight
knobs, and sixteen switches of the control surface to edit the
sound of each track during playback, to control KARMA, or
to transmit MIDI messages to external devices.
MIX SELECT: Press these buttons to select the current
track. This current track applies to the channel strip (when
MIXER KNOBS is set to CHANNEL STRIP), and to Tone
Adjust.
If you use the control surface to control the mixer during
recording, your moves will be recorded, and will be
reproduced during playback. If you want to adjust (and
record) mixer settings for multiple tracks, use multi-track
recording.
You can also use these buttons to change the Keyboard/Rec
track, so that you can switch between tracks directly from
the Control Surface. To do this:
As explained below, you use the front panel CONTROL
ASSIGN switches to select the functions that will be
controlled by the sliders, knobs, and switches.
You can also view the control surface settings in the LCD
screen, and edit them there. You may find it convenient to
display the P0: Play/REC– Control Surface page first, so that
you can watch the settings you’re making from the control
surface.
2. Set CONTROL ASSIGN to TIMBRE/TRACK, using
either the front-panel button or the on-screen tab.
3. Check the box on the right-hand side of the screen,
labeled Link KBD/REC Trk to Ctrl Surface.
Now, you’ll be able to change the Keyboard/Rec track
directly from the Control Surface.
If you press the SOLO switch, the MIX SELECT buttons
will control the Solo On/Off status. The Solo behavior will
depend on the Exclusive Solo setting.
CONTROL ASSIGN
Note: If any MIDI track, Audio track, or audio input is
soloed, the SOLO switch LED will blink.
TIMBRE/TRACK
Tip: To turn Solo off for all tracks, hold down the RESET
CONTROLS button and press the SOLO button.
When TIMBRE/TRACK is selected, the control surface will
edit the pan, EQ, effect send, Play/Rec/Mute status, Solo
On/Off status, and volume of each MIDI track.
The LEDs at the right of the TIMBRE/TRACK switch
indicate whether MIDI tracks 1–8 or 9–16 are currently
selected. The sliders, knobs, and switches will control the
respective set of tracks.
KNOBS: If you want to view and edit the Pan setting for all
eight tracks at once, press the MIXER KNOBS switch to
make the INDIVIDUAL PAN LED light, and use the knobs
to edit the Pan settings. Conversely if you make the
CHANNEL STRIP light, the knobs will control the pan, EQ,
and effect sends for a single track. Use the MIX SELECT
switches to select the track you want to edit, and use the
knobs to control it.
MIX PLAY/MUTE: These switches control the
Play/Rec/Mute status. Rec is available if Multi REC is
turned on.
76
1. Go to the Control Surface tab of the P0: Play page.
Tip: To turn Mute off for all tracks, hold down the RESET
CONTROLS button and press the TIMBRE/TRACK button.
AUDIO
When AUDIO is selected, the control surface will edit the
pan, EQ, effect send, Play/Rec/Mute status, Solo On/Off
status, and volume of the audio inputs or audio tracks.
The LEDs at the right of the AUDIO switch indicate whether
audio inputs, audio tracks 1–8, or audio tracks 9–16 are
currently selected. The sliders, knobs, and switches will
control the respective set of inputs or tracks.
KNOBS: If you press the MIXER KNOBS switch to make
the INDIVIDUAL PAN LED light, the knobs will control
the Pan setting of the six inputs, tracks 1–8, or tracks 9–16. If
the CHANNEL STRIP LED is lit and IN is selected, the
knobs will control the pan and effect sends for a single input.
If 1–8 or 9–16 are selected, the knobs will control the pan,
EQ, and effect sends for a single track.
Playing Songs The control surface in Sequencer mode
Use the MIX SELECT switches to select the input/track you
want to control, and use the knobs to control them.
MIX PLAY/MUTE, MIX SELECT: These switches work in
the same way as they do for TIMBRE/TRACK, as described
above.
EXTERNAL
When EXTERNAL is selected, the control surface is used to
transmit MIDI messages to an external MIDI device. For
more information, see “0–9e: External” on page 539 of the
Parameter Guide.
RT KNOBS/KARMA
When RT KNOBS/KARMA is selected, the sliders and
switches of the control surface are used to control KARMA.
For more information, see “0–9f: RT (Real Time
Knobs)/KARMA” on page 541 of the Parameter Guide.
TONE ADJ/EQ
When TONE ADJ/EQ (Tone Adjust) is selected, the control
surface is used to temporarily adjust the program used by
each MIDI track. For example while you’re creating a song,
you can use this capability to adjust the sound appropriately
for your song without going back to Program mode; you
might soften the tone of the bass or speed-up the attack of a
strings program, and make these changes happen in realtime
while the song plays.
Use Track in the right side of the LCD to select the MIDI
track you want to adjust.
For more information, see “0–9g: Tone Adjust” on page 543
of the Parameter Guide.
Note: EQ is only available in Set List mode. For more
information, see “Graphic EQ” on page 121.
77
Creating songs (Sequencer mode)
MIDI recording
• You can record up to 400,000 events (e.g., notes), up to
200 songs, and up to 999 measures in each song.
• You can perform and record using KARMA and the
Drum Track.
• The maximum timing resolution is 1/480 parts per
quarter-note.
• You can perform and record using RPPR (Realtime
Pattern Play/Recording).
• There are sixteen tracks for MIDI performance data, and
a master track which controls the time signature and
tempo.
• There are 697 built-in preset patterns ideal for drum
tracks, and in addition you can create up to 100 user
patterns for each song. These patterns can be used as
performance data for a song, or with the RPPR function.
Preparations for recording
Before you begin recording, make sure that the Global
mode memory protect setting is turned off. For more
information, see “Memory protect” on page 187.
Selecting a Song
Before we can begin this example, we need to select an
empty song where we can record.
1. Press the SEQ button to enter Sequencer mode.
2. Go to the first tab of the P0: Play/REC page.
The full page name is “MIDI Track Prog Select/Mixer.”
3. Press the Song Select Popup button.
The Song selection popup will appear.
4. Choose a new, empty Song from the list, and press the
OK button.
Tip: Set Song Length
By default, new songs are 64 measures long. If you’d like to
record more than 64 measures, go to the p4: Track Edit page,
and use the Set Song Length command in the page menu.
For more information, see “Set Song Length” on page 640 of
the Parameter Guide.
Track settings
Since we’re going to record a new song in this example, we
will start by explaining how to assign a program to each
MIDI track, and make basic settings such as volume.
For details on audio tracks, refer to “Audio recording” on
page 91.
1. Assign a program to each MIDI track.
Use “Program Select” (P0: Play/REC– MIDI Track Prog
Select/Mixer page) to assign a program to each MIDI
track.
At this time you can press the “Category” popup and
select programs by category.
You can copy various settings from Programs or
Combinations, including effects, KARMA settings, Tone
Adjust, and so on.
When assigning a program, you can use “Track Select” to
select the track for which you are making assignments,
and try playing the sound.
2. Set the pan and volume of each MIDI track.
Pan sets the pan of each track, and Volume sets the
volume of each track.
3. Specify the tone generator and MIDI channel that will
be played by each MIDI track.
78
In the P2: Track Parameters– MIDI page, Status specifies
whether each track will sound the internal tone generator
or an external tone generator. MIDI Channel specifies
the MIDI channel for each track.
Normally when using the KRONOS as a 16-timbre sound
module, you will select INT or BTH.
In general, you should set MIDI Channel to different
channels 1–16 for each track. Tracks that are sent to the
same MIDI channel will sound simultaneously when
either is recorded or played.
Status INT: During playback, the KRONOS’ internal
tone generator will play the MIDI data recorded on that
track. When you operate the KRONOS’ keyboard or
controllers, you will be playing and controlling the track
selected by “Track Select.” MIDI data will not be
transmitted to an external device.
Status EXT, EX2, BTH: During playback, the MIDI data
recorded on that track will be transmitted from MIDI
OUT to play an external sound module. When you
operate the KRONOS’ keyboard or controllers, MIDI
data will be transmitted to play and control the external
sound module selected by “Track Select.” (The MIDI
channel of the external tone generator must be set to
match the MIDI Channel of KRONOS tracks that are set
to EXT, EX2 or BTH.)
If Status is set to BTH, both the external tone generator
and internal tone generator will be sounded and
controlled.
4. Adjust the effect settings.
Make settings for each effect in P8: Insert Effect and P9:
Master/Total Effect.
For more information, see “Using effects in
Combinations and Songs” on page 206, “Sequencer P8:
Insert Effect” on page 608 of the Parameter Guide, and
“Sequencer P9: Master/Total Effect” on page 620 of the
Parameter Guide.
MIDI recording Preparations for recording
5. Set the tempo and time signature.
To set the tempo, you can turn the TEMPO knob or press
the TAP TEMPO switch at the desired interval.
Alternatively, you can select “q (Tempo)” in the P0:
Play/REC– MIDI Track Prog Select/Mixer page (or
similar page), and use the VALUE controllers to set the
tempo. Set “Tempo Mode” to Manual.
Next you will set the time signature. In this example,
we’ll explain how to set the time signature using the
“Meter” field. Normally, you specify the time signature
before recording the first track, and then begin recording.
a) Press the SEQUENCER REC/WRITE switch, and set
“Meter” to **/**.
b) Press **/** to highlight it, and use the VALUE
controllers to set the time signature.
c) Press the SEQUENCER START/STOP switch to begin
recording. When the pre-count has ended and Locate
reaches 0001:01:000, press the SEQUENCER
START/STOP switch to stop recording. The time
signature you specified has been recorded on the Master
track.
Template Songs
Template Songs store pretty much everything in the Song
except for the MIDI and audio data itself. This includes
Program selections, track parameters, effects and KARMA
settings, and the Song’s name and tempo.
The factory preset Template Songs let you get up and
running quickly with matched sets of sounds and effects for
various styles of music. You can also create your own
Template Songs with your favorite sounds and setups.
Note that Template Songs do not include the MIDI data for
song tracks and patterns, audio data, or settings that govern
how the musical data is played back, including Meter,
Metronome, PLAY/MUTE, and Track Play Loop
(including Start/End measure).
While loading a Template Song, you can also optionally load
one or more Drum Track patterns.
1. In the P0: Play/REC page, press the page menu
button and select the Load Template Song command.
A dialog box will appear.
If you press the SEQUENCER START/STOP switch
during the pre-count, the time signature won’t be
recorded.
6. Set the REC Resolution as desired.
When you record MIDI in real-time, this parameter
controls timing correction, also known as “quantization.”
This also applies when recording audio automation data.
This only affects newly recorded MIDI; it does not
change any previously recorded tracks.
2. In the From field, choose the Template Song you want
to load.
For example, let’s suppose that you recorded some eighth
notes but your timing was not quite perfect, as shown in
part 1 of the illustration below. If “REC Resolution” were
set to e when you recorded, the timing would
automatically be corrected as shown in part 2 of the
illustration. If “REC Resolution” is set to Hi, the notes
will be recorded with the timing at which you play them.
3. Check the “Copy Pattern to MIDI Track too?” checkbox.
When this box is checked, a dialog box for copying a pattern
will automatically appear after Load Template Song is
complete.
If this is not checked, only the selected Template Song will
be loaded.
4. Press the OK button to load the template song, or
press the Cancel button to exit without making
changes.
When you press OK, the Template Song’s settings will be
copied into the current Song.
7. Make other settings as necessary.
Make settings for KARMA (P7: KARMA), MIDI
filtering (P3: MIDI Filter/Zone), etc.
You may also wish to use Tone Adjust to adjust the
sound. (See “TONE ADJ/EQ” on page 77)
When you are finished making these settings, the basic setup
is complete. You can now record as described under
“Recording procedure” on page 95
Saving your song parameter settings
All of the above settings can be saved as a Template Song. If
you frequently use the same settings, this can be a real timesaver. For more information, see “Template Songs,” below.
If Copy Pattern to MIDI Track too? was checked in step 3,
the Copy Pattern To MIDI Track dialog box will appear.
This is the same dialog box as the one that appears for the
Copy To MIDI Track menu command.
5. In the Pattern field, select a pattern to copy.
6. In the To MIDI Track field, select the track to use for
the Drum Track pattern.
7. In the Measure field, set the measure on which you’d
like the pattern to start.
79
Creating songs (Sequencer mode)
Note: In each of the eighteen preset Template Songs, track 1
is always assigned to a Drum Program. (In some cases, other
tracks may also have Drum Programs.)
Following the names for each of the preset patterns, the
musical style and the name of the most suitable Drum
Programs are partially displayed. (Refer to the VNL for a
complete list of Drum Programs.)
By loading a drum track and the corresponding preset
pattern, you can instantly set up a Drum Track to match the
Template Song.
8. To load the Drum pattern, press the OK button.
After the pattern is loaded, the Measure will count up
automatically. You can then copy another pattern if desired.
For instance, you can use different patterns one after the
other to build up a song, with different patterns for verse,
chorus, and bridge.
After you’ve finished adding patterns, press the Exit button,
and you’re done!
Saving your own Template Songs
You can also save your own Template Songs:
1. Set up a Song to your taste, including Programs,
effects, KARMA settings, the Song name, and so on.
2. In the P0: Play/REC page, press the page menu
button and select the Save Template Song command.
3. In the To field, select one of the 16 user Template Song
locations,U00…15.
4. Press OK to save the Template Song.
For more information, see “Save Template Song” on
page 624 of the Parameter Guide
Recording MIDI in real-time
When you’ve finished with “Preparations for recording,” as
described above, you can start recording!
Real-time recording lets you record your performance on the
KRONOS, including the notes that you play, joystick and
knob movements, and so on. This is in contrast to step
recording, which is described in a later section.
The default is to record onto a single track at a time. As an
alternative, multitrack recording allows you to
simultaneously record multiple channels of data onto
multiple tracks. This is handy for use when recording RPPR,
KARMA, or the Drum Track, or for recording the output of
an external sequencer in a single pass.
Overwrite
With this method, the musical data previously recorded on a
track is overwritten by the newly recorded data. When you
perform overwrite recording on a previously-recorded track,
its musical data will be deleted and replaced by the newly
recorded data.
Normally you will use this method to record, and then
modify the results by using other types of realtime recording
or MIDI event editing.
1. Use “Track Select” to select the track that you want to
record.
2. Set the Recording Setup to Overwrite.
Recording setup
In P0: Play/REC– Preference page Recording Setup, select
the realtime recording method you want to use.
3. In “Location,” specify the location at which you wish
to begin recording.
4. Press the SEQUENCER REC/WRITE switch, and
then press the SEQUENCER START/STOP switch.
Location
Track Select
80
MIDI recording Recording MIDI in real-time
If the Metronome Setup is still set to the default settings,
the metronome will sound for a two-measure pre-count,
and then recording will begin.
Play the keyboard and move controllers such as the
joystick to record your performance.
5. When you finish playing, press the SEQUENCER
START/STOP switch.
Recording will end, and the location will return to the
point at which you begin recording.
If you press the PAUSE switch instead of the
SEQUENCER START/STOP switch, recording will
pause. When you press the PAUSE switch once again,
recording will resume. When you are finished, press the
SEQUENCER START/STOP switch to stop recording.
Overdub
With this method, the newly recorded musical data is added
to the existing data.
When you perform overdub recording on a previouslyrecorded track, the newly recorded data will be added to the
previously-recorded data.
6. When you finish recording, press the SEQUENCER
REC/WRITE switch.
Recording will end (playback will continue).
Note: Instead of pressing the SEQUENCER
REC/WRITE switch in steps 5 and 6, you can use a foot
switch connected to the ASSIGNABLE SWITCH jack.
Set the Global P2: Controllers/Scales page “Foot Switch
Assign” to Song Punch In/Out.
7. Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location that
you specified in step 3.
Auto punch-in
First you must specify the area that will be re-recorded. Then
recording will occur automatically at the specified area. With
this method, the musical data previously on the track is
overwritten by the newly recorded data.
1. Use “Track Select” to select the track that you want to
record.
2. Set the Recording Setup to Auto Punch In.
It is best to select this mode if you will be recording
additional control data, recording a drum pattern, or
recording the tempo in the master track. With this mode, data
can be added without erasing the existing performance data.
1. Use “Track Select” to select the track that you want to
record.
2. Set the Recording Setup to Overdub.
3. In “M (Auto Punch In Start Measure), “M (Auto
Punch In End Measure)” specify the area that you
wish to record.
For example if you specify M005–M008, recording will
occur only from measure 5 to measure 8.
3. For the rest of the procedure, refer to steps 3–5 of
“Overwrite.”
4. In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
5. Press the SEQUENCER REC/WRITE switch, and
then press the SEQUENCER START/STOP switch.
Manual punch-in
Playback will begin.
While the song is playing, you can press the SEQUENCER
REC/WRITE switch or a connected pedal switch at the
desired location to start or stop recording. With this method,
the musical data previously on the track is overwritten by the
newly recorded data.
When you reach the starting location you specified in step
3, recording will begin. Play the keyboard and operate
controllers such as the joystick to record your
performance. When you reach the ending location you
specified in step 3, recording will end. (Playback will
continue.)
1. Use “Track Select” to select the track that you want to
record.
2. Set the Recording Setup to Manual Punch In.
6. Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location you
specified in step 4.
Loop All Tracks
This method lets you continue recording as you add musical
data.
3. In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
4. Press the SEQUENCER START/STOP switch.
Playback will begin.
5. At the point at which you wish to begin recording,
press the SEQUENCER REC/WRITE switch.
The specified region can be recorded repeatedly. This is
ideal when recording drum phrases, etc.
1. Use “Track Select” to select the track that you want to
record.
2. Set the Recording Setup to Loop All Tracks.
If Multi REC is checked, it will not be possible to select
Loop All Tracks.
Recording will begin. Play the keyboard and operate
controllers such as the joystick to record your
performance.
81
Creating songs (Sequencer mode)
3. Use “Location” to specify the measure at which
recording will begin.
4. Press the SEQUENCER REC/WRITE switch.
5. For the track you want to record, press
Play/Rec/Mute to make it indicate Rec.
3. In “M (Loop Start Measure), “M (Loop End
Measure)” specify the area that you wish to record.
For example if you specify M004–M008, recording will
occur repeatedly (as a loop) from measure 4 to measure 8.
4. In “Location,” specify a location several measures
earlier than the point at which you wish to begin
recording.
5. Press the SEQUENCER REC/WRITE switch, and
then press the SEQUENCER START/STOP switch.
Playback will begin. When you reach the starting location
you specified in step 3, recording will begin. Play the
keyboard and operate controllers such as the joystick to
record your performance.
When you reach the ending location you specified in step
3, you will return to the starting location, and continue
recording.
The musical data that is loop-recorded will be added to
the previously-recorded data.
6. You can also erase specific data even while you
continue loop recording.
If you press the SEQUENCER REC/WRITE switch
during loop recording, all musical will be removed from
the currently selected track as long as you continue
pressing the switch.
By checking the “Remove Data” check box you can erase
only the specified data. During loop recording, press the
note that you wish to delete, and only the data of that note
number will be deleted from the keyboard as long as you
continue pressing that note.
Similarly, bender data will be deleted as long as you tilt
the joystick in the X (horizontal) direction, and after
touch data will be deleted as long as you apply pressure
to the keyboard.
When you are once again ready to record musical data,
uncheck the “Remove Data” check box.
7. Press the SEQUENCER START/STOP switch.
Playback will end, and you will return to the recording
start location that you specified in step 4.
If Loop All Tracks is selected, normal playback will be
looped as well.
Multi (multitrack recording)
Multitrack recording allows you to simultaneously record
onto multiple tracks, each with a different channel.
1. In the upper right of the LCD screen, check “Multi
REC.”
2. Make the desired Recording Setup settings.
You can record using Overwrite, Overdub, Manual Punch
In, or Auto Punch In.
6. Press the SEQUENCER START/STOP switch.
With the default settings for Metronome Setup, the
metronome will sound for a two-measure pre-count, and
then recording will begin. Now you can perform on the
keyboard and controllers, and use the KARMA or RPPR
functions if desired.
7. Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location
specified in step 4.
An example of realtime recording
In this example, we’ll assign a drum program to MIDI Track
01 and create the following one-measure drum phrase.
Hi hat: F#3
Snare: E3
Bass drum: C3
1. Create a new song, and specify a drum program for
MIDI Track 01. Use “Track Select” to select MIDI
Track 01, and verify that you hear a drum program.
2. Go to the P0: Play/REC– Preference page. In
Recording Setup, specify “Loop All Tracks” and set it
to M001-M001.
For more information, see “Loop All Tracks” on page 81.
With this setting, measure 1 will be recorded repeatedly.
The newly recorded data will be added at each pass.
3. Set “REC Resolution” to x.
4. Press the SEQUENCE REC/WRITE switch, and then
the START/STOP switch.
The metronome will sound a two-measure count-down,
and then recording will begin.
5. As shown in the musical example printed above, start
by playing the C3 note of the keyboard to record the
bass drum for one measure.
6. Next, play the E3 note of the keyboard to record the
snare for one measure, and then the F#3 note to
record the hi-hat.
7. Press the SEQUENCER START/STOP switch to stop
recording.
8. Play back the result, and listen to the drum
performance you recorded.
Press the SEQUENCER START/STOP switch. When
you’ve finished listening, press the START/STOP switch
once again to stop playback.
9. If you’re not satisfied with the result, press the
COMPARE switch to return to the state prior to
recording, and then re-record from step 4.
Note: When you’re finished recording, change the
Recording Setup back to the normally-used Overwrite
(P0: Play/REC– Preference page).
In addition, access the P0: Play/REC– MIDI Track Loop
page, check “Track Play Loop” for MIDI Track 01, and
set the “Loop Start Measure” and “Loop End Measure” to
82
MIDI recording MIDI step recording
001. When you play back, MIDI track 01 will repeatedly
play the first measure.
MIDI step recording
Step recording is the recording method in which you specify
the duration and strength of each note, and use the keyboard
to specify the pitch of each MIDI note. You can use the Rest
button and Tie button of the dialog box to input rests and
ties.
Step recording is useful when you want to create
mechanically precise beats, or when you need to record a
phrase that would be difficult to play by hand “in realtime,”
or when you find it difficult to play extremely complicated
or rapid passages.
An example of step recording
In this example, we’ll assign a bass program to MIDI Track
02 and step-record the following two-measure bass phrase.
1. Specify a bass program for MIDI Track 02. Use
“Track Select” to select MIDI Track 02, and verify
that you hear a bass program.
2. Go to the P4: Track Edit– Track Edit page.
3. Set “From Measure” to 001.
With this setting, step recording will begin from measure
1.
Input the first C3 note as e. (a dotted eighth note).
Use the radio button at the left to select e.
You can choose from the range of w (a whole note)– r (a
32nd note).
Input a dotted note by selecting “.” with the radio buttons
at right.
You can specify “3” to enter a triplet. If you want to use
the unmodified length of the note that’s selected at the
left, choose “-”.
“Note Duration” indicates the length that the note itself
will sound. Smaller values will produce a staccato note,
and larger values will produce a legato note. For this
example, leave this setting unchanged.
“Note Velocity” is the velocity (playing strength), and
larger values will produce a louder volume. Set this to
Key.
If you select Key for this parameter, the velocity with
which you actually play the keyboard will be input.
6. On the keyboard, press and then release the first C3
note that you want to input.
The data you input will appear in the LCD screen as
numerical values. In the upper right, Measure 001 Beat
Tick 01.000 will change to Measure 001 Beat Tick
01.360. The next note you input will be placed at this
location.
7. Input the remaining notes as described in steps 5 and
6. (You’ve already input the first C3 note.)
In addition to the methods described in steps 5 and 6, you
can also use the following input methods.
• To input a rest, press the Rest button. This will input a
rest of the “Step Time” value.
• To modify the length of a note, you can modify the “Step
time” value before you input the note. However if you
want to extend the length (tie) of the note, press the Tie
button. At this time, the previously-input note will be
extended by the “Step time” length.
• To delete a note or rest that you input, press the Step
Back button. The previously-input note will be deleted.
4. Press the page menu button, and press page menu
command “MIDI Step Recording.”
A dialog box will appear.
• To input a chord, simultaneously press the notes of the
desired chord. Even if you do not press them
simultaneously, notes that are pressed before you fully
remove your hand from all keys on the keyboard will be
input at the same location.
• If you want to verify the pitch of the note that you will
input next, press the PAUSE switch. In this state, playing
a key will produce a sound, but will not input a note.
Press the PAUSE switch once again to cancel the recordpause state, and resume inputting notes.
Note
5. In “Step Time,” use “Select” to specify the basic
timing value at which you will input notes and rests.
Step
Time:
Select
Step
Time:
.3-
Key,
Button
Measure/
Beat Tick
C3
.
C3 key
001 / 01.000
G3
-
G3 key
001 / 01.360
-
Rest button
001 / 02.000
83
Creating songs (Sequencer mode)
Note
C4
Step
Time:
Select
Step
Time:
.3-
Key,
Button
Measure/
Beat Tick
-
C4 key
001 / 02.240
-
Rest button
001 / 03.000
C4
-
C4 key
001 / 03.120
D3
-
D3 key
001 / 03.240
Eb3
-
Eb3 key
001 / 04.000
E3
-
E3 key
001 / 04.240
F3
-
F3 key
002 / 01.000
-
Rest button
002 / 01.120
-
C3 key
002 / 01.360
-
Rest button
002 / 02.000
F2
-
F2 key
002 / 02.240
Tie
-
Tie button
002 / 03.000
F2
-
F2 key
002 / 03.240
-
Rest button
002 / 03.360
A2
-
A2 key
002 / 04.000
A3
-
A3 key
002 / 04.240
-
Rest button
002 / 04.360
C3
8. When you are finished recording, press the Done
button.
Press the SEQUENCER START/STOP switch to play
back.
Go to the P0: Play/REC– MIDI Track Loop page, check
Track Play Loop for MIDI Track 02, set Loop Start
Measure to 001, and Loop End Measure to 002. MIDI
track 02 will play measures 1–2 repeatedly.
9. If you’re not satisfied with the result, press the
COMPARE switch to return to the state prior to
recording, and then re-record from step 4.
When you begin step recording, all data in the MIDI track
that follows the measure where you began recording will
be erased. You need to be aware of this if you begin step
recording from a measure mid-way through the song.
If you want to copy data into a measure that already
contains data, perform step recording in an empty MIDI
track, and use the Move Measure or Copy Measure
menu commands. For more information, see “Copy
Measure” on page 645 of the Parameter Guide, and
“Move Measure” on page 645 of the Parameter Guide.
If you want to edit or add to the recorded data, you can
use the MIDI Event Edit function. For more
information, see “Event Edit” on page 653 of the
Parameter Guide.
Recording the sound of a Combination or Program
Here’s how you can easily copy the settings of a
Combination or Program, and then record using that sound.
When you’re finished recording, press the START/STOP
switch once again.
When you’re performing in Program or Combination mode,
you can use the Auto Song Setup function to automatically
the current Program or Combination into a song.
Alternatively, you can use the Sequencer mode’s Copy
From Combi and Copy from Program menu commands.
Auto Song Setup and Combinations: Details
With Combinations, Auto Song Setup is essentially a
shortcut for using the Copy From Combi menu command
with the following settings:
IFXs-All, MFXs and TFXs checked
Auto Song Setup
You can use Auto Song Setup with both Programs and
Combinations. In this example, we’ll use a Combination.
For more information, see “Copy from Combination” on
page 625 of the Parameter Guide
1. Save any edits to the Combination.
Auto Song Setup and Programs: Details
If you’ve made any edits—even simple things like changing
pan and volume for the Timbres— must save the new
settings using Update Combination or Write Combination
before proceeding.
With Programs, Auto Song Setup is essentially a shortcut for
using the Copy From Program menu command with the
following settings:
2. Hold down the ENTER switch and press the
SEQUENCER REC/WRITE switch.
with KARMA checked
The Setup to Record dialog box will appear.
3. Press the OK button to perform the Auto Song Setup.
The KRONOS will automatically switch to Sequencer mode,
and the Combination’s settings will be applied to the first
unused song.
4. You will automatically enter record-ready mode, and
the metronome will begin sounding according to the
settings in P0: Play/REC– Preference page.
For more information, see “0–5d: Metronome Setup” on
page 528 of the Parameter Guide.
5. Press the SEQUENCER START/STOP switch, and
real-time recording will begin.
84
Multi REC checked
IFXs-All, MFXs and TFXs checked
To set to MIDI Track 01
KARMA Module set to A
With Drum Track set to Track 10
Additionally, several Song parameters are changed:
Multi REC checked
MIDI Tracks 1 and 10 are set to REC
For more information, see “Copy From Program” on
page 625 of the Parameter Guide
MIDI recording Recording the sound of a Combination or Program
Setup in Sequencer mode
(Copy From Combination and Copy From
Program)
In Sequencer mode, you can use the “Copy From Combi”
and “Copy From Program” page menu commands to set up a
Song based on a Combination or Program. In this example,
we’ll explain how to set up a song based on a combination.
Note: Make sure that the global MIDI channel (Global P1:
MIDI– MIDI page, MIDI Channel) is set to 01.
1. Select a new, empty song.
2. Select the page menu command “Copy From Combi.”
A dialog box will appear.
Select the program or combination that you want to copy
(i.e., the copy source).
We will copy the effect settings of the combination as
well, so check the IFXs-All, MFXs and TFXs check
boxes.
Check Multi REC Standby. The Status will be
automatically set to REC for the MIDI tracks needed to
record that combination.
Press the OK button to execute the copy.
Notice that when you execute this command, the
Play/Rec/Mute setting of each track will be set
automatically. The Multi REC check box will be
checked.
3. Begin recording.
Press the LOCATE switch to set the location to
001:01.000.
Press the SEQUENCER REC/WRITE switch, and then
press the SEQUENCER START/STOP switch.
Note: If you play the keyboard during the pre-count
before recording, KARMA and the Drum Track will start
playing the moment recording begins.
4. Record your performance.
5. When you are finished performing, press the
SEQUENCER START/STOP switch.
If you made a mistake or want to re-record, you can use
the Compare function (press the COMPARE switch) to
re-record as many times as you want. (The Multi REC
check box will be unchecked when you use Compare, so
you will need to check it again.)
85
Creating songs (Sequencer mode)
Recording multiple MIDI tracks from an external sequencer
1. Make sure that the MIDI OUT of your external
sequencer is connected to the MIDI IN of the
KRONOS.
Surface page of the LCD screen. (See “The control
surface in Sequencer mode” on page 76.)
If it is not connected, turn off the power, make the
connection, and then turn the power on.
For more information, see “MIDI applications” on
page 1117 of the Parameter Guide.
2. In the Global P1: MIDI– MIDI page, set MIDI Clock
to External MIDI. With this setting, the KRONOS
will synchronize to MIDI clock messages from your
external sequencer.
Make sure that Receive Ext. Realtime Commands is
checked.
5. In the P2: Track Parameters– MIDI page, use MIDI
Channel to specify the MIDI channel of each track.
Set the MIDI channel of each KRONOS track to match
the MIDI channel of each external sequencer track. Data
of the matching channel will be recorded on each
KRONOS track.
Make sure that Status is set to INT or BTH.
6. Press the LOCATE switch to set the location to
001:01.000.
7. Press the SEQUENCER REC/WRITE switch to enter
record-standby mode.
3. Create a new song in Sequencer mode, and in the P0:
Play/REC– Preference page, check the Multi REC
check box. Set Recording Setup to Overwrite.
8. Start your external sequencer.
The KRONOS’ sequencer will automatically begin
recording when it receives the MIDI Start message
transmitted by your external sequencer.
9. When playback has ended, stop your external
sequencer.
The KRONOS’ sequencer will automatically stop
recording when it receives the MIDI Stop message
transmitted by the external sequencer. You can also stop
recording by pressing the SEQUENCER START/STOP
switch of the KRONOS.
After this, you can play back the newly recorded
sequence:
10.In the Global P1: MIDI page, set MIDI Clock to
Internal.
11.Set “Tempo Mode” to Auto.
12.Press the SEQUENCER START/STOP switch to play
back.
4. Press Play/Rec/Mute to select “REC” for the tracks
you want to record.
For the tracks you don’t want to record, select Play or
Mute.
Tip: You can also control the Play/Rec/Mute setting from
the front panel mixer section, or from the P0– Control
86
Note: If the correct sounds are not selected when you start
playing back, you may be able to solve the problem by
using the page menu command “MIDI Event Edit” (P4:
Track Edit) to re-specify the Program Change data.
MIDI recording Recording System Exclusive events
Recording System Exclusive events
Exclusive messages received from an external MIDI device
or the parameter changes produced when you edit a MIDI
track parameter, audio track parameter or effect parameter
can be realtime-recorded on any MIDI track.
Note: For this example, select an empty track. If you want
to record onto a MIDI track that already contains data, set
the P0:Play/REC– Preference page Recording Setup to
“Overdub,” as described on page 81.
During playback, the exclusive messages you recorded will
control the track parameters and effect parameters of the
song, and can be sent to external MIDI devices.
Note: You can use the page menu command “Put Effect
Setting to MIDI Track” to insert an exclusive event
containing the parameter settings for an insert effect, master
effect or total effect into the desired location of a track, so
that these settings will automatically switch during playback.
GM, XG, and GS exclusive messages can be recorded on
a track, but the KRONOS’s tone generator will not
respond to these messages.
Recording internal parameter changes
You can use SysEx for automation of internal KRONOS
effects and Program parameters.
As an example, let’s record a short phrase on track 1, add an
insert effect, and then record parameter changes for that
effect on an unused track.
Note: In order to record system exclusive messages, make
sure that the Global P1: MIDI– MIDI setting “Enable
Exclusive” is checked.
• Select MIDI Track 09 in “Track Select.” Then press the
SEQUENCER REC/WRITE switch and then the
START/STOP switch, and begin recording.
• At the appropriate time while recording, adjust the
parameter(s) that you want to realtime-record.
Select another effect for IFX1 in the P8: Insert Effect–
Insert FX page, and edit the effect parameter values, or
use the P0: Play/REC– Control Surface page Tone Adjust
controls to edit the sound in realtime.
1. Select the desired program for MIDI track 1, and
route it to IFX1. Then record a phrase of about
sixteen measures.
• In the P0: Play/REC– MIDI Track Prog Select/ Mixer
page, use “Program Select” to select the desired program
for MIDI Track 01.
• In the P8: Insert Effect– MIDI Routing1 page, route the
MIDI Track 01 Bus Select (IFX/Indiv. Out Assign) to
IFX1. Then in the P8: Insert Effect– Insert FX page,
select the desired effect for IFX1.
• Select MIDI Track 01 in “Track Select.” Then press the
SEQUENCER REC/WRITE switch and then the
START/STOP switch, and record a phrase of about
sixteen measures.
2. Select MIDI Track 09 in “Track Select,” and record
parameter changes as desired.
Note: For details on the effects parameters that you can
record in real-time, please see “System Exclusive events
supported in Sequencer mode” on page 659 of the
Parameter Guide.
3. Stop recording.
87
Creating songs (Sequencer mode)
Note: Exclusive messages are always recorded on the
current track selected by “Track Select.” In this example,
they are recorded on MIDI track 9.
Note: In the MIDI event edit screen you can view the
recorded exclusive events and their location. Exclusive
events are displayed as “EXCL”.
To view these events, go to the P4: Track Edit– Track
Edit page, and select the page menu command “MIDI
Event Edit.” Then in the Set Event Filters dialog box,
check Exclusive and press the OK button.
Location
Event display
Exclusive events cannot be changed to a different type of
event. Nor can other events be changed into exclusive
events.
4. If you go to the page (e.g., P8: Insert Effect) that
shows the parameters you adjusted in realtime, you
can watch the recorded changes be reproduced while
the song plays back.
Exclusive messages that can be recorded in realtime
The following exclusive messages can be recorded in realtime:
• Exclusive messages received from an external MIDI
device
• Parameter changes in Sequencer mode (see “System
Exclusive events supported in Sequencer mode” on
page 659 of the Parameter Guide)
• Master Volume universal exclusive messages assigned to
the foot pedal or a knob
Recording patterns
Recording and editing patterns
You can record patterns in either of two ways; realtime
recording or step recording. However, pattern realtime
recording differs from song realtime recording in that you
can use only Loop type recording.
You can edit patterns by using Event Edit operations to
modify the recorded data or insert new data. You can also
use the Get From MIDI Track page menu command to
convert a desired region of performance data from a MIDI
track into a pattern. Conversely, you can use the Put to
MIDI Track or Copy to MIDI Track page menu
commands to place or copy the performance data from a
pattern into a MIDI track.
You can also use your patterns with the Drum Track, via the
Convert to Drum Track Pattern menu command on P5:
Pattern/RPPR.
Recording patterns in real-time
Here’s how you can use realtime recording to create a
pattern. User patterns can be accessed by the RPPR function
in the same way as preset patterns, and can be copied to or
placed in a song. Playback data from a track can also be
copied to a pattern.
When realtime-recording a pattern, a pattern of the specified
number of measures will playback repeatedly, allowing you
to continue adding musical data to it.
1. Create a new song, and as described in “Preparations
for recording” on page 78, set the track to the
program that will be used by the pattern.
2. Go to the P5: Pattern/RPPR– Pattern Edit page (See
the diagram below).
88
3. Use “Track Select” to select the track that you will use
to record the pattern.
The pattern will sound with the program and other
settings of the selected track.
4. Set “Pattern (Pattern Bank)” to User, and set “Pattern
Select” to U00.
User patterns U00–U99 can be created for each song.
5. Select the page menu command “Pattern Parameter”.
A dialog box will appear.
6. Set the number of measures in the pattern to a
“Length” of 04 (four measures), and set “Meter” to a
time signature of 4/4. Press the OK button.
7. As necessary, set “REC Resolution” to apply realtime
quantization.
8. Begin realtime recording.
You can record in the same way as you did when
recording tracks with Loop All Tracks. (See “Loop All
Tracks” on page 81.)
Press the SEQUENCER REC/WRITE switch, and then
press the SEQUENCER START/STOP switch.
After the pre-count, pattern recording will begin. Play the
keyboard and operate the joystick and other controllers to
record your performance.
When you reach the end of the pattern, the sequencer will
return to the beginning of the pattern and continue
MIDI recording Recording patterns
recording. If you continue recording, the newly recorded
data will be added to the previously-recorded data.
10.Press the SEQUENCER START/STOP switch to stop
recording.
9. If you want to delete specific data while you continue
pattern recording, you can press the SEQUENCER
REC/WRITE switch or check the “Remove Data”
check box.
If you made a mistake or decide to re-record, press the
SEQUENCER START/STOP switch to stop recording,
and press the COMPARE switch. Then begin the pattern
recording procedure again as in step 8.
For details refer to step 6 of “Loop All Tracks” on
page 81.
Pattern Select
Controller
Control data in pattern recording
To record control data in a pattern, you should restore the
control data to its normal value within the pattern. If you fail
to restore the normal value, unnecessary control data may
remain in a “stuck” position when you place the pattern in a
song or use the RPPR function to play the pattern. However,
the following control data will be automatically reset to the
following values when the song or RPPR function finishes
playing the pattern, or when playback is halted.
Controller
Reset value
Reset value
LFO1 depth (pitch) (CC#77)
64 (center)
LFO1 delay (CC#78)
64 (center)
Filter EG intensity (CC#79)
64 (center)
SW1 modulation (CC#80)
00 (zero)
SW2 modulation (CC#81)
00 (zero)
Channel after touch
00 (zero)
Pitch bender
00 (zero)
Modulation 1 (CC#01)
00 (zero)
Using KARMA for pattern recording
Modulation 2 (CC#02)
00 (zero)
If KARMA is set to operate for the track that is selected for
“Track Select,” and record the performance of KARMA into
the pattern.
Expression (CC#11)
127 (max)
Ribbon controller (CC#16)
64 (center)
Damper switch (CC#64)
00 (zero)
Sostenuto switch (CC#66)
00 (zero)
Soft switch (CC#67)
00 (zero)
EG sustain level (CC#70)
64 (center)
Resonance level (CC#71)
64 (center)
EG release time (CC#72)
64 (center)
EG attack time (CC#73)
64 (center)
Low pass filter cutoff (CC#74)
64 (center)
EG decay time (CC#75)
64 (center)
LFO1 speed (CC#76)
64 (center)
89
Creating songs (Sequencer mode)
Other ways to record
Multi-track recording with KARMA and
the Drum Track
You can record multi-track performances generated by
KARMA and/or the Drum Track. For more information, see
“Using KARMA in Sequencer mode” on page 234.
Multi-track recording with RPPR
You can record multi-track performances generated by
RPPR. For more information, see “Using RPPR (Realtime
Pattern Play/Record)” on page 108.
Using the control surface to record
changes in the pan, EQ, volume, or Tone
Adjust parameters of a MIDI track
During realtime recording, you can use the control surface to
control the pan, EQ, volume, or Tone Adjust parameters, and
record these changes so that they will be reproduced during
playback.
If you will be adjusting more than one track simultaneously,
you’ll need to use multi-track recording.
Note: Changes you make using the control surface are
transmitted as control changes or system exclusive
messages. In order to record these changes, the Global P1:
MIDI– MIDI Enable Control Change and Enable
Exclusive items must be checked. Move to Global mode and
make sure that these items are checked.
90
Audio recording Audio recording overview
Audio recording
Audio recording overview
• There are sixteen audio tracks. They allow 16- or 24-bit
linear PCM recording with a maximum time of 80
minutes.
When recording audio tracks, the MIDI Clock must be
set to Internal. For more information, see “MIDI Clock
(MIDI Clock Source)” on page 766 of the Parameter
Guide.
• Automation data (volume, pan, EQ, send 1/2) can be
recorded for each track.
• Up to sixteen tracks can be played back simultaneously,
and up to four tracks can be recorded simultaneously.
Audio events and regions in an audio
track
• The Stereo Pair function lets you assign two tracks as a
pair for recording, control, and editing.
When you record on an audio track, the actual audio data is
recorded directly on the internal drive as a WAVE file. At
this time, a “region” is also created; this contains
information specifying what portion of that WAVE file is to
be actually played back. In addition, an “audio event” which
assigns that region is created; this specifies the location in
the song at which the audio will play.
• You can choose from a broad range of internal buses as
the recording source; Audio Input 1–2, S/P DIF, USB,
REC Bus 1–4, the main L/R outputs, or individual
outputs 1–4 (yes, you can directly record from the
outputs, all in the digital domain). You can also route the
signal very flexibly, for example by inserting effects into
external audio sources and recording the result.
• When you record, an audio event and region data are
created and assigned to the track. The region data
contains a link to the WAVE file (audio data) that’s
recorded on the disk. You can edit in a variety of ways,
for example by changing the location of the audio event,
or by editing/replacing the region data or WAVE file.
When playback reaches a point in the song where an audio
event is located, the WAVE file on the disk will be played as
specified by the audio event and the region. In other words,
the audio will not play if either the audio event, the region,
or the WAVE file are missing.
• Auto or manual punch-in/out are provided.
• The Rehearsal function lets you practice a punch-in/out
without actually recording.
Please note that audio events and regions can be deleted
by audio event editing or region editing, and can also be
easily lost if you turn off the power before saving to the
disk. If only the WAVE file is left on the disk, this will
occupy disk capacity for no purpose; we recommend that
you execute “Delete Unused WAV Files” to free up any
such wasted space.
• You can use the control surface mixer to adjust the pan
and volume etc. of the audio tracks, and record these
operations as automation events so that the pan and
volume changes will be reproduced during playback.
SONG00
Audio Track 01
Setting
parameters
Audio events
Performance
Start, Volume, Region No.
data
Automation Events
Volume, Pan, Send, EQ
Audio Track 02
Setting
parameters
Audio events
Performance
Start, Volume, Region No.
data
Automation Events
Volume, Pan, Send, EQ
Hard Disk
NEWFIL_A
Region00
Region01
Region02
Region
SONG000
ATRACK01
GUITAR1.WAV
GUITAR2.WAV
ATRACK02
VOICE1.WAV
0000: Guitar1
Song No.: Song00
Track No.: Track01
Allow Tempo: On
Tempo: 120
Start: 000
End: 95999
Anchor Point: 0
Wave Name: GUITAR1.WAV
0001: Guitar2
NEWFILE.SNG
NEW SONG
Tracks
0002: Voice1
PATTERN 00
Regions
TRK01_00
TRK01_01
TRK02_00
91
Creating songs (Sequencer mode)
How audio data is stored on the disk
Temporary audio files
When you save Songs to disk, they’re stored in an .SNG file.
This .SNG file contains all of the data from Sequencer mode,
including all of the Songs in memory, except for the related
audio files.
If you’re recording a new song, and haven’t yet saved it as
an .SNG file, the audio files are stored in a temporary
location on disk. The directory structure is the same as
described above, except that the main audio directory is
named TEMP.
When you save an .SNG file, its related audio files are stored
in a separate directory. This directory is created
automatically, within the same directory as the .SNG file.
(It’s also created if you load a pre-existing .SNG file which
doesn’t have a matching audio directory.) The directory’s
name consists of the .SNG file name followed by “_A” (for
“Audio”).
For instance, if the .SNG file is named WAMOZART.SNG,
its audio directory will be named WAMOZART_A.
This main directory contains sub-directories for each song,
named SONG000, SONG001, etc. These in turn contain subdirectories for each audio track, named ATRACK01,
ATRACK02, and so on. Within each of the track subdirectories, each individual audio take is stored as a WAVE
file.
Move or re-name audio and .SNG files together
If you move or re-name an existing .SNG file, make sure to
move or re-name its corresponding audio directory as well.
The main audio directory must be in the same folder as the
.SNG file, and must be named as described above.
Once you save the song(s) to an .SNG file, these directories
and audio files will be copied to the new “_A” folder
automatically. On the other hand, if for some reason you
don’t or can’t save before turning off the power, you’ll be
given the chance to restore these audio files the next time
that you start up the instrument, as described below.
Recovering temporary audio files
If there are temporary audio files from the previous session,
you’ll see the following dialog the next time you start up the
KRONOS:
There are un-saved audio files from your previous
recording session.
Do you want to restore these files, or delete them from
the disk?
[Restore] [Delete]
If you don’t intend to use the WAVE files, we recommend
that you delete them so they don’t waste space on the
internal disk. To delete them, press the Delete button.
If you want to save these files, press the Restore button to
keep them.
Note that while the audio files can be recovered this way, the
rest of the sequencer data cannot be restored.
Audio input settings and recording source selection
If Use Global Setting is enabled, the Song will use these
Global settings, and all of the other settings under Audio
Input will be grayed out.
Audio Input settings
Just as in Program and Combination modes, Sequencer
mode includes a mixer for the audio inputs, including
analog, USB, and S/P DIF. You can use this to mix and
process the inputs prior to recording, if you like. For
instance, you can mix several inputs together and send them
to the same REC bus, or process an input through effects and
then record the result.
As an alternative, you can ignore the mixer settings and just
record directly from the inputs.
Input 1 & 2 are the analog audio inputs from the INPUT 1
& 2 jacks. For more information, see “Analog AUDIO
INPUTS” on page 8.
USB 1 & 2 are the left and right channels of the USB audio
input. For more information, see “USB ports” on page 8.
Use Global Setting
You can configure the audio inputs separately for each Song,
if desired. Alternatively, you can use the Global setting, as
made on the Global P0: Basic Setup– Audio page.
92
S/P DIF L & S/P DIF R are the left and right channels of
the optical S/P DIF input. For more information, see
“S/P DIF IN & OUT” on page 9.
Bus Select (IFX/Indiv.)
This specifies the output bus for each audio signal.
Audio recording Audio input settings and recording source selection
Off: The external audio input signal will not be sent to any
bus. However, you can still record the external audio signal
directly by using the P0: Play/REC– Audio Track Mixer
page REC Source setting to choose an external input (Audio
Input 1/2, S/P DIF L/R, USB 1/2) for recording.
L/R: The external audio input signal will be sent to the L/R
bus. Choose this when you want other signals such the
KRONOS’ internal tone generator to be recorded along with
an external audio source. Set REC Source to L/R.
IFX1…12: The external audio input signal will be sent to
the IFX1–12 bus. Choose this when you want to apply an
insert effect while recording. Set REC Source to match the
post-IFX Bus Select setting.
PLAY/MUTE
These indicate whether each external audio input signal is in
Play or Mute condition.
Use the MIX PLAY/MUTE 1–6 switches to change the
status.
SOLO On/Off
This indicates the SOLO status of each external audio input
signal. Use the MIX SELECT 1–6 switches to change the
solo status.
Sound will be output only from channels whose SOLO is
On. Other channels will be muted. Solo operation includes
both MIDI tracks and audio tracks.
1…4: The external audio input signal will be sent in mono to
the selected individual output.
Pan
1/2 and 3/4: The external audio input signal will be sent via
Pan in stereo to INDIVIDUAL 1/2 or 3 /4. Set REC Source
to the corresponding INDIV. setting.
This specifies the panning of each external audio input
signal. If you are inputting a stereo audio source, you will
normally pan the inputs to L000 and R127 respectively.
Be aware that if you change Bus Select (IFX/Indiv.)
from Off to L/R or IFX, the volume level from AUDIO
OUT L/MONO and R jacks or from the headphone jack
may increase abruptly. Please use caution.
FX Ctrl Bus (FX Control Bus)
This sends the external audio input signal to the FX Control
bus (stereo two-channel (FX Ctrl1, 2)). For more
information, see “FX Control Buses” on page 854 of the
Parameter Guide.
REC Bus
This sends the external audio input signal to the REC buses
(four mono channels: 1, 2, 3, 4).
The REC buses are dedicated internal recording buses that
you can use for recording or sampling audio tracks.
Recording becomes possible if you choose a REC bus as the
“Source Bus.” For example, you can use the REC buses if
you want to record only an audio input source that is being
played along with the song being output from the L/R bus
(i.e., record the input source, but not the song playback). You
can also mix several audio inputs to the REC buses, or mix
the direct signal from audio inputs to REC buses along with
post-IFX sound and record the result.
Off: The signal will not be output to the REC buses.
Normally you will leave this Off.
Level
This controls the level of the external audio signal. The
default is 127.
Note: the analog audio signals from AUDIO INPUTS 1 & 2
are converted into digital form by an A/D converter. This
parameter sets the level of the signal immediately after this
conversion.
If the sound is distorted even though this level setting is very
low, see “Tips for eliminating distortion when using the
analog inputs” on page 96.
Avoiding extraneous noise
If cables are connected to any of the audio inputs (analog,
S/P DIF, or USB), any noise carried by the cables will
enter into the KRONOS mixer structure. This may
include hiss, hum, and other audio noise.
To avoid noise from unused audio inputs, either:
• Set the input’s Level to 0
or
• Set all of the bus assignments to Off, including Bus
Select (IFX/Indiv. Out Assign), REC Bus, and FX
Control Bus
If no audio cables are connected to the analog audio
inputs, the input signals are forced to zero, preventing any
additional noise.
1, 2, 3, 4: The external audio input signal will be sent to the
specified REC bus. The Pan setting is ignored, and the
signal is sent in monaural.
Audio Track Mixer
1/2, 3/4: The external audio signal will be output to the REC
buses in stereo. According to the Pan setting, it will be sent
in stereo to buses 1 and 2, or 3 and 4.
You can specify the audio source to record from, and change
the Play/Mute status, SOLO status, pan, and volume for
playback.
Send1 (to MFX1), Send2 (to MFX2)
These specify the level at which the external audio input
signal will be sent to the master effects.
Send1 (to MFX1) sends the signal to master effect 1.
Send2 (to MFX2) sends the signal to master effect 2.
If Bus Select (IFX/Indiv.) is set to IFX1–12, the send levels
to the master effects are specified by the Send1 and Send2
settings that follow IFX1–12.
93
Creating songs (Sequencer mode)
REC Source =
Audio Input 1, 2, 1/2
L/R
BUS
REC REC
1/2 3/4
Indiv.
1/2 3/4
CLIP !
Recording
Track: REC (Mono)
Track: REC (Mono)
Stereo
Insert
Effects
Audio Input 1
Master
Effects
Level
Monitor
Pan
Insert
Effects
L/MONO
R
Total
Effects
AUDIO OUTPUT
HEADPHONES
[x] Source Direct Solo
Audio Input 2
Level
Pan
Insert
Effects
Sequencer Playback
Keyboard
BUS = L/R or IFX1-12
L, R, L/R: The L/R bus after passing through TFX 1 and 2
will be recorded. Choose this if you want to record an
external audio signal being sent to the L/R bus, or the sound
being produced by the KRONOS (and sent to the L/R bus) in
response to sequencer playback, keyboard playing, or MIDI
input.
If Stereo Pair is on, L is sent to odd-numbered tracks, and R
is sent to even-numbered tracks.
REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4
buses will be recorded. Choose this if you want to record
only the audio input while hearing the sequencer playback
and your keyboard playing from the L/R outputs. You can
also mix several audio inputs to the REC buses, or use the
REC buses to mix the direct sound from the audio inputs
with the sound processed by insert effects, and record the
result.
If Stereo Pair is on, REC bus 1 (3) is sent to odd-numbered
tracks, and REC bus 2 (4) is sent to even-numbered tracks.
REC Source
This selects the source that will be recorded on the track. The
signal of the bus line you specify here will be recorded. See
below for a diagram of buses when recording from the audio
inputs; for more detailed diagrams, see under “0–2: Audio
Track Mixer” on page 519 of the Parameter Guide.
If you set the Track Select field to Audio Track, you will be
able to monitor the REC Source of that track.
The options will differ slightly depending on whether or not
Stereo Pair is enabled.
Audio Input 1, 2, 1/2, USB 1, 2, 1/2, or S/P DIF L, R, L/R:
Choose these to directly record the audio input from the
analog, S/P DIF, or USB inputs. The inputs will be recorded
directly without passing through the L/R bus, REC buses, or
Individual buses. None of the Audio Input settings will
affect the recorded signal; this includes Bus (IFX/Indiv),
Pan, Level, Solo, and Play/Mute. See the diagram “REC
Source = Audio Input 1, 2, 1/2.”
If Stereo Pair is on and Audio Input 1/2 is selected, AUDIO
INPUT 1 will be input to the odd-numbered track, and
AUDIO INPUT 2 will be input to the even-numbered track.
Similarly, USB 1/2. and S/P DIF L/R will be input to the
odd-numbered and even-numbered tracks respectively.
94
Indiv.1…4, Indiv.1/2 and 3/4: This allows you to record the
signal at the individual outputs directly, without the need for
an external cable. Similarly to using the REC buses, you can
choose this when you want to monitor the L/R output while
recording a different signal.
If Stereo Pair is on and you’ve selected Indiv.1/2, the Indiv.
bus 1 will be sent to odd-numbered tracks, and Indiv. bus 2
will be sent to even-numbered tracks.
Play/Rec/Mute
Use this to mute an audio track, or to select the recording
tracks for multi-track recording. During playback, or for
single-track recording (normal recording), it is possible only
to select Play or Mute for tracks (playback tracks) other than
the recording track. For multi-track recording, tracks can be
set to Play, Mute, or Rec. The setting will alternate each time
you press the Play/Rec/Mute button.
Solo On/Off
This turns the Solo function on/off.
Pan
This specifies the pan of audio track.
Volume
Sets the volume of audio tracks 1–16.
Audio recording Recording procedure
Recording procedure
Auto Punch In
Select this method when you wish to automatically re-record
selected portions of a previously-recorded track.
For both Manual Punch In and Auto Punch In, recording will
occur as follows.
Audio Track Audio Events, Audio Track Automation
Events: Only the measures you recorded will be
overwritten; the data in subsequent measures will remain
unchanged.
Loop All Tracks
Choose this method if you want to repeatedly record track
automation events over a specified region of measures,
adding data at each pass. Only automation events can be
recorded. You can use “Remove Data” to remove audio track
automation events.
Audio events cannot be recorded. This means that if you set
“Track Select” to Audio Track, and turn “Automation Only”
Off, you will be unable to start recording.
Recording Setup
These parameters specify how audio tracks will be recorded.
For details on each recording method, refer to the examples
for MIDI tracks. (See “Recording setup” on page 80)
Recording Setup (Audio Track)
HDR Bit Depth
You can choose to record either 16-bit or 24-bit data. 24-bit
yields higher fidelity, but uses more space on disk.
However, this differs from MIDI track recording as follows.
Automation Only
Overwrite
Normally you will record with this unchecked. Both audio
track automation events and audio events will be recorded.
When recording for the first time, you will normally select
this method.
To begin recording, press the SEQUENCER REC/ WRITE
switch and then the SEQUENCER START/ STOP switch.
To stop recording, press the SEQUENCER START/STOP
switch once again.
Audio Track Audio Events: Only the measures you
recorded will be overwritten; the data in subsequent
measures will remain unchanged.
Audio Track Automation Events: All data following the
measure at which you begin recording will be erased.
Overdub
Select this method when you wish to add Audio Track
Automation Event data to a previously-recorded track.
To begin recording, press the SEQUENCER REC/WRITE
switch and then the SEQUENCER START/STOP switch. To
stop recording, press the SEQUENCER START/STOP
switch once again.
Audio Track Audio Events: As with Overwrite, only the
measures you recorded will be overwritten; the data in
subsequent measures will remain unchanged.
Audio Track Automation Events: The previously-recorded
data will remain, and the newly-recorded data will be added
to it.
If this is checked, only audio track automation events will be
recorded. Use this setting if you want to record automation
after recording.
Auto Input
This parameter controls monitoring during recording. It
automatically switches all record-enabled tracks between
monitoring the record input and the track playback,
according to whether or not recording is active.
This lets you listen to audio you’ve already recorded when
punching in, and also means that you don’t have to disable
track record-enables in order to listen to playback.
This applies only to record-enabled tracks. If Multi REC is
off, this is the REC Track (as selected in the Track Select
menu). If Multi REC is on, this means to all tracks whose
Play/Rec/Mute button is set to Rec.
Normally, Auto Input should be enabled (checked). When
enabled, record enabled tracks will be monitored as follows:
• When stopped, the monitor carries the input signal.
• When playing but not recording, the monitor carries the
track playback.
• When recording, the monitor carries the input signal.
For audio tracks which are not record-enabled, you’ll always
be monitoring the track playback.
Manual Punch In
Select this method when you wish to use the SEQUENCER
REC/WRITE switch or a foot switch to re-record selected
portions of a previously-recorded track.
95
Creating songs (Sequencer mode)
Record
Tracks
Other
Tracks
On
Input Track
Off
Input
Input Track
Track Select, and Overwrite are set automatically. For
more information, see “Auto HDR/Sampling Setup” on
page 628 of the Parameter Guide.
Setting levels
Out…
In…Out
During Punch Rec
…In
During Rec
During Play
During Stop
Auto Input
Audio track monitoring
(Input: REC Source, Track: track playback)
Input Track*
On
Track Playback
Off
For the best results, set the levels as described below:
1. If Multi REC is off, set Track Select to an Audio
Track.
or
If Multi REC is On, record-enable the desired Tracks,
and then press the SEQUENCER REC/WRITE
switch.
The Level Meter(s) will now show the recording level(s).
2. Initially, set the Recording Level(s) to 0.0dB.
Source Direct Solo
If this is unchecked, the L/R (post-TFX) and bus line
signal(s) specified by REC Source will be sent from the L/R
jacks and the headphone jack as specified by the Audio Input
Bus Select (IFX/Indiv.) and post-IFX Bus Sel. settings.
This is the normal state.
Normally you will leave this unchecked, and Check this if
you want to monitor only the sound that’s being recorded.
Only the signal of the bus line specified by REC Source will
be output to the L/R jacks and the headphone jack. When
using Multi REC, you’ll hear the sound from the REC
Source buses whose Play/Rec/Mute setting is set to REC.
Note: If the REC Source is L/R, this setting is ignored; the
L/R (post-TFX) signal is output from the L/R jacks and the
headphone jack.
Rehearsal
Check this if you want to rehearse before actually recording
on an audio track. (recording will not actually occur).
Audio Track Recording Level
This indicates the input level to the audio track selected for
Track Select (when using single-track recording), or the
input level to the audio tracks whose Play/Rec/Mute setting
is REC (when using multi-track recording: maximum 4
tracks).
Recording Level 1, 2, 3, 4
Level Meter 1, 2, 3, 4
This adjusts the final-stage signal level of each REC Source
being recorded to the audio tracks.
The upper part of the level meter/slider shows the
corresponding audio track number.
If you’re using single track recording, Recording Level 1
and Level Meter 1 both apply.
If you’re using multi-track recording, the settings for tracks
whose Play/Rec/Mute is REC will be valid.
When using single-track recording, the level meter will show
the recording level if you set “Track Select” to Audio Track.
When using multi-track recording, press the SEQUENCER
REC/WRITE switch to enter record-standby mode, and the
level meter will show the recording level.
Note: The settings up to this point are the same as if you
executed the page menu command Auto HDR/Sampling
Setup with the HDR (Audio Track Recording) setting, to
make the setup automatically. Audio Input, REC Source,
96
3. Adjust the level(s) of the input signal(s) so that it is as
high as possible without activating the CLIP! or ADC
OVERLOAD! messages.
If you’re using AUDIO INPUTS 1 and/or 2, adjust the
volume using rear-panel MIC/LINE switches and LEVEL
knobs.
If you’re using the USB or S/P DIF inputs, adjust the output
level of your external audio source.
If you’re sampling external audio through the internal
effects, you may also need to adjust the individual effects
input and/or output level parameters.
If you’re using internal sounds, adjust the levels using the
control surface, effects input/output trim, etc.
4. If the level is still not high enough, increase the
Recording Level using the on-screen slider.
Again, the goal is to get the level as high as possible without
activating the CLIP! or ADC OVERLOAD! messages.
Tips for eliminating distortion when using the
analog inputs
If sound from the analog inputs is distorted, but the CLIP!
message doesn’t appear, it’s possible that distortion is
occurring at the analog input stage, or that distortion is being
caused by the settings of the internal effects.
If the “ADC OVERLOAD!” message appears above the
Recording Level meters, the distortion is due to excessive
levels at the input. In this case, either lower the output level
of the external audio source, or adjust the MIC/LINE gain
select switch and LEVEL knob so that this message does not
appear.
If there is distortion, but the “ADC OVERLOAD!” message
does not appear, it’s possible that the distortion is being
caused by the settings of the internal effects. To solve this
problem, either lower the input Level, or adjust the effects
settings (such as changing the individual effect Input Trim
parameters).
Examples of audio track recording
Recording an external input on audio track 1
In this example, we’ll explain how a guitar connected to the
Audio Input 1 jack can be recorded on audio track 1.
Recording and playback on an audio track can occur until
the end of the master track. You cannot record for longer
than 80 minutes.
Audio recording Recording procedure
Connect your guitar
Audio Track 1 REC Source: Audio Input 1 (In 1)
1. Connect your guitar to the rear panel AUDIO INPUT
1 jack.
Press the AUDIO INPUT MIC/LINE switch inward to
select the LINE position, and set the LEVEL knob at
about the center.
Guitar
Effect unit
LINE
If you connect a guitar with passive pickups (i.e., a guitar
that does not contain a preamp), you will be unable to
sample it at the correct level because of the impedance
mismatch. Such guitars should be routed through a
preamp or an effect unit first, and then connected to the
KRONOS.
Setup
Go to the P8: Insert Effect– Audio Routing1 page.
Set the output for Audio Track 1 as follows.
Bus Select (IFX/Indiv. Out Assign): L/R
Send1 (MFX1) and Send2 (MFX2): 000
2. In the P0: Play/REC– Audio Input Sampling page, set
the Audio Input parameters as described below.
The following settings are made by default, so you don’t
need to make them yourself:
Use Global setting Off
– INPUT 1 –
Bus Select (IFX/Indiv.): Off
Pan: L000
Level: 127
REC Bus: Off
3. In the P0: Play/REC– Preference page, set “Track
Select” to Audio Track 01.
In the P0: Play/REC– Audio Track Mixer page, use REC
Source to select Audio Input 1 (In 1), so that the signal
from Audio Input 1 will be recorded directly on audio
track 1.
97
Creating songs (Sequencer mode)
Location
Track Select
Press the SEQUENCER START/STOP switch to play
back the song, and check the volume balance. If you want
to monitor only the guitar sound during playback, check
“Source Direct Solo.”
Record
7. In the P0: Play/REC– Preference page, use
“Location” to specify the location at which recording
will begin.
If you want to start recording from the beginning of the
song, set this to 001:01.000.
8. Press the SEQUENCER REC/WRITE switch
The KRONOS will be in record-ready mode. If you’ve
made metronome settings, the metronome will sound the
count.
9. Press the SEQUENCER START/STOP switch.
Recording will start from the location you specified in
“Location.”
AUDIO TRK 01 (Level Meter 1, Recording Level 1,
Name 1, Take, Take No.) will appear.
Use the Name 1 field to specify a name for the region and
WAVE file that will be created.
If you intend to record several takes on the same track,
check the Take option box.
4. Specify the recording method in Recording Setup and
Recording Setup (Audio Track).
If you have specified a metronome pre-count (“Precount
[Measure]”), recording will begin after the pre-count. If a
performance has already been recorded on a MIDI track,
that MIDI track will also play back.
10.To stop recording, press the SEQUENCER
START/STOP switch.
Listen to the recorded result
11.Go to the P0: Play/REC– Audio Track Mixer page.
In “Audio Track 1,” set the pan and volume etc. for audio
track 1.
Overwrite: selected
Play/Rec/Mute: Play
Automation Only: unchecked
Solo On/Off: Off
Source Direct Solo: unchecked
Pan: C064
Auto Input: checked
Rehearsal: unchecked
Note: If you want to record from the beginning of the
song or from the measure specified by Location, you
should select Overwrite.
Note: If Take is unchecked, you will be able to enter up
to 24 characters as the file name. If it is checked, you will
be able to input up to 22 characters.
Note: If you want the metronome to sound during
recording, use Metronome Setup to make metronome
settings. For more information, see “0–5d: Metronome
Setup” on page 528 of the Parameter Guide.
Set the recording level
5. Play your guitar at the volume you intend to record.
If the “ADC OVERLOAD !” (AD converter input
overload) indication appears, turn the rear panel LEVEL
knob toward MIN to adjust the level appropriately.
For the best sound, adjust the level as high as possible
without allowing the “ADC OVERLOAD !” indication to
appear.
6. The level meter will show the volume of the guitar
signal that will be recorded.
If the “CLIP !” indication appears, use the VALUE
controller etc. to lower the Recording Level slider
(located in the right side of the display) from +0.0 down
to an appropriate level.
Volume: 100
12.Press the SEQUENCER START/STOP switch to play
back the song.
Note: You can use functions such as Compare when
recording audio events, just as you can when recording
MIDI tracks.
Note: If you want to apply an insert effect on an audio
track, set Bus Select (IFX/Indiv. Out Assign) to IFX1–
IFX12.
Then select L/R as the Bus Select setting (P8: Insert
Effect– Insert FX page) that follows the insert effect you
used.
Note: If you want to apply master effects to an audio
track, use Send1 (MFX1) and Send2 (MFX2) to set the
send levels to the master effect. If you’re using an insert
effect, adjust the Send1 and Send2 settings that follow
that insert effect.
Recording an external input source on audio
track 2 while you listen to the previouslyrecorded audio track 1
In this example, we’ll record another guitar performance on
audio track 2 while monitoring the performance you
previously recorded on audio track 1 as described in
“Recording an external input on audio track 1.”
1. In the P0: Play/REC– Audio Track Mixer page, set
the Audio Input 2 REC Source to Audio Input 1 (In
1).
AUDIO TRACK 2 REC Source: Audio Input 1 (In 1)
98
Audio recording Recording procedure
2. Set Track Select to Audio Track 02.
3. Record as described in step 8 and following of the
preceding section.
Applying an insert effect while you
record
In this example, we’ll apply an insert effect to the guitar
that’s connected to Audio Input 1, and record the effectprocessed sound on audio track 1.
Connect your guitar
1. Connect your guitar.
For detailed instructions, see “Recording an external input
on audio track 1” on page 96.
Setup
2. In the P0: Play/REC– Audio Input/Sampling page, set
the “Audio Input” parameters as shown below that
the signal from the AUDIO INPUT 1 jack is sent to
IFX1.
Use Global Setting: Off
Bus Select (IFX/Indiv.): IFX1
INPUT1 Level: 127
4. In the P0: Play/REC– Audio Track Mixer page, set
REC Source to REC1 so that the signal of the REC
bus will be recorded on audio track 1.
Audio Track 1 REC Source: REC1
INPUT1 Pan: L000
INPUT1 REC Bus: Off
5. In the P0: Play/REC Preference page, set “Track
Select” to Audio Track 01.
3. In the P8: Insert Effect– Insert FX page, select the
desired effect and route it to REC bus 1.
IFX1 On/Off: On
The remaining steps are the same as step 3 and following
of the preceding section “Recording an external audio
source on audio track 1.” Please refer to that section for
details.
IFX1: the desired effect
Bus Sel.: Off
REC Bus: 1
Punch-in recording an external input
source on an audio track
In this example, we’ll show how to punch-in record a portion
of the track you recorded in “Recording an external input on
audio track 1.”
Don’t change the P0: Play/REC– Audio Input/ Sampling
page “Audio Input” settings, the P0: Play/ REC– Preference
page “Recording Setup (Audio Track)” settings, or the “P0:
Play/REC– Audio Track Mixer page REC Source settings.
We will use these settings as they are.
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Creating songs (Sequencer mode)
Setup
1. In the P0: Play/REC– Preference page, make sure that
Audio Track 01 is selected for the “Track Select”
parameter.
2. Use Recording Setup to specify how recording will
start.
In this example, choose punch-in recording.
Auto Punch In: on
M***–M***: Specify the range of measures for which
you want to record.
AUDIO TRK 01 Name, Take, Take No.: Specify the
region and wave file name that you want to record.
Note: If you set Recording Setup to Auto Punch In and
set “M***–M***” to the desired range of measures,
playback will occur until that range of measures, and then
only the specified range of measures will be recorded.
If you set Recording Setup to Manual Punch In, the
measures you specify by pressing the SEQUENCER
REC/WRITE switch or foot switch will be recorded. In
this case, press the SEQUENCER START/STOP switch
to play back the song. When you reach the measure at
which you want to start recording, press the
SEQUENCER REC/WRITE switch or the foot switch to
begin recording. When you reach the measure at which
you want to stop recording, press the REC/WRITE
switch or foot switch once again; recording will end.
Rehearse
If desired, you can simulate the action of recording without
actually recording. This will function just as if you were
recording, but no audio event, region, or WAVE file will be
created.
3. In “Recording Setup (Audio Track),” check the
“Rehearsal” option.
4. Use “Location” to specify the location at which you
want to start recording. Set this several measures
earlier than the region you specified for “M***–
M***”.
5. Press the SEQUENCER REC/WRITE switch.
You will enter record-ready mode.
Once you press the SEQUENCER REC/WRITE switch,
you will be unable to change the audio track selection in
“Track Select.”
6. Press the SEQUENCER START/STOP switch.
Playback will begin from the measure specified by
“Location,” and simulated recording will occur only in
the range of measures specified by “M***-M***”. Then
playback will resume, and will continue to the end of the
song.
Note: If the “Recording Setup (Audio Track)” parameter
“Auto Input” is Off, you will always be able to hear the
REC Source. For more information, see “Auto Input” on
page 527 of the Parameter Guide.
7. Press the SEQUENCER START/STOP switch to stop
recording.
8. In “Recording Setup (Audio Track),” uncheck the
“Rehearsal” option.
Record
9. Use “Location” to specify the location at which you
want to start recording. Set this several measures
100
earlier than the region you specified for “M***–
M***”.
10.Press the SEQUENCER REC/WRITE switch.
You will enter record-ready mode.
Once you press the SEQUENCER REC/WRITE switch,
you will be unable to change the audio track selection in
“Track Select.”
11.Press the SEQUENCER START/STOP switch.
Playback will begin from the measure specified by
“Location,” and recording will occur only in the range of
measures specified by “M***–M***”. Then playback
will resume, and will continue to the end of the song.
Note: If the “Recording Setup (Audio Track)” parameter
“Auto Input” is Off, you will always be able to hear the
REC Source.
12.Press the SEQUENCER START/STOP switch to stop
recording.
Listen to the recorded result
13.Press the SEQUENCER START/STOP switch to play
back the song.
Make output settings for the audio track as described
under “Listen to the recorded result” on page 98.
14.Press the SEQUENCER START/STOP switch to stop
playback.
Compare the recorded result
• Press the COMPARE switch (the COMPARE switch
LED will light), and play back.
The audio track prior to punch-in recording will play
back.
• Once again press the COMPARE switch (the
COMPARE LED will go dark), and play back.
The audio track following punch-in recording will play
back.
Audio recording Other variations of audio track recording
Other variations of audio track recording
Bouncing audio tracks
Bouncing lets you combine two or more tracks into either a
single mono track, or a stereo pair.
In this example, we’ll show how audio tracks 1 and 2 can be
bounced to audio track 3.
– Audio TRK 03 –
Name, Take, Take No.: Specify the desired region and
WAVE filename to be recorded.
6. In the P0: Play/REC– Audio Track Mixer page, set
REC Source so that L will be recorded on audio track
3.
Before you proceed, you’ll need to record onto audio tracks
1 and 2. To record on audio track 2, make settings as
described under “Recording Setup” on page 95, but in the
P0: Play/REC– Audio Track Mixer page, set Audio Track 2
REC Source to REC1, and in the P0: Play/REC– Preference
page, set “Track Select” to Audio Track 02.
Audio track 3 REC Source: L
Setup
Mode: Mono
1. In the P0: Play/REC– Audio Track Mixer page, set up
both audio tracks 1 and 2 as shown below:
From: Audio Track 01: checked
Note: The settings up to this point are the same as if you
used the page menu command Auto HDR/Sampling
Setup to execute Bounce Audio Track with the following
settings. For more information, see “Bounce Audio
Track” on page 630 of the Parameter Guide.
Audio Track 02: checked
Play/Rec/Mute: Play
To: Audio Track 03
Solo On/Off: On
When bounce-recording audio tracks, turn the
metronome off (Metronome Setup “Sound”: Off).
Pan: L000
Volume: 127
Record
Note: By turning on Solo for both AUDIO 1 and AUDIO
2, you are specifying that only these audio tracks will be
heard and recorded.
7. Set “Location” to the beginning of the song (001:
01.000).
2. In the P8: Insert Effect– Audio Routing 1 page, set up
both audio tracks 1 and 2 as shown below:
Bus Select (IFX/Indiv. Out Assign): L/R
Send 1 (MFX1) and Send 2 (MFX2): 000
Note: If you want to apply insert effects to the audio
tracks, set Bus Select (IFX/Indiv. Out Assign) to your
choice of IFX1–IFX12. Then choose L/R for the Bus
Select setting (P8: Insert Effect– Insert FX page) that
follows the insert effect you’re using.
Note: If you want to apply master effects to an audio
track, use “Send 1 (MFX1)” and “Send 2 (MFX2)” to
adjust the send levels to the master effects. If you are
using an insert effect on the audio track, adjust the Send1
and Send2 that follow the insert effect you’re using.
3. Press the SEQUENCER START/STOP switch to play
back the song, and adjust the balance of the audio
track 1 and 2 output levels.
The output level of each audio track is adjusted in the P0:
Play/REC Audio Track Mixer page by the audio track 1
and audio track 2 Volume setting.
When you’ve finished making adjustments, stop
playback.
4. In the P0: Play/REC– Preference page, use “Track
Select” to select Audio Track 03.
5. In Recording Setup, Recording Setup (Audio Track),
specify the desired recording method.
8. Press the SEQUENCER REC/WRITE switch.
You will be in record-ready mode.
Once you press the SEQUENCER REC/WRITE switch,
you will be unable to change the audio track selection in
“Track Select.”
9. Press the SEQUENCER START/STOP switch.
Playback will begin, and bounce-recording will also
begin simultaneously.
When the audio tracks have finished playing back,
recording will also end. Song playback will also end
automatically.
Listen to the recorded result
10.In the P0: Play/REC– Audio TRACK Mixer page,
mute the playback of both audio tracks 1 and 2.
Play/Rec/Mute: Mute
Solo On/Off: Off
11.Press the SEQUENCER START/STOP switch to play
back the song.
Make output settings for audio track 3 as described in
“Listen to the recorded result” on page 98.
12.Press the SEQUENCER START/STOP switch to stop
playback.
If you want to create a WAVE file on the disk from a song
that includes audio tracks, see “Resampling a song to
create a Wave file” on page 154.
– Recording Setup –
Overwrite: on
– Recording Setup (Audio Track) –
Automation Only: unchecked
Source Direct Solo: unchecked
Auto Input: checked
Rehearsal: unchecked
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Creating songs (Sequencer mode)
Recording automation events for pan,
EQ, and volume etc. on an audio track
All audio track parameters (Pan, Volume, Send1/2, and
EQ) can be recorded in realtime. In this example, we’ll
record Pan and Volume changes on audio track 3.
Go to the P0: Play/REC– Audio Track Mixer page, and use
“Track Select” to select Audio Track 03 as the track to be
recorded. You could use the VALUE controller to operate a
desired parameter, but using the control surface lets you mix
up to eight tracks simultaneously.
Setup
1. Go to the P0: Play/REC– Preference page.
2. In Recording Setup, Recording Setup (Audio Track),
choose the desired recording method.
In this example, we’ll choose overdub recording so that
we can record repeated passes, adding more automation
data on each pass.
– Recording Setup –
Overdub: on
– Recording Setup (Audio Track) –
Automation Only: checked
If you record without checking “Automation Only,”
audio events will also be recorded. Note that this will
erase and overwrite the audio events that already exist.
3. Go to the P0: Play/REC– Control Surface page.
4. Press the CONTROL ASSIGN AUDIO switch several
times so that the HDR1–8 LED located at the right of
the switch is lit.
5. In the center of the right edge of the LCD, check
“Link KBD REC Trk to Ctrl Surface.”
If you check this and press the MIX SELECT 3 switch,
each knob will control audio track 3, and at the same time
“Track Select” will switch to Audio Track 03.
Press the SEQUENCER START/STOP switch to play
back, and operate the knobs and sliders etc. to rehearse
your mix.
If MIXER KNOB is set to CHANNEL STRIP, knob 1
will control pan, knobs 2–6 will control EQ, and knobs 7
and 8 will control the send levels. Use slider 3 to adjust
the volume of audio track 3.
When you’ve finished rehearsing, press the
SEQUENCER START/STOP switch to stop.
Press the LOCATE switch.
102
Record
6. Press the SEQUENCER REC/WRITE switch.
The metronome will begin sounding, and you will be in
record-ready mode.
7. Press the SEQUENCER START/STOP switch.
After a two-measure count, recording will begin. Use the
sliders etc. to control the volume.
Note: When recording automation events, you can use
quantization, the resolution setting, and the compare
function in the same way as for a MIDI track.
8. When you’re finished recording, press the
SEQUENCER START/STOP switch to stop
recording.
9. Listen to the recorded result.
Press the SEQUENCER START/STOP switch to play
back.
If you want to record again, use the Compare function
(press the COMPARE switch) to re-record.
10.If you want to continue adding automation events,
repeat the recording procedure from step 6.
Audio recording Placing a WAVE file in an audio track
Placing a WAVE file in an audio track
You can play back a WAVE file by importing it into a region
of an audio track.
Important: You can only directly import WAVE files from
the internal disk. To use files from CDs or external USB
devices, you must first copy them to the internal disk, and
then import the copied file into the Song.
5. Select the region into which you want to import the
WAVE file, and press the Import button located
below. A dialog box will open.
Note: To be imported, WAVE files must be at 44.1kHz or 48
kHz sample rate, and less than 80 minutes long.
1. Go to the P4: Track Edit page.
2. Use “Track Select” to select the audio track in which
you want to place the WAVE file.
3. Choose the “Audio Event Edit” page menu command
to open the dialog box.
Event
6. Use “Drive Select,” “Open,” and “Up” to navigate to
the desired directory, select the WAVE file you want to
import, and press the OK button to import the file
into the region.
4. Select the event at which you want to insert a region,
and press the Insert button located at the lower left. A
dialog box will open.
When selecting a WAVE file, you can press the Play
button to audition the files to help you find the desired
one.
You can also use the “Name” field located above to
assign a name to the region. Edit the “Name” after you’ve
selected a file.
Note: The OK and Play buttons are available only if
you’ve selected a 44.1 kHz or 48 kHz WAVE file.
Otherwise, the button will be grayed-out and you won’t
be able to press it.
Editing a region will affect the audio track for the entire
song. Use caution when editing a region that’s already
used in an audio track.
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Creating songs (Sequencer mode)
7. Press the OK button, the selected region will be placed
in the audio track.
8. Select the event that you want to edit, and use the
location parameters “Measure” and “Beat Tick” to
edit the location of the event.
You can’t place two or more events at the same location.
9. Press the Done button.
10.Press the SEQUENCER START/STOP switch, and
make sure that the WAVE file plays back.
You can press the COMPARE switch to return to the state
prior to the edit you just performed.
We’ve kept this example simple, but you can also perform
editing operations such as changing the playback position of
the WAVE file in steps of a single sample, changing the
location relative to an anchor point, or crossfading two audio
events. For more information, see “Audio Automation Edit”
on page 639 of the Parameter Guide.
104
Song editing Songs
Song editing
You can apply a variety of editing operations to Songs, MIDI
Tracks, and Audio Tracks, as described below.
Songs
Initialize Song: This command erases all data in the current
song, and restores all parameters to their default states. For
more information, see “Initialize Song,” as described on
page 623 of the Parameter Guide.
Copy From Song: This command copies all of the setting
data and musical data from the specified song to the
currently selected song. For more information, see “Copy
From Song” on page 623 of the Parameter Guide.
FF/REW Speed: This allows you to set the speed at which
fast-forward or rewind will occur when you press the FF or
REW buttons. For more information, see “FF/REW Speed”
on page 624 of the Parameter Guide.
GM Initialize: This command transmits a GM System On
message to the Sequencer mode, resetting all MIDI tracks to
the GM settings. For more information, see “GM Initialize”
on page 625 of the Parameter Guide.
Bounce All Tracks To Disk: This command records all
tracks in the song to a single stereo WAVE file. For more
information, see “Bounce All Tracks To Disk” on page 634
of the Parameter Guide.
Set Song Length: This command changes the length of the
specified song. When it is executed, the length of the master
track will change, and the number of measures played will
change. For more information, see “Set Song Length” on
page 640 of the Parameter Guide.
Auto HDR/Sampling Setup
This command walks you through making the appropriate
settings for various common operations, including disk
recording, audio track bouncing, sampling/resampling (intrack sampling, etc.), and creating an audio CD. For more
information, see “Auto HDR/Sampling Setup” on page 628
of the Parameter Guide.
Initialize: Sets audio recording and sampling parameters to
their default values.
HDR (Audio Track Recording): Makes the necessary
settings for recording external audio, such as guitars or
vocals.
Bounce Audio Track: Makes the necessary settings for
bounce-recording audio tracks.
2ch Mix to Disk: Makes settings for resampling a
completed song to a stereo WAVE file. You can then burn
these files to a CD on a USB CD-R/RW drive (not included),
using the Disk mode Make Audio CD page.
Resample SEQ Play: Makes settings for resampling.
In-Track Sampling: Makes settings for sampling external
audio using In-Track Sampling.
MIDI Tracks
Track editing
MIDI Step Recording: It allows you to specify the length
and velocity of each note numerically, and to input MIDI
data, the pitches, from the keyboard. You can use the Rest
button and Tie button to enter a rest or tie. For more
information, see “MIDI Step Recording” on page 635 of the
Parameter Guide.
MIDI Event Edit: Here you can edit individual events of
MIDI data. For more information, see “MIDI Event Edit” on
page 636 of the Parameter Guide.
Bounce Track: This command combines the musical data of
the bounce source and bounce destination tracks, and places
the combined data in the bounce destination. All musical
data in the bounce source will be erased. For more
information, see “Bounce Track” on page 641 of the
Parameter Guide.
Create Control Data: This command creates control
change, aftertouch, pitch bend, or tempo data in the specified
region of a MIDI track or the master track. For more
information, see “Create Control Data” on page 646 of the
Parameter Guide.
Erase Control Data: This command erases data such as
control changes, after touch, pitch bend, or tempo in the
specified range. For more information, see “Erase Control
Data” on page 647 of the Parameter Guide.
Quantize: This command corrects the timing of MIDI data
of the type you specify (note data, control change,
aftertouch, pitch bend, program change, etc.) in the track.
For more information, see “Quantize” on page 647 of the
Parameter Guide.
Shift/Erase Note: This command shifts (moves) or erases
the specified note numbers in a specified MIDI track and
range of measures. For more information, see “Shift/Erase
Note” on page 648 of the Parameter Guide.
Modify Velocity: This command modifies the velocity
values of notes in the specified area so that they will change
over time according to a selected curve. For more
information, see “Modify Velocity” on page 649 of the
Parameter Guide.
Pattern editing
Step Recording (Loop Type): Here you can perform step
recording into a pattern. For more information, see “Step
Recording (Loop Type)” on page 652 of the Parameter
Guide.
105
Creating songs (Sequencer mode)
Event Edit: Here you can edit individual events of the
musical data in a pattern. For more information, see “Event
Edit” on page 653 of the Parameter Guide.
Put To MIDI Track: This command places a pattern into a
MIDI track. For more information, see “Put To MIDI Track”
on page 654 of the Parameter Guide.
Pattern Parameter: This command specifies the number of
measures and the time signature of the selected pattern. For
more information, see “Pattern Parameter” on page 653 of
the Parameter Guide.
Copy To MIDI Track: This command copies the specified
area of musical data from the specified pattern to a MIDI
track as musical data. For more information, see “Copy To
MIDI Track” on page 655 of the Parameter Guide.
Erase Pattern: This command erases the data from the
selected pattern. For more information, see “Erase Pattern”
on page 653 of the Parameter Guide.
Convert to Drum Track Pattern: This command converts
a user pattern into a user drum track pattern, which can then
be used with the Drum Track in any mode. For more
information, see “Convert to Drum Track Pattern” on
page 655 of the Parameter Guide.
Copy Pattern: This command copies the settings and
musical data of the selected pattern to another pattern. For
more information, see “Copy Pattern” on page 653 of the
Parameter Guide.
Bounce Pattern: This command combines the musical data
of the bounce source pattern and bounce destination pattern,
and places the combined musical data in the bounce
destination. For more information, see “Bounce Pattern” on
page 653 of the Parameter Guide.
Load Drum Track Pattern: This command loads a user
Drum Track pattern into a user pattern. For more
information, see “Load Drum Track Pattern” on page 655 of
the Parameter Guide.
Erase Drum Track Pattern: This erases the specified Drum
Track pattern. For more information, see “Erase Drum Track
Pattern” on page 634 of the Parameter Guide.
Get From MIDI Track: This command takes musical data
from a MIDI track and loads it into the specified pattern. For
more information, see “Get From MIDI Track” on page 654
of the Parameter Guide.
Common to MIDI tracks and audio tracks
Erase Track: This command erases the data from the
specified track. It is not possible to erase the master track by
itself. For more information, see “Erase Track” on page 641
of the Parameter Guide.
Copy Track: This command copies musical data from the
copy source track to the specified track. For more
information, see “Copy Track” on page 641 of the Parameter
Guide.
Erase Measure: This command erases the specified type(s)
of musical data from the specified range of measures. The
Erase Measure command can also be used to remove only a
specific type of data. Unlike the Delete Measure command,
executing the Erase Measure command does not cause the
subsequent measures of musical data to be moved forward.
For more information, see “Erase Measure” on page 642 of
the Parameter Guide.
Delete Measure: This command deletes the specified
measures. When the Delete Measure command is executed,
the musical data following the deleted measures will be
moved towards the beginning of the sequence. For more
information, see “Delete Measure” on page 642 of the
Parameter Guide.
Insert Measure: This command inserts the specified
number of measures into the specified track. When you
execute the Insert Measure command, the musical data
following the insert location will be moved backward. For
more information, see “Insert Measure” on page 643 of the
Parameter Guide.
Repeat Measure: This command repeatedly inserts the
specified measures for the specified number of times. When
you execute the Repeat Measure command, the measures
will be inserted following the measure specified by “To End
of Measure,” and musical data following the inserted data
will be moved backward. For more information, see “Repeat
Measure” on page 644 of the Parameter Guide.
106
Copy Measure: This command copies the measures of
musical data specified as the “From” source to the beginning
of the measure specified as the “To” location. When you
execute the Copy Measure command, the existing track data
at the copy destination will be rewritten. For more
information, see “Copy Measure” on page 645 of the
Parameter Guide.
Move Measure: This command moves the specified
measures of performance data to another measure. When
you execute the Move Measure command, the performance
data following the move-source measures will move forward
by the corresponding number of measures, and the
performance data following the move-destination will move
backward (i.e., later in the song) by the same number of
measures. For more information, see “Move Measure” on
page 645 of the Parameter Guide.
Song editing Audio Tracks
Audio Tracks
Audio Event Edit: This command lets you edit individual
audio events that have been recorded, or trim (i.e., make
adjustments in steps of a single sample to) the region used by
audio events. For more information, see “Audio Event Edit”
on page 637 of the Parameter Guide.
Audio Automation Edit: This lets you edit individual
automation data events. For more information, see “Audio
Automation Edit” on page 639 of the Parameter Guide.
Region Edit: Here’s how to edit the regions used in an audio
track. In addition to Importing or Pasting a region, you can
use the Trim dialog box to specify the range in which a
WAVE file will play back. For more information, see
“Region Edit” on page 649 of the Parameter Guide.
Volume Ramp: This command modifies the data values
(volume) of the specified area. You can gradually increase
(Fade In) or decrease (Fade Out) the volume between the
start and end points. For more information, see “Volume
Ramp” on page 651 of the Parameter Guide.
Copy Song’s Tempo to Region: This command changes the
tempo used by the specified regions of audio events so that
the audio event tempo will match the tempo of the location
in which those regions play back.
If the tempo of an audio track matches the tempo of the
MIDI tracks, executing this command to match the region
tempo will ensure that the “Adjust Region to Song’s Tempo
(Time Stretch)” or “Adjust Song’s Tempo to Region”
commands can be executed correctly. For more information,
see “Copy Song’s Tempo to Region” on page 651 of the
Parameter Guide.
Adjust Song’s Tempo to Region: This command creates
tempo events in the master track to match the tempo of the
regions used by the audio events in the specified range.
This is useful if you create audio tracks in a previouslyrecorded region, and want all tracks (including MIDI tracks)
to match that region. For more information, see “Adjust
Song’s Tempo to Region” on page 652 of the Parameter
Guide.
Adjust Region to Song’s Tempo (Time Stretch): If the
tempo of regions used by audio events in the specified range
differs from the tempo of the range in which those regions
play back, you can execute Time Stretch (Sustaining) to
create new WAVE files and regions. Audio events that use
the newly created regions will also be created automatically.
If you want to modify the tempo of an existing song, it is
convenient to first specify the desired tempo in the master
track, and then execute this command so that the audio
track(s) will be created according to the new tempo. For
more information, see “Adjust Region to Song’s Tempo” on
page 652 of the Parameter Guide.
107
Creating songs (Sequencer mode)
Using RPPR (Realtime Pattern Play/Record)
This section explains how to assign a pattern to RPPR, and
how to play and record using RPPR.
Creating RPPR data
1. Create a new song, and choose a drum program for
MIDI track 1.
2. Select the RPPR Setup tab of the P5: Pattern/RPPR
page. In this page, the RPPR function is automatically
turned on.
3. Select the key to which the pattern will be assigned.
Select C#2. Hold down the ENTER switch and play a
key, or use the scroll bar located at the right to find the
key.
Note: C2 and lower keys are used to stop playback, and
cannot be assigned.
8. Assign patterns to other keys.
Select the D2 parameter, and press the Paste button.
The “Assign,” “Bank,” “Pattern Name,” “Track Name,”
“Mode,” “Shift,” and “Sync” settings you made in steps 5
and 6 will be copied automatically.
9. Modify only the “Pattern Name.” Select “Pattern
Name,” and press the
switch to select P01.
10.Select the D#2 parameter, and press the Paste button.
The “Assign,” “Bank,” “Pattern Name,” “Track Name,”
“Mode,” “Shift,” and “Sync” settings you made in steps 5
and 6 will be copied automatically.
4. Check “Assign” for C#2.
As you did in step 9, set “Pattern” to P02.
5. Set “Bank” to Preset, and set “Pattern Name” to P00.
Note: When making RPPR settings, you can use the Copy
button and Paste button in this way to efficiently assign
the “Bank,” “Pattern Name,” and “Track Name” etc. to
each key.
11.As described above, assign several other patterns such
as P03 and higher.
12.Press the C#2 key. The assigned pattern will play.
Take your finger off the C#2 key, and press the D2 key.
The pattern will change, and playback will begin. At this
time, the pattern operation will depend on the “Sync” and
“Mode” setting.
Set “KEY” to C#2, and set “Sync” to Measure. Make the
same setting for D2 (See the diagram above).
Now press the notes consecutively. Notice that the
patterns operate in a different way.
6. Set “Track Name” to T01.
The selected pattern will be played according to the
settings (program, etc.) of the track you select here.
7. With the C#2 parameter selected, press the Copy
button.
108
With the “Measure” setting, patterns will be handled in
one-measure units. The second and subsequent patterns
will start in sync with the end of previously played
pattern.
Using RPPR (Realtime Pattern Play/Record) RPPR playback
If you change the “Mode” setting to Once, the entire
pattern will playback to the end even if you release your
finger from the keyboard immediately.
13.To stop playback, either press the same key once
again, or press the C2 or lower key.
RPPR playback
Let’s use the RPPR you created to perform in the P0:
Play/REC– MIDI Track Prog Select/Mixer page.
1. Select the P0: Play/REC– MIDI Track Prog Select/
Mixer page (See the diagram below).
2. Check the “RPPR” check box.
The RPPR function will be turned on. Set the on/off for
each song.
If you wish to trigger the RPPR function from an external
MIDI device, use the MIDI channel that is selected for
“Track Select.”
4. To turn off the RPPR function, uncheck the RPPR
check box.
Play RPPR while a Song plays back
3. Play the keyboard, and patterns will begin playing
according to the RPPR settings.
RPPR can be played in synchronization with the playback of
a song.
• Pattern playback for a key with a “Sync” setting of Beat
or Measure will sync to the playback of the first pattern.
For more information, see “Sync” on page 591 of the
Parameter Guide.
Pattern playback for a key with a “Sync” setting of SEQ will
synchronize to the playback of the song. (See “Sync” on
page 591 of the Parameter Guide.) Start the song playback,
and then press the key. The pattern playback will start in
synchronization with the measures of the song.
• If you are playing the pattern in synchronization (when
“Sync” is Beat, Measure, or SEQ), the pattern will start
accurately if you play the note slightly earlier than the
timing of the beat or measure. Even if you play the note
slightly later than the beat or measure (but no later than a
32nd note), it will be considered to have started at the
beat or measure, and the beginning of the pattern will be
compressed so that the remainder of the playback will be
correct.
Synchronization will be lost if you use the << REW or FF
>> switches while a song is playing.
Note: If you want RPPR pattern playback to begin at the
moment that song playback begins, it is a good idea to insert
an empty measure containing no musical data before the
song playback begins.
Note: If the song is stopped, the pattern will synchronize to
the timing of KARMA.
Recording an RPPR performance
You can record RPPR performances in real-time.
If you are using only one track (such as MIDI Track 01), set
“Track Select” to the desired track, and un-check Multi Rec.
On the other hand, even if RPPR uses only one track, use
multi-track recording if you will be selecting another track in
“Track Select” and recording its performance at the same
time.
You should also select multi-track recording if you specified
the RPPR data using multiple tracks rather than just a single
track, and want to simultaneously record the performance of
multiple tracks.
Note: The RPPR pattern will be recorded as performance
data on the tracks used by the pattern.
In this example, we’ll explain how you can record an RPPR
performance and a keyboard performance at the same time.
Before you continue, use the P0: Play/REC– MIDI Track
Prog Select/Mixer page to assign a drum program to MIDI
track 1, and a bass program to MIDI track 2.
1. Assign several keys starting with C#2 to preset
patterns.
Check the C#2 “Assign” setting, and set “Bank” to Preset
and “Pattern Name” to the desired preset pattern. For
“Track Name,” select MIDI track 1 (T01) to which you
assigned a drum program.
2. For each RPPR pattern, set “Sync” to SEQ (See the
diagram above).
RPPR On
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Creating songs (Sequencer mode)
With a setting of SEQ, patterns played by the RPPR
function while the sequencer is playing or recording will
start in synchronization with the measures of the
sequencer.
Sync settings
Key 1 on Key 2 on
Key 1 off
Song
Patterns 1 and 2 are set to
Mode=Manual, and have
identical Sync settings
Sync: Off
Pattern 1
Pattern 2
Sync: Beat
Pattern 1
Pattern 2
Sync: Measure
Pattern 1
Pattern 2
Sync: SEQ
Pattern 1
6. Press the SEQUENCER REC/WRITE switch to enter
record-ready mode.
7. For the tracks you will be recording (MIDI Track 1,
2), press Play/Rec/Mute to make them indicate REC.
Make sure that the tracks you’re not recording are
indicated as Play or Mute.
8. Press the LOCATE switch to set the location to
001:01.000.
9. Press the SEQUENCER START/STOP switch, and
then press a key that plays an RPPR pattern.
If, during the pre-count before recording, you press a key
that’s assigned to an RPPR pattern, the pattern will begin
playing (and being recorded) the moment that recording
begins.
Record the RPPR pattern playback and keyboard
performance.
When recording the playback of patterns triggered by
RPPR, the timing of the recorded events may be slightly
skewed. If this occurs, try setting “REC Resolution” to a
setting other than Hi.
10.When you are finished performing, press the
SEQUENCER START/STOP switch.
Recording will end, and the sequencer will return to the
location at which recording began.
Pattern 2
3. Select the P0: Play/REC– MIDI Track Prog
Select/Mixer page.
4. Check the “RPPR” check box, and set “Track Select”
to MIDI Track 02.
When the RPPR function is on, pressing a key to which a
pattern is assigned will cause the assigned pattern to start
playing, regardless of the track that’s selected in “Track
Select.”
Keys to which patterns are not assigned can be played in
the usual way. You can play the program that’s assigned
to the MIDI track you select here.
5. Since you want the tracks you play via RPPR and the
track you play from the keyboard to be recorded at
the same time, check the Multi REC check box.
Note: If Recording Setup is set to “Loop All Tracks,” it
will not be possible to select Multi REC. Set the
Recording Setup to Overwrite.
110
If you made a mistake during your performance or would
like to re-record, you can use the Compare function
(press the COMPARE switch) to re-record as many times
as you wish.
11.If you want to record other tracks, un-check the Multi
REC (See step 5) or “RPPR” (See step 4) check boxes
as necessary.
Sampling in Sequencer mode Recording an RPPR performance
Sampling in Sequencer mode
Sampling is still available in Sequencer mode - which can be
very convenient. The main areas of functionality are
summarized below. For more information, see “Sampling in
Sequencer mode” on page 153.
• Multisample etc. you create can be played back in
Sequencer mode together with internal programs.
• Time Slice (in Sampling mode) lets you divide up a
rhythm loop sample, and create playback data that
triggers the divided samples at the appropriate timing.
You can play back this performance data in Sequencer
mode, and adjust the playback tempo without affecting
the pitch of the rhythm loop sample. You can even
exchange the note numbers of the performance data or
change its timing to transform the original rhythm loop
sample into a completely new rhythm loop.
• In-Track Sampling lets you sample an external audio
source that’s playing along with the song, and
automatically create note data in the track to play this
sample at the correct time.
• You can resample your completed songs to WAVE files,
and create an audio CD by burning those WAVE files in
Disk mode.
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Creating songs (Sequencer mode)
Saving your Song
This section explains how to save your song on the internal
disk.
To ensure that your data will be reproduced perfectly, we
recommend that you use Save All to save your song. This
saves your sounds, samples, and Song at the same time, with
names to tie them together:
• Programs, Combinations, global settings, Drum Kits,
Wave Sequences, user Drum Track patterns, and Set
Lists
• Songs, including any audio data
• Sampling Mode Multisamples and samples
• Links to loaded EXs and User Sample Bank data
Note: WAVE files created by recording audio tracks will be
moved to a different directory. For details, see “How audio
data is stored on the disk” on page 92.
When you turn off the power, the Sequencer mode
settings, recorded songs, and user patterns will be lost.
User drum patterns will be retained, however.
To save your data, proceed as follows.
1. Make sure that the media is able to save data.
(“Setting up media”)
2. Press the DISK button to enter Disk mode.
3. Select the Disk–Save page by pressing the File tab,
and then the Save tab.
4. Make sure that “Drive Select” is set to
HDD:INTERNAL HD.
5. If the drive contains directories, select the directory in
which you want to save the data.
Press the Open button to move to a lower level of the
directory structure, or the Up button to move to a higher
level.
If you want to create a new directory, move to the level at
which you want to create the directory, and execute the
Utility page menu command “Create Directory.”
6. Press the page menu button to open the page menu,
and select “Save All.”
7. Use the text edit button to enter a filename.
8. Press the OK button to start the Save operation.
9. When saving is complete and you return to the Save
page, the LCD screen will show the resulting files.
For more details, see “Saving memory contents to disk” on
page 189.
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Other notes about Sequencer mode KRONOS sequencer file formats
Other notes about Sequencer mode
KRONOS sequencer file formats
The KRONOS sequencer supports both the internal
KRONOS Song format, and Standard MIDI Files.
If you like, you can convert data between the two formats,
simply by loading the data in one format and then saving it
in the other.
For more information, see “Save to Standard MIDI File” on
page 843 of the Parameter Guide, and “Save SEQ” on
page 841 of the Parameter Guide.
KRONOS Song format
This is the native KRONOS sequencer format, which is
required to ensure that all KRONOS-specific data is saved
correctly.
Standard MIDI Files
You can also load and save Standard MIDI Files (SMF), for
compatibility with other sequencers. Note that some
KRONOS-specific data may not be maintained when in
SMF files.
GM, XG, and GS System Exclusive Data
The KRONOS sequencer can record System Exclusive
messages, including XG or GS data. For more information,
see “System Exclusive events supported
in Sequencer mode” on page 659 of the Parameter Guide.
Note that GM, XG, and GS exclusive messages do not
affect the KRONOS when they are played back.
OASYS Song Format
The KRONOS sequencer can load and play the OASYS
song format, with the following caveats:
• The KRONOS preloaded Programs are not the same as
those of the OASYS. Please load the PCG file saved
with the Song.
• The resolution of the KRONOS sequencer is higher than
that of the OASYS (480 ppq vs. 192 ppq). Playback
timing may be subtly different.
• Audio directory names must be edited slightly. OASYS
files were limited to 8 characters, and so the name of the
audio file directory was typically abbreviated. For
instance, if the .SNG file was named
WAMOZART.SNG, the OASYS audio folder would be
named WAMOZA_A.
The KRONOS supports long file names, and expects to
see the entire .SNG name in the audio folder name.
Before you load an OASYS .SNG file, edit the name of
the audio directory so that it matches the KRONOS
standard: the same name as the .SNG file, followed by
“_A” (for “Audio”). In the case above, you’d rename
“WAMOZA_A” to “WAMOZART_A.”
The Compare function
When you perform realtime recording, step recording, or
track editing, this function allows you to make before-andafter comparisons.
If you continue editing when the COMPARE switch is lit,
the key will go dark. This now becomes the musical data that
will be selected when the COMPARE switch is dark. Any
previous unsaved edits will be lost.
Operations for which Compare is
available
In general, MIDI track, audio track and pattern event data
can not be returned to its original state.
Comparing song parameters is possible only during song
editing (when executing a page menu command).
• Recording to a MIDI track
• Recording to a audio track
• Track Edit
All commands except for the page menu commands
“Memory Status,” “FF/REW Speed” and “Set Location”
of the P4: Track Edit– Track Edit page.
• Recording to a pattern
• Pattern Edit
All commands except for the page menu commands
“Memory Status” and “FF/REW Speed” of the P5:
Pattern/RPPR– Pattern Edit page.
• Song Edit
P0–P3 and P7–P9 pages: Page menu commands “Delete
Song” and “Copy From Song”
Comparing after sampling
The Convert to Program and Convert to Seq Event
options in the Select Sample No. dialog affect the way that
Compare works with sampling in Sequencer mode. If both
are enabled, Compare affects sequencer events and returns
Multisamples and Samples to the state prior to sampling;
unwanted samples will not remain. If only Convert to Seq
Event is enabled, Compare affects only sequencer events. If
neither are enabled, Compare has no effect on the sampling
process.
For more information, see “Select Sample No.” on page 627
of the Parameter Guide.
The Program will not be affected by the Compare, and
will not return to its prior state.
WAVE files are not deleted when you compare edits to
audio tracks. To delete a WAVE file you no longer need,
use the menu command “Delete Unused WAV Files,” as
described on page 846 of the Parameter Guide.
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Creating songs (Sequencer mode)
Operations for which Compare is not
available
• Editing song parameters
Memory Protect
Before you record a track or pattern, or edit the musical data,
you will need to turn off the memory protect setting in
Global mode. For more information, see “Memory protect”
on page 187.
About MIDI
Track status
You can specify whether each track will use the internal
KRONOS sounds, or use an external MIDI tone generator.
When the Track Status (P2– MIDI page) is set to INT or
BTH, operating KRONOS’s keyboard and controllers will
sound and control KRONOS’s own tone generator.
When Status is set to EXT, EX2 or BTH, operating
KRONOS’s keyboard and controllers will sound and control
the external tone generator. (The MIDI channel of the
external tone generator must match the MIDI Channel of
the track that is set to EXT, EX2 or BTH.)
If you wish to use the Sequencer mode of the instrument as a
16-track multi-timbral tone generator, select INT or BTH.
For more information, see “Status” on page 563 of the
Parameter Guide.
Synchronizing the sequencer with an
external MIDI device
The record/playback tempo of KRONOS’s sequencer can be
synchronized to an external MIDI device such as a
sequencer or rhythm machine. For more information, see
“Synchronizing the playback of KARMA or sequencer” on
page 1128 of the Parameter Guide.
114
• Page menu commands other than those listed under
“Operations for which Compare is available,” above.
Set Lists
Set List Overview
Set Lists make it simple to play and organize any of the
sounds loaded into the KRONOS, without regard for what
bank they’re stored in or whether they’re Programs,
Combinations, or even Songs.
Large on-screen buttons make sound selection fast and
foolproof, and the Program Up or Down footswitch
assignments can be used for hands-free sound changes. Cut,
copy, paste, and insert tools make re-ordering a snap.
Smooth Sound Transitions (SST) let the previous sound and
its effects ring out naturally, making it easy to change sounds
during a live performance. SST is active in all of the
KRONOS modes, but Set Lists give you greater control over
the transitions. You can fine-tune the ring-out time for each
sound, so that (for instance) one sound fades out very
quickly, while another sound’s delays continue to repeat for
ten or twenty seconds.
Long comments (up to 512 characters) let you store lyrics or
performance notes with the sound.
Set Lists are great for live performance, but they’re also
handy for organizing sounds in general. For example, you
can create a Set List with all of your favorite String sounds,
including both Programs and Combinations.
Set Lists and Slots
A Set List has 128 Slots, each of which can be assigned to
any Program, Combination, or Song. 16 Slots are shown at
once, as large on-screen buttons. You can have 128 Set Lists
in memory at once. One way of thinking about this is that a
Set List is a “bank” of Slots.
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Set Lists
Selecting and playing sounds
Set List Play page
Set List Name
Slot Name
Slot Comments
Selected Slot
Previous
button
Next button
Selecting Set Lists
The large name in the Set List display is the name of the
current Slot, so that you can easily see the sound that you’re
playing. The Set List name is in smaller text at the top lefthand corner of the screen.
Selecting with the front-panel buttons
You can select Set Lists using the front-panel buttons,
without touching the screen. To do so:
1. Press the SET LIST button to enter Set List mode.
2. Press the Play tab to go to the Set List P0: Play page.
The main Play page shows the 16 Slot buttons, the
comments for the current Slot, and an overview of the EQ.
3. Touch the Set List name to select it.
The Set List name will become highlighted.
4. Use the VALUE controllers to select the desired Set
List.
You can do any of the following:
• Turn the Value dial.
• Press the Inc
or Dec
buttons.
• Use the numeric keypad [0]–[9] to specify the number,
and press the ENTER key.
The VALUE slider is reserved for modulation, and sends
CC#18 when the Slot contains a Program or Combination.
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Once you’ve selected a Set List, you can select Slots within
the list. For more information, see “Selecting Slots,” below.
Selecting via the touch-screen
You can select Set Lists from an on-screen list, as well.
1. Press the Set List popup button (to the left of the Set
List name).
The Set List Select dialog appears.
2. Press one of the names in the list to select a Set List.
The selected Set List will be highlighted, and the keyboard
will immediately switch to the first Slot in the Set List.
3. If you like, play a few notes to hear the sound of the
first Slot in the Set List.
4. When you are satisfied with the selected Set List, press
the OK button to close the popup menu.
Alternately, you can press the Cancel button to return to the
previously selected Set List.
Selecting and playing sounds Selecting Slots
Selecting Slots
Selecting within the current group of 16
If you’re on the 16th Slot on the current page, pressing Inc
will advance you to the first Slot of the next group of 16.
To select one of the 16 Slots shown on the display:
Program Up/Down footswitch
1. Press the desired button.
The Program Up (or Program Down) footswitch always
steps through the list, regardless of whether or not one of the
buttons has the UI focus.
The button becomes highlighted, and the large Slot
number/name at the top of the screen are updated
accordingly.
Also notice that the comments area, above the Slot buttons,
updates to show the contents for the selected Slot.
The assignable footswitch can be assigned to Program Up or
Program Down on the Global mode Controllers page.
Wrapping between Set Lists
Selecting outside the current group of 16
Inc/Dec and Program Up/Down wrap between Set Lists. For
instance:
To select a new Slot which is not within the current group of
16:
1. Select Slot 127 in Set List 5.
1. Use the next and previous arrow-buttons at the
bottom of the screen to browse through the groups of
16.
The labels for next/previous will vary depending on the
current group of 16; for instance, if the current group is 0-15,
the buttons will show 112-127 and 16-31, respectively.
2. Press Inc, or the Program Up footswitch.
Slot 0 of Set List 6 is selected.
Note that when changing to a different Set List, any edits to
the Set List will be lost.
Selecting Slots and Set Lists via MIDI
As you browse, the current selection does not change until
you actually press one of the 16 buttons.
MIDI In
2. When the desired group of 16 is displayed, press the
button for the desired Slot.
Program Change messages on the Global Channel select the
Slot, and Bank Select messages on the Global Channel select
the Set List.
The button becomes highlighted, and the comments and
large Slot number/name at the top of the screen are updated
accordingly.
Selecting using data entry controls
In addition to using the touch-screen buttons, you can select
Set List and Slots using the standard data entry controls,
including the numeric keypad, rotary encoder, and Inc/Dec.
The VALUE slider is reserved for modulation, and sends
CC#18 when the Slot contains a Program or Combination.
MIDI Out
Selecting a Slot sends Program Change and Bank Select
messages, as above.
When selected, Combinations and Songs can transmit other
Program Change and Bank Select messages on other
channels, as they do in Combination and Sequencer modes.
Global P0 Bank Map
The Global P0 Bank Map (Korg, GM(2)) parameter does
not affect the reception or transmission of Set List Program
and Bank Select messages.
Returning to the current group of 16
Slots
If you have navigated away from the current group of 16,
you can return easily:
1a. Touch the name of the current item, at the top of
the screen (e.g. “SGX-1/PRG I-A000 KRONOS
German Grand”).
The display changes to show the group of 16 containing the
current selection.
Stepping through Slots in order
In addition to selecting Slots via the on-screen buttons, you
can use Inc/Dec or a footswitch assigned to Program Up or
Program Down to step through the Slots in order, one by
one.
Selecting with Inc/Dec
1. Touch one of the 16 on-screen Slot buttons.
Once a Slot is selected, you can use the Inc and Dec buttons
to step through the list of sounds.
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Set Lists
Editing Set Lists
Set List Edit page
Bank & Number Select
Set List Name
Slot Name
Sound Type
Category Select
or
Keyboard Track
Selected Slot
Previous
button
Overview
For each Slot, you can:
• Assign any Program, Combination, or Song
• Name the Slot
• Enter a text comment (such as lyrics or performance
notes), which is shown when the Slot is selected on the
main screen
• Set the volume, hold time, and keyboard track (for
Songs).
You can also easily rearrange the Slots using the Cut, Copy,
Paste, and Insert buttons.
Selecting and re-arranging sounds
Choosing a sound for a Slot
1. Go to the Set List Edit page.
2. Select the Slot that you’d like to edit.
Notice the parameters which appear above the 16 Slot
buttons. These let you set up the current Slot.
3. At the top left of the parameter box, select the desired
Type: Program, Combination, or Song.
Each Slot can play either a Program, a Combination, or a
Song. When you change the Type, the Bank & Number and
Category or Track parameters will update accordingly.
Category appears for Programs and Combinations;
Keyboard Track appears for Songs.
4. Using either the Bank & Number or Category popup
menus, select the desired Program, Combination, or
Song.
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For more information, see “Selecting by bank and number”
on page 30, “Selecting by Category” on page 31, and “Song
Select” on page 514.
Note that you can use the same sound in multiple Slots
within the same Set List. For instance, you might have a
favorite piano sound which you use in a number of different
songs. You can create any number of Slots which use this
same piano sound, each with different names and comments
Setting the MIDI Track for Songs
With Songs, you can assign the local keyboard to play any of
the 16 MIDI Tracks. If you like, you can have the same Song
in multiple Slots, each with a different Track. You can then
switch between the Slots, changing the sound assigned to the
keyboard, as the Song continues to play.
This parameter applies to Songs only. If the current Slot is a
Program or Combination, it does not appear.
Editing Set Lists Detailed Set List editing
Adding items to the Set List from other
modes
Program, Combination, and Sequencer modes each have a
command in their P0 page menus: Add to Set List.
When you use the Add to set list command, the current
Program, Combination, or Song is inserted at the current
Slot of the current Set List, similar to using the Set List Edit
page’s Insert command.
2. Press the Copy button.
3. Select the Slot you’d like to replace.
4. Press the Paste button.
The selected Slot will be replaced by the copied Slot.
Inserting a Slot in the middle of a Set List
You can also insert a copied Slot in the middle of a Set List,
while leaving the rest of the list intact. To do this:
1. Select the Slot you’d like to copy.
The parameters of the Slot are set as follows:
2. Press the Copy button.
• The name of the Program, Combination, or Song is
copied into the Slot name. You can change this later if
desired.
3. Select the Slot to specify the insert point.
• If the item being copied is a song, the current Keyboard
Track is copied into the Slot’s Keyboard Track
parameter.
4. Press the Insert button.
Re-arranging Slots
The Cut, Copy, Paste, and Insert buttons make it simple to
re-arrange the Slots.
Copying a Slot to another location
To copy one Slot to another (for instance, if you have a
sound that you’d like to use in multiple Slots):
The copied Slot will be placed in front of the selected Slot,
and the rest of the Set List will move to make room.
Removing a Slot from a Set List
You can remove a Slot from the middle of a Set List, while
leaving the rest of the list intact. To do so:
1. Select the Slot you’d like to remove.
2. Press the Cut button.
This removes the Slot from the list, and moves the rest of the
list to fill in the now-empty space.
If you like, you can Paste or Insert the Slot that was removed
via Cut, similar to the Copy operations described above.
1. Select the Slot you’d like to copy.
Detailed Set List editing
Naming a Slot
You can name a Slot separately from the name of the
Program, Combination, or Song it contains. For instance, if
you’re creating a Set List for a gig, you can name the Slots
after the section of music in which they’re used, such as
“Montana Intro.” To do so:
Set List Slot Volume
Set List Slot Volume
Program,
Combination,
or Song
Master Volume
Universal Exclusive
Master Volume
(Fom Knobs, Pedals,
MIDI, or Sequencer)
TFX 2
& EQ
1. Press the “T” button to bring up the text edit dialog.
Front Panel
Analog Volume
Knob
Headphone
& Main L/R
Outputs
2. Enter the name as desired, and then press OK.
Slot names can have up to 24 characters.
S/PDIF
Output
Controlling Slot volume
You can control the volume separately for each Slot. For
instance, you might set the volume softer for a Slot playing
an accompaniment part, and louder for a Slot with a lead
sound. To do so:
Entering comments
1. Adjust the Volume parameter.
1. Press the Edit Comment button to bring up the text
edit dialog box.
Note that the stored Master Volume setting of the Slot’s
Program, Combination, or Song still applies as well. You can
edit this from the Control Surface, if desired.
See the graphic below for details on how the Set List volume
interacts with other volume controls.
Each Slot can have a comment of up to 512 characters, for
lyrics, performance notes, and so on. To do so:
2. Enter the comment as desired, and then press OK.
You can read the entire comment, even with multiple lines,
on the Set List Play page.
Saving your edits
Once you’ve made a Set List, you’ll want to save your work.
To do so:
1. Select the Write Set List command from the page
menu, at the upper right-hand corner of the screen.
You can also call up this menu command by holding
ENTER and pressing 0 on the numeric keypad.
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Set Lists
This brings up a dialog box which allows you to save the Set
List. Optionally, you can also select a new location, or
change the Set List’s name.
2. Press the “T” button to bring up the text edit dialog.
You can give the Set List a descriptive name using the onscreen keyboard.
• Make the desired edits
• Save the edits
• Return easily to the original Set List page
To do so:
1. Select the desired item in the Set List.
3. After entering the name, press OK.
Next, from any of the Set List pages:
The text edit window will disappear, returning you to the
main Write dialog.
2a.In the menu, select the Edit [Type] command.
4. Under “To” at the bottom of the dialog, press the
popup button next to Set List to bring up the save
location dialog.
5. Select a location to save the edited Set List.
6. After selecting the location, press OK.
7. Press OK again to start the write process.
8. If you’re sure you want to write to this location, press
OK again.
After that, you’re done!
Do not turn off the power for at least 10 seconds after
writing the Set List data. This allows the system time to
complete the process, which includes saving a backup of
the data to the internal disk.
Editing a Slot’s Program, Combination, or
Song
When you’re in a rehearsal or sound-check, you may need to
make quick edits to a sound in the Set List.
With this in mind, you can:
• Jump to the editing pages for the selected Program,
Combination, or Song
The actual name of the command will be either Edit
Program, Edit Combination, or Edit Song, depending on
the selected Slot.
or:
2b.Hold the front-panel ENTER button, and touch the
Slot’s button.
The mode will change to Program, Combination, or
Sequence as appropriate, and the system will display the P0
page for the selected item.
The Program, Combination, or Sequence mode button’s
LED will blink, and the Set List LED remains solidly on, to
show that you are editing an item in a Set List. The Set List
settings, including EQ and volume, continue to affect the
sound.
3. Edit as desired.
4. Write your edits.
For more information, see “Saving your edits” on page 44
(for Programs), “Saving your edits” on page 69 (for
Combinations), or “Saving your Song” on page 112.
5. Press the SET LIST button to return to the Set List.
Set List mode will be as you left it, with the same Set List
and Slot selected.
Set Lists and the Control Surface
Overview
The Control Surface is the group of knobs, buttons, and
sliders to the left of the display. You can use it for hands-on
control of mixing, KARMA, and external devices, as well as
synth modulation and editing. It’s a pretty deep and powerful
part of the KRONOS; for an in-depth look at some of what it
can do, see “Quick edits using the knobs,
sliders, and switches” on page 41.
In this part of the manual, we’ll just look at the unique ways
that the Control Surface works in Set List mode.
In general, the Control Surface works very similarly for
Program, Combination, and Songs. However, there are some
small differences between them, matching their different
capabilities. For instance, Programs have three mixer
channels (for the two oscillators or EXi, plus Drum Track),
while Combinations and Songs have sixteen channels. The
Set List’s Control Surface page will change to match the
current Slot type.
For more information on how the Control Surface works in
the different modes, see:
Programs: “Control Surface knobs, sliders, & switches” on
page 35, and “Quick edits using the knobs,
sliders, and switches” on page 41
120
Combinations: “Adjusting the mix” on page 62, “Easy
KARMA editing” on page 63, and “Editing Programs with
Tone Adjust” on page 68
Songs (Sequencer mode): “The control surface in
Sequencer mode” on page 76
Most Control Surface edits not stored in the Set
List
Important: Only the Graphic EQ settings are stored with the
Set List. All other Control Surface edits are not stored with
the Set List. Instead, they must be stored with the original
Program, Combination, or Song. For more details, see
“Saving Control Surface edits,” below.
Saving Control Surface edits
Any changes that you make via the Control Surface—editing
mixer levels, for instance, or tweaking the real-time knobs—
are temporary unless they are saved, just as they are in the
other modes.
However, if you make changes that you’d like to keep, you
can save your edits to Programs or Combinations directly
from Set List mode. To do so:
1. Make your edits using the Control Surface.
Editing Set Lists Set Lists and the Control Surface
2. In the page menu, select the command “Update
Program” or “Update Combination.”
The actual name will depend on whether the current Slot is a
Program or Combination.
Songs work slightly differently, since they don’t have a
Write command (and must be saved to disk). All edits made
in Set List mode apply directly to the Songs in memory, and
can be saved to disk as desired.
Reset Controls
When on the EQ page, RESET CONTROLS + TONE
ADJ/EQ resets all EQ parameters, including Bypass, to the
values stored in the Set List.
RESET CONTROLS + Slider resets the slider’s band to the
stored value.
Using the Control Assign From setting
The Control Assign setting determines the functions
assigned to the Control Surface, such as the mixer, Tone
Adjust, KARMA and Real-Time Knobs, and so on.
Control Assign From sets whether the Control Assign
applies to the Set List as a whole, and stays the same
regardless of which Slot is selected, or instead changes
according to the saved value for the Program, Combination,
or Song in the current Slot.
For instance, you may wish to have the Control Surface stay
assigned to the Set List EQ all the time. In this case, set
Control Assign From to Set List.
Or, you may wish to have the Control Surface update to
match the current Program, Combination, or Song. For
instance, you might want to use Tone Adjust for drawbars on
an organ Program, and then on the next Slot use the sliders to
control KARMA in a Combination. In that case, set Control
Assign From to Slot.
Graphic EQ
Set Lists have an additional Control Surface option, not
available in the other modes: EQ. This is a nine-band graphic
EQ applied to the sound after TFX2, which tailors the sound
from the main stereo outputs (including the analog L/R
outputs, S/P DIF, and USB).
You can use this EQ to compensate for the acoustic
environment of a specific club or other performance venue.
The sliders are mapped to the nine bands of the EQ, for
quick and intuitive adjustments.
All bands are peaking, including the high and low bands.
There is a single graphic EQ setting for each Set List, which
applies to all Slots in the list.
Using the Control Surface with the Graphic EQ
The last button in the Control Assign section, TONE ADJ,
has an additional option in Set List mode; pressing the
button toggles the Control Surface between Tone Adjust and
EQ.
Similar to the Timbre/Track and Audio buttons, the setting is
indicated by LEDs to the right of the button. To set the
Control Surface to control the Graphic EQ:
1. Press the TONE ADJ/EQ button until the EQ button
is lit.
If you press another Control Assign button, and then press
TONE ADJ/EQ again, the Control Surface returns to the
function last selected for the button. For instance, if you last
used it for EQ, then EQ will be selected.
As a shortcut, you can also touch the EQ graphic on the Set
List Play page. This will jump to the Control Surface page,
and set Control Assign to EQ.
121
Set Lists
Smooth Sound Transitions
Overview
Smooth Sound Transitions (SST) help to avoid jarring
discontinuities when changing between Programs,
Combinations, and Songs, by allowing the previous sound
and its effects to ring out naturally as you play the newly
selected sound. You can even continue to hold notes on the
old sound (on the keyboard or with the sustain pedal) as you
play the new sound.
SST applies to all modes—not just the Set List. For instance,
notes and effects are sustained when changing from one
Combination to another in Combination mode, or from a
Program (in Program mode) to a Combination (in
Combination mode).
There are only two parameters that relate to SST: the Global
Hold Time, and the Hold Time for each Slot in a Set List.
Under the hood, though, there’s a lot going on. We’ll talk
about some of this in detail below, but if you’re in a hurry,
here are the main things that you need to know:
• SST works between two sounds at a time: the current
sound and the previous sound. If you select a new sound
while two older sounds are still overlapping, the oldest
sound stops.
• SST requires that the effects for both the old and new
sounds fit into the available processing power. For
factory sounds, this should almost never be a problem. In
the unlikely event that the effects don’t fit, the older
sound will be silenced, including all of its notes and
effects.
• The Hold Time parameters control how long the old
sound rings out after all of its notes have been released.
• KARMA and the Drum Track stop when you change
sounds. Their notes will continue to ring out naturally.
Using Smooth Sound Transitions
Using Hold Time
The KRONOS has two Hold Time parameters. As noted
above, these control how long the old sound rings out after
all of its notes have been released.
One of these parameters is on the Global Basic page, and it
controls the hold time for everything outside of the Set List,
including Program, Combination, and Sequencer modes.
The other, in the Set List Slot parameters, controls the hold
time for each individual Slot. Let’s look at how this one
works.
1. Go to the Set List Edit page.
10.Play the phrase again, and this time immediately
switch to Slot 2.
This time, the sound disappears very quickly. The Hold
Time comes into play when you change between different
sounds. Note that it’s the old Slot’s Hold Time (Slot 3 in this
case) that determines the speed of the fade.
Also, notice that even though Hold Time is set to 0 seconds,
it’s still a smooth fade; after the Hold Time has elapsed,
there’s always a half-second or so fade to silence.
11.Select Slot 1.
Remember, this Slot’s Hold Time is set to 10 seconds.
2. Select Set List 127.
12.Play the phrase again, and immediately switch to Slot
2.
This has been left initialized for your own use.
Notice how the delay repeats for a long time.
3. Select Slot 1, and set its Program to U-E075
CX3/MS20 Lead Split.
13.Play something briefly on Slot 2’s piano sound, and
then pause to listen.
This sound has a long delay on the lead sound, which will
help to demonstrate the effect of Hold Time.
Notice how the delay from Slot 1 is still fading out,
alongside the piano sound.
4. Set Slot 1’s Hold Time to 10 seconds.
7. Press the Paste button.
So, why would you want to change this in the first place?
Even though the default of 5 seconds works well to smooth
transitions in general, there may be times in live
performance when you’d either like the effects and decaying
notes to ring out for a long time, or fade away immediately.
The per-Slot Hold Time gives you this control.
Slot 3 becomes a copy of Slot 1, with the same Program
setting.
Hold Time starts after notes are released
5. With Slot 1 still selected, press the Copy button.
6. Select Slot 3.
We’ll leave Slot 2 set to the default piano sound.
8. Set Slot 3’s Hold Time to 0 seconds.
9. Play a brief phrase on the lead synth sound on the
right-hand side of the keyboard, and then pause to
listen.
Notice how the delay repeats for a long time, as the sound
gradually fades away. Hold Time doesn’t affect the sound as
long as you stay on the same Slot.
The Hold Time starts only after you release any notes being
played on the old sound. Continuing from the example
above:
1. Select Slot 3.
2. Play and hold a note on the lead synth sound on the
right-hand side of the keyboard.
3. While holding the note, switch to Slot 2.
Notice how the note continues to play.
122
Smooth Sound Transitions Using Smooth Sound Transitions
4. After holding the note for a while, release the note.
After you release the note, the Hold Time starts, and the
sound fades away quickly.
Global Hold Time
The Global Hold Time parameter is on the Global Basic
page. As mentioned above, it controls the hold time for
everything outside of the Set List, including Program,
Combination, and Sequencer modes. The default setting is 5
seconds, which should work well in most cases, but you can
change it if you like.
When editing EXi Programs, changing the EXi model of the
current Program will silence any voices from the previous
sound. Note that this happens only when actually editing the
Program, and not simply when changing from one Program
to another.
Resource limitations may prevent the previous sound from
ringing out until silence. For instance:
• Notes may be stolen.
• If there is not enough processing power for the old and
new effects racks to coexist, both the old effects rack and
all old voices will be silenced.
Stopping sustaining or held notes
Sometimes, you may want to stop sounding voices
immediately—for instance, if a sound is set to hold
indefinitely. To do so:
1. Select a different sound, including any Program,
Combination, Song, or Set List Slot.
2. Select a different sound again.
For instance, within a Set List with Slot 1 selected, select
Slot 2 and then return to Slot 1. Or, on Program A000, press
the front-panel COMBI button (which selects a
Combination) and then press the front-panel PROG button
(to re-select the previous Program). At the second change,
all notes held from the original sound will be stolen.
Other details
Controllers
Most controllers (Joystick +/-Y, Aftertouch, real-time knobs,
etc.) affect only the new sound, and not the old.
Sustain, Sostenuto, Joystick X (pitch bend), and Note Gate
continue to affect the old sound, as well as the new. You can
use the Combination and Song MIDI Filters for additional
control over these MIDI messages, if desired.
Effects
Internally, the KRONOS has two separate sets of effects, like
two racks of effects. One of these racks is used by the current
sound; the other is used by the previous sound. This allows
the two sets of effects to work simultaneously; for instance,
the previous sound’s delays can continue to ring out while
you’re playing the new sound.
There are only two of these effects racks, however. Every
time that you select a new sound, the older of the two effects
racks is silenced and re-configured for the new sound.
Also, it’s possible for the combined requirements of the two
effects racks to exceed the available processing power. If this
happens, the old effects rack is silenced immediately.
Note: When the old effects rack is silenced, all of the notes
which were playing through it are silenced as well.
Limitations
When you select a new sound, the previous sound’s
KARMA and Drum Track patterns stop. Any notes being
played by the Drum Track or KARMA (including those
generated by KARMA's Thru In and Thru Out Zones) are
released, and then decay normally.
Similarly, the PolysixEX arpeggiator stops playing on sound
change.
123
Set Lists
124
Sampling (Open Sampling System)
Sampling overview
About sampling on the KRONOS
Overview
The KRONOS can sample external audio from the analog,
S/P DIF, or USB inputs, at 48 kHz 16-bit resolution (or 24bit when sampling to disk), in mono or stereo. You can
record samples into RAM, or sample directly to disk.
You can also digitally resample the complete sound of a
Program, Combi, or Song, played live or sequenced,
including any effects and KARMA-generated events.
Using an external USB CD drive (not included), you can
also sample (or “rip”) directly from an audio CD, in the
digital domain.
Finally, you can process the inputs through the IFX, MFX,
and TFX, or through the synthesis functions of EXi such as
the MS-20EX and MOD-7.
You can combine any and all of these features at once. For
instance, you can sample a live guitar riff from the audio
inputs, processed through KRONOS effects, while listening
to and either recording or not recording a KARMAgenerated phrase.
You can use your samples directly in Drum Kits, or make
them into Multisamples and use them anywhere that you use
ROM Multisamples, such as in HD-1 Programs or Wave
Sequences.
KSC Files and User Sample Banks
KSC stands for Korg Sample Collection. KSC files group
your Samples and Multisamples together, and let you load
them as User Sample Banks. User Sample Banks may be
loaded either into RAM, or may use Virtual Memory, just
like EXs. They have other benefits as well. For more
information, see “Creating and saving .KSC files” on
page 167.
Free RAM and approximate sampling times
Free RAM
Approximate Sampling Time (min:sec)
Mono
Stereo
16 MB
2:54
1:27
64 MB
11:39
5:49
128 MB
23:18
11:39
256 MB
46:36
23:18
512 MB
93:12
46:36
Installing additional RAM
An additional 1 GB DIMM can be installed into the
KRONOS at any authorized Korg service center, bringing
the total physical RAM to 3 GB. (The KRONOS X ships
from the factory with 3 GB already installed, and cannot be
expanded further.)
This approximately doubles the maximum available sample
RAM, up to about 2 GB. Of course, when loading EXs or
User Sample Banks using Virtual Memory, the total size of
the loaded sample data can be much greater.
The KRONOS uses widely available, off-the-shelf DIMMs.
Installation by an authorized Korg service center is required;
user installation is not supported and may void your
warranty. For more information on how to purchase and
arrange for installation of RAM, please contact your
country’s Korg Distributor:
http://www.korg.co.jp/English/Distributors/index.html
For compatibility with the KRONOS, RAM must comply
with the following specification:
240-Pin PC2-6400 CL-5 (or CL-6) DDR2-800 non-ECC
Unbuffered DIMM 1GB
Sampling and RAM
Sampling to disk
The KRONOS comes with 2 GB of RAM pre-installed; the
KRONOS X comes with 3 GB of RAM. Approximately 1
GB of this RAM is used by the operating system and ROM
sample data. The remainder is shared between the samples in
EXs, User Sample Banks, and Sampling Mode.
You can sample directly to disk (including the internal disk
and USB storage devices), creating a WAVE file. This lets
you record up to 80 minutes continuously, in either mono or
stereo (mono: approximately 440 MB, stereo: approximately
879 MB).
This means that the size of the currently loaded EXs and
User Sample Banks trades off against the memory available
for Sampling Mode. The more space used by EXs and User
Sample Banks, the less is available for Sampling Mode.
As long as they fit into the available RAM, these WAVE files
can then be loaded into Sampling Mode and used in Drum
Kits, HD-1 Programs or Wave Sequences. (Note that after
loading them into Sampling Mode, you’ll need to save them
again; the WAVE files can’t be used directly for Programs,
etc.)
Using Virtual Memory for EXs and User Sample Banks
generally lets you load more samples at once, but may still
use a substantial amount of RAM.
Note: To check the amount of sample RAM available, see
“0–1f: Free Sample Memory/Locations” on page 680 of the
Parameter Guide.
WAVE files can also be used in audio tracks of the
sequencer, or used to create an audio CD. For more
information, see “Audio recording” on page 91, and
“Creating and playing audio CDs” on page 197.
The amount of sampling time depends on the amount of free
RAM, as shown below.
125
Sampling (Open Sampling System)
Do not turn off the power for at least 10 seconds after
sampling to disk. This allows the system time to complete
the process.
24-bit sampling to disk
When sampling to disk, you can choose either 16-bit or 24bit resolution. Both 16- and 24-bit WAVE files can be used
directly in Sequencer mode audio tracks. When loaded as
RAM samples, 24-bit WAVE files are automatically
converted to 16-bit resolution.
Sampling frequency and bit resolution
As shown in the diagram, sampling reads the level of the
analog signal at fixed intervals along the time axis, and
stores the levels in memory as digital data.
The time between these intervals is called the “sampling
frequency.” 48 kHz (kilo Hertz) means that sampling is
performed 48,000 times each second, so that the intervals are
1/48,000 of a second apart— approximately 0.02083 ms
(milliseconds).
The higher the sampling frequency, the closer to the original
analog signal the waveform in memory will be.
Sampling in Sampling mode
In Sampling mode, you can sample analog audio from
connected microphones or line inputs, or digital audio from
S/P DIF or USB. If you like, you can also sample through
the KRONOS effects.
You can even sample directly from audio CDs in an external
USB CD-R/RW.
Samples can be processed through effects and internally
sampled again (“resampled”). You can use either “Auto”
mode which automatically applies the specified effect
processing to the selected sample, or “Manual” mode which
lets you play the sample manually with effects applied and
resample your performance.
Each level is read and converted into digital data. The
accuracy of the level measurement is determined by the bit
resolution. This process converts an analog signal with
infinite resolution into a digital signal with finite resolution.
With 16 bit resolution, each level is indicated in 65,536 steps
(the sixteenth power of two).
The greater the bit resolution, the closer to the original
analog signal the waveform in memory will be.
48 kHz 16 bit sampling is the same quality as in audio
devices such as DATs. CDs use 44.1 kHz 16 bit sampling,
which is a slightly lower sampling frequency.
Level
Program, Combination, Sequencer
modes
Analog waveform
Time
In Program, Combination, and Sequencer modes, you can
resample a complete live performance including filters,
effects, KARMA, and even sequencer playback.
You can also sample external audio sources, mix the
KRONOS sounds with the external audio and sample the
combined result, or even monitor the performance of the
KRONOS while sampling only the external source.
48 kHz
= 48,000 times every second
= 0.0208 mS cycle
Level
Sampled digital
waveform
Time
16 bit
= 65,536 levels
of data
In-Track Sampling in Sequencer mode
In Sequencer mode, you can sample while playing along
with a Song, and automatically create note data to trigger the
new samples at the appropriate moment in the Song. You can
then manipulate these samples using the synthesis abilities
of the HD-1, for creative alternatives to HDR. This is called
“In-Track Sampling.”
Samples and Multisamples
Samples
The data that is recorded (sampled) into internal memory or
loaded from a file is referred to as a sample or sample file.
Samples consist of the actual waveform data, and parameters
Conceptual diagram of the Open Sampling System
Resampling
Programs, Combinations
and Songs
AUDIO INPUTS
Analog signal
Insert Effects
(Master Effects)
RAM (memory):
Digital/analog
convertor
Analog/digital
convertor
ADC
USB CD-R/RW Drive (Audio CD)
Sample 0000 ... 15999
Digital signal
Digital signal
DAC
Analog signal
(Ripping)
Digital signal
S/P DIF INPUT
Digital signal
USB Audio
Digital signal
Used by Combinations
and Songs
Program
Multisample 0000 ... 3999
Disk
RAM (internal memory)
WAVE File
126
AUDIO
OUTPUTS
Sampling overview About sampling on the KRONOS
that specify how the data will be played back, such as Start,
Loop Start, and End Address. Samples can be used in
multisamples and drum kits.
Multisample
Index001
Top Key
Index003
Top Key
Index002
Top Key
Index004
Top Key
Sampling Mode supports a maximum of 16,000 Samples at
once. Samples in EXs and User Banks do not count towards
this maximum.
The KRONOS can share a single waveform among multiple
samples. This allows you to create multiple samples with
different playback addresses from the same waveform
without wasting internal memory. For example, suppose that
you have waveform data that records a voice saying “OneTwo-Three.” This single piece of waveform data could be
shared by three samples, with the playback of sample A
producing “One-Two-Three,” sample B producing “OneTwo,” and sample C producing “Two-Three.”
Index 001
Index 002
Index 003
Index 004
0000:
Sample A
0001:
Sample B
0002:
Sample C
0003:
Sample D
Multisample
Sample
Program OSC (Single/Double)
Wave Seq.
Program OSC (Single/Double)
Drum Kit
Program OSC (Drums/Double Drums)
For more information, see “Copy” on page 730 of the
Parameter Guide.
Multisamples
Multisamples lay out one or more Samples across the
keyboard. For instance, a very simple guitar Multisample
might have six Samples–one for each string.
Each Sample is contained in an Index, which includes
parameters for the key range, original Sample pitch, tuning,
level, and so on.
Multisamples can each have up to 128 Indexes.
Using multisamples
When sampling an instrument that is able to produce a wide
range of pitches, such as a piano, recording just one sample
and applying it (playing it back) over the entire pitch range
will not produce a natural-sounding result. By using a
multisample you can record separate samples for each pitch
range, and assign these samples to their respective pitch
ranges to avoid any unnatural sounds during playback.
All of the instrumental sounds in the KRONOS’s internal
preset multisamples are constructed in this way. For
example, you might record one sample per octave, and
assign each of these samples to an index covering a oneoctave range on the keyboard.
By assigning multiple samples such as phrase samples or
rhythm loops to different indexes within a Multisample, you
can play multiple samples simultaneously. You can assign
different phrases to each key. Alternatively, these samples
could be assigned at one-octave intervals, and played as
phrase variations with different playback pitches and
tempos.
Sampling Mode supports a maximum of 4,000 Multisamples
at once. Multisamples in EXs and User Banks do not count
towards this maximum.
Multisamples may be used directly in Programs, or within
Wave Sequences. They can be used with KARMA to
produce interesting results (for example, by using KARMA
to automatically play sound effects or spoken samples).
127
Sampling (Open Sampling System)
Preparations for sampling
Audio Settings
Input page will affect the Global setting, along with any
other Programs, Combis, or Songs which use the Global
setting.
Audio input settings
The Audio Input page
This page is available in Program, Combination, Sequencer,
and Sampling modes, and lets you adjust the volume, pan,
effects sends, and bussing for the audio inputs, including
analog inputs 1 & 2, USB 1 & 2, and S/P DIF L & R.
Outside of Sampling mode, this is the main page for
sampling-related settings.
In this case, set Use Global Setting to Off, and the audio
inputs will use the Program’s custom settings.
Pages with Audio input settings include:
Mode
On the other hand, it may sometimes be convenient to save a
particular mixer setup with an individual Program, Combi,
or Song, to set up special sub-mixer settings or effects
processing for particular inputs. For example, you can set up
a Program to use a mic input with a vocoder, as described
under “Vocoder (Program mode)” on page 855.
Page
Sampling
P0: Recording– Audio Input
Combination
P0: Play– Audio Input/Sampling
Program
P0: Play– Audio Input/Sampling
Sequencer
P0: Play/REC– Audio Input/Sampling
Global
P0: Basic Setup– Audio
Using the control surface with the Audio Inputs
You can use the control surface to adjust most of the Audio
Input mixer parameters, including Play/Mute, Solo, Pan,
Level, and Sends 1 and 2.
For more information, and “Adjusting volume, Pan, EQ, and
FX sends” on page 41.
Global audio input settings
Each Program, Combination, and Song can either use the
single, Global audio input mixer setup, or have its own
custom settings. Sampling mode, on the other hand, has its
own, separate settings for the audio inputs.
For Programs, Combinations, and Songs, the choice of
whether or not to use the Global setup is controlled by the
Use Global Setting parameter.
When Use Global Setting is On, the Program, Combination,
or Song uses the Global settings. This is the default, and lets
you change freely between different sounds without
affecting the audio inputs. Also, any edits made on Audio
Sampling can bypass the mixer entirely
When sampling, you’ll use the Source Bus parameter to
select the source of the audio to sample. Depending on the
selected Source Bus, you may or may not need to use the
Audio Input mixer at all.
For instance, if you’re sampling through the KRONOS
effects, you’ll need to use the Audio Input mixer to send the
desired audio input to the effects.
However, if you simply want to sample the input directly,
you can just set the Source Bus to the desired input, and
you’re done—with no need to do any setup in the Audio
Input mixer.
Audio Input mixer
Input 1 & 2, USB 1 & 2, S/P DIF L & R
Input 1 & 2: These are the analog audio inputs, for either
microphones or line-level signals. For more information, see
“Analog AUDIO INPUTS” on page 8.
USB 1 & 2: These are the USB audio inputs, for sampling
from a connected computer.
S/P DIF L & R: These are the S/P DIF inputs, for digital
audio devices such as instruments, recorders, or effects. The
KRONOS supports S/P DIF input and output at 48 kHz.
When using S/P DIF, make sure that the System Clock is
set correctly. For more information, see “System Clock”
on page 750 of the Parameter Guide.
Computer
Mic
Digital recorder, effect, etc.
Guitar
Effect unit
USB B
LINE
128
MIC
Preparations for sampling Audio Settings
Bus Select (IFX/Indiv.)
Send1 (to MFX1), Send2 (to MFX2)
This sets the output bus for the external audio input signal.
You can send the audio directly to physical outputs, or to the
insert effects.
These adjust the levels at which the external audio input
signal is sent to the master effects.
L/R: The external audio input signal will be sent to the L/R
bus. Choose this if you want to sample the performance of
the KRONOS itself along with the other signals of the L/R
bus. Set Source Bus to L/R.
Send2 (to MFX2): Send the signal to master effect 2.
IFX1…12: The external audio input signal will be sent to
the IFX1–12 bus. Choose one of these settings if you want to
apply an insert effect while recording. Set the Source Bus to
match the Bus Select that follows the insert effect.
Send1 (to MFX1): Send the signal to master effect 1.
If Bus Select (IFX/Indiv.) is set to IFX1–12, the send levels
to the master effects are set by the post-IFX1–12 Send1 and
Send2.
PLAY/MUTE
This indicates whether the external audio signal being input
is in PLAY or MUTE status.
1…4: The external audio input signal will be sent to
INDIVIDUAL 1…4 outputs in mono. Pan does not apply in
this case.
You can control this using the front-panel MIX
PLAY/MUTE 1–6 switches.
1/2, 3/4: The external audio input signal will be sent to the
selected pair of outputs in stereo, with the stereo position
controlled by the Pan parameter. Set Source Bus to the
corresponding Indiv. input.
SOLO On/Off
Off: The external audio signal will not be sent to a bus. In
Sampling mode, if you want to sample an external audio
signal directly without routing it through a bus, go to the P0:
Recording– Audio Input page, and choose the external input
you want to sample (Audio Input 1–2, S/P DIF L–R, USB 1–
2) as the Source Bus.
Sound will be output only from channels for which SOLO is
On. Other channels will be muted. The solo function
includes the oscillators of the tone generator.
Please note that when you change Bus Select
(IFX/Indiv.) from Off to L/R or IFX, the volume level to
the AUDIO OUT L/MONO and R jacks or to the
headphones may dramatically increase.
FX Ctrl Bus (FX Control Bus)
The FX Control Buses lets you create effects “sidechains.”
Sidechains let you control an effect with one audio signal
(the sidechain), while the effect processes a completely
different audio signal. This is convenient for use with
vocoders, compressors and limiters, gates, etc.
KRONOS includes two true- stereo FX Control Buses. For
more information, see “FX Control Buses” on page 854 of
the Parameter Guide.
REC Bus
This sends the external audio input signal to the REC buses
(four mono channels; 1, 2, 3, 4).
The REC buses are dedicated internal buses used for
sampling or for recording audio tracks in Sequencer mode.
If you want to sample these buses, set Source Bus to a REC
bus.
In Sampling mode, you can mix several audio inputs to a
REC bus for sampling, or you can mix the direct sound of
audio inputs with the sound processed by insert effects and
sample the combined result from the REC bus.
In other modes (e.g., Program mode), you can use the REC
buses to sample just an audio input that’s playing along with
a KARMA performance being output to the L/R bus.
Off: The external audio signal will not be sent to the REC
buses. This is the default.
This indicates the SOLO status of each external audio signal
input. You can use the MIX SELECT 1–6 switches to
change this.
Pan
This specifies the panning of the external audio input signal.
When inputting a stereo audio source, you will normally set
the inputs to L000 and R127 respectively.
Level
Specifies the level of the external audio signal that will be
input. Normally you will set this at 127.
The audio signals from the analog inputs are converted by
an A/D converter from analog to digital signals. This
parameter sets the level of the signal immediately after it
has been converted into digital form. If the sound is
distorted even though this level setting is very low, it is
possible that the sound is distorting earlier than the A/D
converter. You’ll need to adjust the MIC/LINE gain select
switch, the LEVEL knob, or the output level of your
external audio source.
If Bus Select (IFX/Indiv.) isn’t Off, raising the Level
will bring the external input signal into the KRONOS
audio system. Any noise from the inputs (even if no
actual signal is present) may be heard at the KRONOS
outputs.
To prevent this, if you’re not using an input, turn its Bus
Select (IFX/Indiv.) off, or set its Level to 0. REC Bus
and FX Control Bus should also be turned off if you’re
not using them.
The same is true for the REC Source parameter. If REC
Source is set to an input, that input will be passed
through directly to the outputs—even if the input’s Bus
Select is Off, or its Level is 0.
Finally, for the same reason: if you’re not using the
analog inputs, turn the rear-panel LEVEL knobs to the
minimum, and set the MIC/LINE switches to LINE.
1, 2, 3, 4: The external audio input signal will be sent to the
specified REC bus in mono. The Pan setting is ignored.
1/2, 3/4: The external audio input signal will be sent in
stereo to the specified pair of REC buses. The Pan setting
sends the signal in stereo to buses 1 and 2 or buses 3 and 4.
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Sampling (Open Sampling System)
Indiv.1/2 and 3/4: The Indiv.1/2–Indiv.3/4 buses will be
sampled. Choose these settings if you want to sample only
the audio inputs while monitoring the L/R outputs, similarly
to when using the REC buses.
Setting the recording level
The Recording Level L and R parameters adjusts the signal
level at the final stage of sampling. For the best-quality
sampling, set the level as high as possible without allowing
the level meter to indicate “CLIP !”
If you choose Indiv.1/2, Indiv. bus 1 is input to the L channel
and Indiv. bus 2 is input to the R channel. Similarly for
Indiv.3/4, the buses are input to the L and R channels
respectively.
Press the SAMPLING REC switch to enter record-standby
mode; the level meters will indicate the recording level of
the signal from the bus line you selected in Source Bus. You
can use the slider to adjust the signal level. Start with the
slider at 0.00, and adjust the level as high as possible without
allowing the bar indicator to exceed 0 dB.
Source Direct Solo
If this is unchecked, the L/R (post-TFX) signal and the
signal of the bus line specified for Source Bus will be output
from the L/R jacks and the headphone jack according to the
Audio Input Bus Select (IFX/Indiv.) setting and the postIFX Bus Sel. setting.
The default setting is 0.0 dB.
Specifying the recording method
(Recording Setup)
Normally you will leave this unchecked, so that Source Bus
and “L/R” are both heard. Check this if you want to monitor
only the sound that’s being recorded. Only the signal of the
bus line selected for Source Bus will be output from the L/R
jacks and the headphone jack.
Source Bus
The Source Bus parameters controls what audio will be
captured during sampling.
Note: If Source Bus is L/R, this setting is ignored, and the
L/R (post-TFX) signal will always be output from the L/R
jacks and headphone jacks.
L/R: The L/R bus following TFX1 and 2 will be sampled.
The audio signals sent to the L/R bus and sounds played on
the KRONOS from the keyboard or via MIDI IN and sent to
the L/R bus will be sampled. Normally you will use the L/R
setting. (See the diagram below)
Trigger
This controls how sampling will be initiated.
The triggers you can select will differ depending on the
mode.
REC1/2, REC3/4: The REC1/2 or REC3/4 buses will be
sampled. Use the REC buses when you want to play the
keyboard or play back an audio CD while sampling only the
audio input. You can also mix several audio input sources to
the REC buses, or mix the direct sound of an audio input
with sound processed by an insert effect and mix them to the
REC buses for sampling.
If you choose REC1/2, REC bus 1 is input to the L channel
and REC bus 2 is input to the R channel. If you choose
REC3/4, REC bus 3 is input to the L channel and REC bus 4
is input to the R channel.
In Program and Combination modes, you can select either
Sampling START SW or Note On.
In Sampling mode, you can select either of the above, plus
Threshold.
Audio Input 1/2, S/P DIF L/R, USB 1/2: Choose these
settings if you want to directly sample from the analog,
S/P DIF, or USB inputs. The input will be sampled directly
without being routed through the L/R bus, REC buses, or
Individual buses. The inputs will be connected directly,
regardless of the Audio Input settings for Bus Select
(IFX/Indiv), Pan, and Level.
If you choose Audio Input 1/2, AUDIO INPUT 1 is input to
the left channel and AUDIO INPUT 2 is input to the right
channel.
Source BUS = L/R
L/R
BUS
REC REC
1/2 3/4
Indiv.
1/2 3/4
Master
Effects
CLIP !!
Total
Effects
Sampling
L-Mono
R-Mono Stereo
Insert
Effects
USB CD-R/RW Drive
Audio Input
Level
Monitor
Pan
L/MONO
R
Insert
Effects
OSC
BUS = L/R or IFX1-12
130
AUDIO OUTPUT
HEADPHONES
Preparations for sampling Audio Settings
Input
Recording Level [dB]
Sampling Setup
In Sequencer mode, you can select any of the above, plus the
Sequencer START SW.
For the trigger mode that’s most appropriate in various
situations, refer to the various examples of sampling later in
this chapter.
Sampling START SW: When you press the SAMPLING
REC, you will enter sampling-standby mode; sampling will
begin when you press the SAMPLING START/STOP
switch.
Metronome Setup
The Recording Setup page in each mode
Mode
Sampling
Page
Sampling P0– Recording
Combination Combination P0– Audio Input/Sampling
Program
Program P0– Audio Input/Sampling
Sequencer
Sequencer P0– Audio Input/Sampling
Sampling mode
Note On: Press the SAMPLING REC switch and then press
the SAMPLING START/STOP switch to enter samplingstandby mode. Sampling will begin when you play the
keyboard.
Threshold: Sampling will begin automatically when the
input level exceeds the specified Level value.
Sequencer START SW: Press the SAMPLING REC switch
and then the SAMPLING START/STOP switch to enter
sampling-standby mode. Then press the SEQUENCER
START/STOP switch to begin sampling. Use this when you
want to resample the song playback.
To stop sampling, press the SAMPLING START/STOP
switch once again. Sampling will also end if you keep
sampling until the time specified by “Sample Time.”
Making settings for the sample to be
recorded
(REC Sample Setup/Sampling Setup)
Save to
Mode
Sample Time
Free Sample
Memory /
Free Number
Next we will specify the location into which the data will be
sampled, select mono or stereo sampling, and specify the
sampling time.
In Sampling mode, these settings are made in REC Sample
Setup. In Combination, Program, and Sequencer modes,
these settings are made in Sampling Setup. These settings
apply only in each respective mode.
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Sampling (Open Sampling System)
Mode
Program mode
Specifies the channel(s) that you want to sample, and specify
whether a mono or stereo sample will be created.
The L and R channels of the bus specified by Source Bus
will be sampled.
L-Mono: The L channel of the bus specified by Source Bus
will be sampled in mono.
R-Mono: The R channel of the bus specified by Source Bus
will be sampled in mono.
Stereo: The L and R channels of the bus specified by Source
Bus will be sampled in stereo. This will create a stereo
multisample and samples.
Sample Time
Specifies the amount of time that you wish to sample. This
can be set in 0.001 second increments. If you record a
sample in this condition ([REC][START][STOP]), the
change in time will be displayed automatically.
Save to
Mode
Sample Time
If Save to is set to Disk, the maximum value is calculated
from the amount of remaining space on the disk specified by
Select Directory/File for Sample to Disk. The maximum
sample time is 80 minutes.
Save to
Specifies the destination to which the data will be written
during sampling.
RAM: The sample will be written to RAM memory.
Samples written into RAM memory can be heard
immediately in Sampling mode.
Disk: The sound will be recorded to disk as a WAVE file.
You can select a disk, directory, and file name for the
recorded file using the Select Directory/File for Sample to
Disk menu command.
When sampling to disk, bit resolution may also affect the
maximum sampling time. 24-bit data uses 50% more space
than 16-bit data.
Auto +12 dB On
In general, the Recording Level should be set to 0 (dB). For
more information, see “Setting the recording level” on
page 130.
In order to maintain headroom, the KRONOS generally
plays back samples 12 dB softer than the original volume (if
+12 dB is off). This is appropriate for sounds which will be
played back polyphonically, such as samples of acoustic
instruments.
For drum loops and similar material, on the other hand, you
may wish to play back the data at the same level at which it
was sampled. In this case, turn on the +12 dB parameter
(Sampling P2– Loop Edit page).
If you sample with the Auto +12 dB On setting checked,
+12 dB will automatically be turned on, and the recorded
sample will play back at the same level at which it was
sampled.
Sample to Disk (Bit Depth)
When Save To is set to Disk, you can choose to record at
either 16-bit or 24-bit resolution.
Drive Select
Done
Open
Up
Play
Use Drive Select to select the desired drive, which can be
either an internal disk or a USB storage device. Then, use the
Open or Up buttons to move to the desired folder level, and
use the Name parameter at the top of the window to specify
a name for the sample file. Press the Done button to confirm
the settings you’ve made.
While this dialog is open, you can also audition the selected
WAVE file by pressing the on-screen Play button or the
front-panel SAMPLING START/STOP switch. To stop
playback, either press the SAMPLING START/STOP
switch again, or touch the on-screen Stop button.
132
When Save To is set to RAM, the resolution is fixed at 16bit.
Optimizing RAM memory
Optimization rearranges any unused memory areas so that
all of the remaining memory can be used, which may
increase the amount of RAM available for sampling. This
optimization can happen either manually or automatically.
Automatic optimization is enabled via the Auto Optimize
RAM parameter on the Global mode P0: Basic Setup page.
When this is turned on, RAM will automatically be
optimized when sampling ends.
Preparations for sampling Audio Settings
This option will keep the greatest amount of RAM free for
sampling. However, it requires a little time to work, and so
the sound will stop for a time after sampling ends. Also, if a
song is playing in Sequencer mode, the playback will stop.
Because of this, if you’re playing back a song or recording
multiple samples at once, it’s probably better to leave Auto
Optimize RAM turned off. Once you’re finished sampling,
or if you notice that the amount of available RAM is getting
low, use the Optimize RAM menu command to do the
optimization manually. You can find this command on the
menus of the Sampling pages in Program, Combination, and
Sequencer modes, as well as on pages P0-4 in Sampling
mode.
You can check on the remaining amount of memory in
Sampling mode on the P0: Recording page, under Free
Sample Memory/Locations. For more information, see “0–
1f: Free Sample Memory/Locations” on page 680 of the
Parameter Guide.
Using the metronome
The metronome can be helpful when you want to play a
Program or Combination at a specific tempo and sample
your performance.
You can make metronome settings in Metronome Setup, in
Program or Combination P0: Play– Audio Input/Sampling.
You might find it convenient to set Bus (OUTPUT) Select
to one of the Indiv. 1–4 outputs, connect the (INDIVIDUAL)
1–4 jacks to a mixer, and monitor the metronome via your
mixer.
Automatically setting-up for the desired
sampling method (Auto Sampling Setup)
In each mode, Auto Sampling Setup automatically makes the
appropriate settings for the sampling-related parameters. For
example in Program mode you can use this to make the
necessary settings for resampling your playing on a program,
or to make settings for sampling only an external audio
source while you monitor your playing on a program.
However, these automatic settings assume typical situations,
so you’ll need to adjust the parameters to meet your
situation.
This function is available in the following pages:
Mode
Sampling
Page
Sampling P0: Recording
Combination Combination P0: Play– Audio Input/Sampling
Program
Program P0: Play– Audio Input/Sampling
Sequencer
Sequencer P0: Play/REC– Preference, Audio
Input/Sampling
133
Sampling (Open Sampling System)
Sampling and editing in Sampling mode
In Sampling mode, you can record samples, and edit sample
data that you sampled or loaded from media (including
WAVE and AIFF formats). You can also assign the edited
samples to indexes (zones) to create a multisample.
Sampling mode page structure
Page
Explanation
P0: Recording
•
•
•
•
P1: Sample Edit
• Sample waveform editing
P2: Loop Edit
•
•
•
•
Sampling and resampling
Various settings for sampling
Audio input settings
Edit using the control surface
Sample playback parameter settings
Start, loop start, and end address settings
Loop and reverse playback on/off
Editing operations such as Time Slice and
Time Stretch
P3: Multisample
Edit
• Assign samples to multisamples, and
specify the zone and original key
P4: EQ/
Controller
• EQ adjustments for multisample playback
• Assign functions to controllers
P5: Audio CD
• Play back audio CDs
• Rip audio CDs
P6:
---
P7:
---
P8: Insert Effect
• Select and edit insert effects, adjust send
levels to the master effects, and specify the
routing to the outputs
P9: Master,
Total Effects
• Select and edit master send effects and
total effects
For details on how to access each mode and page, refer to
“Basic operations” on page 17.
Sampling can be performed in any page P0–P9 of Sampling
mode by using the REC/WRITE switch and the
START/STOP switch. Recording-related settings such as
input level are made by the parameters of P0: Recording, and
these settings are valid for the other pages as well.
The selected multisample or sample can be played from the
keyboard in any page, allowing you to hear the results of
your editing in each page.
134
Sampling and editing in Sampling mode Creating multisample indexes and sampling–P0: Recording
Creating multisample indexes and sampling–P0: Recording
Here’s how to create indexes in a multisample, and assign a
sample to each index.
1. Press the SAMPLING button to enter Sampling
mode.
2. Select the P0: Recording– Recording page.
Immediately after the power is turned on, Position will
be Right (to selected index), Zone Range will be 1 Keys,
and Original Key Position will be Bottom, so that
indexes will be created as shown below. This is
convenient when you want to sample multiple takes of a
phrase or rhythm loop in a single operation.
3. Select “Multisample Select,” and create a
multisample.
To create a new multisample, press the Multisample
Select popup button. Then press a Multisample No. in the
list for which no name has been entered, or use the
numeric keys 0–9 to input a number and then press the
ENTER switch.
If you set Zone Range to 12 Keys, indexes will be
created at intervals of one octave.
A dialog box will appear.
5. Select “Index.”
You can also select Index by holding down the ENTER
switch and playing a pad or a note on the keyboard. For
this example, select 001.
If you want to create a stereo multisample, check the
Stereo box, and press the OK button.
If you want to create a monaural multisample, uncheck
the Stereo box, and press the OK button.
4. Press the Create button to create an index.
Immediately after the power is turned on, Index will
show 001/008. This indicates that there are eight indexes,
and that the first index is selected (see the illustration
below).
Press the Create button several times. Each time you
press it, an index will be created. The keyboard display
will indicate the zone and original key location of each
index.
Note: The index that is created when you press the Create
button will be created according to the P0: Recording–
Recording page Create Zone Preference settings. (These
settings can also be made in P3: Multisample Edit page,
Create Zone Preference)
6. Assign a sample to the “Index.”
If RAM memory already contains samples, use Sample
Select to select the sample and assign it.
If you want to record a new sample, you can sample it
now.
The sample you record will be automatically assigned to
the index you selected in step 4.
The assigned sample will sound when you play the
keyboard in the range of the index to which the sample is
assigned.
7. Repeat steps 5 and 6 to assign a sample to each index.
The number and order of the indexes in a multisample,
the range of each index, and the original key position can
be freely changed later if desired. (See “Multisample
editing” on p.147)
Multisample Select
Popup
Keyboard & Pad
Index
Sample Select
Create
Create Zone
Preference
135
Sampling (Open Sampling System)
Creating multiple samples
On-screen pads in Sampling mode
In the example procedure described above, several indexes
were created (by pressing the Create button several times),
and then samples were assigned to each Index.
As an alternative method, it is also possible to create one
index, sample into it, and then repeat these two steps.
1. Press the Create button once to create an index.
2. Record a sample.
The recorded sample will automatically be assigned to
the index you created in step 1.
3. Repeat steps 1 and 2.
This is an efficient way to record multiple samples.
Assigning samples to the pads
In Sampling mode, you can use the pads to play samples
directly. The on-screen pads are available on the
P4:EQ/Controls page. USB controllers, MIDI input, and the
local keyboard can all control the pads as well; for more
details, see “Playing the pads” on page 37.
By default, pads 1–8 correspond to the C2–G2 keys. For
example, the default Index setting for 001/008 sets OrigKey
and Top Key to C2. The assigned sample will sound when
you play the C2 key. The same sample will also sound when
you play pad 1.
Similarly, if you assign samples to Index 002–008, the
samples that sound when you play the C#2–G2 keys will
also sound when you play pads 2–8.
For each pad, you can change the note numbers used to play
samples.
For example, you might assign the infrequently-played
highest eight notes of the keyboard to correspond to the
pads. To make the setting, select the note number field, and
play the desired key while holding down the ENTER switch.
Assigning samples to the pads
Index zone (currently
selected Index is reversed)
Pads 1...8 correspond to C2...G2.
On-screen Pads are available on the P4:EQ/Control page.
Original Key (currently selected
Original Key is displayed in red)
Index01
Index02 Index03...Index08
C4 key
Keyboard range
By holding down the ENTER switch and playing a note, you can select the corresponding
index, and the specified key will be the base key and will be shown in blue.
136
Sampling and editing in Sampling mode Basic examples of sampling
Basic examples of sampling
Sampling your voice from a mic, and
playing it back as a one-shot sample
In this example, we’ll use a mic connected to AUDIO
INPUT 1 to sample your voice.
Connect a mic
1. Connect a mic to the rear panel AUDIO INPUT 1
jack.
2. Press the AUDIO INPUT MIC/LINE switch so that
it’s in the MIC (outward) position, and set the LEVEL
knob near the center.
For more details, see “Audio input settings” on page 128.
This means that you’ll be sampling the instrument or
other external audio input source connected to AUDIO
INPUT 1 and 2.
5. To the right of Source Audio, select Mono-L.
With this setting, the input from the INPUT 1 jack will be
sent to the internal L-channel and sampled monaurally.
6. For the “Save to” field, select RAM.
The sampled data will be written into RAM memory.
7. Turn “IFX” Off.
You will be sampling without applying an insert effect.
8. Press the OK button to execute the command.
You have now made the settings necessary for sampling.
Note: Take a look at the settings that have been made.
Mic
Audio Input: Inputs 1 and 2 have been routed to the L/R
bus, with their Pan set hard left and hard right respectively,
and input levels set to 127.
Source BUS: L/R
The sound(s) sent to the L/R bus will be sampled. With the
settings above, this includes Inputs 1 and 2.
Trigger: Sampling START SW
Sampling will start when you press the SAMPLING
START/STOP switch.
MIC
Recording Level: +0.0
Sampling Setup
This is the default setting for recording an external input.
1. Go to the Sampling P0: Recording– Audio Input page.
Save to: RAM
Press the SAMPLING button to enter Sampling mode.
Make sure that the Sampling P0: Recording page is
displayed.
You will be sampling to RAM memory.
9. Press the Recording tab to go to the P0: Recording–
Recording page.
If it is not, press the EXIT switch, and then press the
Audio Input tab.
2. Choose the menu command “Auto Sampling Setup.”
A dialog box will appear. Auto Sampling Setup
automatically sets many of the parameters necessary for
sampling. You can use these settings as a guideline when
sampling.
3. Select “REC Audio Input.”
This will make settings for sampling an external audio
source.
Under REC Sample Setup. note that Sampling Mode has
been set to L–Mono. This means that the sound of the
internal L channel will be sampled in mono.
4. Set “Source Audio” to Audio Input 1/2.
137
Sampling (Open Sampling System)
Next, let’s change the Trigger setting. This controls how
sampling will start. Currently, it’s set to start when you press
the Sampling START/STOP button. We’ll change it to make
sampling start when the audio input exceeds a specified
volume.
10.Go back to the Sampling P0: Recording– Audio Input
page.
11.Make the following settings.
Trigger: Threshold
With this setting, sampling will start when the input
exceeds a specific volume.
Threshold Level: –30 dB
From the record-ready state, recording will start
automatically when the audio input exceeds –30 dB.
Pre Trigger REC: 005ms
Recording will begin immediately (5 ms) before
sampling is started, so that the attack of the sound is not
lost.
14.When you’ve finished making adjustments, press the
SAMPLING REC switch.
Record
15.Press the SAMPLING REC switch.
The KRONOS will be in record-ready mode.
16.Speak into the mic, saying the word(s) you want to
sample.
(Example: “It’s”)
Recording will start when the level exceeds the Level –30
dB setting.
17.When you’ve finished saying the word(s), press the
SAMPLING START/STOP switch.
This completes the sampling operation. The new sample
will be automatically assigned to “Sample (Sample
Select).”
Hear the sampled result
18.The sample you just recorded will (by default) be
assigned to Index 001. When you press the “OrigKey”
key (C2) for Index 001, you will hear the sound you
just sampled.
Notice that the sample will loop (play repeatedly) if you
hold down the key. We’re going to turn looping off.
Turn looping off
19.Press the Loop Edit tab to go to the P2: Loop Edit
page.
Set the recording level
12.Speak or sing at the volume you intend to record.
If the “ADC OVERLOAD !” (AD converter input
overload) indication appears, turn the rear panel LEVEL
knob toward MIN to adjust the level appropriately.
For the best sound, adjust the level as high as possible
without allowing the “ADC OVERLOAD !” indication to
appear.
13.Press the SAMPLING REC switch.
Speak into the mic, and notice that the level meter
indicates the volume of the sound that will be recorded.
If the “CLIP!” indication appears, use the VALUE
controller to lower the Recording Level slider (shown in
the right of the display) from the +0.0 setting to an
appropriate position.
138
Uncheck Loop. Now the sample will not loop even if you
hold down the C2 key.
Sampling and editing in Sampling mode Basic examples of sampling
Next, we’ll specify that looping will be turned off for
each newly recorded sample.
20.Press the lower Recording tab and then the upper
Recording tab to go to the P0: Recording– Recording
page.
Threshold Level: –30 dB
Pre Trigger REC: 005ms
For details on Recording Setup, refer to step 3 of
“Sampling your voice from a mic, …”
21.Uncheck Auto Loop On.
If Auto Loop On is checked, the Loop setting will
automatically be turned on when you sample, so that the
sample will loop.
Record the next sample
22.In the P0: Recording, Recording page, select “Index”
and press the
switch to select 002.
23.Press the SAMPLING REC switch and then the
SAMPLING START/STOP switch.
Speak into the mic, saying the word(s) you want to
sample.
(Example: “So”)
When you’ve finished speaking, press the SAMPLING
START/STOP switch.
24.Repeat steps 14 and 15 several times more to record a
few more samples.
(Example: “Easy,” “To,” “Sample,” “With,”
“KRONOS”)
Listen to the recorded result
25.Play the keys one after another.
Play the keys starting at C2 in semitone steps. The
samples you just recorded will play one after another.
3. Go to the P8: Insert Effect– Insert FX page.
Press the IFX tab, and then the Insert FX tab.
4. Select IFX1, use the numeric keys to input 1, 0, 1, and
press the ENTER switch to select 101: Reverb Hall.
Press IFX1 On/Off to turn it on.
(For example if you sequentially play the keys from C2
through F#2, you will hear “It’s So Easy To Sample With
KRONOS.”)
The multisample you created can be used as a program or
combination. (See “Converting a Multisample to a
Program” on page 148)
Sampling external audio through insert
effects
In this example, we’ll apply an insert effect to the sound
from a mic connected to the AUDIO INPUT 1 jack, and
sample the processed sound in stereo.
Connect a mic
1. Connect your mic to the rear panel AUDIO INPUT 1
jack. (See “Sampling your voice from a mic, and
playing it back as a one-shot sample” on page 137)
Setup
2. In the P0: Recording– Audio Input page, make the
following settings.
– INPUT1 –
Bus Select (IFX/Indiv.): IFX1
Pan: C064
5. Speak into the mic, and verify that reverb is applied.
You can use the IFX1 page (IFX1 tab) to edit the effect
settings.
Level: 127
6. Make sure that the Bus Sel. that follows IFX1 is set to
L/R.
This specifies the input level and pan of the INPUT 1
jack, and assigns IFX1 bus as the destination.
7. Press the EXIT switch, and then press the Recording
tab to go to the P0: Recording– Recording page.
– Sampling Setup –
8. Set the REC Sample Setup Mode to Stereo.
Source Bus: L/R
Trigger: Threshold
With this setting, the sound of the internal L/R channels
can be sampled in stereo.
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Sampling (Open Sampling System)
Applying an insert effect to a sample and
resampling the result
You can process a sample through effects, and then sample
the result. This is called “resampling.” During resampling,
the KRONOS can even play a selected source sample
automatically.
To do this:
1. Go to the P0: Recording–Audio Input page.
2. In the Sampling Setup section, set the Key to the
desired source sample.
This selects the sample to be played and resampled.
When the power is first turned on, Key will be set to C2.
3. In the Input section, set Bus Select (IFX/Indiv.) to Off
for all six inputs.
This ensures that no extraneous input sounds will be
recorded, and prevents feedback.
9. Select Index.
If you want to create a new index, press the Create
button.
10.Sample the sound.
Press the SAMPLING REC switch, and then the
SAMPLING START/STOP switch to enter record-ready
mode.
Speak the word you want to sample.
Recording will start when the level exceeds the Level –30
dB setting.
Press the SAMPLING START/STOP switch to stop
sampling.
11.Play the keyboard.
Press the “OrigKey” key to hear the sound you sampled.
If the Bus setting is anything other than Off, the steps
below may cause loud feedback in the main L/R outputs
and headphones.
4. In the Sampling Setup section, set the Source Bus to
L/R.
This means that the sampling will capture all sounds sent
to the main L/R output.
5. Set Trigger to Sampling START SW.
After you’ve pressed the SAMPLING REC switch to
enter sampling-ready mode, resampling will begin when
you press the SAMPLING START/STOP switch.
6. Set Resample to Auto, and then set Key to C2.
When you press the Sampling START button, the
selected Key will be played automatically.
7. Using the on-screen slider, set the Recording Level to
0.0.
Sampling from the S/P DIF input
In general, sampling from the S/P DIF inputs is very similar
to sampling from the analog inputs. For instance, to record a
stereo sample from the S/P DIF inputs, set up the sampling
parameters as below:
Source Bus: S/P DIF L/R
Resample: Manual
Recording Level [dB]: as desired
Mode: Stereo
Important: Whenever using the digital inputs and outputs,
make sure that the Global System Clock parameter is set
correctly. For more information, see “System Clock” on
page 750 of the Parameter Guide.
8. Go to the P0: Recording–Recording page.
9. Set “Save to” to RAM.
The data will be recorded into RAM for use in Sampling
Mode.
10.Set the Mode to Stereo.
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Sampling and editing in Sampling mode Editing loops
11.Enable Auto +12dB On.
Also make sure that IFX1’s Bus Sel. is set to L/R.
The +12 dB setting will be turned on for the newly
recorded samples.
Press the C2 key, and verify that reverb is applied.
14.Press the SAMPLING REC switch, and then the
SAMPLING START/STOP switch.
12.On the P8: Insert Effect– Routing page, under Bus
Select, set “All OSCs to” to IFX1.
The sample assigned to C2 will play automatically, and
resampling will begin.
When the sample finishes playing, resampling will end.
The sample that was created by resampling will
automatically be assigned to Sample Select.
Note: In Sampling mode, the P8– Routing page Bus
Select parameter will automatically be set to L/R when
resampling ends. This prevents an insert effect from
being applied in duplicate when you monitor the results
of resampling through an insert effect.
If you want to apply an insert effect once again, re-select
IFX1.
Note: As an alternative to automatically resampling as
described above (Resample Auto), you can simply
sample the sounds that you play from the keyboard
(Resample Manual).
13.On the P8: Insert Effect—Insert FX page, set IFX1 to
101: Reverb Hall, and turn on IFX 1.
In Sample Select, assign the sample that you will
resample, and set Resample to Manual. Set Trigger to
Note On, and set the Mode to Stereo. Then set the bus
and effect as described in steps 2 and 7, press the
SAMPLING REC and then the START/STOP switch,
and finally press the C2 key to start resampling. When
you want to stop resampling, press the SAMPLING
START/STOP switch.
Editing loops
You can edit the playback address at which the sample will
be looped. The P2: Loop Edit page lets you do the following
things.
• You can specify the looping addresses by editing Start,
End, and Loop Start while watching the waveform.
Functions like Zoom In/Out, Use Zero, and Grid make
editing easy.
• You can turn looping on/off, adjust the tuning of the loop
playback, apply a +12 dB playback boost, or reverse the
playback.
• You can use the Time Slice function to automatically
detect the attacks of kick and snare notes etc. in a rhythm
loop sample (a looped sample containing a drum
pattern), and automatically slice the sample at the
appropriate locations. This function can automatically
create performance data (notes) to play the divided
samples at the appropriate moments, letting you play this
phrase in Sequencer mode at the desired tempo without
affecting the pitch of the individual notes. You can also
do things like changing the pitch of just the snare drum,
replacing it with an entirely different sample, or
changing the playback timing of the phrase in the
sequencer to transform the original rhythm loop into an
entirely different rhythm loop. (Stereo samples are
supported.)
• You can use the Time Stretch function to modify the
tempo without changing the sample’s pitch. When
executing Time Stretch, you can choose either
“Sustaining” (suitable for loops of sustained sounds such
as strings or vocal) or “Slice” (suitable for loops of
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Sampling (Open Sampling System)
decay-type sounds such as drums). (Stereo samples are
supported.)
• Sometimes when looping a sample of pitched
instruments such as strings or winds, the looped portion
may play back in an unnatural way. By executing the
Crossfade Loop function you can eliminate this problem
so that the loop sounds right.
Start (Red)
Loop Start (Green)
End (Blue)
Loop settings
ZOOM
1. Select the sample for which you wish to make loop
settings.
4. By using the ZOOM button you can change the range
that is displayed. When “Start” is highlighted, zoom
will be performed from the start address.
To select the sample, use the Sample Select or Index
parameters of P2: Loop Edit page or of the P0:
Recording, Recording page.
cab
If you use Sample Select to select the sample, be aware
that the assignment to the index will also change.
2. In the P2: Loop Edit page, use the “Loop” check box
to turn loop playback on/off for the sample.
Looping will be turned on if the box is checked.
This will operate between the addresses you specify in
step 3.
Loop On: StartEndLoop StartEnd (Loop
StartEnd is repeated)
Loop Off: StartEnd
Area “a” shown in the illustration displays the entire
sample. Area “b” indicates the region within the entire
sample that is shown in area “c.” As you zoom-in on the
time axis, this shows you where the zoomed region is
located within the entire sample. Use the Zoom buttons to
specify how area “c” will show a magnified (zoom-in) or
reduced (zoom-out) view of the waveform.
Use Zero
If the Use Zero check box is checked, only those
addresses where the waveform data crosses the zero level
will be found automatically when searching, and can be
set. This lets you easily make address settings where
noise is less likely to occur when looping.
To play the sample, press the key to which the sample is
assigned (the key range that is highlighted in Keyboard
& Pad).
A sample waveform that was sampled with Sample
Mode set to Stereo will be displayed in two levels. The
upper level is the L channel, and the lower level is the R
channel.
3. Set the start address in “Start,” the loop start address
in “Loop Start,” and the end address in “End.”
Select Loop Start (highlighted), and use the [VALUE]
dial or other VALUE controllers to modify the value. The
corresponding vertical line will move. Set Start and End
in the same way. In the example shown below, Start is set
immediately before the first waveform, Loop Start is set
immediately before the second waveform, and End is set
as desired.
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Truncate
5. If necessary, use the page menu command “Truncate”
to delete unwanted data that falls outside the start (or
loop start) and end addresses.
Select the Front & End radio button.
In this example, we will not change the settings of the
Save to No. and Overwrite check boxes, so press the OK
button to execute.
When you execute this operation, the truncated sample
data will automatically be assigned to the index.
Sampling and editing in Sampling mode Using Time Slice
In the dialog boxes of some page menu items, there is a
Save to No. setting that lets you specify the sample
number to which the edited sample will be saved. At this
time, a vacant sample number will be selected
automatically, so you will change the setting only if you
want to specify the save destination number.
If you check Overwrite in the dialog box of the
command, the data prior to editing will be deleted and
overwritten by the edited data. Normally, you will
execute the Write operation without checking this, so that
the unedited data is preserved. When you are completely
finished with your editing, you can use the page menu
command Delete Sample to delete unneeded samples.
Using the grid to make loop settings
Grid overlays a grid on the waveform display to indicate the
tempo BPM. This helps you make loop settings that match
the tempo.
You can also view the grid in the P1: Sample Edit page, and
use the grid to edit the waveform to match the tempo.
1. Check “Grid.”
The grid will appear in the waveform display.
Set Resolution as desired, and specify the tempo BPM
value.
The grid is displayed according to the playback pitch at
the base key (the key shown in blue for “Keyboard &
Pad”). You can select the base key by holding down the
ENTER switch and playing a key.
Press the base key to play the sample, and press the TAP
TEMPO switch at quarter-note intervals along with the
phrase. This will enable Tap Tempo and specify the
tempo.
2. Set the end address “End” so that it coincides with a
grid line.
This will make the loop length match the BPM.
If looping is on, the grid is displayed beginning at the
Loop Start. If looping is off, the grid is displayed
beginning at the Start.
3. If you want to hide the grid display, uncheck the
“Grid” option.
Using Time Slice
Time Slice is a function that detects the attack of the kick or
snare etc. in a rhythm loop sample (a sample consisting of a
looped pattern of drums etc.), and automatically divides it
into separate instrumental sounds. Each of the divided
instrumental sounds is made into a sample of its own, and
then automatically expanded into a multisample and
program. Pattern playback data for the Sequencer mode
using the divided samples is also created automatically.
The time-slices sample can be used in the following ways by
the song of Sequencer mode.
• Multiple rhythm loop samples of differing tempo can be
matched to the same tempo without changing their pitch.
• You can change the tempo in realtime without affecting
the pitch.
As an example, we will describe how a rhythm loop sample
can be time-sliced in Sampling mode, and then how the
rhythm loop sample can be played in Sequencer mode.
You will need to provide rhythm loop samples of drums etc.
You can either record these on the KRONOS, or load them
in Disk mode. Initially, you should try this using a onemeasure pattern in 4/4 time with a fairly simple beat, and
record the pattern as a mono rhythm loop sample.
1. Use “Sample Select” to select the sample data that you
want to time-slice.
Play back the sample, and verify that the beats that you
want to loop are played cleanly.
If they are not played cleanly, make the appropriate
settings for the start address Start and end address End,
and execute the page menu command Truncate (See
“Loop settings” on page 142).
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Sampling (Open Sampling System)
2. Go to the P2: Loop Edit page. Select the page menu
command “Time Slice.”
The Set Sample Tempo dialog box will appear.
Program: as desired (for instance, U-G000)
Track: On
Song: 000, Track: 01, Meter: 4/4
Start Measure: 001, Time: 008
3. Specify the number of quarter-note beats in the
sample, and its tempo.
If you know the tempo in BPM, set the Source BPM
accordingly.
If you do not know the BPM, use Beat to enter the total
number of beats, and the BPM will be calculated
automatically.
4. Press the OK button.
The sample will automatically be sliced, and a dialog box
will appear.
Press the Save button to save the data.
You will return to the dialog box of step 4.
• If you want to create the performance data in a pattern:
In order to audition the performance data as it would be if
created as a pattern, press the Save button once again to
go to the Save Samples & MS dialog box.
Turn Program and Seq.Event On (checked)
Program: as desired (for instance, U-G001)
Pattern: On
Song: 001, Pattern: U00, Meter: 4/4
RPPR: On (checked), Key: C#2, Track: 01
When you play the keyboard, C2 will play the original
sample (Source), and D2 and subsequent keys will play
the divided samples.
While listening to each divided sample, adjust Sensitivity
so that each drum strike or other rhythm instrument sound
is divided into its own sample. In some cases, it may not
be possible to slice the sample cleanly even if you adjust
Sensitivity. If the attack of the next sound is included in
the end of the preceding sample, or if one sample
contains two notes, you will need to edit the samples.
If you want to edit, hold down the ENTER switch and
select the Index that is assigned to the note that you want
to edit. (This portion of the waveform display will be
highlighted.) Then you can make adjustments by
adjusting Start or End, and by using Divide to separate
or Link to combine.
For more information, see “Time Slice” on page 735 of
the Parameter Guide.
5. Press the Save button.
The Save Samples & MS dialog box will appear.
Here you can save the time-sliced samples and the
multisample.
At this time, set the items in the Save With area to specify
the conversion destination for the program that will use
the samples and multisample, and for the performance
data (track or pattern) that will be used in Sequencer
mode to “recreate” the rhythm loop sample.
• If you want to create the performance data in a track:
Turn Program and Seq.Event On (checked)
144
Press the Save button to save the data.
You will return to the dialog box of step 4.
6. Press the Exit button.
Sampling and editing in Sampling mode Using Time Slice
7. Press the SEQ button to enter Sequencer mode, and
select 000 for “Song Select.”
8. In “Song Select,” choose 001.
The following song data has been set/created
automatically as you specified in step 5.
• P0: Play/REC page
Song: 001, Meter: 4/4, Tempo: 112, RPPR: On
• P0: Play/REC– MIDI Track Prog Select/Mixer page
Track01 Program: as desired (for instance, U-G001)
• P5: Pattern/RPPR, RPPR Setup page
Key: C#2, Assign: On,
Pattern: User, U00, Track: Track01
Pattern data: 1 measure (D2–)
The following song data has been set/created
automatically as you specified in step 5.
• P0: Play/REC page
Song: 000, Meter: 4/4, Tempo: 112
• P0: Play/REC– MIDI Track Prog Select/Mixer page
Track01 Program: as desired (for instance, U-G000)
• P5: Track Edit, Track Edit page
Track01: track data: 8 measures (D2–)
In the P0: Play/REC– MIDI Track Prog Select/Mixer
page, press the C#2 key. The RPPR function will begin
playing pattern U00.
In the P5: Pattern/RPPR, Pattern Edit page, press the
SEQUENCER START/STOP switch to start playback of
pattern U00.
When you press the C#2 key in the P5: Pattern/RPPR,
RPPR Setup page, the RPPR function will start playing
pattern U00.
In the same way as in step 7, changing the playback
tempo will not affect the pitch.
Press the SEQUENCER START/STOP switch to start
playback.
As an example, set “q (Tempo)” to 100. Notice that the
pitch does not change when you play back at a different
tempo.
If the beat of the original rhythm loop sample is not
reproduced correctly when you change the tempo, or if
obtrusive noise is heard, this is because the sample was
not sliced appropriately in step 4. The way in which the
percussion instrument sounds were divided will have a
major impact on the quality of the playback when the
tempo is changed. You will need to adjust the way in
which the samples are divided in step 4.
The silence between samples may become obtrusive if
you play back at a slower tempo, or noise may occur
between samples if you play back at a faster tempo. To
avoid such problems, you can set Stretch “New BPM” or
“Ratio” in step 5 to the tempo at which you want to play
back, and execute time stretch to adjust the length of each
sample. For more information, see “Time Stretch” on
page 740 of the Parameter Guide.
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Sampling (Open Sampling System)
Sample waveform editing
In the P1: Sample Edit screen you can do the following
things.
• You can set the Edit Range Start and End while
watching the waveform. You can use functions such as
Zoom In/Out, Use Zero, and Grid to edit the waveform
efficiently.
• You can edit the sample waveform using a variety of
commands such as cut, copy, mix, insert, normalize,
volume ramp, and reverse.
• A Rate Convert function lets you lower the sampling
frequency of the sample data in a range of 2/3 to 1/6,
producing “down-sampled” effects.
• The Link function (Link: with crossfade) lets you
connect two samples into one. When doing so, you can
apply a crossfade so that the sustained portion of the
samples will change gradually to create a natural
transition between the two samples.
1. Select the sample that you wish to edit.
Use Sample Select or Index in the P1: Sample Edit page
or the P0: Recording, Recording page to select the
sample.
If you use Sample Select to select the sample, be aware
that the index assignment will also change.
2. Select the P1: Sample Edit page.
If you want to audition the selected region, press the Play
button in the LCD or the SAMPLING START/STOP
switch. The selected region will play at the pitch of the
base key (the blue key in the keyboard display). You can
specify the base key by holding down the ENTER switch
and playing a note on the keyboard.
When you play a key to which the sample is assigned (the
highlighted range of the keyboard displayed in
“Keyboard & Pad”), the sample will be played back
according to its loop settings.
The procedure for using the ZOOM and “Use Zero”
check boxes is the same as for P2: Loop Edit.
4. From the list of page menu, select the desired editing
command. Make the appropriate settings in the dialog
box, and press the OK button to execute.
For details on the many sample editing features, see
“Sampling: Page Menu Commands” on page 721 of the
Parameter Guide.
The waveform data of the currently selected sample will
be displayed.
Sample waveforms recorded with Sampling Mode set to
Stereo will be shown in two lines. The upper line is the
Left channel waveform, and the lower line is the Right
channel waveform.
3. Use “Edit Range Start” and “End” to specify the
range that you wish to edit.
The selected range will be highlighted.
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Sampling and editing in Sampling mode Multisample editing
Multisample editing
Editing a multisample is accomplished with a number of
operations i.e. creating indexes for the multisample and
assigning a sample to each index, editing operations such as
deleting, copying, and inserting indexes, and detailed
settings such as sample level and pitch for each index.
Multisample editing is performed in P3: Multisample.
The Insert button is used in conjunction with the Cut and
Copy buttons. The contents of the index that was Cut or
Copied will be inserted.
The Create button has the same function as the Create
button in P0: Recording (see “Creating multisample
indexes and sampling–P0: Recording” on page 135).
You can also do some basic edits in the P0: Recording–
Recording page.
Modifying the settings of an index
Editing the indexes
1. Make the settings described in steps 1–3 of “Editing
the indexes.”
To change the number or order of the indexes, use the Insert,
Cut, Copy, and Create buttons.
1. Select the P3: Multisample Edit page.
2. Set parameters for the selected index.
• Use Sample to specify the sample for the selected index.
You can also select a sample here.
• Use Orig. Key (Original Key) to specify the original key
of the sample.
• Changing the Top Key will change the upper limit of the
zone. Simultaneously, the lower limit of the nextnumbered index will also change. Range indicates the
zone determined by the Top Key setting.
• Level adjusts the playback level of the sample. You can
use this to ensure that all samples in a multisample have
a consistent level.
• If you check Constant Pitch, all notes in the index zone
will sound the sample at its original pitch.
2. Use “Multisample (MS)” to select the multisample
that you wish to edit.
3. Select the “Index.”
You can also select an index by holding down the
VALUE controller or ENTER switch and playing a note
on the keyboard.
4. Press the buttons to modify the number or order of
the indexes, and edit them.
To delete the selected index, press the Cut button.
• Pitch adjusts the sample pitch for each index. You can
use the Pitch BPM Adjust page menu command to set
the loop interval to the desired tempo. For more
information, see “Pitch BPM Adjust” on page 745 of the
Parameter Guide.
EQ and controllers
The P4: EQ/Controller page lets you use a mid-sweepable
three-band EQ to adjust the sound. You can also use the
control surface to control the EQ. Note that this is for
temporary use in Sampling mode only; it does not affect the
sample data itself.
Here you can also assign the functions of SW1/2, Real-Time
Knobs 5–8, and the note numbers and velocities played by
pads 1–8.
Sampling from an Audio CD
The KRONOS allows you to “rip” digital audio data from an
audio CD inserted in a connected USB CD drive. To do so:
4. Set the left channel’s Pan to L000, and the right
channel’s Pan to R127.
1. Go to the Sampling P5: Audio CD page.
5. In “Drive” (Drive Select), choose the drive that
contains the audio CD.
Press the SAMPLING button, and then press the Audio
CD tab in the LCD screen.
2. Insert an audio CD into the connected USB CD-R/RW
drive.
Next, make a few settings so that you can monitor the
CD-R/RW Drive Audio Input. These settings don’t affect
the ripping process itself.
3. For both the left and right channels, set Bus Select
(IFX/Indiv.) to L/R, and Level to 127.
6. Raise the Volume.
7. Use Track to select the track that you want to rip.
8. Press the SEQUENCER START/STOP switch to play
back the audio CD track.
9. During playback, press the ENTER switch at the
points where you want ripping to begin and end.
This will set Range Start and Range End.
If you press the ENTER switch three or more times,
Range Start and Range End will respectively be set
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Sampling (Open Sampling System)
The method given above applies when something other
than Range Start or Range End is selected
(highlighted).
(R) to specify the sample number that will be written.
Normally you can leave this unchanged.
If Range Start or Range End are selected (highlighted),
the setting will be updated each time you press the
ENTER switch.
If Range Start or Range End are selected (highlighted),
this region will play back.
When you finish making settings, press the
SEQUENCER START/STOP switch to stop playback of
the audio CD.
10.Verify the region that will be ripped.
Select either “Region Start” or “Region End” (the display
will be highlighted), and press the SEQUENCER
START/STOP switch. The CD will play from Range
Start to Range End and then stop.
If you want to adjust the location, use the VALUE
controllers to modify the Range Start or Range End
settings, or move the cursor to a parameter other than
Range Start and Range End and repeat step 8 to make
the setting once again.
If you want to move the track playback start location to
the beginning of the track, press the LOCATE switch.
11.When you have finished setting Range Start and
Range End, select the page menu command
“Destination.”
A dialog box will appear.
Specify the destination to which the ripped sample will be
written.
Select RAM if you want to rip the sample into RAM
memory. In this case, you can also set Sample No. (L),
Select DISK if you want to rip the sample to media.
Use “Drive Select” to select the drive, and use the Open
and Up buttons to select the directory in which the data
will be saved. Also specify a name for the WAVE file that
will be saved.
12.Press the OK button to execute ripping, or press the
Cancel button to cancel without executing.
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
13.Carefully read the COPYRIGHT WARNING in the
Quick Start Guide, and if you consent to the terms,
press the OK button to begin ripping. If you do not
consent to the terms, press the Cancel button to cancel
the operation.
Saving, converting to Programs, and Comparing
Saving Samples and Multisamples
Any Samples and Multisamples that you create or edit in
Sampling Mode must be saved in Disk mode, or they’ll
go away when you turn off the power. This is different
from Programs and Combinations, which can be written
to memory. For more information, see “Some types of
data must be saved to disk” on page 188.
To save only the Samples and Multisamples, use the Save
Sample Data menu command on the Disk– Save page.
If you want to create an archive of the current setup,
including any Programs, Wave Sequences, or Drum Kits
which use the sample data, we recommend that you use Save
All in order to ensure that the sounds will be reproduced
correctly the next time you load them.
For more information, see “Saving to disks, CDs, and USB
media” on page 188.
KSC Files and User Sample Banks
KSC stands for Korg Sample Collection. KSC files are saved
to and loaded from disk; they group your Samples and
Multisamples together, and let you load them as User
Sample Banks.
User Sample Banks may be loaded either into RAM, or may
use Virtual Memory, just like EXs. They have other benefits
as well. For more information, see “Creating and saving
.KSC files” on page 167.
Converting a Multisample to a Program
In pages P0: Recording–P4: EQ/Controller, you can use the
Convert MS To Program page menu command. When you
execute this command, the settings of the currently selected
Multisample will be converted into a Program. In Program
mode you can make filter, amp and effect settings etc., and
play the sample as a program. The resulting Program can be
used in a combination or song.
If you want to use a Multisample created in Sampling mode
as a Program, go to the Program P2: OSC Pitch page and
select RAM Mono or RAM stereo as the Bank for OSC1
Multisample/Wave Sequence or OSC2 Multisample/Wave
Sequence Bank (when Type is set to Multisample). In this
case, the Multisample will sound according to the settings of
the program parameters.
1. Use “Multisample Select (MS)” to select the
Multisample that you want to convert to a Program.
2. Choose “Convert MS To Program” to open the dialog
box.
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Sampling and editing in Sampling mode Saving, converting to Programs, and Comparing
Compare
In Sampling mode, there is no Compare function that lets
you return to the state prior to editing.
3. Press the text edit button to open the text edit dialog
box, and input a new program name (up to 24
characters). By default, this will be the name of the
multisample.
4. Enable or disable “Use Destination Program
Parameters” as desired.
If you want to preserve the state prior to editing, use a
function such as Copy Sample or Copy MS to copy the
multisample or sample before you begin editing. For more
information, see “Copy Sample” on page 722 of the
Parameter Guide, and “Copy MS (Copy Multisample)” on
page 723 of the Parameter Guide.
In some of the page menu commands on the Sample Edit and
Loop Edit pages, you can execute with the Overwrite option
unchecked in the dialog box, so that the sample data prior to
editing will be preserved.
Use Destination Program Parameters unchecked:
When you execute the command, the multisample of the
destination Program will be replaced by the multisample
you select here, and the other Program parameters will be
initialized so that it reproduces the sound heard in
Sampling mode.
The program will be converted with an Oscillator Mode
(Program 1–1a) of Single.
Use Destination Program Parameters checked:
When you execute the command, the multisample of the
conversion-destination program will be replaced by the
multisample you select here, but the other program
parameters will not be initialized. Choose this if you want
to use the parameter settings of an existing program.
If you check Use Destination Program Parameters,
please be aware of the following point.
The destination program’s Oscillator Mode must be
Single. If this is not the case, the message “Oscillator
Mode conflicts” will appear when you attempt to execute
the command. To solve this, change the Oscillator Mode
setting of the destination Program.
5. Use the To “Program” field to specify the conversiondestination program.
We recommend that you use Program banks USER-G or
AA…GG for saving Programs created in Sampling
mode.
6. Press the OK button to execute.
7. Press the PROGRAM button to enter Program mode,
select the converted program, and try it out.
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Sampling (Open Sampling System)
Sampling in Program and Combination modes
Overview
In addition to using Sample mode, you can also sample both
external audio sources and internal sounds in Program,
Combination, and Sequencer modes.
For instance, you can resample a performance that uses the
KRONOS’s full range of features, including filters, effects,
Drum Track, and KARMA. You can even sample a full,
multitimbral sequence, played either from the internal
sequencer or an external MIDI sequencer.
You can also sample the KRONOS’s performance together
with audio from an external input source, or monitor the
performance of the KRONOS’s KARMA function and
sequencer etc. while you sample only the external audio
from the input jacks.
Resampling a KARMA phrase in Program mode
You can resample the sound of a program or combination
being played by yourself or by KARMA.
In this example, we’ll explain how to sample a KARMAgenerated phrase in Program mode. You can sample in a
similar way in Combination or Sequencer modes as well.
1. Press the PROGRAM button to enter Program mode,
and select the program that you want to resample.
2. Turn on KARMA (KARMA ON/OFF switch lit), play
the keyboard, and verify that a phrase is generated.
3. Press the Audio In/Sampling tab to go to the P0: Play–
Audio Input/Sampling page.
4. Adjust the recording level.
Press the SAMPLING REC switch and use the
Recording Level slider to adjust the level.
Play with KARMA turned on, and use the VALUE slider
to adjust the Recording Level slider as high as possible
without allowing the “CLIP!” indication to appear.
When you’ve finished making adjustments, press the
SAMPLING REC switch.
Press the KARMA ON/OFF switch to turn KARMA off.
5. Sample.
Press the KARMA ON/OFF switch to turn it on.
Make the following settings.
Press the SAMPLING REC switch.
– Audio Input –
Press the SAMPLING START/STOP switch to put the
KRONOS in record-ready mode.
“Use Global Setting”: Off
Bus Select (IFX/Indiv.): Off
Turn all external inputs Off.
Play the keyboard.
– RECORDING LEVEL–
Recording Level: 0.0
While recording continues, all the sound you produce
using the keyboard or controllers will be recorded.
This is the default setting for resampling.
Press the SAMPLING START/STOP switch to stop
recording.
– Sampling Setup –
Source Bus: L/R
The sound sent to the L/R bus will be resampled.
“Trigger”: Note On
Sampling will start the moment you play the keyboard.
“Save to”: RAM
Sampling will occur to RAM memory.
“Mode”: Stereo
The sound of the internal L/R channels will be sampled in
stereo.
Tip: The KRONOS will automatically make the above
settings for you if you execute the “Auto Sampling
Setup– Resample Program Play” page menu command.
In addition, it will also assign the Multisample to a new
Program after you’ve finished resampling. For more
information, see “Auto Sampling Setup” on page 150.
Recording will start the moment you play the keyboard.
6. Listen to the sound you resampled.
Go to the Sampling P0: Recording– Recording page.
Press the SAMPLING button, then the EXIT switch, and
then the Recording tab in the upper line of the LCD
screen.
Use “Multisample Select” to select the multisample that
you resampled.
Play the C2 key to hear the resampled sound.
7. If you want to convert this multisample into a
program, choose the “Convert MS To Program” page
menu command, select the desired program, and
execute the conversion.
For more information, see “Converting a Multisample to
a Program” on page 148.
Auto Sampling Setup
The KRONOS provides a lot of flexibility in sampling—
which means that there are sometimes a lot of parameters to
be set up. The Auto Sampling Setup menu command
150
provides shortcuts to set up all of the parameters for various
common sampling tasks, including resampling, sampling
from the audio inputs, and restoring initialized settings.
Sampling in Program and Combination modes Mixing a KARMA drum phrase with
In this example we’ll explain how you can use Auto
Sampling Setup to make the settings described under
“Resampling a KARMA phrase in Program mode” on
page 150.
1. Carry out steps 1 and 2 of “Resampling a KARMA
phrase in Program mode” on page 150.
2. Press the Audio Input/Sampling tab to go to the P0:
Play– Audio Input/Sampling page.
3. Choose the Auto Sampling Setup page menu
command. A dialog box will open.
4. Make the following settings in the dialog box.
“Resample Program Play”: On
This makes the appropriate settings for resampling your
playing on a program.
“Save to”: RAM
The resampled data will be written into RAM memory.
“Convert to Program”: On
“Program”: as desired
After resampling, the data will automatically be
converted into the program number you specified in
“Program.”
5. Press the OK button to execute the command.
The KRONOS will make the appropriate settings for
resampling.
6. Resample your playing as described in steps 4 and 5 of
the preceding section.
7. Listen to the sound you resampled.
Go to the Program P0: Play– Main page. Press the
PROGRAM button, then the EXIT switch, and then the
Main tab in the upper line of the LCD screen.
Select the program you specified for “Program” in the
dialog box.
Play the C2 key and you will hear the sound you
resampled.
Mixing a KARMA drum phrase with a live guitar input, and sampling
the result
Here’s how you can resample KARMA together with an
external audio input source.
In this example, we will explain how a guitar connected to
the AUDIO INPUT jack can be played along to a drum
phrase played by the KRONOS, and how both can be
sampled together.
Sampling can be performed in a similar way in Combination
and Sequencer modes as well as in Program mode.
If you connect a guitar with passive pickups (i.e., a guitar
that does not contain a preamp), you will be unable to
sample it at the correct level because of the impedance
mismatch. Such guitars should be routed through a
preamp or an effect unit.
5. Press the Audio In/Sampling tab to go to the P0: Play–
Audio Input/Sampling page.
Make the following settings.
1. Press the PROGRAM button to enter Program mode,
and select the drum program that you want to
resample.
– Audio Input –
2. Turn KARMA on (KARMA ON/OFF switch lit), play
the keyboard, and verify that the drum phrase plays.
Bus Select (IFX/Indiv.): L/R
Turn LATCH on. Press the LATCH switch to make it
light.
Use Global Setting: Off
INPUT1
Pan: as desired
Level: 127
REC Bus: Off
Also adjust the tempo “q” as desired.
3. Press the KARMA ON/OFF switch to turn off
KARMA.
The input from AUDIO INPUT 1 will be sent to the L/R
bus.
4. Connect your guitar to the rear panel AUDIO INPUT
1 jack.
– RECORDING LEVEL–
Press the AUDIO INPUT MIC/LINE switch inward to
select the LINE position, and set the LEVEL knob at
about the center.
Recording Level: 0.0
This is the default setting for resampling.
– Sampling Setup –
Source Bus: L/R
The sound sent to the L/R bus will be sampled.
Trigger: Sampling START SW
Guitar
Effect unit
Press the SAMPLING REC switch to enter recordstandby mode. Then press the SAMPLING
START/STOP switch to start sampling.
Metronome Precount: 4
When you press the SAMPLING REC switch to enter
record-standby mode and then press the SAMPLING
START/STOP switch to start sampling, a four-beat count
will sound, and then recording will begin. (The
metronome will not sound during recording.)
LINE
Save to: RAM
The sample will be recorded to RAM memory.
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Sampling (Open Sampling System)
Mode: Stereo
The sound of the internal L/R channels will be sampled in
stereo.
8. When you have finished making adjustments, press
the SAMPLING REC switch.
– Metronome Setup–
9. Press the KARMA ON/OFF switch to turn it on, and
then press the SAMPLING REC switch to enter
record-ready mode.
Bus (Output) Select: L/R
Level: as desired
The output of the metronome will be sent to the L/R bus.
6. Play your guitar at the volume that you will be
recording.
If the display indicates “ADC OVERLOAD !” (AD
converter input overload), turn the rear panel [LEVEL]
knob toward MIN to adjust the level appropriately.
The best audio quality will be obtained at the highest
possible level that does not cause an overload; i.e., a level
that is slightly below the point where “ADC
OVERLOAD !” is displayed.
7. Press the SAMPLING REC switch.
Play your guitar, and the level meter will indicate the
volume at which the guitar will be sampled.
Press the KARMA ON/OFF switch to turn it on, play the
keyboard to start the drum phrase, and play your guitar
while adjusting the final volume.
If the “CLIP!” indication appears, use the VALUE
controller to lower the Recording Level slider (located in
the right side of the display) below +0.0 to an appropriate
level.
If the balance between instruments is not to your liking,
use the LEVEL knob or the performance editor “Amp
Level” to adjust the balance.
Press the KARMA ON/OFF switch to turn off KARMA.
When you press the SAMPLING START/STOP switch, a
count-down will begin. Play the keyboard during the
count-down.
After a four-beat count-down, recording will start. Play
your guitar. KARMA will also start after the count-down.
10.Press the SAMPLING START/STOP switch to stop
recording.
11.Press the KARMA ON/OFF switch to turn it off.
12.Listen to the sound that was sampled.
Go to the Sampling P0: Recording– Recording page.
Press the SAMPLING button, then the EXIT switch, and
then the Recording tab in the upper line of the LCD
screen.
Use “Multisample Select” to select the multisample that
you resampled.
Play the C2 key, and you will hear the sound that was
resampled.
13.If you want to convert this multisample into a
program, choose the “Convert MS To Program” page
menu command, select the desired program, and
execute. (See “Converting a Multisample to a
Program” on page 148)
Sampling a guitar from the audio inputs,
while listening to a KARMA drum phrase
Here we’ll explain how you can sample just the sound of an
external input source while listening to a performance
generated by KARMA.
You can do this by modifying the settings in step 5 of the
preceding “Mixing a KARMA-generated drum phrase …” to
change them as follows.
INPUT1
Bus Select (IFX/Indiv.): Off
REC Bus: 1
The input from AUDIO INPUT 1 will be sent to REC bus
1.
– Sampling Setup –
Source Bus: REC 1/2
The sound sent to REC bus 1/2 will be sampled. The
sound of the internal tone generator sent to the L/R bus
will not be sampled.
Mode: L–Mono
The sound of the internal L channel will be sampled in
monaural.
Modify the settings as shown above, sample your playing,
and then listen to the sample.
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Sampling in Sequencer mode In-Track Sampling
Sampling in Sequencer mode
In Sequencer mode, you can sample just like in Program and
Combination modes, but there’s an additional option unique
to Sequencer mode: In-Track Sampling.
In-Track Sampling lets you sample an audio source that’s
being played along with the song. During the sampling
process, the system will automatically create a Program to
hold the new sample, and MIDI notes to play it in sync with
the song. You might use this to record a vocal or guitar part,
for instance.
In-Track Sampling
In this example, we’ll show the sound of a guitar connected
to the AUDIO INPUT 1 jack can be added to your song.
1. In Sequencer mode, select the song to which you want
to add the guitar sound.
You can either create a song, or use Disk mode to load a
previously-created song.
2. Connect your guitar to the rear panel AUDIO INPUT
1 jack.
Press the AUDIO INPUT MIC/LINE switch inward to
select the LINE position, and set the LEVEL knob at
about the center.
If you connect a guitar with passive pickups (i.e., a guitar
that does not contain a preamp), you will be unable to
sample it at the correct level because of the impedance
mismatch. Such guitars should be routed through a
preamp or an effect unit.
7. Make the following settings for “In-Track Sampling.”
Source Audio: Audio Input 1/2
The input from the AUDIO INPUT 1 and 2 jacks will be
sampled.
Mono–L/Mono–R/Stereo: Mono-L
The sound will be sampled in mono.
To: as desired
The track you want to use for In-Track Sampling. MIDI
note data to trigger the sample will be recorded in the
track you selected.
Program: as desired
The convert-destination program number. When
sampling is completed, a new multisample will be
automatically created, converted to a program, and
assigned as the program for the track.
8. Press the OK button to execute the command.
3. Go to the Sequencer P0: Play/REC– Audio
Input/Sampling page.
Preparations for In-Track Sampling are now completed.
4. We will be modifying the Audio Input settings, so turn
the Input “Use Global Setting” off.
– Audio Input –
5. Choose the Auto HDR/Sampling Setup page menu
command.
Bus Select (IFX/Indiv.): Off
The dialog box will appear.
6. Choose “In-Track Sampling.”
Let’s take a look at the settings that were made.
INPUT1
Pan: L000
Level: 127
REC Bus: 1/2
The input from AUDIO INPUT 1 will be sent to REC
bus.
– RECORDING LEVEL–
Recording Level: 0.0
This is the default setting for sampling.
– Sampling Setup –
Source Bus: REC 1/2
The sound sent to REC 1/2 bus will be sampled.
Trigger: Sampling START SW
Press the SAMPLING REC switch to enter recordstandby mode. Then press the SAMPLING
START/STOP switch to start sampling.
Save to: RAM
The sample will be recorded to RAM memory.
Mode: L-Mono
The sound of the internal left channel will be sampled in
mono.
9. For this example, change the settings as follows.
Pan: C64
“Trigger”: Threshold, “Threshold Level”: as desired
“Sample Time”: as desired
10.Play your guitar at the volume that you will be
recording.
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Sampling (Open Sampling System)
If the display indicates “ADC OVERLOAD !” (AD
converter input overload), turn the rear panel [LEVEL]
knob toward MIN to adjust the level appropriately.
Press the LOCATE switch to reset the song playback
location to the beginning of the song, and press the
SEQUENCER START/STOP switch to play back.
For the best sound, adjust the level as high as possible
without allowing the “ADC OVERLOAD !” indication to
appear.
Begin playing at the point where you want to record.
11.Press the SAMPLING REC switch.
When you play your guitar, the level meter will indicate
the volume at which the guitar will be sampled.
If the display indicates “CLIP!,” use the VALUE
controllers to lower the Recording Level slider (in the
right of the display) below +0.0 to an appropriate level.
12.When you have finished making adjustments, press
the SAMPLING REC switch.
13.Press the SAMPLING REC switch, and then the
SAMPLING START/STOP switch to enter recordingstandby mode.
Sampling will begin when the Threshold Level volume
is exceeded.
14.At the point where you want to stop sampling, press
the SEQUENCER START/STOP switch.
Song playback and sampling will end.
Sampling will also stop if the specified Sample Time is
reached.
15.Press the LOCATE switch to return to the beginning
of the song, and press the SEQUENCER
START/STOP switch. Notice that the sampled audio
is played back along with the song.
For details on how the Compare function works for InTrack Sampling, refer to “In-Track Sampling” on
page 153.
Resampling a song to create a Wave file
You can record a completed Song to a stereo WAVE file, and
then burn that WAVE file to an audio CD using a connected
USB CD-R/RW drive. For more information, see “Creating
and playing audio CDs” on page 197.
1. In Sequencer mode, select the song from which you
want to create a WAVE file.
5. Choose “2ch Mix to Disk.”
6. Press the OK button to execute the command.
Preparations for In-Track Sampling are now complete.
– Audio Input –
INPUT 1 & 2, USB 1 & 2, S/P DIF L & R
Either create a song, or use Disk mode to load a
previously-created song.
Bus Select (IFX/Indiv.): Off
A maximum of 80 minutes for either mono or stereo can
be written to media in one sampling operation (mono:
approximately 440 MB, stereo: approximately 879 MB).
Turn off the busses for all six audio inputs.
REC Bus: Off
– RECORDING LEVEL–
Recording Level: 0.0
2. Go to the Sequencer P0: Play/REC– Audio
Input/Sampling page.
This is the default setting for resampling.
3. We will be modifying the Audio Input settings, so turn
the Input “Use Global Setting” off.
Source Bus: L/R
4. Choose the Auto HDR/Sampling Setup page menu
command.
The Auto HDR/Sampling Setup dialog box will appear.
– Sampling Setup –
The sound sent to L/R bus will be sampled.
Trigger: Sequencer START SW
Press the SAMPLING REC switch and START/STOP
switch to enter record-standby mode. Then press the
SEQUENCER START/STOP switch to start recording.
Save to: Disk
The sample will be saved to the disk, directory, and file
name specified in Select Directory/File for Sample to
Disk.
Mode: Stereo
The sound of the internal L/R channels will be sampled in
stereo.
7. Use the page menu command Select Directory/File for
Sample to Disk to set the disk. directory, and file name
for the WAVE file.
Use Drive Select and the Open and Up buttons to select
the directory in which the WAVE file will be saved.
Press the text edit button to go to the text edit dialog box,
and enter a filename.
Leave Take No. checked. The number at the right of
Take No. will be input as the last two characters of the
filename.
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Sampling in Sequencer mode Resampling a song to create a Wave file
This number will increment each time you sample,
ensuring that the filename will not be the same even if
you sample repeatedly.
After you have made the settings, press the Done button
to close the dialog box.
8. Set Sample Time to the length that you want to
sample.
Set this to a value slightly greater than the length of the
song.
9. Set the Sample to Disk parameter to the desired bit
depth.
You can sample to disk at either 16-bit or 24-bit
resolution.
10.Set the recording level.
Press the SAMPLING REC switch.
Note: It will take between several seconds to nearly a
minute from the moment you press the SAMPLING REC
switch until the KRONOS enters standby mode (i.e., until
the SAMPLING REC switch changes from blinking to
lit). This time is required in order to allocate sufficient
space on the disk.
Press the SEQUENCER START/STOP switch to play
back the song, and adjust the sampling volume while you
watch the level meters. The default setting is 0.0 dB. If
the level is too low, use the VALUE controller to raise the
level as high as possible without causing the “CLIP !”
indicator to appear.
When you finish making adjustments, press the
SAMPLING REC switch.
Press the SEQUENCER START/STOP switch to stop the
song playback. Then press the LOCATE switch.
11.Start sampling.
Press the SAMPLING REC switch and then the
SAMPLING START/STOP switch to enter recordingstandby mode.
Press the SEQUENCER START/STOP switch to play
back the song. Sampling will begin at the same time.
When the song finishes playing back, press the
SAMPLING START/STOP switch to stop sampling.
Use the page menu command Select Directory/File for
Sample to Disk to verify that the WAVE file was created.
Select the file and press the SAMPLING START/STOP
switch to listen to the sound that was sampled.
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Sampling (Open Sampling System)
User Sample Banks
Overview
User Sample Banks bring the benefits of EXs to your own
sample libraries. You can load and play gigabytes of your
custom or converted samples at once, using Virtual Memory.
Disk and memory management is easy: you can create
subsets of User Sample Banks, and mix and match parts of
different banks, without duplicating samples on disk.
It’s also easy to share sounds with friends and collaborators,
since Programs maintain links to User Sample Banks even
when samples are moved on disk or loaded onto different
systems.
Sampling Mode and User Sample Banks
3. Press the Do Auto-Load Now button.
A confirmation dialog appears.
4. Press OK to confirm.
All sample data will be un-loaded, except for the ROM
banks.
Saving User Sample Banks
Saving a KSC file which includes Sampling Mode data
automatically creates a User Sample Bank. To do so:
1. Create your own set of samples in Sampling Mode,
load previously created samples, or load samples from
Akai or SoundFont 2.0 formats.
Sampling Mode and User Sample Banks are two different
ways to work with your sample data, and you can switch
back and forth between the two as necessary.
2. In Disk mode, go to the Save page.
Sampling Mode lets you create and edit Samples and
Multisamples. However, it doesn’t have access to Virtual
Memory. When loaded as a User Sample Bank, the samples
are more like EXs; they can access Virtual Memory, but they
can’t be edited.
You can also save to a USB storage device, but in order to
work as a User Sample Bank, the files must be on an internal
SSD.
• Use Sampling Mode to create and edit your Samples and
Multisamples, or to import sounds from Akai and
SoundFont 2.0 formats.
• When you’re done editing, load the data as a User
Sample Bank in order to access Virtual Memory.
3. Select the internal disk (if you have two internal disks
installed, select either one).
4. In the menu, select the Save Sampling Data command.
5. Set the Include parameter to Sampling Mode Data.
This saves everything from Sampling Mode, and keeps the
KSC file clean by not saving links to EXs or other User
Sample Banks.
• At any time, you can load the sample data into Sampling
Mode again, to edit the existing data or add more
Samples or Multisamples.
Programs, Wave Sequences, and Drum Kits will remember
which Multisamples and Samples they use, regardless of
whether the data is loaded into Sampling Mode or as a User
Sample Bank. (For more information, see “User Sample
Bank IDs” on page 158.)
.KSC files
KSC stands for Korg Sample Collection. .KSC files contain
links to Sampling Mode, EXs, and/or User Sample Bank
data, including Multisamples, Samples, and Drum Samples.
Loading a .KSC file loads all of the linked data.
If a .KSC includes links to Sampling Mode data, other .KSC
files can link to that .KSC as a User Sample Bank.
For more information, see “Creating and saving .KSC files”
on page 167.
Freeing up space in RAM
To create and edit data for User Sample Banks, you’ll use
Sampling Mode. If you’re working with a very large set of
samples, you may wish to free up RAM by temporarily unloading all other sample data.
Important: this will clear all data from Sampling Mode, as
well as un-loading all EXs and User Sample Bank data. If
you have any un-saved edits to data in Sampling Mode,
make sure that you save to disk before proceeding!
To free all RAM for use by Sampling Mode:
1. Go the KSC Auto-Load page.
2. Un-check all selected KSC files.
156
6. Set Sampling Mode Data Options to All.
7. Give the KSC file a descriptive name.
8. Press OK to save the file.
That’s it! You’ve now saved a User Sample Bank to the disk.
To use it, you’ll need to load it as described below.
Saving creates two KSC files
When you save a KSC which includes Sampling Mode data,
two KSC files are created:
• A KSC with the name you’ve specified, which includes
the actual Samples and Multisamples from Sampling
Mode.
• A second KSC which includes links to the first KSC’s
Sampling Mode Data, with Load Method set to Virtual
Memory. The name for this KSC is the name you’ve
specified followed by the text “_UserBank.” For
instance, if the first KSC is named BillGig.KSC, the
second will be BillGig_UserBank.KSC. This is the file
that you’ll load to access the sample data as a User
Sample Bank.
User Sample Banks Resampling a song to create a Wave file
Both files may contain references to other EXs or User
Sample Banks, depending on the setting of the Include
parameter in the Save dialog.
You can also use the KSC Auto-Load settings to load it
automatically at startup, as described in “Automatically
loading sample data” on page 166.
Editing User Sample Banks
At any time, you can load a User Sample Bank’s data into
Sampling Mode and edit the Samples or Multisamples as
desired, or add new Samples or Multisamples. To do so:
1. Go to the folder in which you’ve saved your KSC from
“Saving User Sample Banks,” above.
2. Select the “[name].KSC” file—the one without
“UserBank” in the name.
3. Press the Load button.
The Load KSC dialog will appear.
4. Set .KSC Allocation to Clear Sampling Mode Data.
Loading User Sample Banks
Once saved to disk, User Sample Banks can be used much
like EXs. To load a User Sample Bank:
1. Go to the folder in which you’ve saved your KSC from
“Saving User Sample Banks,” above.
2. Select the “[name] UserBank.KSC” file.
3. Press the Load button.
The Load KSC dialog will appear.
This is important, in order to preserve the User Sample Bank
ID. For more information, see “User Sample Bank IDs,”
below.
5. Press OK to load the data.
6. Edit as desired, but don’t change the numbering of
existing Multisamples (or Samples, if you’ve used
them for Drum Kits). If you add new Multisamples or
Samples, add them at the end of the list.
Programs, Wave Sequences, and Drum Kits refer to
Multisamples and Samples by their number in the bank. To
make sure that existing sounds continue to work properly,
keep that numbering the same.
7. Save the KSC.
For details, see “Saving User Sample Banks,” above.
Converting older sounds
Older PCG and KSC files will continue to work just as they
did previously: “RAM” sample data will load into Sampling
Mode, and Programs, Wave Sequences, and Drum Kits will
play that sample data. User Sample Banks offer many
advantages, however, and it’s easy to convert your old PCGs
and KSCs with “RAM” samples to the new format. To do so:
1. Load the old-format KSC file, and the PCG(s) which
use the KSC’s samples.
2. Follow all of the instructions under “Saving User
Sample Banks” on page 156.
4. If you’ve just saved the KSC that you want to load, set
.KSC Allocation to Clear Sampling Mode Data.
This will unload the data from Sampling Mode. Data in User
Sample Banks can be loaded either into Sampling Mode (for
editing), or as a User Sample Bank (for playback with
Virtual Memory), but not both at the same time.
5. For now, leave the Load Method set to the default of
.KSC Setting.
The automatically-created [name]_UserBank.KSC file will
be set to use Virtual Memory.
6. Press OK to load the User Sample Bank.
That’s it! Any Programs, Wave Sequences, or Drum Kits
which used the data from Sampling Mode will automatically
use the same data from the User Sample Bank.
3. Go to Program Mode, and select a Program which
uses the KSC’s samples.
4. If it’s an HD-1 Program, go to the P2: OSC/Pitch
page; for STR-1 or MOD-7 Programs, go to the PCM
Osc page.
5. Open the menu, and select the Remap/MS Sample
Banks command.
The Remap/MS Sample Banks dialog appears.
6. Set the “In” parameter appropriately.
If all of the loaded sounds use just this one KSC, select All
Programs, Wave Sequences, and Drum Kits.
If one entire bank uses just this KSC, but other banks use
different KSCs, select the appropriate bank.
If sounds within a single bank use multiple KSCs, select the
Current Program option. For instance, some users keep all
sample-related Programs in Bank USER-G, but Program 000
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Sampling (Open Sampling System)
uses Friday.KSC, Program 001 uses Saturday.KSC, and so
on. The Current Program option lets you deal with each
Program individually. There are similar commands for
individual Wave Sequences and Drum Kits.
7. Set the “From” parameter to Smp: Old RAM.
• Similar to the above, but when loading the entire folder
of Sampling Mode data when browsing within a KSC
8. Set the “To” parameter to Smp:[file name], matching
the new name for the KSC.
Sampling Mode keeps its current ID under the following
circumstances:
This is the name you created in step 7 under “Saving User
Sample Banks” on page 156.
9. Press OK.
• If Sampling Mode has been used since startup, and a
KSC is loaded into Sampling Mode with allocation set to
Append
All references to the old RAM bank will be changed to use
the new User Sample Bank.
• When individual Samples and/or Multisamples are
loaded
10.If you used the “Current Program” option, make sure
to Write the Program before proceeding, and then
repeat any other individual remappings as necessary.
Force new User Sample Bank ID
11.Save a PCG file with the newly converted Program,
Wave Sequence, and Drum Kit data.
User Sample Bank IDs
Under the hood, the KRONOS keeps track of User Sample
Banks by a special ID saved in the KSC file. This lets the
system find and recognize the User Sample Bank if you
change the name or location on the disk, and even if it’s used
on another KRONOS altogether.
An ID is initially assigned when the samples are created in
Sampling Mode. This ID stays with the data as long as you
load and save using KSCs—even if you save to a different
location, or with a different name. It also stays with the data
regardless of whether it’s loaded as a User Sample Bank, or
loaded into Sampling Mode for editing.
It will not be preserved, however, if you load or save
individual Samples or Multisamples.
If there are multiple files on internal disks with the same ID,
the one with the most recent modification date one will be
used. KSCs on USB storage devices are ignored for this
purpose.
When you look at the bank name in Programs, Drum Kits,
and Wave Sequences, you’ll see the full file path of the
associated KSC file.
What triggers a change to the User Sample Bank
ID?
Sampling Mode is given a new ID under the following
circumstances:
• At system startup
• If the Clear Sampling Mode Data option is used when
loading a KSC which does not include Sampling Mode
data.
• When the Global Sample Management page’s Unload
All command is used for Sampling Mode Data
• When the Global KSC Auto Load page’s Do Auto-load
Now command is used (unless one of the auto-loaded
files includes Sampling Mode Data, as described below)
• On save, if Force new User Sample Bank ID is selected
(see “Force new User Sample Bank ID,” below)
Sampling Mode assumes the ID of an existing KSC under
the following circumstances:
158
• When a KSC with Sampling Mode data is loaded using
the Clear Sampling Mode Data or Clear All options, or
when Sampling Mode has not been used since startup
This option is available in the Save Sampling Data dialog,
but not in the Save All dialog. It should be used only in
special cases.
For instance, you might use Force new User Sample Bank
ID if you have loaded a User Sample Bank, edited it
substantially, and wish to save the result as a totally new
User Sample Bank. After doing so, you’ll also need to use
the Remap MS/Sample Bank References menu command to
assign Programs, Wave Sequences, or Drum Kits to use the
new bank instead of the old one.
Limitations: KARMA Wave Sequencing
and Tone Adjust
KARMA Wave Sequencing
Due to technical limitations, KARMA Wave Sequencing
selection of Multisample and Drum Sample Banks supports
only ROM, the current Sampling Mode data, and
EXs1…EXs125.
If you need to use KARMA Wave Sequencing with your
own sample data, you must load it into Sampling Mode.
Tone Adjust “MS Bank”
Similarly, the Tone Adjust MS Bank meta-parameter
supports only ROM, the current Sampling Mode data, and
EXs1…EXs125. Tone Adjust MS/WS/DKit Select can still
be used to select different Multisamples or Drum Samples
from within the current bank, including EXs above 125 and
User Sample Banks, as long as MS Bank is not used.
Global Settings, Wave Seq., Drum Kits
Global mode overview
In Global mode you can make overall settings that apply to
the entire KRONOS, such as master tune, key transpose,
effect global switch, global MIDI channel, and system clock.
In addition, you can create user Drum Kits, Wave Sequence,
and Scales, make settings for the damper pedal and
assignable foot switches/pedals, and specify category names
for programs and combinations.
Global mode page structure
Page
Features
P0: Basic Setup
• Basic settings for the entire KRONOS
• Audio input settings
• Sample management
P1: MIDI
• MIDI settings for the entire KRONOS
• MIDI controller settings in External mode
P2: Controllers
/Scales
• Footswitch and pedal setup
• MIDI settings for the KARMA sliders,
on-screen pads, and VJS
• User scales
P3: Category
Name
• Edit category/sub category names for
Programs, Combinations and KARMA
P4: Wave
Sequence
• Edit Wave Sequences
P5: Drum Kit
• Edit Drum Kits
P6: Options Info
• View system information
• Authorize options
Note: For details on how to access each mode and page,
please see “Basic operations” on page 17.
To save changes, you must use the Write
command
Edits to Global mode parameters will not be preserved
after the power is turned off unless you first save your
settings. Three types of data are handled in Global mode:
Wave Sequences (Global P4), user Drum Kits (Global
P5), and all other global settings (Global P0–P3). Each
type of data is stored separately, and can also be saved to
internal or external drives in Disk mode.
For more information, see “Writing Global settings” on
page 187, “Saving to disks, CDs, and USB media” on
page 188.
Note that Compare can’t be used in Global mode, except
when editing Wave Sequences and Drum Kits.
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Global Settings, Wave Seq., Drum Kits
Global Settings
Basic Setup
Tuning and Transposing
Tuning to another instrument
To adjust the tuning in fine increments, in order to match
other instruments or recorded music:
Velocity Curve 4 is the default, and should work for most
players.
Curve 9 is designed specifically for playing piano sounds
from the weighted RH3 keyboards in the 73-note and 88note models.
2. Press the Basic tab to go to the Basic Setup page.
For details on the other curves, see the graphic below, as
well as “Velocity Curve” on page 748 of the Parameter
Guide.
3. Adjust the Master Tune to the desired pitch.
Velocity curves
1. Press the GLOBAL button to enter Global mode.
The Master Tune is adjustable over a range of ±50 cents
(one semitone = 100 cents). When Master Tune is at 0,
middle A is tuned to 440 Hz.
Convert Position = PreMIDI
Convert Position = PostMIDI
Velocity (Keyboard to MIDI Out)
127
Velocity (MIDI In to sound engines)
MAX
Transposing the keyboard
6
You can also transpose the keyboard in semitones, for quick
key-changes (for instance, if the band decides to play a song
in F rather than E). To do so:
1. In Global mode, go to the Basic Setup page.
7
5
Velocity
effect
4
3
2
8
7
8
6
5
4
3
1
2
9
1
Soft
Strong
1
9
1
127
2. Adjust the Key Transpose as desired.
You can adjust the transposition over a range of ±1 octave.
Keyboard
Transmitted Table
Curve 1–9
Received Table
Curve 4
Curve 4
Curve 1–9
3. If you’re using MIDI or the internal sequencer, press
the MIDI tab to go to the main MIDI page.
MIDI
4. Set the Convert Position according to whether or not
you’re using an external MIDI controller to play the
KRONOS.
PreMIDI is the normal setting. This applies the transposition
(as well as the velocity and after touch curves, described
below) to both MIDI output from the KRONOS keyboard,
and the internal sounds. This is also required in order to
record the output of the curves into the internal sequencer.
PostMIDI applies the transposition and curves to incoming
MIDI, for adjusting the KRONOS response to an external
MIDI controller.
When simply playing the internal sounds from the KRONOS
keyboard, both settings work the same.
Velocity and after touch curves:
adjusting the keyboard response
Velocity and after touch curves let you adjust the way the
KRONOS responds to how you play on the keyboard. The
default settings should work for most players, but there are
many other choices to let you customize the response to
match your own style.
Sound
Pre
Post
Global Convert Position
5. Set the After Touch Curve to suit your playing style.
After Touch Curve 3 is the default, and should work for most
players.
Curve 1 requires greater amounts of pressure, while Curve 5
produces effects with only light pressure. Curves 6-8 are for
special purposes; for more details, see “After Touch Curve”
on page 748 of the Parameter Guide.
After Touch curves
For a setting of PreMIDI
For a setting of PostMIDI
After Touch (KBD→MIDI Out)
127
After Touch (MIDI In→TG)
MAX
8:RANDOM
5
Aftertouch
effect
5
4
7
3
6
2
4
7
3
6
1
2
8:RANDOM
1
0
Soft
Strong
0
127
To set the velocity and after touch curves:
1. If you’re using MIDI or the internal sequencer, press
the MIDI tab to go to the main MIDI page.
2. Set the Convert Position according to whether or not
you’re using an external MIDI controller to play the
KRONOS.
See “Transposing the keyboard,” above, for details on
Convert Position.
3. Press the Basic tab to go to the Basic Setup page.
4. Set the Velocity Curve to suit your playing style.
160
Bypassing the effects
Insert effects, master effects, and total effects can be
bypassed globally. This applies to the entire KRONOS
regardless of the mode. For example, if you’ve connected
the KRONOS’s outputs to an external mixer and are using an
external effect processor to apply reverb or chorus to the
sound, you can turn off the KRONOS’s master effects and
total effects.
Global Settings Basic Setup
If the Effect Global SW IFX 1–12 Off, MFX1&2 Off, and
TFX1&2 Off items are checked, the insert effects, master
effect, will respectively be bypassed.
Tuning and transpose
settings
KARMA &
Drum Track settings
Velocity/aftertouch curve
settings
Effect bypass settings
Memory protect
settings
Select the mode that is
selected at power-on
Beep setting
Linking KARMA to Programs and
Combinations
Sounding a beep when you press the LCD
screen
You can specify whether the KARMA settings written to a
program or combination will also be selected when you
select that program or combination, or whether the KARMA
settings will not change when you switch the program or
combination.
If Beep Enable is selected, a beep will sound when you
press an object in the LCD screen. Uncheck this item if you
don’t want a beep to sound.
When the KRONOS is shipped from the factory, the former
setting is selected. You can use the latter setting if you want
to use the same KARMA settings to generate phrases and
patterns while you select and try out different programs and
combinations.
If the Load KARMA Settings When Changing Program
or Combination boxes are selected, selecting a program or
combination respectively will also select the KARMA
settings that are written in that program or combination.
Globally disabling KARMA and the
Drum Track
If All KARMA/DT Off is checked, all KARMA and Drum
Track functionality will be turned off. KARMA will not start
even if the KARMA ON/OFF switch is on, and the Drum
Track will not start even if the DRUM TRACK ON/OFF
switch is on.
Recalling the last-selected mode and
page at power-on
Protecting the memory
If one or more of the Memory Protect check boxes are
checked, operations such as writing, loading, or song
recording will be prohibited for the corresponding type of
memory.
Adjusting the brightness of the LCD
You can adjust the appearance of the LCD display by using
the LCD Setup menu command, on the Global Basic Setup
page. To do so:
1. Press the GLOBAL switch to enter Global mode.
2. Press the Basic tab in the lower line, and then the
Basic tab located above it.
The Global Basic Setup page will appear.
3. From the page menu located in the upper right of the
LCD, choose LCD Setup.
The LCD Setup dialog will appear.
4. Set the brightness as desired
5. Press the OK button to confirm the changes, or press
the Cancel button to revert to the previous settings.
The state of KRONOS when the power is turned on will
depend on the setting of “Power On Mode”.
If Power On Mode is set to Reset (factory setting),
KRONOS will automatically select the Set List mode P0:
Play page.
If Power On Mode is set to Memorize, KRONOS will
power on using the same mode and page that were selected
when the power was turned off.
161
Global Settings, Wave Seq., Drum Kits
Global audio settings
Making default audio input settings
The Global Audio Input page controls the default mixer
settings for the audio inputs, including level, pan, effects
bussing, and so on. It also lets you route the main L/R
outputs to a pair of individual outputs, for specific
applications in live performance and recording.
Each Program, Combination, and Song can either use these
Global audio input mixer settings, or have its own custom
settings. This is controlled by the Use Global Setting
parameter, on the Program, Combination, or Song’s Audio
Input/Sampling page.
The default for Use Global Setting is On (checked). This
lets you change freely between different Programs, Combis,
and Songs without affecting the audio inputs.
Also, any edits made in the mode’s Audio Input/Sampling
page will affect the Global setting, and vice-versa.
On the other hand, it may sometimes be convenient to save a
particular mixer setup with an individual Program, Combi,
or Song, to set up special sub-mixer settings or effects
processing for particular inputs. For example, you can set up
a Program to use a mic input with a vocoder, as described
under “Vocoder (Program mode)” on page 855 of the
Parameter Guide.
In this case, set the Program, Combi, or Song’s Use Global
Setting to Off (un-checked), and the audio inputs will use
the custom settings.
With this in mind, the Global settings apply in the following
situations:
• When this page (Global Audio Input) is open.
• In Program, Combination, and Sequencer modes, if the
Audio Input/Sampling page’s Use Global Setting checkbox is On (checked). This can be set independently for
each Program, Combination, and Song.
• In other pages of Global mode, if you switch to Global
mode from a Program, Combi, or Song with Use Global
Setting set to On (checked).
• Similarly, in Disk mode, if you switch to Disk mode
from a Program, Combi, or Song with Use Global
Setting set to On (checked).
MIDI settings
Global MIDI Channel
The Global MIDI Channel is the most important MIDIrelated setting in the KRONOS. It determines the main MIDI
channel used for both Program and Combination modes, for
instance. To set the Global MIDI Channel:
1. Go to the Global P1: MIDI page.
2. In the MIDI Setup section, set the MIDI Channel as
desired.
MIDI Clock synchronization
The KRONOS can use its own internal tempo, or
synchronize to external clocks from either MIDI or USB.
The two best general-purpose settings are Auto MIDI and
Auto USB. These combine the functionality of Internal and
External MIDI/USB, so that you don’t have to manually
switch between the two:
If you want to synchronize the KRONOS tempo to a
computer connected via MIDI:
1. Go to the Global P1: MIDI page.
2. In the MIDI Setup section, set the MIDI Clock to Auto
MIDI.
3. Use the Write Global Setting menu command to save
the MIDI Clock setting.
For more information, see “Writing Global settings” on
page 187.
External Controllers
You can use the control surface to transmit MIDI CC
messages to external MIDI devices. Each slider, knob, and
switch can be assigned to a separate MIDI controller and
MIDI channel.
• If external clocks are not being received, the KRONOS
uses its internal tempo instead.
You can create up to 128 different External Setups. For
instance, you might make one setup for controlling several
different pieces of MIDI gear on stage, another for
controlling a software synthesizer (such as one of Korg’s
Legacy Collection synths), and so on.
Synchronizing to a USB-connected computer
Creating an External Setup
If you want to synchronize the KRONOS tempo to a
computer connected via USB:
To create a new External Setup:
• If external clocks are being received, they control the
KRONOS tempo.
1. Go to the Global P1: MIDI page.
2. In the MIDI Setup section, set the MIDI Clock to Auto
USB.
3. Use the Write Global Setting menu command to save
the MIDI Clock setting.
For more information, see “Writing Global settings” on
page 187.
162
Synchronizing to a MIDI-connected computer
1. Go to the Global P1: MIDI page, and press the
External1 tab.
The External1 page appears, with MIDI channel and CC
assignments for each of the Control Surface sliders, knobs,
and switches.
2. At the top of the page, set the External Mode Setup
parameter to the External Setup that you’d like to
edit.
Global Settings Pedal and other controller settings
3. Set up each slider, knob, and switch as desired.
3. Under CONTROL ASSIGN, press the EXT button.
Sliders and knobs send the full range of CC values, from 0 to
127. Switches just send a value of 0 when they’re turned off,
and 127 when they’re turned on.
This puts the Control Surface into External mode.
4. Go to the Control Surface page.
Gch means that the slider will transmit on the Global MIDI
Channel.
Look at the Setup parameter on the right-hand side of the
display. Notice that the External Setup you selected in step 1
is still active.
4. Use the Write Global Setting menu command to save
the new External Setup.
5. Use the Setup parameter to select a different External
Setup.
For more information, see “Writing Global settings” on
page 187.
6. Press the COMBI button to enter Combination mode.
Selecting External Setups
8. Go to the Control Surface page.
Once you’ve created one or more External Setups, you’re
ready to use it to control external devices. First, you’ll want
to select the setup.
Look at the Setup parameter on the right-hand side of the
display. Notice that the External Setup you selected in
Program mode is still active. The selection stays active until
you change it, regardless of what sound you select or which
mode you’re in. This makes it easy to select different
KRONOS sounds without disrupting any external MIDI
control, and vice-versa.
1. On the Global External1 page, set the External Mode
Setup parameter to the External Setup that you’d like
to use.
2. Press the PROG button to enter Program mode.
7. Under CONTROL ASSIGN, press the EXT button.
Pedal and other controller settings
The Controllers tab of the Controllers/Scales page lets you
control how the footswitches and foot pedal will work, as
well as setting up controller mappings for the KARMA
controls and the chord pads.
• Start/stop the sequencer
• Punch-in/out on the sequencer
• Tap tempo
• KARMA on/off
Setting up the Assignable Switch and
Pedal
• Drum Track on/off
• Chord Mode on/off
• Select min and max values for controllers, including the
joystick, ribbon, knobs, and KARMA sliders.
• Trigger chords from the on-screen pads
Assignable Pedal
You can specify the function that will be performed by an
assignable pedal (the optional XVP-10 EXP/VEL pedal or
EXP-2 foot controller) connected to the ASSIGNABLE
PEDAL jack.
This is controlled by the Foot Pedal Assign parameter.
You can choose from the following functions:
• Master volume
• Alternate modulation source
• Effect dynamic modulation source
Assignable Switch
• Portamento pitch change speed
Foot Switch Assign lets you assign a function to a
footswitch (such as the optional Korg PS-1) connected to the
rear-panel ASSIGNABLE SWITCH jack.
• Volume
You can choose from the following functions:
• AMS (Alternate Modulation) source for controlling
sounds
• Dmod (dynamic modulation) source for controlling
effects
• Portamento on/off
• Sostenuto
• Soft pedal
• Pan
• Pan (following insert effects)
• Send levels to the master effects
• Duplicate the function of another controller, such as the
joystick or ribbon
Note: You can use this as a source for alternate modulation
or effect dynamic modulation, and use it to control program
parameters or effect parameters. In this case, set Foot
Switch Assign to Foot SW (CC#82), and Foot Pedal Assign
to Foot Pedal (CC#04).
• Step up or down through sounds, including Programs,
Combinations, and Set List Slots
163
Global Settings, Wave Seq., Drum Kits
Changing Programs and Combinations with the
foot switch
1. Press the “Foot Switch Assign” popup button, and
select either Program Up or Program Down.
Program Up will cause the next higher program number to
be selected each time you press the foot switch.
Program Down will cause the next lower program number to
be selected each time you press the foot switch.
2. Set the “Foot Switch Polarity” to the polarity of the
foot switch you have connected.
If you have connected a Korg PS-1 pedal switch, set this
to (–) Korg Standard. If the polarity is not set correctly,
the pedal will not function appropriately.
3. Either press the PROG switch to enter Program P0:
Play, or press the COMBI switch to enter
Combination P0: Play.
When you press the foot switch, the program/
combination will change.
KARMA, Pad, Vector
You can assign control change messages to the KARMA
switches and sliders, and to the vector joystick X-axis and Yaxis.
You can also assign either control change messages or note
numbers to pads 1–8. For more details on pads and MIDI,
see “Playing the pads from MIDI or the keyboard” on
page 37 and “2–1c: MIDI CC# Assign —Vector Joystick /
Pads” on page 775 of the Parameter Guide.
The default settings should work well in most cases. To
restore the default settings, use the Reset Controller MIDI
Assign page menu command and choose Default Setting.
Creating user scales
Creating an original scale, and assigning
it to a Program
Select a key, and use the VALUE controllers to adjust the
pitch. The range of ±99 raises or lowers the pitch
approximately one semitone above or below the standard
pitch.
Note: You can also select a key by holding down the ENTER
switch and playing the desired note on the keyboard.
Note: You can copy one of the preset scales and edit it to
create an original scale. To do so, use the page menu
command Copy Scale.
2. Press the SEQ button to enter Sequencer mode.
3. Press the Track Parameter tab and then the Pitch tab
to go to the P2: Track Parameters – Pitch page.
4. If you want the Track to use the scale saved with its
individual Program, check the track’s “Use
Program’s Scale” check box.
Tracks that are not checked will use the scale specified by
Scale “Type (Song’s Scale).”
On the User Scale page, you can create your own original
scales. These include sixteen different User Octave Scales,
in which the pitch of each note of the octave is repeated for
all octaves, and one User All Note Scale, in which the pitch
of each of the 128 notes can be specified independently.
By adjusting the pitch of each key in the range of ±99 cents,
you can raise or lower it by approximately one semitone
relative to the normal pitch.
The user scales you create here can be used by specifying the
scale for a program, for each timbre of a combination, or for
each track of a song.
You can choose these scales from the following pages.
Mode
Page
Program
P1– Program Basic: Scale
Combination
P2– Pitch: Scale, Use Program’s Scale
Sequencer
P2– Pitch: Scale, Use Program’s Scale
Here is how to set the scale type for each timbre in
Sequencer mode.
1. Create a user octave scale or a user all notes scale.
164
5. Set “Type (Song’s Scale)” to select the scale for the
currently selected song.
Global Settings Setting Category Names for Programs, Combinations, and KARMA
Setting Category Names for Programs, Combinations, and KARMA
Program, Combination, KARMA Category
The Category Name pages let you assign names to the
Program, Combination, and KARMA categories and subcategories.
Editing the Category names is very simple:
1. Press the T (Text) button next to the name you’d like
to edit.
The text editing dialog will appear.
2. Enter the new name, and press OK.
To edit a Sub Category name:
1. Choose the Main Category from the popup menu.
2. Edit the Sub-Category names as described above.
165
Global Settings, Wave Seq., Drum Kits
Automatically loading sample data
Using the KSC Auto-Load list to select which samples to load
What’s a KSC?
KSC stands for Korg Sample Collection. KSC files contain
links to Sampling Mode, EXs, and/or User Sample Bank
data, including Multisamples, Samples, and Drum Samples.
Loading a KSC file loads all of the linked data.
You can load KSC files in Disk mode, and the KRONOS can
also automatically load one or more KSC files at startup. The
Global KSC Auto-Load page lets you keep a list of your
favorite KSC files, and select which ones from the list are
loaded automatically at startup. You can also load KSC files
immediately, without re-starting, directly from this page.
Note that you can keep files in the list without loading them.
For instance, you might have one KSC file for a recording
project, and a different KSC file for a live band. The list lets
you keep them at hand for easy loading when desired, and
may often be more convenient than using Disk mode.
Note: The KSC Auto-Load settings are saved automatically,
and are not part of the Global PCG file.
Do not turn off the power for at least 10 seconds after
making any changes to the Auto-Load settings. This
allows the system time to complete the process, which
includes saving the settings to the internal disk.
just as if it had been added by using Add KSC. Otherwise,
any automatically-added KSCs are cleared from the list at
the next startup.
Removing a KSC from the list
You can also remove KSCs from the list. Note that this only
affects the contents of the list; it does not affect the files
themselves. To do so:
1. Select the KSC file that you’d like to remove.
2. Press the Remove KSC button.
A confirmation dialog appears.
3. Press OK.
The KSC file will be removed from the list.
Selecting which KSC will be loaded
To select whether or not a KSC will be loaded:
1. Check or un-check the Auto-load box next to the KSC
name in the list.
That’s it! The next time that the system powers on, the
checked KSC files will be loaded. You can also load them
immediately, as described below.
Applying changes immediately
Normally, changes the auto-load settings only take affect
after the next restart. You can also load and un-load KSCs
immediately.
Important: this will clear all RAM and EXs data in
memory. If you have any un-saved edits to RAM Sample or
Multisample data, make sure that you save your edits before
proceeding!
1. Press the Do Auto-load Now button.
A confirmation dialog appears.
2. Press OK.
Adding a KSC to the list
To add a KSC to the list:
1. Go to the Global Basic—KSC Auto-Load page.
Any changes you’ve made by adding or removing KSC files
will be applied, with sample data loaded and un-loaded as
necessary. Note that this may take some time to complete.
The Do auto-load now button is grayed out if the selected
samples exceed the maximum available RAM, # of MS, # of
Samples, or # of MS Indexes.
2. Press the Add KSC button.
The Add KSC file dialog appears, allowing you to select
KSC files from disk.
Loading into RAM or Virtual Memory
3. Select the desired KSC files.
The Load Method sets the preferred way to load the KSC’s
samples: load them entirely into RAM, or use Virtual
Memory.
You can use Multiple select to choose more than one file, if
desired.
4. Press Add.
The selected KSC files will be added to the list.
Note: When you load a KSC in Disk mode, it’s automatically
added to the list on a temporary basis. If you then check the
KSC’s Auto-load check-box, the KSC is added to the list
166
Note that if the data is extremely large, and would not fit into
RAM regardless of which other samples were loaded, the
data will use Virtual Memory regardless of this setting.
These settings apply only to EXs and User Sample Bank
data; Sampling Mode data is always loaded into RAM.
Automatically loading sample data Creating and saving .KSC files
RAM: The samples will be loaded into RAM. This has the
advantage of allowing reverse sample playback.
Virtual Memory: The samples will use Virtual Memory.
This generally allows you to load more large samples at
once. Note that the samples may still require a significant
amount of RAM.
KSC Settings: KSCs can store separate load method settings
for each Multisample or Drum Sample, based on the settings
when the KSC was saved. Setting Load method to KSC
Settings uses these individual settings.
Memory usage graphic
This shows the amount of memory used by the different
types of samples, along with the slots used for Sampling
Mode Multisamples, Samples, and Multisample Indexes
(key zones within Multisamples).
Show Current or Selected Auto-Load
This selects whether the graphic shows the current state of
memory, or the state of memory as it would be after doing an
auto-load using the current settings.
It’s possible for different KSC files to refer to the same
sample data; for instance, two KSC files may point to the
same set of Grand Piano multisamples. The system takes
note of this, so that the redundant data is counted only once.
EXS/USR BANK shows the amount of memory used for
samples in EXs and User Sample Banks.
SAMPLING shows the amount of memory used for
samples in Sampling Mode.
Free shows the amount of memory still available.
The next section shows the numbers of Multisamples,
Samples, and Multisample Indexes currently used in
Sampling Mode, out of the available maximum. Data in EXs
and User Banks does not count towards these maximums.
Multisamples shows the current number of Multisamples in
Sampling Mode, out of the maximum of 4,000.
Samples shows the number of Samples in Sampling Mode,
out of the maximum of 16,000.
MS Indexes shows the total number of Indexes in all
Multisamples in Sampling Mode, out of the maximum of
16,000.
Memory capacity exceeded
If the size of the sample data in MB adds up to greater than
the total available memory, then there are several indications
in the graphic:
• The Free box turns red, and shows the amount by which
the selected data exceeds the available memory, as a
negative number
• The word OVER appears in red to the right of the Free
box, with three exclamation points on a second line
Max numbers exceeded for Sampling Mode
Multisamples, Samples, or Multisample Indexes
As noted above, Sampling Mode can have up to 4,000
Multisamples, 16,000 Samples, and 16,000 Multisample
Indexes. If any of these limits would be exceeded by the
selected auto-load, then there are two indications in the
graphic:
• The numbers for the affected data type (e.g., number of
Samples) are shown in red
• The bar-graph for the data type turns red, instead of blue,
and extends to fill the entire length
Creating and saving .KSC files
Creating a subset of PRELOAD.KSC
You may decide that you want to remove some of the
factory-loaded samples from memory, in order to make room
for optional Korg or third-party EXs, or for your own
samples. This is easy to do. You can unload an entire EXs, if
you wish, or unload individual Multisamples or Drum
Samples.
Unloading individual items
To unload individual Multisamples, Drum Samples, or
Samples:
1. Go to the Global Sample Management page.
2. Above the list of sample data, select the desired Bank
and Type.
Unloading does not affect the data stored on disk; it only
changes what is currently loaded into memory.
For EXs and User Sample Banks, the possible Types are
Multisample or Drum Sample. For Sampling Mode, the
possible Types are Multisample or Sample.
Unloading an entire bank of data
3. Select the desired items (Multisamples or Samples)
from the list.
To un-load an entire bank of data at once:
1. Go to the Global P0: Sample Management page.
To select two or more items at once, enable the Multiple
Select check-box.
This page offers tools for managing the sample data
currently loaded into the KRONOS.
4. Press the Unload button.
2. In the menu, select the Unload all in bank command.
5. Press the OK button to confirm, or Cancel to exit the
dialog without making changes.
The Unload all data from selected bank dialog will appear.
3. Select the desired bank (such as an EXs).
4. Press the OK button to confirm, or Cancel to exit the
dialog without making changes.
5. Proceed to the instructions under “Saving a KSC
file,” below.
A confirmation dialog will appear.
Sample data may be shared by two or more Multisamples or
Drum Samples. If a Sample is used only by the Multisample
or Drum Sample being unloaded, the Sample will be
unloaded as well. If the Sample is used elsewhere, it will
stay loaded.
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Global Settings, Wave Seq., Drum Kits
Creating a new KSC by loading individual
Multisamples
Saving a KSC file
You can also load a few Multisamples from an existing KSC,
and then save out the result as a new KSC.
2. In the menu, select the Save Sampling Data command.
Important: this example will delete any Samples or
Multisamples in Sampling Mode! Make sure that you save
any data that you want to keep.
1. Go to the Disk Load page.
A dialog appears. There are many options here; you can save
either Sampling Mode Data, Links to EXs and User Sample
Banks, or both. There are also various options for saving
only a single Multisample or Sample from the user data. In
this case, we’re going to save everything.
2. Select a .KSC file on disk.
3. Set Include to Both Sampling Mode & Links.
3. Press the Open button.
4. Set Sampling Mode Data Options to All.
You’re now looking inside the .KSC file. Even though the
.KSC file is just a list, pointing to other files, you can browse
through it on the disk as if it contained directories. At the top
level of the KSC file, you’ll see one or more folders,
depending on the KSC: one for Sampling Mode Data, and
one for each referenced User Sample Bank or EXs. If the
.KSC file doesn’t have a type of data, there won’t be a folder
for it.
5. Give the KSC file a descriptive name.
4. Select the one of the folders, and press Open to look
inside.
User Sample Data will contain one or two folders, for
Multisamples and Samples. Usually, there will be both.
EXs and User Sample Bank folders will contain one or two
folders, for Multisamples and Drum Samples.
5. Select a folder of Multisamples, and press Open to
look inside.
6. Touch the Multiple Select check-box at the bottom of
the screen, so that it’s checked.
7. Touch a few Multisamples to select them.
8. Press the Load button.
9. An Are You Sure message appears, to confirm that
you want to load multiple files; press OK.
The Load dialog appears.
10.Set Sample & MS Allocation to Clear All.
When we save the .KSC file, we’ll be including all of the
loaded samples. This option lets us start with a clean slate.
11.If you’re loading EXs or User Sample Bank data, set
the Load Method as desired.
See “Loading into RAM or Virtual Memory” on page 166.
12.Press OK to load the Multisamples.
Now, only the selected Multisamples are loaded.
13.Un-check the Multiple Select check-box.
In order to navigate back out of the .KSC file, this must be
disabled.
14.Press the Up button several times, until you’re back at
the root level of the disk.
15.Proceed to the instructions under “Saving a KSC
file,” below.
168
1. In Disk mode, go to the Save page.
6. Press OK to save the file.
That’s it! You’ve now created and saved your own .KSC file.
You can now load this later, or set it to automatically load at
startup.
If you’ve created this .KSC file as a subset of
PRELOAD.KSC to make room for other samples, make sure
to disable auto-load for PRELOAD.KSC as described under
“Selecting which KSC will be loaded” on page 166.
To reload your previous set of auto-loaded samples, follow
the instructions under “Applying changes immediately” on
page 166.
Connecting to computers via USB Ethernet and FTP Creating and saving .KSC files
Connecting to computers via USB Ethernet and FTP
Overview
You can use a separately-purchased USB Ethernet adapter
and the KRONOS’s built-in FTP server for fast, easy file
transfer with personal computers. For instance, you can:
After connecting, you should be able to see the internal
disk(s) of your KRONOS. You can then use your FTP client
software to transfer files between the KRONOS and your
computer.
• back up files to your computer
Network Troubleshooting
• transfer samples to the KRONOS
The Status parameter shows the current state of the
KRONOS network connection. Normal states are shown in
black text, and errors are shown in red.
• organize and re-name files and directories on the
KRONOS internal disks
Important: compatible USB ethernet adaptor
required
The KRONOS supports a specific set of off-the-shelf USB
Ethernet adapters. For a complete list, see “USB Ethernet
and FTP support” on page 26.
What’s FTP?
FTP stands for “File Transfer Protocol,” and is a standard
way to access files over networks. You can use FTP to
transfer files between the KRONOS internal disk(s) and any
modern computer system.
The KRONOS is an FTP “server,” and your computer will
be the FTP “client.” Free FTP client software is available for
all modern operating systems; some may include built-in
FTP support. If you don’t already have FTP client software,
try searching for “free ftp client” for your operating system
(e.g., Windows or Mac).
If the Status shows an error, try the following:
1. Press the Configure button to open the Configure
TCP/IP dialog.
2. Press OK to close the dialog.
This will make KRONOS attempt to reconnect to the
network; watch the Status parameter to see its progress.
3. Make sure that all ethernet cables are connected
properly.
If possible, it’s sometimes helpful to swap the cables
themselves.
Network troubleshooting is outside the scope of this manual,
but here are a few other things to try:
4. If possible, use DHCP instead of manual addressing.
5. Try restarting the DHCP server (usually, this will be
the network router).
Connecting to the KRONOS via FTP
On the KRONOS:
1. Connect a compatible USB ethernet adaptor.
2. Connect an ethernet cable from the adaptor to your
local network.
For connection to a wireless network, you’ll need to use a
wireless-to-ethernet bridge.
3. Go to the Global 0-5 Network page.
This page lets you set up the USB ethernet connection and
configure the FTP server .
4. Set the User Name and Password as desired.
The user name must be at least one character, and can be up
to 32 characters, including letters, numbers, and dashes. The
password may be left blank, if you are not concerned about
security; like the user name, it can be up to 32 characters.
5. Leave the other parameters set to their defaults.
6. Note the IP address shown in the TCP/IP section.
This will be something like 10.0.1.2, or 192.168.1.2.
You’re now ready to connect to the KRONOS from your
computer.
On your computer:
7. If you haven’t already done so, install FTP client
software.
8. In the FTP client software, connect to the IP address
from step 6 above, with the name and password from
step 4.
If you need more information about how to configure your
FTP software, see its documentation.
169
Global Settings, Wave Seq., Drum Kits
Using Wave Sequences
Wave Sequence Overview
What’s a Wave Sequence?
Wave Sequence banks
Wave Sequences play back a series of different
Multisamples over time. You can use this to create a variety
of unique timbral and rhythmic effects, as described below.
There are built-in “factory” sounds in the Internal bank (I000 through I-139) as well as some of the user banks, as
shown below. You can over-write them if you wish, but
doing so may change the sounds of the factory HD-1
Programs, as well as the Combis which use them.
Wave Sequences are similar to Drum Kits, in that you create
and edit them in Global mode, and then use them in
Programs. In HD-1 Programs, you can use Wave Sequences
just as you would normal Multisamples, including velocity
switches or crossfades, layering different Wave Sequences
on the two Oscillators, and so on.
Also like drum kits, when you play a Wave Sequence in
Global mode, it will use the settings from the previously
selected Program or Combi.
You can create many different effects with wave sequences,
from subtle to extreme. Here are descriptions of three
common uses: rhythmic Wave Sequences, crossfading Wave
Sequences, and velocity-switched Wave Sequences.
Rhythmic Wave Sequences
Rhythmic Wave Sequences use short or abrupt crossfades, so
that transitions between the different Multisamples create a
rhythmic phrase. Flexible swing amount, rests, and ties let
you build complex patterns, which you can then sync to
KARMA and the system tempo.
Crossfading Wave Sequences
By using long durations and crossfade times, Wave
Sequences can produce complex, evolving timbres.
Modulating the Start Step, Position, and Duration makes the
sound even more organic, so that every note can play the
Wave Sequence a little differently.
Velocity-Switching Wave Sequences
By setting each step’s duration to GATE, and then
modulating the Start Step by velocity, you can create a sound
with up to 64 velocity switches. For instance, you can use
this to switch between a large number of different attack
transients.
170
USER–B through USER–GG are empty when shipped from
the factory. You can use these for storing sounds that you
create yourself, optional sound banks from Korg, or thirdparty sound libraries. Each user bank contains 32 Wave
Sequences.
Wave Sequence bank contents
Bank
Contents
INT 000…139
Factory Wave Sequences
INT 140…149
Initialized Wave Sequences
USER–A 00…24
Factory Wave Sequences
USER–A 25…31
USER–B00…G31
USER–BB00…GG31
Initialized Wave Sequences
Using Wave Sequences Programming Basics
Programming Basics
The Wave Sequence parameters are spread over two pages.
The Seq Parameters page has controls for the Wave
Sequence as a whole, such as the start and end steps,
looping, and modulation.
• The current step is marked by a red arrow.
The Step Parameters page goes deeper into the structure of
the Wave Sequence, allowing you to edit each of the 64
Steps.
• White boxes are Rest steps.
Programs, Combinations, and Songs also have a handful of
Wave Sequence-related parameters, to make it easier to fit
Wave Sequences in with other sounds and rhythmic
components (such as KARMA).
• The Loop is highlighted in blue.
The Wave Sequence graphic, shown on both the Seq
Parameters and Step Parameters pages, gives you a quick
overview of the sequence, at a glance:
• Red boxes are Multisample steps.
• Green boxes are Tie steps.
• The length of the Wave Sequence, from the Start Step to
the End Step, is shown by a rectangular outline.
• On the Step Parameters page, the horizontal scroll-bar
at the top of the graphic shows you the eight steps
currently displayed on the screen.
• At the bottom right of the graphic is a Solo button. When
this is turned on, the Wave Sequence will play only the
current step, including its fade-in and fade-out.
Wave Sequence graphic
What’s in a step?
Wave Sequences have 64 steps (although you don’t have to
use all of them–see “Setting the length of the sequence” on
page 171). Each step includes:
• A “type” setting, which makes the step either play a
Multisample, continue the previous step like a tied note,
or play only silence like a musical rest.
• A selected Multisample, which sets the basic sound of
the step.
• Multisample Reverse and Start Offset parameters, which
modify the basic sound of the Multisample.
• Volume, coarse tuning, and fine tuning for the
Multisample.
• A duration, which controls how long the step lasts. You
can set the duration in either milliseconds or musical
beats.
You can also modulate the Start Step in real-time; for more
information, see “Start Step modulation” on page 176.
Modulating the start step does not change the End Step.
3. Set the End Step as desired.
The read-only Length parameter will show you the total
number of steps between the two points.
Setting up the loop
Wave Sequences can loop, so that some or all of the steps are
played repeatedly–like a drum loop, or a loop in a sequencer.
You can set the start and end of the loop separately from the
start and end of the Wave Sequence itself. The loop can
either play for as long as the note is played, or repeat a
specified number of times. Finally, you can choose whether
the loop plays forwards, plays backwards, or alternates
between backwards and forwards.
To set up the loop:
• A crossfade time, which sets how long it takes to fade
into the next step.
1. Set the Loop Start and End Steps as desired.
• Fade-in and fade-out shapes for the crossfade, for subtle
control of the transition between this step and the next
step.
Forwards plays from the Start Step to the Loop End, and
then skips back to the Loop Start.
2. Set the Loop Direction.
• Two AMS output values, which can be used to control
other Program parameters.
Backwards/Forwards plays from the Start Step to the Loop
End, then backwards from the Loop End to the Loop Start,
and then forwards again to the Loop End, and so on.
Setting the length of the sequence
Backwards plays from the Start Step to the Loop End, then
backwards from the Loop End to the Loop Start, and then
skips back to the Loop End, and so on.
You can use anything from 1 to 64 steps in a Wave
Sequence. You also don’t have to start on step 1. To set the
length of the sequence:
1. Go to the Seq Parameters page.
2. Set the Start Step as desired.
3. Set the Loop Repeats.
You can set the loop to repeat a specific number of times,
between 1 and 127. You can also make the loop keep playing
for as long as the note is held (the INF setting), or not repeat
at all (the Off setting).
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Global Settings, Wave Seq., Drum Kits
Adjusting the sound of an individual step
You can make some basic adjustments to the sound of each
step’s Multisample, including changing its volume and pitch,
making it play in reverse, and changing the sample start
points.
You can also use the AMS Outputs to modulate other
Program parameters outside of the Wave Sequence, such as
Filter Frequency, Pan, and so on.
To edit steps:
1. Go to the Step Parameters page.
This page shows the parameters for eight steps at a time. Use
the scroll bar at the right of the screen to change which steps
are in view.
2. In order for a step to make a sound, set its Type to
Multi (Multisample).
3. Select a Multisample using the Bank and Multisample
pop-up menus.
Mono and stereo Multisamples are stored in different Banks.
Each step can be either mono or stereo. Note that even if
only one step uses a stereo Multisample, the entire Wave
Sequence becomes “stereo,” and uses twice as many voices it’s the price that you pay for power!
4. Set the Level (volume) as desired.
This can be useful for evening out the perceived levels of
different Multisamples, or for accenting steps in rhythmic
sequences.
5. Set the Transpose and Tune as desired.
Transpose sets the Multisample’s coarse tuning, in
semitones. You can use this to change the octave for
individual steps, to create melodies, or to create interesting
variations on percussion sounds by extreme transposition.
2. Press the Copy button.
You’re now ready to insert or paste the step.
3. Select the step which you’d like to follow the new step.
4. Press the Insert button.
The copied step is inserted at the selected position. The
previously selected step, and all steps following it, move
down to make room for the inserted step.
To remove a step from the sequence:
1. Select the step you’d like to remove.
2. Press the Cut button.
The selected step will be removed from the sequence, and all
following steps will shift up to fill in the space.
Modulating Program parameters per
step
Each step has two AMS Output values. These act kind of
like step sequencers, allowing you to modulate any AMS
destination in the Program. In other words, virtually any
Program-level parameter can have a different setting for
each step of the Wave Sequence.
For instance, to adjust the Filter Frequency separately for
each step:
1. Select the Program that you’ll use for the Wave
Sequence.
2. Go to the Filter Mod 1 tab of the Filter page.
This page has the filter modulation parameters for OSC1.
3. Under Filter A Modulation, set one of the AMS
sources to Wave Seq AMS Out1.
Tune controls the fine tuning, in cents (1/100 of a semitone).
Small variations in tuning can create an interesting, organic
feel.
6. Use Reverse and Start Offset to change the way that
the Multisample plays.
Reverse plays the selected Multisample backwards, without
looping. (If individual samples within the Multisample are
already set to Reverse, they will still play in reverse,
regardless of this setting.)
Start Offset lets you select from up to 8 pre-programmed
sample start points (for ROM and EXs), or between the
normal start point and the loop start (for Sampling Mode and
User Sample Banks).
4. Set the Intensity as desired.
Using Insert/Cut/Copy/Paste
You can use the Insert, Cut, Copy, and Paste buttons to
copy all of the parameters from one step to another, or to
move a step to a different position in the sequence.
172
This means that the AMS 1 output will modulate the Filter
Frequency. Now, you just need to set up the Wave Sequence
to send values out:
5. Go to the Wave Sequence Step Parameters page.
To insert a copy of a step into the sequence:
6. For each step, enter the desired value for AMS Out1.
1. Select the step you’d like to copy.
7. Go to the OSC1 Basic tab of the OSC/Pitch page.
You can do this by touching any of the step’s parameters, or
by directly editing the Step parameter under the Wave
Sequence graphic. The selected step is shown by a red arrow
on the left side of the screen, as well as a red arrow in the
graphic.
8. Set MS1 to use the Wave Sequence you edited in step
5.
The Filter Frequency will now change with every step.
Using Wave Sequences Using rhythmic Wave Sequences
You may wonder - what if the Program uses more than one
Wave Sequence, and each is sending out different AMS
values? Not to worry. Under the hood, each Wave Sequence
actually has its own complete voice structure, which allows
the AMS values to be different for each one.
3. Go to the AMS Mix 1 tab of the AMS Mix/Common
KTrack page.
4. On AMS Mixer 1, set the Type to Amt A x B.
5. For AMS A, select Wave Seq AMS Out 1.
6. Set the AMS A Amount to 00.
Modulating individual steps with the AMS Mixer
7. For AMS B, select SW 1 Mod (CC#80).
You can combine the Wave Sequence AMS Outputs with the
AMS Mixer to modulate individual steps. For instance, you
can set up SW1 to mute a particular step. We’ll start by
assuming that you have already set OSC1 to play the Wave
Sequence. Then:
8. Set the AMS B Amount to +99.
1. On the Wave Sequence Step Parameters page, set step
1’s AMS Out1 to 127.
11.Under the AMS source selection, set the Intensity to –
99.
2. Set AMS Out1 for all other steps to 0.
SW1 will now mute and un-mute step 1. You can use this
same technique for any per-step modulation.
9. Go to the Amp 1 Mod tab of the Amp/EQ page.
10.Under Amp Modulation, set the AMS source to AMS
Mixer 1.
Wave Sequence step Durations, Crossfade times, and Fade-In and Fade-Out shapes
Step 1
Duration
Step 2
Duration
Step 3
Duration
Step 4
Duration
Volume
Time
Step 1
Crossfade
Xfade In = Log
Step 3
Crossfade
Step 2
Crossfade
Xfade Out = Exp
Step 4
Crossfade
Xfade In = Off
Xfade In = Lin
Xfade Out = Off
Xfade Out = Log
Using rhythmic Wave Sequences
Creating rhythmic Wave Sequences
6. Set the Step Xfade times to relatively short values,
such as 0–5 ms.
To create a rhythmic Wave Sequence:
This preserves the initial transients of the samples.
1. On the Seq Parameters page, set the Mode to Tempo.
7. To create pauses in the rhythm, set the Step Type to
Rest.
This makes the Wave Sequence synchronize to the system
tempo, as set by either the Tempo knob or MIDI Clock.
2. Set Run to On.
This is the default setting; the Wave Sequence will move
from step to step automatically.
3. Select the Multisamples that you’d like to use, and set
the Start, End, and Loop Start/End steps as desired.
4. Set the Loop Repeats to INF.
This will make the sequence repeat as long as you hold the
note.
5. On the Step Parameters page, use the Base Note and
Multiply (“x”) parameters to set the rhythmic values
for each step.
Doubling or halving the rhythmic pulse
You may sometimes want to slow down a 16th-note rhythm
so that it becomes 8th-notes instead, or vice versa. The /2
and x2 buttons make this easy.
Press the /2 button to cut the Base Note and/or Multiply
settings in half, so that 1/4 notes become 1/8 notes, 1/8 notes
become 1/16 notes, and so on.
Press the x2 button to multiply the Base Note and/or
Multiply settings by two, so that 1/8 notes become 1/4
notes, 1/4 notes become 1/2 notes, and so on.
Note: these buttons only appear when the Mode is set to
Tempo.
For instance, to create a dotted eighth note, set the Base Note
to 1/16, and Multiply (“x”) to 3.
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Global Settings, Wave Seq., Drum Kits
Setting the tempo
Each Program, Combi, and Song has its own tempo setting.
You can change the tempo simply by adjusting the frontpanel TEMPO knob, or by tapping in quarter-notes on the
TAP TEMPO button.
There’s also a Global mode parameter which lets you switch
between using the internal tempo or tempo from an external
MIDI source (such as a computer-based sequencer). To sync
to an external MIDI source:
1. Press the GLOBAL button to enter Global mode.
2. Select the MIDI tab.
3. Under MIDI Setup, set the MIDI Clock parameter as
desired.
Internal uses the tempo stored with the Program, Combi, or
Song, and set by the TEMPO knob.
External MIDI syncs to incoming MIDI clocks, and ignores
the TEMPO knob.
Auto is a combination of the above. When clocks are
received via MIDI, it syncs to the incoming clocks; when no
clocks are being received, it defaults to the stored tempo
settings.
Using Swing
Swing adds a human feel to the rhythm, and provides an
easy way to turn a “square” rhythm into a shuffle groove.
This works by adjusting the position of the up-beats, relative
to the Wave Sequence’s Swing Resolution setting. For
instance, if the Swing Resolution is set to 1/8, Swing affects
every other 8th note.
While the Swing Resolution is stored in the Wave
Sequence, the Swing amount is set in the Program, Combi
Timbre, or Song Track. This lets you use a single Wave
Sequence in different Programs, Combis, and Songs, each
with different amounts of swing.
For instance, to turn an 8th-note rhythm into a shuffle:
1. Create or select a Wave Sequence with an 8th-note
rhythm.
2. On the Seq Parameters page, make sure that Swing
Resolution is set to an 8th-note.
3. Create or select the Program in which you’d like to
use the Wave Sequence.
4. Go to the OSC1 Basic tab of the OSC/Pitch page.
5. Set MS1 to use the Wave Sequence you selected in step
1.
6. Go to the Program Basic tab of the Basic/Vector page.
7. Under Wave Sequence, set the Swing parameter to
+100%.
This makes the 8th-notes into a triplet, shuffle pattern.
Positive values make the up-beats later, and negative values
make them earlier. When Swing is set to +300%, up-beats
will be moved all the way to the next down-beat. At this
point, the notes on the up-beats will not be heard at all.
If you are using the Wave Sequence in conjunction with
KARMA, you may wish to adjust KARMA’s swing amount
as well.
174
Swing with multiple Wave Sequences
If a Program contains multiple Wave Sequences with
different Swing Resolution settings, the Program will use
the finest value. For instance, if one Wave Sequence is set to
1/8 and the other is set to 1/16, the Program will use 1/16.
Wave Sequence Swing
Swing Resolution =
Beat 1
3
Swing = 0%
Swing = +100%
Beat 2
3
3
3
+100
–100
Swing = –100%
+200
Swing = +200%
Swing = +300%
+300
Keeping notes in sync
By default, the Wave Sequences for each note run
independently from one another, so that each note sounds as
an individual voice.
With rhythmic Wave Sequences, however, you may
sometimes want all of the Wave Sequences in a chord to start
together and sync together, in lock-step. KRONOS gives you
two tools to make this happen: Key Sync Off, and Quantize
Triggers.
Key Sync Off
Each Program, each Combi Timbre, and each Track in a
Song has its own Key Sync setting. The name “Key Sync”
comes from the similar setting for LFOs, meaning “restart
separately for each note-on.”
When Key Sync is On, each note’s Wave Sequence(s) will
progress independently, so that each one can be on a
different step, or moving at a different rate.
When Key Sync is Off, on the other hand, all of the Wave
Sequences will be synchronized on the same step. There is
one exception to this, however: if Duration is modulated
with velocity or note-number, the Wave Sequences can still
progress at different rates.
To turn Key Sync Off in a Program:
1. Go to the Program Basic tab of the Basic/Vector page.
2. Make sure that the Key Sync parameter is not
checked.
To turn Key Sync Off in a Combi or Song:
1. Go to the Wave Sequence/KARMA tab of the Timbre
Parameters page (for Combis), or Track Parameters
page (for Songs).
Each of the 16 Timbres or Tracks has its own Key Sync
parameter. If you like, you can set them all separately.
2. Set the Key Sync check-boxes as you like.
Remember, to synchronize all of the notes, turn Key Sync
off.
Quantize Triggers
Quantize Triggers allows you to force most Tempo-mode
Wave Sequence note-ons to be in sync, making it easier to
play along with other rhythmic elements.
Using Wave Sequences Creating smooth, evolving timbres
When Quantize Trigger is On, note-ons are quantized to
8th notes using the current tempo reference. (See below for a
few more details.)
Quantize Triggers
The tempo reference can come from different sources,
depending on the current mode, and whether or not KARMA
is on:
• In Program and Combi modes, if KARMA is off, noteons are synchronized with the sounding Tempo-mode
Wave Sequence, if any.
• In Program and Combi modes, if KARMA is on, noteons are synchronized with KARMA.
Note-On
Wave Sequence Rhythm
Quantize
Triggers
Quantize
Triggers
• In Sequence mode during playback or recording, noteons are synchronized with the sequence.
• In Sequence mode, while the sequencer is stopped, noteons are synchronized with RPPR and KARMA.
Each Program, each Combi Timbre, and each Track in a
Song has its own Quantize Triggers setting.
To turn on Quantize Triggers in a Program:
1. Go to the Program Basic tab of the Basic/Vector page.
2. Check the Quantize Triggers box.
To turn on Quantize Triggers in a Combi or Song:
1. Go to the Wave Sequence/KARMA tab of the Timbre
Parameters page (for Combis), or Track Parameters
page (for Songs).
Each of the 16 Timbres or Tracks has its own Quantize
Triggers parameter. If you like, you can set them all
separately.
2. Set the Quantize Triggers check-boxes as you like.
Note-On
Quantize
Triggers
Quantize
Triggers
How Quantize Triggers works
The Quantize Triggers feature tries to make a good guess at
where you intended the note to be. If you play the note just a
bit late–within a 32nd note of the 8th note–it will assume
that you meant the note to sound on the beat that just passed.
In this case, the note will play immediately.
On the other hand, if you play the note up to three 32nd notes
early, it will assume that you’re intending the note to sound
on the next beat. In this case, the note-on is delayed until the
next 8th note.
Creating smooth, evolving timbres
Crossfaded Wave Sequences
The shapes can help you to fine-tune the transitions between
the steps.
To create a smooth, crossfading Wave Sequence:
1. On the Seq Parameters page, set the Mode to Time.
Stretching or compressing the sequence
This turns off tempo synchronization, so that you can set
Wave Sequence durations in milliseconds.
If you like the proportions of the step durations and
crossfades, but want the whole sequence to go faster or
slower. The Exp/Comp (Expand/Compress) button makes
this easy:
2. Set Run to On.
This is the default setting; the Wave Sequence will move
from step to step automatically.
3. Select the Multisamples that you’d like to use, and set
the Start, End, and loop steps as desired.
1. On the Step Parameters page, press the Exp/Comp
button.
A dialog box will appear.
4. On the Step Parameters page, set the Durations to
relatively long values, 500ms or more.
2. In the dialog box, set the Expand/Compress %
parameter as desired.
5. Set the Xfade parameters to long values as well.
100% means the current duration and crossfade times.
Values 99 and below make the times shorter, and values 101
and above make them longer.
To crossfade continually, without pausing to hear a single
step on its own, set the Xfade times the same as the
Durations.
3. Press the OK button.
Note: In Time mode, the actual crossfade time cannot
exceed the total duration of the two steps being crossfaded.
If the Xfade setting would exceed this limit, the crossfade
time will be clipped internally.
The step durations and crossfade times will be adjusted by
the selected percentage.
6. Adjust the step Levels to smooth out perceived volume
differences between different Multisamples.
You can also stretch and compress Wave Sequences in realtime, via AMS. For more information, see “Duration
modulation” on page 176.
7. Adjust the Fade-In and Fade-Out shapes to taste.
Note: the Exp/Comp button appears only when the Mode is
set to Time.
175
Global Settings, Wave Seq., Drum Kits
Modulating Wave Sequences
Position modulation
Position modulation lets you offset the Wave Sequence from
the current step. If Run is turned On, The Wave Sequence
will continue to progress through its steps during
modulation, kind of like fast-forwarding while playing a tape
or CD.
To sweep through a sequence manually, creating the
distinctive sound of a famous German synthesizer:
1. Set Run to Off.
This means that the Wave Sequence will stay on the current
step, until you modulate the position.
2. Under Modulation and Position, select an AMS
source, such as the ribbon or an EG.
3. Set the Intensity to a positive value to move forward
through the steps, or a negative value to move
backwards.
2. Set the Start Step to 10, and the End Step to 25.
3. Set the Loop Start and Loop End to the same points –
10 and 25.
The sequence will now loop through 16 steps, from 10 to 25.
4. Set the Start Step AMS (to the right of the Start Step
parameter) to Velocity.
5. Set the Intensity to –9.
Playing at the highest velocities will now start the sequence
at step 1 (moving it forward by 9 steps); at the lowest
velocities, the sequence will still start at step 10.
In general, negative modulation moves the Start Step earlier
in the sequence, to the limit of Step 1. Positive modulation
moves the Start Step later in the sequence, to the limit of the
End Step.
Note-On Advance
Position modulation and loops
This feature lets you advance the start point of the Wave
Sequence by one step with each new note-on. If Loop
Repeats is not set to Off, Note-On Advance will step
through the loop, paying attention to the loop direction and
number of repeats.
Position AMS affects only the current step, and does not
change the loop start or loop end. This means that Position
AMS can make the Wave Sequence jump into the middle of
the loop, or jump back out of the loop again.
For instance, let’s say that the Wave Sequence Start Step is
2, and the End Step is 6. Also, the Loop Start is set to 3, the
Loop End is set to 5, and the Loop Direction is set to
Forward.
For instance, if Intensity is set to +14, the maximum amount
of modulation will move 14 steps forward in the Wave
Sequence.
Duration modulation
Duration modulation lets you dynamically control the step
duration and crossfade times. You can speed up or slow
down the Wave Sequence so that it runs between 1% and
400% of the original rate.
By using Velocity, key tracking, or note number as the AMS
source, you can make the Wave Sequences on every note
have slightly different timing (or dramatically different
timing, for that matter!) This can be very useful for making a
cross-faded Wave Sequence sound more organic. For
instance, to make the Wave Sequence move faster when you
play at higher velocities:
If Repeat Times is Off, Note-On Advance will make the
Wave Sequence play as follows:
1st note: 2, 3, 4, 5, 6
2nd note: 3, 4, 5, 6
3rd note: 4, 5, 6
4th note: 5, 6
5th note: 6
6th note: 2, 3, 4, 5, 6
7th note: 3, 4, 5, 6
8th note: 4, 5, 6
9th note: 5, 6
1. Go to the Sequence Parameters page.
10th note: 6
2. Under Modulation and Duration, select Velocity as the
AMS source.
11th note: 2, 3, 4, 5, 6
3. Set the Intensity to a value less than 100%, such as
90%.
Values below 100% make the durations shorter, so the Wave
Sequence moves more quickly. Values above 100% make the
durations longer, so the sequence moves more slowly.
etc…
If Repeat Times is 1, Note-On Advance will make the
Wave Sequence play as follows:
first note: 2, 3, 4, 5, 3, 4, 5, 6
2nd note: 3, 4, 5, 3, 4, 5, 6
3rd note: 4, 5, 3, 4, 5, 6
176
Start Step modulation
4th note: 5, 3, 4, 5, 6
You can use a MIDI controller, such as Velocity, to select a
different start step for each note, to introduce more variety
into the timbre. You can move the start step either forwards
or backwards. For instance:
5th note: 3, 4, 5, 6
1. Make sure that Note-On Advance is Off.
8th note: 6
When Note-On Advance is On, Start Step modulation is
disabled.
9th note: 2, 3, 4, 5, 3, 4, 5, 6
6th note: 4, 5, 6
7th note: 5, 6
10th note: 3, 4, 5, 3, 4, 5, 6
Using Wave Sequences Saving Wave Sequences
11th note: 4, 5, 3, 4, 5, 6
5th note: 3, 4, 5, 3, 4, 5, 3, 4, 5…
12th note: 5, 3, 4, 5, 6
6th note: 4, 5, 3, 4, 5, 3, 4, 5…
13th note: 3, 4, 5, 6
7th note: 5, 3, 4, 5, 3, 4, 5…
14th note: 4, 5, 6
8th note: 3, 4, 5, 3, 4, 5…
15th note: 5, 6
9th note: 4, 5, 3, 4, 5, 3, 4, 5…
etc…
10th note: 5, 3, 4, 5, 3, 4, 5…
Finally, if Repeat Times is INF, Note-On Advance will
make the Wave Sequence play as follows. Note that the
Wave Sequence never returns to the start step, since it’s
outside of the loop:
etc…
first note: 2, 3, 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5…
2nd note: 3, 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5…
3rd note: 4, 5, 3, 4, 5, 3, 4, 5, 3, 4, 5…
4th note: 5, 3, 4, 5, 3, 4, 5, 3, 4, 5…
Note-On Advance and Key Sync
Note-On Advance is also affected by the setting of the Key
Sync parameter.
If Key Sync is On, the start point will advance by one step
for each note.
If Key Sync is Off, the start point will advance by one step
for each new phrase. For more information, see “Key Sync”
on page 782 of the Parameter Guide.
Saving Wave Sequences
Once you’ve spent all this time editing, you’ll want to save
your work. To save your Wave Sequence edits:
1. Select the Write Wave Sequence command from the
page menu, at the upper right-hand corner of the
screen.
This brings up a dialog box which allows you to save the
Wave Sequence. Optionally, you can also select a new
location, or change de the Wave Sequence’s name.
2. Press the “T” button to bring up the text edit dialog.
You can give the Wave Sequence a descriptive name using
the on-screen keyboard.
3. After entering the name, press OK.
The text edit window will disappear, returning you to the
main Save dialog.
4. Press the popup button next to WaveSeq to bring up
the save location dialog.
5. Select a location to save the edited Wave Sequence.
To avoid overwriting the factory sounds, it’s safer to use a
slot in one of the seven User banks.
6. After selecting the location, press OK.
7. Press OK again to start the write process.
8. If you’re sure you want to write to this location, press
OK again.
After that, you’re done!
Do not turn off the power for at least 10 seconds after
writing the Wave Sequence data. This allows the system
time to complete the process, which includes saving a
backup of the data to the internal disk.
The Wave Sequence Tempo, Key Sync, Swing, and
Quantize Trigger settings are stored with each Program,
Combination, or Song. These parameters are provided on
the Wave Sequence pages for use during editing, but are
not actually saved with the Wave Sequence. If you’ve
moved from Program or Combination mode and edited
these parameters, return to the previous mode and write
your edits.
177
Global Settings, Wave Seq., Drum Kits
Using Drum Kits
Drum Kit Overview
What’s a Drum Kit?
Drum Kits, as the name implies, are optimized for creating
drum sounds. They offer a number of special features, such
as:
• Each note can play a different sound
• Instead of selecting Multisamples (which span the entire
keyboard), you can select Drum Samples (which contain
a single drum sound). These can be from the ROM,
RAM, or EXs banks.
• On each note, you can use up to eight Drum Samples,
with velocity crossfades
• Each note has separate settings for the most important
sound parameters, including volume, filter cutoff and
resonance, envelope attack and decay, pitch, drive and
low boost, and gain for each band of the Program EQ.
For instance, you could combine high drive and low
cutoff frequency to create a lo-fi effect on only a few
sounds, while the rest of the sounds remained clear and
pristine.
• Each note can be routed to different Insert Effects, or
have separate FX Send amounts. For instance, you can
send a snare sound through a dedicated compressor.
You can use Drum Kits only in Programs whose Oscillator
Mode is set to Single or Double Drums.
Drum Kit memory structure
The KRONOS has over 270 Drum Kits, divided into
Internal, User, and GM (General MIDI) groups as shown
below. You can edit or write into any of the locations except
for the GM bank, which cannot be erased.
For details on the factory-programmed Drum Kits, please
see the Voice Name List.
Drum Kit bank contents
Bank
Contents
INT–00…39,
USER–A00…USER–C05
Factory Drum Kits
GM 0…8
GM2 Drum Kits
USER–C06…USER–G15
USER–AA00…USER–GG15
User Drum Kits
The 9 Drum Kits in the GM bank are compatible with the
GM2 sound map. The other Drum Kits may use different
mappings, where appropriate.
Drum Kit Programs and Oscillator Mode
The Program’s Oscillator Mode setting, on the Program
Basic tab of the Basic/Vector page, sets whether the Program
is used to play Drum Kits or to play normal Multisamples
(such as pianos, strings, etc.).
You’ll see the results of this setting on the OSC1/Basic tab of
the OSC/Pitch page. If the Oscillator Mode is set to Single
or Double, you can select up to eight Multisamples for each
Oscillator, with velocity switches or crossfades.
If the Oscillator Mode is set to Single Drums or Double
Drums, you’ll be able to select a one or two Drum Kits.
There are still eight levels of velocity switches and layers but these are within the Drum Kit itself, and not stored or
edited in the Program.
Before you start editing…
First, select a Drum Program
Drum Kits are edited in Global Mode. While you’re in
Global Mode, you’ll play the kit that you’re editing as if you
were playing it from within the Program, Combi, or Song
which was selected before you entered Global mode.
The Drum Kit in Oscillator 2 will continue to sound as well,
although you can’t edit it directly. You can control the
volume balance between the two kits using the control
surface, without leaving Global mode. To do so:
1. Press the CONTROL ASSIGN [TIMBRE/TRACK]
button.
So, before you enter Global mode, it’s best to select a
Program which is already set up for drums, with the
appropriate EG settings, effects, and so on. Just use the
Program Category select popup, and choose a drum Program
such as “Studio Standard Kit.”
The Control Surface will then control the volumes of the two
Oscillators.
Working with Double Drum Programs
OSC1/Basic Octave setting
If you select a Double Drums Program before entering
Global mode, the Drum Kit from Oscillator 1 will be
selected and ready for editing. When editing in Global mode,
the selected Drum Kit will always play as if it were in the
Program’s Oscillator 1.
In order for the note mappings to match the keyboard, the
Oscillator’s Octave setting needs to be +0 [8']. All Drum Kit
Programs should have this setting already. If you’re unsure,
you can check this yourself:
2. Use the MIX VOLUMES [1]--[2] sliders to adjust the
volumes of the drum kits.
1. Go to the OSC1/Basic tab of the OSC/Pitch page.
2. Check that the Octave parameter (near the top of the
page) is set to +0 [8'].
178
Using Drum Kits Editing Drum Kits
With a setting other than +0 [8'], the relationship between
the keys and the Drum Kit sound map will be incorrect.
Make sure that Memory Protect is
disabled
Before you start editing, go to the Global Basic page, and
look in the Memory Protect section. Make sure that Drum
Kit is not checked–if so, you won’t be able to make any
edits.
Drum Kits may be used by more than one
Program
When you edit a Drum Kit, all Programs that use that Drum
Kit will be affected. To avoid changing the factory voicing,
you may wish to copy Drum Kits to empty locations in the
USER banks before editing.
Editing Drum Kits
Basic Editing
1. Select the Program that you wish to use while editing
the Drum Kit.
For more information, see “First, select a Drum Program,”
above.
2. Press the front-panel GLOBAL button to enter
Global mode.
3. Go to the Sample Setup tab of the Drum Kit page.
4. Use the Drum Kit parameter, at the top of the screen,
to select the Drum Kit that you wish to edit.
You can save this to a different memory location after
editing, if you like.
5. Use the Key parameter to select the note that you wish
to edit.
There are three main types of Drum Sample Banks: ROM,
RAM, and EXs. For each type, you can also choose between
looking at mono and stereo Drum Samples. Note that stereo
Drum Samples will require twice as many voices as mono
Drum Samples.
ROM Drum Samples are the built-in “factory” sounds, and
are always available. These are organized by category, such
as bass drums, snares, hats, etc.
RAM Drum Samples include Akai, SoundFont 2.0, AIFF or
WAV files loaded from disk, and samples created in
Sampling mode.
EXs Drum Sample banks are PCM expansion sets created
especially for the KRONOS. Each has its own unique
number; for instance, the ROM Expansion is EXs1, and the
Concert Grand Piano expansion is EXs2. Only the currently
loaded EXs banks will appear on this menu.
To select a key, you can use any of the standard VALUE
controllers (the slider, dial, numeric keypad etc.). As a
shortcut, you can also hold down the ENTER key and play a
note on the keyboard.
4. Press the Drum Sample popup for DS1.
This Key selection applies to all three Drum Kit editing tabs.
For a list of the Drum Sample names, please see the Voice
Name List.
6. Use the Assign check box to specify whether the key
will have its own settings, or use the same settings as
the next higher note.
If Assign is checked, the key will have its own settings. This
is the default.
If Assign is not checked, the key won’t have its own
settings. Instead, it will use the same settings as the next
higher note–except that the drum samples will be played at a
lower pitch. The amount of pitch change depends on the
Pitch Slope parameter, on the OSC1 Pitch tab of the
OSC/Pitch page.
This brings up a list of Drum Samples, organized by
category. Use the tabs at the left of the screen to browse
through the different categories.
5. Select a Drum Sample by touching its name in the list.
6. Press the OK button to confirm your selection.
7. Do the same for DS2.
Now that you’ve assigned Drum Samples to DS1 and DS2,
let’s set up the velocity ranges and crossfades.
8. Set DS2’s Bottom Velocity to 001, and its Xfade Range
to 0.
9. Set DS1’s Bottom Velocity to 80.
Use this setting when you want only to change the pitch,
such as with tom or cymbal sounds.
Now, DS2 will sound when you play softly, at velocities of
79 or less–and DS1 will sound when you play harder, with
velocities of 80 or more.
Creating a velocity crossfade
You can also see this split visually, in the graphic on the right
side of the LCD.
For this key, let’s create a simple velocity crossfade between
two stereo drum samples.
10.Next, set DS1’s Xfade Range to 20, and its Curve to
Linear.
1. On the left side of the screen, make sure that DS1 and
DS2 are turned On.
Notice that the graphic now shows the two ranges tapering
into one another. Between 80 and 100, DS2 will fade out,
and DS1 will fade in, creating a gradual velocity transition
instead of a hard split.
Just press the On/Off buttons to toggle them, if necessary.
2. Similarly, make sure that DS3…8 are turned Off.
When they are turned off, most of their parameters will be
grayed out.
3. Select ROM Stereo as the Bank for DS1 and DS2.
179
Global Settings, Wave Seq., Drum Kits
Fine-tuning the sound of each sample
Controlling effects for each key
1. If you like, adjust the Levels for the two Drum
Samples.
Drum Kits have their own, built-in mixers. For each key, you
can control the Insert Effects bussing, Master Effects sends,
and pan.
This can be very useful in creating a smooth velocity split or
crossfade.
2. Set the tuning and EG parameters as desired.
For each Drum Sample, you can control offsets to the
Program’s settings for transposition, tuning, and EG attack
and decay times.
3. Go to the Sample Parameter tab.
This page lets you make even more adjustments to the
sound. For each Drum Sample, can control offsets to the
Program’s settings for filter cutoff and resonance, drive, and
low boost. Additionally, you can control the gain for each
band of the EQ.
For more information, please see “Global P5: Drum Kit” on
page 789 of the Parameter Guide.
4. Repeat steps 1–3 to set up each key of the Drum Kit.
You can also copy settings from one key to another, using
the Copy Key Setup menu command.
Using Exclusive Groups
1. In Program mode, go to the Routing tab of the IFX
page.
2. Make sure that the Use DKit Setting check-box is
checked.
When Use DKit Setting is on, the Program will use the Bus
Select and Effects Send settings for each key of the Drum
Kit.
When Use DKit Setting is off, the Program will ignore the
Drum Kit’s Bus Select and Effects Send settings.
3. In Global mode, go to the Voice Mixer tab of the
Drum Kit page.
4. Use the Bus Select (IFX/Indiv. Out Assign) parameter
to send drum sounds through their own Insert effects,
or to the individual outputs.
If you like, you can send each note to its own Insert effect, or
to the individual audio outputs, in addition to the main L/R
outputs.
1. Select the Voice/Mixer tab.
For example, you might send all snare sounds to IFX1, all
kick sounds to IFX2, and the remaining sounds to L/R.
2. Use the Exclusive Groups to make one drum sound
cut off another drum sound - such as closed and open
hi-hats.
5. Use “Send1(MFX1)” and “Send2(MFX2)” to set the
send levels to the master effects.
For example, let’s say that you’ve assigned an open hi-hat
and a closed hi-hat to the same exclusive group:
Controlling pan for each key
• Play the open hi-hat sound.
To use separate pan settings for each key:
• While it’s still ringing, play the closed hi-hat.
1. In Program mode, go to the Amp1/Driver1 tab of the
Amp/EQ page.
• The open hi-hat sound will be cut off–simulating the
action of a physical hi-hat.
2. Under Pan, make sure that the Use DKit Setting
check-box is checked.
Using Hold
When Use DKit Setting is on, the Program will use the pan
settings for each key of the Drum Kit.
The Program Hold parameter can be especially useful for
drum programs, since it lets the samples ring out naturally
regardless of how long you hold down the note. The way that
this works depends on settings in both the Program and the
Drum Kit, as described below.
3. In Global mode, go to the Voice Mixer tab of the
Drum Kit page.
To enable Hold:
1. In Program mode, go to the Program Basic tab of the
Basic/Vector page.
2. Under Key Zone, make sure that the Hold check-box
is checked.
Once you’ve turned on Hold for the Program, the function is
controlled on a note-by-note basis according to settings
within the Drum Kit.
3. In Global mode, go to the Voice Mixer tab of the
Drum Kit page.
4. For each key, set the Enable Note Off Receive
parameter as desired.
If this parameter is unchecked, the key will be held.
If it is checked, the key will not be held.
If you turn off Hold in the Program, no keys will be held regardless of their Enable Note Off Receive setting.
180
To use separate bus settings for each key:
4. Use the Pan parameter to specify the key’s stereo
output position.
Double Drum Programs
Double Drum Programs let you layer two Drum Kits
together. Most often, these will be close-mic’d and ambient
versions of the same acoustic drums, so that you can control
the balance between the two. You could also use this for
creative layering and special effects, of course!
Everything else about Double Drum Programs is the same as
for Single Drum Programs.
Using Drum Kits Saving Drum Kits
Saving Drum Kits
Once you’ve spent all this time editing, you’ll want to save
your work. To save your Drum Kit edits:
1. Select the Write Drum Kit command from the page
menu, at the upper right-hand corner of the screen.
This brings up a dialog box which allows you to save the
Drum Kit. Optionally, you can also select a new location, or
change the Drum Kit’s name.
2. Press the “T” button to bring up the text edit dialog.
You can give the Drum Kit a descriptive name using the onscreen keyboard.
3. After entering the name, press OK.
The text edit window will disappear, returning you to the
main Save dialog.
4. Press the popup button next to Drum Kit to bring up
the save location dialog.
5. Select a location to save the edited Drum Kit.
To avoid overwriting the factory sounds, it’s safer to use a
slot in one of the seven USER banks.
Note that although you can edit General MIDI kits, you can
only save these edits to locations in the INT or USER banks.
The original GM kits cannot be over-written.
6. After selecting the location, press OK.
7. Press OK again to start the write process.
8. If you’re sure you want to write to this location, press
OK again.
After that, you’re done!
Do not turn off the power for at least 10 seconds after
writing the Drum Kit data. This allows the system time to
complete the process, which includes saving a backup of
the data to the internal disk.
181
Global Settings, Wave Seq., Drum Kits
182
Loading & saving data, and creating CDs
Saving data
Overview
There are three ways to save data; you can write it into
internal memory, save it to disk (on the internal disk or
external USB storage media, including CD-R/RW), or
transmit it as a MIDI data dump. You can also use WAVE
files to create an audio CD that can be played by CD players.
Writing to internal memory
The following types of data can be written into the internal
memory.
• Programs
Programs 000–127 in banks INT–A…F, USER–A…G
and AA…GG
• Combinations
Combinations 000–127 in banks INT–A…G, USER–
A…G
Saving to disk, CDs, and USB media
The following file types can be saved to disk:
• .PCG files
Set Lists, Programs, Combinations, global settings,
Drum Kits, User Drum Track Patterns, and Wave
Sequences . (You can choose which data types are
included, via options in the Save dialog.)
• .SNG files
Song and region data.
• .KMP files
These are Korg format Multisamples.
• .KSF files
These are Korg format Samples.
• Global settings
(Global P0: Basic–P3: Category Name)
• .KSC files
These store collections of EXs Multisamples and Drum
Samples, and/or User Multisamples and Samples.
• User Wave Sequences
Banks INT: 000…149, Banks USER–A…GG: 00…31
• .KFX files
Effect preset data.
• User Drum Kits
Banks INT: 00…39, Banks USER–A…GG: 00…15
• .KGE files
KARMA GE data.
• User Drum Track Patterns
User 000…999
• .MID files
Saves a Sequencer mode song in Standard MIDI File
(SMF) format.
• FX Presets
Preset 00…15 and User 00…15 for each effect
• User Template Songs
User 0…15. These include the program selections, track
parameters, effect settings, KARMA settings, and the
name and tempo of the current song as a re-usable
template. For more information, see “Save Template
Song” on page 624 of the Parameter Guide.
Sample data must be saved to disk
Sampling Mode Multisamples and Samples must be
saved to and loaded from disk; they cannot be written
into internal memory.
This means that if you turn the power off and then on once
again, but do not re-load the necessary Multisamples or
Samples into Sampling Mode, any data that uses those
Multisamples or Samples will not sound as intended. This
can include Combinations, Programs, Drum Kits, Wave
Sequences, and Multisamples.
• .EXL files
System exclusive data from an external device that was
saved on the KRONOS. (This allows the KRONOS to be
used as a data filer.)
• .WAV and .AIF files:
User samples can be exported as WAVE or AIFF files.
• .KCD files:
These are track lists for audio CDs.
MIDI data dump
The following types of data can be transmitted as a MIDI
data dump and saved on an external data filer or other
device.
• Set Lists, Programs, Combinations, global settings,
Drum Kits, Drum Track Patterns, and Wave Sequences
• Songs
Once they’ve been saved to disk, you can set the KRONOS
to automatically load them at startup. For details, see
“Automatically loading sample data” on page 166.
For more information, see “Dump Program” on page 801 of
the Parameter Guide.
Songs must be saved to disk
“Preload data” refers to the sounds and other data loaded in
the KRONOS when it is shipped from the factory. You are
free to rewrite this data, and with the exception of the demo
songs, the data will be written to the location listed in
As with Sampling Mode data, Songs must be saved to disk;
they cannot be saved in internal memory.
About preload data and preset data
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Loading & saving data, and creating CDs
“Writing to internal memory.” All of this data is stored in the
internal disk, and backups are provided on the included
Accessory Discs.
Preset data is data that cannot be rewritten by the Write
operation. This includes the following data:
• Programs INT–A…F and USER–A…F
• The General MIDI Program banks, including G, g(1)–
g(9), and g(d): 001–128
• Combinations INT–A…C and INT–D 000…095
• Preset Drum Kits 144 (GM)–152 (GM)
• Drum Kits INT: 00–39, A00…B15, and C00…05
• Preset Template Songs P00–P17
• Wave Sequences INT: 000–139 and USER A00…24
• Preset patterns P000–P697
• Demo songs
Writing to internal memory
Writing Programs and Combinations
The text dialog box will appear. Enter the name of the
program/combination. See “Editing names” on page 185.
Edits to Programs and Combinations can be saved to the
internal memory, which we’ll refer to as “Writing.” If you
want edits to be preserved after the power is turned off, you
must write them.
After you have entered the name, press the OK button to
return to the Write Program/Write Combination dialog box.
There are two ways to write Programs and Combinations, as
described below: using the Write menu commands, and
using the SEQUENCER REC/WRITE button.
5. Select a Sub Category as well.
Do not turn off the power for at least 10 seconds after
using any of the Write commands. This allows the
system time to complete the process, which includes
saving a backup of the data to the internal disk.
Before you write data into memory, you must turn off the
related memory protect setting(s) in Global mode. (See
“Memory protect” on page 187.)
Combinations rely on Programs to make sounds, but they
don’t contain the actual Program parameters. Instead,
they simply remember the Program banks and numbers.
If you edit a Program that’s used by a Combination, or
load a different Program into the same bank and number,
the sound of the Combination will also change.
Using the Write commands
1. Anywhere in Program or Combination modes, select
the page menu command “Write Program” or “Write
Combination.”
The Write Program or Write Combination dialog box will
appear.
Note: You can also reach the same dialog box by holding
down the ENTER button and pressing 0 on the numeric
keypad. (See “Shortcuts” on page 6.)
4. In “Category,” specify the category of the Program/
Combination.
Both Combinations and Programs can be selected by
Category, in addition to bank and number. For more
information about Categories and Programs, see “Selecting
by Category” on page 31; for similar information about
Combinations, see “Selecting by Category” on page 60.
You can also select Programs by Category from within
Combinations and Songs. For more information, see
“Selecting Programs for Combi Tracks” on page 62.
6. Use “To” to specify the bank and number of the
writing destination program/combination.
Use the VALUE controllers or the BANK switches to make
your selection.
7. To execute the Write operation, press the OK button.
To cancel without executing press the Cancel button.
When you press the OK button, the display will ask “Are
you sure?” When you press the OK button once again, the
data will be written.
Using the SEQUENCER REC/WRITE button
In Program and Combination modes, pressing the
SEQUENCER REC/WRITE button opens the Update
dialog box.
This is a shortcut method which saves changes to the current
bank/number location, overwriting the old version of the
Program or Combination. (If you want to save changes to a
different bank and/or number, use the Write menu command
instead.)
To update a Program or Combination:
1. Press the SEQUENCER REC/WRITE button.
The Update Program/Update Combination dialog box
will appear.
The screen shown is for Program mode
2. Check the program/combination name displayed in
the upper line (the writing source).
3. If you wish to change the name of the program/
combination, press the text edit button.
184
2. To write the data, press the OK button. To cancel
without writing, press the Cancel button.
Saving data Writing to internal memory
Saving Tone Adjust edits
Tone Adjust edits are saved in different ways depending on
whether the parameter is Relative or Absolute, and whether
you’re saving a Program, Combination, or Song.
• Relative parameters typically adjust two or more
Program parameters simultaneously. For instance,
Filter/Amp EG Attack Time affects a total of six
Program parameters. The value of the Relative parameter
shows the amount of change to these underlying Program
parameters.
• Absolute parameters usually control a single Program
parameter, such as Oscillator 1 Transpose. The Program
and Tone Adjust parameters mirror one another; when
you change one, the other will change to match.
Program mode:
• Edits to Relative parameters affect the sound
immediately, but don’t change the underlying Program
parameter settings until the Program is saved. When the
Program is saved, the KRONOS calculates the combined
effects of Tone Adjust and dedicated CC modulation
(from the Real Time Knobs, for instance), and saves the
results into the Program parameters directly. At that
point, all of the Relative parameters are reset to 0.
• Edits to Absolute parameters are immediately reflected
in the corresponding on-screen parameters, and viceversa.
Changing to a different data type does not clear the edit
buffer, however. For instance, you can edit a Program,
switch to Combi mode to hear how the Program sounds in a
Combination, and then switch back to Program mode
without losing your edits to either the Program or the
Combination.
Editing applies to the data in the edit
buffer. Programs or combinations will
play according to the data in the edit
buffer.
When you write, the
program or combination
settings will be saved in
internal memory.
Edit Buffer
Write
Select
Edit
When you select a program
or combination, its data is
called from internal memory
into the edit buffer.
Internal Memory
Program
INT–A 0...127
Combination
INT–A 0...127
Wave Seq
INT 0...149
Drum Kit
INT 0...39
Compare
The COMPARE button lets you go back and forth between
the stored version of the sound and the version in the edit
buffer. The LED on the COMPARE button lets you know
which version you’re listening to. For instance:
1. Select a Combination.
2. Change Timbre 1 to play a different Program.
Combination and Sequencer modes:
3. Press the COMPARE button.
• Edits to both Relative and Absolute parameters are
written and preserved as the Tone Adjust settings for the
Timbre or Track.
The COMPARE LED lights up, and Timbre 1 returns to the
original Program.
Writing Drum Kits and Wave Sequences
For details on how to write Wave Sequence edits to memory,
see “Saving Wave Sequences” on page 177.
For details on how to write Drum Kit edits to memory, see
“Saving Drum Kits” on page 181.
The Edit Buffer, Write, and Compare
“Edit buffers” are temporary areas in memory used for
storing edits. There are five separate edit buffers, one for
each of the following data types:
• Set Lists
• Programs
• Combinations
4. Press the COMPARE button again.
The COMPARE LED turns off, and Timbre 1 switches back
the new Program.
Compare operates on the type of data you’re currently
working with. For instance, when you’re in Set List mode, it
acts on the Set List; when you’re in the Wave Sequence edit
pages on Global P4, it acts on the Wave Sequence.
Editing names
You can change the names of Set Lists, Programs,
Combinations, Songs, User Patterns, Drum Kits, Wave
Sequences, Multisamples, Samples, and more, as shown in
the table below. You can also change the names of Program,
Combination, and KARMA Categories and Sub Categories.
As an example, here’s how to change the name of a Program
to “Piano 01” using the Write page menu command:
• Wave Sequences
1. Press the text edit button
to open the text edit
dialog box. (See the graphic “Text edit dialog,” below.)
• Drum Kits
2. Press the Clear button to delete the previous name.
Each time you select one of these items—a Set List,
Program, etc.—it’s copied into the data type’s edit buffer.
When you make edits, the changes are applied to version in
the edit buffer, and not to the stored version.
3. Press the Shift button to switch to uppercase
characters, and press the character P.
Using the menu command Write copies the edit buffer back
to the stored version, making the edits permanent.
The text will now read “Piano.”
Note that there is only one edit buffer for each data type. For
instance, if you start to edit Program INT–A000, and then
change to Program USER–G127, the edits to INT–A000 will
be lost.
4. Press the Shift button again to switch to lowercase
characters, and press the characters i, a, n, o.
5. Press the Space button to enter a space, and then press
the characters 0, 1.
The text will now read “Piano 01.”
6. Press the OK button to close the dialog box.
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Loading & saving data, and creating CDs
If you don’t need to make any corrections, press the OK
button again to complete the Write command, including the
edited name.
Text edit dialog
Text
Cursor
Character Set
Selects the type of
character.
Character buttons
Shift button
Switches between
uppercase and
lowercase characters.
Cursor buttons
Move the cursor to
left or right.
Clear button
Delete all characters of
the text.
Space button
Insert a space at the
cursor location.
Where can names be changed?
Names can be changed on the following pages.
186
Set Lists
Set List P0…9 page menu command:
Write Set List
Set List Slots
Set List P1: Slot Name parameter
Programs
Program P0…9 page menu command:
Write Program
Combinations
Combination P0…9 page menu command:
Write Combination
Wave Sequences
Global P4 page menu command:
Write Wave Sequence
Drum Kits
Global P5 page menu command:
Write Drum Kit
Effect Presets
Program, Combination, Sequencer, and
Sampling modes P8 & P9 page menu
command: Write FX Preset
Songs
Sequencer P0, 1, 2, 3 page menu command:
Rename Song
Regions
P4: Track Edit– Edit Region
Tracks
Sequencer P4: Track Name
Patterns
Sequencer P5: Pattern Name
Sampling Mode
Multisamples
Sampling P0…4 page menu command:
Rename MS
Sampling Mode
Samples
Sampling P0…4 page menu command:
Rename Sample
Categories &
sub categories
Global P3: Program, Combination, and
KARMA Category tabs
Files
Disk Save: Save All…Save Audio CD Track
List, Disk Utility page menu command:
Rename
Delete button
Deletes the character
to the left of the
cursor.
Cancel button, OK button
If you are satisfied with the text that
you input, press the OK button. If you
wish to discard your input and exit
the text edit box, press the Cancel
button.
Saving data Writing to internal memory
Memory protect
Writing Global settings
Memory Protect lets you prevent certain types of data from
being overwritten accidentally. There are individual checkboxes to enable Memory Protect for different parts of the
system, as described below.
Any edits in Global pages P0–P3 are temporary until you use
the Write command to store them in the internal memory. If
you don’t use the Write command, your changes will be
gone when you turn off the power.
For Programs, Combinations, Songs, Set Lists, Drum Kits,
Wave Sequences, and KARMA GEs, Memory Protect
prevents:
(Note that Wave Sequences and Drum Kits are stored
separately from the other Global parameters.)
Editing will affect the data that has
been called into the memory area.
• Using the Write command to save edits
• Loading the data type from disk
• Receiving dumps of the data type via MIDI SysEx
When enabled for Songs, Memory Protect also prevents
recording in Sequencer mode.
When enabled for Internal HDD Save, Memory Protect
prevents saving any data to the internal disk.
Edit
Memory Area
When you Write, the
When the power is
various Global mode
turned on, the settings
P0–P3 settings will be
Write
Power On are called into the
saved in internal memory.
memory area.
Internal Memory
Global Setting
P0...P3
Before saving edits, loading data, and so on, use the
following procedure to turn the memory protect off.
There are two ways to write global settings.
1. Press the GLOBAL switch to enter Global mode.
Using the Write page menu command
2. Go to the Global P0: Basic Setup– Basic page, and
select the Basic page.
1. To write global settings (the various settings in Global
P0–P3), press the page menu command Write Global
Setting in Global P0–P3.
Press the Basic tab at the bottom, and then press the Basic
tab above it.
The Write Global Setting dialog box will appear.
Note: The same dialog box will also appear if, in each of the
above pages, you hold down the ENTER switch and press
the 0 switch. (See “Shortcuts” on page 6)
2. To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
When you press the OK button, the display will ask “Are
you sure?” Press the OK button once again to write the data.
Using the (SEQUENCER) REC/WRITE switch to
write
3. Press the “Memory Protect” check box for each type
of data you wish to write or save, so that the box is
unchecked.
1. In the Global P0–P3 pages, press the SEQUENCER
REC/WRITE switch.
A dialog box will appear.
2. To execute the Write operation, press the OK button.
To cancel, press the Cancel button.
Do not turn off the power for at least 10 seconds after
writing the Global data. This allows the system time to
complete the process, which includes saving a backup of
the data to the internal disk.
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Loading & saving data, and creating CDs
Saving to disks, CDs, and USB media
Some types of data must be saved to disk
USB Floppy disks
Everything that you create or edit within the KRONOS—
sounds, songs, samples, etc.—can be saved to disk, and
backed up on external media.
MS-DOS format 3.5 inch 2HD and 2DD floppy disks can be
used. The formatted capacity of the floppy disks will be 1.44
MB (18 sectors/track) for 2HD, and 720 KB (9 sectors/track)
for 2DD.
As described under “Writing to internal memory” on
page 184, some types of data can be written into internal
memory, without using the Disk mode Save commands.
Media setup
Other types of data must be saved to disk before the power is
turned off, or any changes will be lost. This includes Song
and region data from Sequencer mode, as well as Sampling
Mode Multisamples and Samples. In order to keep this data,
you must write it to the internal disk or to an external USB
storage device (hard disks, flash media, CD-R/RW drive,
etc.). When you’ve come up with settings you like, it’s a
good idea to save them, so that you’ll always be able to
reload them if desired.
Before saving or loading data, make sure that the desired
disk or USB storage media is selected.
Setup for saving data on the internal disk
1. Press the DISK button to enter Disk mode.
2. Use Drive Select to select HDD: INTERNAL HD.
Do not turn off the power for at least 10 seconds after
saving data. This allows the system time to complete the
process, which may continue in the background even
after the disk operation appears to be complete.
Types of media you can use
Internal SSD
The internal disk is a 30 GB solid-state drive, providing fast,
quiet operation and shock resistance.
USB storage media (hard drives, flash media, etc.)
The KRONOS supports MS-DOS FAT16 and FAT32
formatted USB storage devices, including hard disks,
removable disks, and flash media.
Capacity recognized:
FAT32: up to 2 terabytes = 2,000 Gigabytes (GB)
FAT16: up to 4 GB
USB CD-R/RW and DVD drives
KRONOS supports three CD-R/RW formats: UDF, CD-DA
(audio CDs) and ISO9660 (level 3).
Drive Select
Setup for using a USB device
1. Use a USB cable to connect the USB 2.0 connector of
the KRONOS to the USB connector of your USB
device (hard disk, removable disk, CD-R/RW).
Note: The KRONOS’s USB 2.0 connectors support hotplugging; you can connect or disconnect the USB cable
while the power is on. However in order to do so, your USB
device must also support hot-plugging.
Standard saving and loading from CD-R/RW drives uses the
UDF format, which allows you to treat CDs much as you
would a hard drive. For more information, see “CD-R/RW
disks on the KRONOS: UDF and packet-writing” on
page 1142 of the Parameter Guide.
2. Turn on the power.
You can load data from ISO9660 (level 3) discs, but
KRONOS does not write directly to ISO9660 format. You
can, however, convert a UDF-formatted CD-R/RW to
ISO9660 format, for easier loading on other systems. For
more information, see “Convert to ISO9660 Format” on
page 847 of the Parameter Guide.
Note: The above step assumes that your USB device
supports hot-plugging. If you are using a device that does not
support hot-plugging, connect it with the power turned off.
After plugging it in, turn on the power.
You can also load data from UDF-formatted DVD-ROMs.
Finally, you can sample audio from CD-DA (audio CD)
discs, and can also record your own music to audio CDs. For
more information, see “Sampling from an Audio CD” on
page 147, and “Creating audio CDs” on page 197.
3. If you are using a USB hard disk, removable disk, or
CD-R/RW drive, turn on the power of your USB
device and use a USB cable to connect it to the
KRONOS’s USB 2.0 connector.
While the KRONOS is accessing the USB device, do not
connect another USB device or disconnect the connected
device. Doing so may damage your data.
4. Press the DISK button to enter Disk mode.
5. Wait a few seconds to allow USB devices to be
recognized.
6. Use Drive Select to select the desired device.
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Saving data Saving to disks, CDs, and USB media
If you are using a removable disk, insert the media. After
you exchange media in your USB device, press the LCD
screen to make the KRONOS detect the media. When the
media has been detected, the LCD screen will display
information about the media.
7. If the media needs to be formatted, execute the
Format operation.
Media requiring formatting is indicated as Unformatted in
Drive Select. For more information, see “Formatting media”
on page 190.
Saving memory contents to disk
7. Press the text edit button and enter a name for the
files. (See “Editing names” on page 185.)
All of the files created by Save All will share this name, but
with different file extensions. If you load one of these files
later, you’ll be given the option to automatically load all of
the other related files as well—a handy time-saver.
8. For now, leave all of the boxes checked in the Selection
button dialogs.
There are individual check-boxes for each bank of Programs
and Combis, and for various other types of data. Leaving all
of these checked ensures that you’re saving everything
you’ll need.
You can save various types of data individually, as listed
under “Saving to disk, CDs, and USB media” on page 183.
However, you can also save all of the most important
contents of memory at once, including:
• Set Lists, Programs, Combinations, Drum Kits, Wave
Sequences, User Drum Track Patterns, and global
settings
• Songs and recorded audio
• Sampling Mode Multisamples and Samples
• Links to loaded EXs and User Sample Bank data
If you save this data to low-capacity media, you may
need more than one disk.
To save all of the above data at once:
1. Prepare the media on which you want to save the data.
(See “Media setup” on page 188.)
2. Press the front-panel DISK switch to enter Disk mode.
3. Select the Disk–Save page. Press the File tab, and then
the Save tab.
9. Press the OK button to execute the Save operation.
All of the data will be saved, creating a handful of different
files. For details, see “File types included in Save All,”
below.
When the save is complete, the system returns to the Save
page, and the display will show the resulting file(s). The
amount of time required will depend on the amount of data
being saved.
5. If the media contains directories, select the directory
in which you want to save the data.
If a file with the same name already exists on the media, you
will be asked whether you want to overwrite. If you wish to
overwrite, press the OK button. If you wish to save without
overwriting, press the Cancel button, re-do the operation
from step 6, and rename the data in step 7 before saving it.
Press the Open button to move to a lower level, or press the
Up button to move to an upper level.
Split files
4. Press Drive Select to select the save-destination drive.
Note: If you are saving data on high-capacity media, we
recommend that you create directories to organize the media
into sections.
To create a new directory, move to the level at which you
want to create the directory, and use the Utility page menu
command Create Directory.
If the data does not fit onto the selected volume, the “No
space available on medium” dialog box will appear. You can
press the OK button to divide the file will be divided and
save it to multiple volumes of media (such as multiple USB
sticks). If you don’t want to divide the file, press the Cancel
button, and save the file to larger-capacity media.
6. Select the Save All command from the page menu.
For more information, see “Save All (PCG, SNG and KSC)”
on page 839 of the Parameter Guide.
Save All will save the sounds, songs, and sample data, and
KARMA GEs at the same time.
File types included in Save All
A dialog box will appear. The contents, settings, and
operations for the dialog box will depend on the type of data
that you are saving.
The various types of data are saved as the following files.
.PCG file: This contains all of the Programs, Combinations,
Drum kits, Wave Sequences, and global settings from the
internal memory.
.SNG file: This contains all of the Songs from Sequencer
mode.
Note: If the audio tracks contain recorded data, region data
will also be saved at this time. The WAVE files are stored in
a directory named after the .SNG plus “_A” at the end, in the
same directory as the .SNG file itself.
.KSC file: This lists all of the Multisamples and Samples in
Sampling Mode, along with all of the loaded EXs and User
Sample Bank Multisamples and Drum Samples.
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Loading & saving data, and creating CDs
Directory: A directory containing the User Multisamples
(.KMP files) and Samples (.KSF files) that are listed in the
.KSC file.
Data dependencies
When using Save All, “Save PCG & SNG,” and Save PCG
to save Combinations, you should also remember to save the
Programs used by each timbre (or the Drum Kits and Wave
Sequences used by the Programs) at the same time.
Similarly when saving Programs, you should also remember
to save the Drum Kits and Wave Sequences used by the
programs.
Note: If your programs or drum kits use multisamples and
samples that were created in on KRONOS, we recommend
that you use Save All to save the data.
When you use Save PCG or Save Sampling Data to
individually save a program or drum kit, or a multisample or
sample that you created, we recommend that you save them
under the same filename in the same directory. When you
use “Load PCG” to load a .PCG file, the identically-named
.KSC file will also be loaded so that the correct
multisamples/samples will correspond automatically.
Using the KRONOS as a data filer
The KRONOS can receive MIDI System Exclusive data sent
by an external device, and save this data to media. (This is
sometimes referred to as “Data Filer” functionality.) For
more information, see “Save Exclusive” on page 843 of the
Parameter Guide)
Formatting media
Newly purchased media or media that has been used by
another device may not be able to be used “as is.” In this
case, you may need to format the media before you can use it
with the KRONOS.
• The KRONOS is shipped with the internal disk already
formatted.
• When creating audio CDs, you don’t need to format the
CD-R/RW media.
Saving only a single bank of sounds
When you format, all data saved on that media will be
erased. If you had used a computer etc. to set up that
drive so that it can be used as multiple drives (partitions),
this data will also be erased. Be sure to double-check
before you format.
You can also choose to save only a single bank of sounds, or
just a few banks, without saving any other data. To do so:
After formatting, it is not possible to press the
COMPARE switch to return to the previous state.
1. Go to the Save page, and select the disk and directory
into which you’d like to store the sounds.
1. Make sure that the media you want to format is
inserted.
For details, see steps 1 through 5 under “Saving memory
contents to disk” on page 189.
2. Press the DISK button to enter Disk mode.
2. Select the Save .PCG command from the page menu.
The Save PCG Data dialog appears.
3. Press each Selection button, and in the dialog box that
appears, select only the banks that you’d like to save.
Remember to save any dependent data! For instance, if
Programs use Wave Sequences, you need to save the Wave
Sequences as well. See “Data dependencies,” above.
(See “Media setup” on page 188)
3. Select the Disk–Utility page. Press the File tab, and
then the Utility tab.
4. Press Drive Select, and choose the drive that you want
to format.
5. Press the page menu button to access the page menu,
and press “Format” to open the dialog box.
6. In “Volume Label,” use the text edit button to access
the text edit dialog box, and specify the volume label.
4. Un-check the Global Setting and Set List check-boxes.
The previously-specified volume label will be displayed.
If no volume label had been specified for the media, or if
a non-DOS media was inserted, this will indicate “NEW
VOLUME.”
If you’re saving just one or two banks of sounds, you don’t
need to save these.
7. Specify the initialization format.
5. If the sounds rely on user Drum Track patterns, leave
Drum Track Pattern checked.
Quick Format: Normally you should use Quick Format to
initialize the media.
6. Press the text edit button and enter a name for the file.
(See “Editing names” on page 185.)
Select this if the media has already been physically
formatted, or if you want to format media that has been
UDF-formatted by the KRONOS. Since only the system area
of the media need be formatted, this will require less time.
7. Press OK to save the sounds.
Note: For the internal disk you can only select “Quick
Format.”
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Saving data Saving to disks, CDs, and USB media
Full Format: Select this when formatting media that has not
been physically formatted, or media (CD-RW) that has not
been UDF-formatted.
Note: Normally, it is not necessary to perform a Full Format
on media that has been physically formatted at 512
bytes/block. Execute the Quick Format for such media.
Note: You will normally select Full Format for CD-RW
media etc. that has not been UDF-formatted. If an error
message of “Media not formatted” appears, execute Full
Format.
Depending on the capacity of the media, executing Full
Format may require a substantial length of time.
8. Specify the file system.
Use FAT16 to format media of 4 GB or less (such as flash
media), and use FAT32 to format larger media (theoretically,
up to 2 Terabytes).
9. Press the OK button to format, or press the Cancel
button if you decide to cancel.
When you press the OK button, a message will ask you for
confirmation. Press the OK button once again to execute the
Format operation.
You must format a CD-R/RW disc if you want to use it
for packet writing, or if it has previously been used by
another device.
You do not need to format a CD-R/RW disc that you will
use to create an audio CD.
You must use the KRONOS to format the media. The
KRONOS will not correctly recognize media that has
been formatted by another device.
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Loading & saving data, and creating CDs
Loading data from disk
The types of data that can be loaded from media are shown
in the diagram “Supported file types” on page 194. (For
more details, see “Load selected” on page 822 of the
Parameter Guide.)
The Disk mode Load page lets you load data from the
internal disk or any USB 2.0 Mass Storage Device, such as
hard drives, flash media, CD-R/RW drives, etc.
Loading Songs, sounds, samples, and KARMA GEs together
As an example here, we’ll explain how to load a song which
uses Programs that you’ve edited, Multisamples that you’ve
created, and custom KARMA GEs. In such cases, it is best to
load “all data.”
When loading data, make sure that the Global mode
memory protect setting is unchecked. For more
information, see “Memory protect” on page 187.
1. Make sure that the disk or USB storage media is
ready for you to load data. (See “Media setup” on
page 188.)
2. Press the DISK button to enter Disk mode.
3. Select the Disk–Load page. Press the File tab, and
then the Load tab.
Press Drive Select and select the media from which you
want to load.
4. Navigate to the directory that contains the file you
want to load, and select the .SNG file.
Press the Open button to move to a lower level, or press the
Up button to move to a higher level.
The selected .SNG file will be highlighted.
Note: The contents and settings of the dialog box will differ
depending on the type of file that you are loading.
As described under “Saving memory contents to disk” on
page 189, the KRONOS assumes that if .SNG, .PCG, .KSC,
and .KGE files share the same name, they’re associated with
one another. The next few options let you load these
similarly-named files, if they exist.
6. Check the “Load ********.PCG too” check box.
This loads the Programs, Wave Sequences, Drum Kits, etc.
along with the .SNG file.
7. Use “.PCG Contents” to specify the data that you
want to load from the .PCG file.
You can load only a single bank, if you like. For this
example, we want to all the data in the .PCG file, so we’ll
select All.
8. Check the “Load ********.KGE too” check box.
This loads the user KARMA GEs along with the .SNG file.
9. Check the “Load ********.KSC too” check box.
5. Press the Load button.
This loads the Multisamples, Samples, etc. along with the
.SNG file.
Alternatively, you can use the Load Selected command in
the page menu.
10.Use “.SNG Allocation” to specify whether or not to
erase any Songs currently in memory.
A dialog box will appear.
Append will load the song into the song number that follows
the song(s) currently existing in internal memory, without
leaving a vacant number.
Clear will erase all songs from internal memory, and load
the songs into the numbers from which they were saved.
11.Use “.KSC Allocation” to specify whether or not to
erase any samples currently in memory.
Append will leave all currently-loaded Sampling Mode,
EXs, and User Sample Bank data intact. Sampling Mode
Multisamples and Samples will be loaded into the next
available vacant numbers following the existing data.
192
Loading data from disk Loading Songs, sounds, samples, and KARMA GEs together
Clear Sampling Mode Data will erase all Multisamples and
Samples from Sampling Mode, and load the data in the same
configuration with which it was saved. Existing EXs and
User Sample Bank data is left intact.
Clear All is similar to Clear Sampling Mode Data, above,
but also un-loads existing EXs and User Sample Bank data
before loading the new .KSC file. This frees up the most
memory for the new .KSC.
You can use the information at the bottom of the dialog box,
including Memory Required, (Memory) Available, and
Enough slots for Samples & MS, to determine whether or
not you need to free up room for the new .KSC.
12.Set the Load Method as desired.
This sets the preferred way to load the EXs and User Sample
Bank data in the KSC: load it into RAM, or use Virtual
Memory. Note that if the data is extremely large, and would
not fit into RAM regardless of which other samples were
loaded, the data will use Virtual Memory regardless of this
setting.
These settings apply only to EXs and User Sample Banks;
Sampling Mode data is always loaded into RAM.
RAM: The samples will be loaded into RAM. This has the
advantage of allowing reverse playback.
Virtual Memory: The samples will use Virtual Memory.
This generally allows you to load more large samples at
once. Note that the samples may still require a significant
amount of RAM
KSC Settings: KSCs can store separate load method settings
for each Multisample or Drum Sample, based on the settings
when the KSC was saved. Setting Load method to KSC
Settings uses these individual settings.
13.Press the OK button to load the data.
Never remove or disconnect USB storage devices while
data is being loaded.
Loading multiple files at once
You can use “wild cards” to specify multiple .KMP, .KSF,
.AIF, .WAV, SoundFont 2, Akai Program, and Akai Sample
files, and load them simultaneously. For more information,
see “Loading multiple files at once” on page 831 of the
Parameter Guide.
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Loading & saving data, and creating CDs
Supported file types
DOS file
.PCG file
All programs
1 program
bank I-A...F, U-A...GG
1 program
All combinations
1 combination
bank I-A...G, U-A...G
1 combination
All drum kits
(User)
1 drum kit
bank INT, U-A...GG
1 drum kit
All wave
sequences
1 wave sequence
bank INT, U-A...GG
1 wave sequence
All set lists
1 set list
1 slot
All drum track
patterns
1 drum track
pattern
(Grey)
DOS directory
(Red)
DOS directory (created by Save SEQ on the KRONOS)
(Purple)
DOS directory
(created by Save Sampling Data on the KRONOS)
(Grey)
Undefined DOS file
Global settings
(Blue)
.SNG file
1 song
(000-199)
Track
User pattern
(U00...99)
All regions
.KFX file
Region
DOS file
(Red)
All effects
All presets (P)
1 effect
All presets (P)
1 effect
1 preset (P)
All effects
All presets (U)
1 effect
All presets (U)
1 effect
1 preset (U)
.MID file
.EXL file
.KCD file
.KGE file
All GEs
All Template
.KSC file
UserBank
.KSC file
Sampling mode
data
EXs and User
Sample Bank data
1 GE Bank
USER-A...USER-L
1 GE
.SYX file
1 GE bank Template
USER-A...USER-D
(Grey)
1 sample
.KSF file
.exsins
.KMP file
All multisamples
1 multisample
.KMP file
All un-referenced samples
1 sample
.KSF file
.KSF file
All multisamples
1 multisample
Sound font
file
All drumsamples
1 drumsample
.AIF file
AKAI S1000/S3000
.WAV file (16bit)
Partition
Volume
AKAI format
Program file
.WAV file (24bit)
AKAI format
Sample file
194
(Purple)
Loading data from disk Loading individual banks from a .PCG file
Loading individual banks from a .PCG file
1. Select the .PCG file containing the data you want to
load.
Refer to steps 1–4 of “Loading Songs, sounds, samples,
and KARMA GEs together” on page 192.” Select the .PCG
file in step 5.
When you press OK, the source bank’s Programs,
Combinations, Drum Kits, and Wave Sequences will be
loaded into the destination bank. Global setting data will not
be loaded.
If you set “.PCG Contents” to Bank INT–A, and “To” to
Bank INT–A, data will be loaded as follows.
Programs
• Bank INT–A: loaded into Bank INT–A
Combinations
• Bank INT–A: loaded into Bank INT–A
Drum Kits
• INT: loaded into Bank INT
Wave Sequences
• INT: loaded into Bank INT
When data is loaded into a bank that is different than its
original bank, the data (bank, program, pattern, and kit
numbers, etc.) will automatically be reconfigured so that
after loading, the various types of data will correspond
correctly in each mode.
2. Press the Load button.
You can load individual banks by using “.PCG Contents” in
the dialog box to select the load-source bank, and “To” to
select the load-destination bank.
The following data will also be reconfigured automatically if
you have checked “Load .SNG too” (so that song data is
loaded at the same time), the following data will also be
reconfigured automatically in order to ensure that the song
data plays back correctly.
• The bank of each program used by combinations
• The bank of each drum kit and wave sequence used by
each program
• The bank of the program used by each track of the song
• If the song contains track/pattern events, the program
banks within these events
Loading data by individual item or bank
The KRONOS lets you load programs, combinations, drum
kits, and wave sequences individually or by individual
banks.
This is a convenient way to rearrange combinations in the
order in which you will use them during a live performance.
Be aware that if you change the order of Programs, the
sounds played by Combinations may also be affected.
As an example here, we will explain how a Combination
saved in bank INT-F can be loaded into INT-E000.
1. Move to the “Bank INT-F” directory, and select the
combination that you want to load. (.PCG
file/Combinations/Bank INT-F/)
1) Perform steps 1–5 under “Loading Songs, sounds,
samples, and KARMA GEs together” on page 192.
Select the .PCG file containing the data you want to load
(it will be highlighted), and press the Open button.
2) Press “Combinations” to highlight it, and press the
Open button.
3) Press “Bank F” to highlight it, and press the Open
button.
4) Press the scroll bar to find the combination you want to
load, and highlight it in the display.
Alternatively, you could select any file, since the desired
file can be selected later from the dialog box.
The procedure is as follows.
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Loading & saving data, and creating CDs
Note: When you press the keyboard of the KRONOS, the
selected combination will sound. However, the internal
programs will be used as the program of each timbre.
2. Press the page menu button and select the “Load
Selected” page menu command.
The dialog box will appear.
3. Use the “Combination” (upper line) to select the loadsource combination, and use “(To) Combination”
(lower line) to specify the destination combination.
For this example, select INT-E000.
As shipped from the factory, this Combi location is empty; it
has no name, and makes no sound.
4. Press the OK button to execute loading; the loaded
combination will be assigned to INT-E000.
196
Creating and playing audio CDs Creating audio CDs
Creating and playing audio CDs
Requires a USB CD-R/RW drive (not included)
If you have an external USB CD-R/RW drive, you can
sample directly from audio CDs (as well as simply playing
them), and create your own audio CDs.
Creating audio CDs
In conjunction with an external USB CD-R/RW drive, you
can use the KRONOS to create audio CDs of your music. To
do this, you’ll:
• Bounce the completed Songs to WAVE files
• Arrange the WAVE files in a track list, in the order that
you’d like them to appear on the CD
• Burn the track list to a CD
Part 1: Bouncing to disk
If you’re starting with Songs you’ve created in Sequencer
mode, you’ll first need to bounce the Songs to WAVE files
on the internal disk.
1. In Sequencer mode, select the first song that you want
to burn to the CD.
2. Go to the 0–8: Audio In/Sampling page.
3. Add the WAVE files that you want to write to the CD.
3. Select the menu command Bounce All Tracks To Disk.
Select “====End====” (it will be highlighted), and
press the Insert button.
A dialog box will appear, showing the file system.
The Insert Track dialog box will appear.
4. Use Drive Select, Open, and Up to select the directory
in which the WAVE file will be saved.
5. Use Name to specify the WAVE file’s name.
6. Press the OK button to start the bounce.
The Song will start playing. Recording will begin and end
automatically, and the resulting stereo WAVE file will be
saved to the disk.
Repeat the steps above for all of the Songs that you’d like to
burn to the CD, and then proceed to Part 2 below.
Make sure that there’s space on the drive
When you create an audio CD, the KRONOS first saves a
draft version of the CD onto the same drive that contains
the original WAV files, and then burns the actual CD.
This means that the drive must have enough free space to
write a second, temporary copy of all the CD’s WAVE
files. Make sure that you have enough space before you
start.
Part 2: Making the CD
1. Press the DISK button to enter Disk mode.
2. Go to the Audio CD—Make Audio CD page.
This page lets you select a group of WAVE files to burn to
the audio CD. Each WAVE file will becomes a track on the
CD, and so we’ll call this group of WAVE files the “track
list.” Before you add any files, the track list will show only
“====End====.”
Use the drive select, Open and Up buttons to go to the
directory that contains the WAVE file, and select the
WAVE file that you want to add to the list.
You can press the Play button to play back the sample for
auditioning. Alternatively, you can press the SAMPLING
START/STOP switch to play it.
If you have selected a WAVE file with a sampling
frequency other than 44.1 kHz or 48 kHz, it will not be
possible to press the Insert button.
48 kHz WAVE files will be automatically converted to
44.1 kHz when you use the Write to CD command.
To add the file, press the Insert button.
You can continue adding files until you press the Exit
button. The files will be added to the track list in the order
in which you selected them. If you want to add all the
WAVE files in the directory, press the Insert All button.
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Loading & saving data, and creating CDs
Note: If you check the Multiple Select option, you’ll be
able to select multiple WAVE files and insert them in a
single operation.
When you have finished adding files to the list, press the
Exit button to close the dialog box.
Notice that the WAVE files have been added to the track
list.
Use Speed to set the writing speed. This will indicate the
speeds supported by the CD-R/RW drive you are using. In
this example, set the Speed to the lowest value available
(such as 1x).
In some cases, faster speeds may cause write errors.
Use Mode to specify the writing method.
Note: Depending on the drive you are using, it may not be
possible to write at the specified speed. We recommend that
the first time you write, you select Test to perform a writing
test in order to determine the speed capabilities of your
drive. Test will not write data to the CD-R/RW media, but
will perform all other processing just as when data is
actually written. If an error occurs, the display will show the
message “Error in writing to medium.”
Press the OK button to execute the writing test.
After verifying that data can be written correctly at the
specified speed, select Write.
Execute finalize too specifies whether Finalization will be
executed after the audio tracks have been written to the CDR/RW media. If finalization has been executed, the disc can
be played back on a CD player, but it will no longer be
possible to add more tracks.
You can also use the Play button to play any 44.1kHz or
48kHz WAVE file.
To add other WAVE files to the track list, press the Insert
button once again.
If you want to add another track, select the WAVE file that
follows the track you want to add. If you want to add the
track to the end of the track list, select “====End====.”
Then press the Insert button.
To delete a WAVE file from the track list, select the WAVE
file that you want to delete, and press the Cut button.
Subsequent tracks will be moved forward in the list.
Note: For more details on other editing operations, please
see “1–1c: Drive Select, Command buttons” on page 818 of
the Parameter Guide, and “Swap Track” on page 848 of the
Parameter Guide.
Note: If you only want to execute finalization, use the
Finalize Audio CD command.
6. When you are ready to write to the CD-R/RW media,
or to execute a writing test, press the OK button. To
cancel without executing, press the Cancel button.
When you press the OK button, the “Obey Copyright
Rules” dialog box will appear.
7. Carefully read “COPYRIGHT WARNING” on page 3
of the Quick Start Guide, and if you consent to the
terms, press the OK button to begin burning the CD.
If you do not consent to the terms, press the Cancel
button to cancel the operation.
In order to avoid errors, do not subject the drive to
physical shock or vibration while CD-R/RW media is
being written.
4. Insert a blank CD-R or CD-RW disk into the drive.
In the Make Audio CD page, use Drive Select to select the
external USB CD-R/RW drive. The CD-R/RW drive is
shown as “CDD: Blank Disc.”
An audio CD cannot be created on a disc that contains
data other than audio (e.g., files). In this case, it will not
be possible to select the menu commands Write to CD or
Finalize Audio CD.
Note: Since some audio CD players are unable to play back
CD-RW media, we recommend that you use CD-R media for
audio CDs.
5. Select the menu command Write to CD to open the
dialog box, and specify how the CD will be written.
198
Saving Track Lists
The track list will be lost when the power is turned off. If
you want to keep this data, you must save it.
1. In the Save page, select the directory in which you
want to save the track list.
2. Select the page menu command “Save Audio CD
Track List” to open the dialog box.
3. Press the OK button to save the data, or press the
Cancel button to cancel without saving.
Creating and playing audio CDs Playing audio CDs
Playing audio CDs
You can play audio CDs–including CDs you’ve created–
directly on the KRONOS, in conjunction with an external
USB CD-R/RW drive.
To do so:
1. Press the Play Audio CD tab to go to the Play Audio
CD page.
2. In Drive Select, select your USB CD-R/RW drive.
Drive Select will indicate Audio CD.
3. To allow monitoring, set the CD-R/RW Drive Audio
Input as follows.
LEFT: Bus (IFX/Indiv.) L/R, FX Ctrl Bus Off, REC
Bus Off, Send1/Send2 000, Pan L000, Level 127
RIGHT: Bus (IFX/Indiv.) L/R, FX Ctrl Bus Off, REC
Bus Off, Send1/Send2 000, Pan R127, Level 127
Volume: 127
4. Use Track to select the track, and press the
SEQUENCER START/STOP switch to begin
playback.
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Loading & saving data, and creating CDs
Other disk operations
Setting the date and time
KRONOS has an internal calendar, which is used to record
the date and time when you save data. You can set the date
and time by using the Disk Utility page’s Set Date/Time
menu command.
You will need make these settings after you purchase the
KRONOS, and after replacing the calendar backup battery.
1. Press the DISK button to enter Disk mode.
2. Select the Disk–Utility page. Press the File tab, and
then the Utility tab.
3. Open the page menu, and select the Set Date/Time
command.
The following dialog box will appear.
4. Use the VALUE controllers to set the correct year,
month, day, hour, minute, and second.
5. Press the OK button.
If the calendar backup battery runs low, the following
message will appear in the LCD screen:
“The clock battery voltage is low. Please replace the
battery, and set the date and time in Disk mode”
If the calendar backup battery runs down completely, the
calendar will be initialized, and the date and time will not
be recorded correctly. Your Korg Distributor can help you
find a service center to replace the battery.
200
Using Effects
Effects overview
Effects basics
The KRONOS provides 12 insert effects, two master effects,
and two total effects, together with a mixer that controls the
routing of these effects. All of these are stereo in/out.
Specific parameters of these effects can also be controlled in
real time from the KRONOS’ controllers or via MIDI
messages using Dynamic Modulation (Dmod), by
MIDI/Tempo Sync, or by using a common LFO or the
Vector EG to apply synchronized change to differing
modulation effects.
Effect types
You can choose from 185 different effects in the following
categories:
Effect types
Dynamics:
000…010
Effects which control volume, such as
compressors, limiter, and gates
EQ/Filter:
011…026
Effects which control frequency content, such
as EQ, multi-mode filter, exciter, and wah
OD/Amp/Mic:
027…039
Overdrive and amp modeling effects such as
guitar/bass amps and mic preamps
Cho/Fln/Phs:
040…054
Choruses, Flangers, Phasers, and other pitch
and phase modulation effects
Mod/P.Shift:
055…076
Other modulation effects such as tremolo and
rotary speaker, and pitch shifters
Delay:
077…099
Delays
Reverb/ER:
100…108
Reverb and early reflections
Mono-Mono:
109…140
Chains of two mono effects in series
Mono/Mono:
141…185
Dual Mono parallel effects, with independent
mono effects for the left and right inputs
Please note that power used by the effects may sometimes
have an impact on the available number of voices (although
generally only in extreme conditions). For more information,
see “About polyphony” on page 16.
What is REMs
*?
(Resonant structure and Electronic circuit Modeling
System) is Korg’s proprietary technology for digitally
recreating the numerous factors that produce and influence a
sound, ranging from the sound-production mechanisms of
acoustic instruments and electric/electronic musical
instruments, to the resonances of an instrument body or
speaker cabinet, the sound field in which the instrument is
played, the propagation route of the sound, the electrical and
acoustic response of mics and speakers, and the changes
produced by vacuum tubes and transistors.
Maximum number of effects and
maximum voice polyphony
For each effect IFX1–12, MFX 1 and 2, and TFX 1 and 2,
you are free to choose and use any of 185 types of effect.
There is no limitation on the maximum number or type of
effects you can use. During Smooth Sound Transitions, the
KRONOS may use up to 34 effects at once (including the
Set List EQ).
However, a certain amount of digital processing capability
must be used in order to produce each effect. The
Performance Meters page shows the amount of processing
power currently being used. You can find this on the Perf
Meters tab of P0 in Program, Combination, and Sequencer
modes.
201
Using Effects
Effect I/O
Selecting “000: No Effect” will mute the output. The
processed signal will be output in one of the following ways,
according to the type of effects 001–185.
Insert effects
Insert Effects (IFX 1–12) are stereo-in/stereo-out. If you set
Wet/Dry to Dry, the input signal will pass through without
being processed by the effect. If you set Wet/Dry to Wet, the
processed signal will be output in one of the following ways:
Wet
Mono In - Mono Out
+
Mono In - Mono Out
+
Effect
Mono In - Stereo Out
+
Effect
Effect
Effect
Effect
Stereo In - Stereo Out
Mono In - Stereo Out
Wet
+
Effect
Effect
Effect
Stereo In - Stereo Out
Total Effects
The total effects TFX1 and TFX2 are stereo-in/stereo-out.
The Dry (unprocessed) side of the Wet/Dry parameter sends
the stereo input sound directly to the stereo output. The way
in which the Wet (processed) side is output depends on the
type of effect, as follows.
Master Effects
The I/Os of Master Effects MFX1 and MFX2 are stereoin/stereo-out. Send1 and Send2 determine the send level to
the Master Effects.
Master effects will not output the Dry (unprocessed) signal
specified in Wet/Dry. Only the Wet (processed) signal will
be output. The output signals from the Master Effects are
routed to the L/R bus with the output level specified by
Return1 and Return2. These output signals are mixed with
the output signals from the bus specified by Bus Select (P8:
“Routing” page in each mode) L/R, or with the output
signals from the bus specified by Bus Select (“Insert FX”
page in each mode) L/R, then routed to the total effect.
Wet
Mono In - Mono Out
+
Effect
Mono In - Stereo Out
+
Effect
Stereo In - Stereo Out
Effect
Effect
Note: The Parameter Guide includes block diagrams for
each individual effect, which include the effect’s
input/output structure.
Set List EQ
Set Lists have an additional effects slot not available in the
other modes: a dedicated nine-band graphic EQ applied to
the sound after TFX2, which tailors the sound from the main
stereo outputs (including the analog L/R outputs, S/P DIF,
and USB).
For more information, see “Graphic EQ” on page 121.
Effects in each mode
create overall ambience such as reverb, and use the total
effects to make final adjustments. All of these settings can be
made independently for each Program.
Program mode
For HD-1 Programs, you can use insert effects to process the
final sound in the same way that you use the Filter, Driver,
Amplifier, and EQ (equalizer) to process the sound from the
oscillators (OSC 1 & 2). Then the master effects are used to
EXi Programs may have a different filter and amp structure
for each type, but you can also apply insert effects, master
effects, and total effects to EXi 1 & 2, just as for OSC 1 & 2
Program mode
Oscillator1
Filter1
Driver1
Amplifier1
Oscillator2
Filter2
Driver2
Amplifier2
Drum Track
202
EQ
Send
EQ
Insert Effect 1–12
Master Effect 1, 2
Return
Total Effect 1–12
OUTPUT
L/MONO, R
Effects overview Effects in each mode
In Combination mode you can make these settings for each
combination, and in Sequencer mode you can make them for
each song.
Combination and Sequencer modes
In Combination and Sequencer modes, you can use the track
EQ and insert effects to process the program sound (and
audio track sound) of each timbre/track. Then you can use
the master effects to create overall ambience, and use the
total effects to make final adjustments.
In Sequencer mode, you can switch between effects or
modify the effect parameters and record these changes, so
that effects will switch automatically or effect parameters
will be modified automatically as the song plays back.
Combination and Sequencer modes
Send
Timbre 1 /MIDI Track 1
EQ
Timbre 16 /MIDI Track 16
EQ
Audio Track 1
EQ
Audio Track 16
EQ
Master Effect 1, 2
Insert Effect 1–12
Return
Total Effect 1–12
OUTPUT
L/MONO, R
and then sampled. Use the P0: Recording– Audio Input page
to make audio input settings for Sampling mode. These
settings apply only to Sampling mode.
Sampling mode
In Sampling mode, the analog, S/P DIF, and USB audio
inputs, as well as playback from a USB CD drive, can be
processed by insert effects, master effects, and total effects,
Samples that you’ve assigned as a multisample can also be
processed by the insert effects, master effects, and total
effects, and then resampled.
Sampling mode
Send
Master Effect 1, 2
Insert Effect 1–12
AUDIO INPUT (1, 2)
Return
Total Effect 1–12
Sample
Recording
USB B (1, 2)
S/P DIF IN (L, R)
Audio CD
Send
Sampling
EQ
Master Effect 1, 2
Insert Effect 1–12
Return
Total Effect 1–12
Resampling
In Sequencer mode you can also use the effects when
recording external audio sources to audio tracks.
Audio Inputs
You can also use audio from the analog, S/P DIF, and USB
audio inputs in Programs, Combinations, and Songs.
Use the P0– Audio Input/Sampling page of each mode to
make audio input settings. Alternatively, you can check Use
Global Setting and make these settings in the Global mode
P0: Basic Setup– Audio page. Normally you will leave Use
Global Setting checked. Uncheck this if you want programs
and combinations to use their own settings. For example
when writing the program as a vocoder effect program.
You can apply the insert effects, master effects, and total
effects to external audio sources and sample them, or use the
KRONOS as a 6-in (AUDIO INPUT 1-2, S/P DIF IN L, R,
and USB) 6-out effect processor.
You can also use an external mic input to control a vocoder
effect (093: Vocoder), and modulate the internal sounds. For
examples, see “Vocoder (Program mode)” on page 855 of
the Parameter Guide and “Rhythmic Vocoder (Combination
mode)” on page 856 of the Parameter Guide.
When effects are applied to the audio inputs, certain
effect types or parameter settings may cause oscillation to
occur. If this occurs, adjust the input level, output level,
or effect parameters. Please be aware of this particularly
when using an effect that has a high gain.
Audio Inputs
Oscillator1
Filter1
Driver1
Amplifier1
Oscillator2
Filter2
Driver2
Amplifier2
Send
EQ
Insert Effect 1–12
Master Effect 1, 2
Return
Total Effect 1–12
OUTPUT
L/MONO, R
AUDIO INPUT (1, 2)
USB B (1, 2)
S/P DIF IN (L, R)
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Using Effects
Effects selection and routing
The insert effects, master effects, and total effects have the
same structure in all modes, but the routing settings will
determine how the oscillators of a Program, timbres of a
Combination, or tracks of a Song will be sent to each insert
effect, master effect or total effect. In the pages that follow,
we will explain how you can make routing settings and
effect settings in each mode.
Using effects in Programs
Routing to IFX, outputs, and buses
1. Go to the Program P8: Insert Effect– Routing page.
In the P0– Audio Input/Sampling page, you can set the
Sampling Setup Source Bus to a REC bus, and sample
the signal being sent to the REC bus. Normally you will
turn this Off, since you will usually set Source Bus to
L/R when sampling the output of oscillator 1 and 2.
Drum Track routing
The Drum Track routing is controlled separately from the
main Program. The options are very similar to those for the
main Program, as described above. The Drum Track routing
parameters are on the Program P1: Basic/Vector Drum Track
page (P4 in EXi Programs).
Insert effects
1. Go to the Insert FX page.
2. Use Bus Select (IFX/Indiv. Out Assign) to specify the
bus to which the oscillator output will be sent. If you
want the oscillator output to be input to insert effect 1,
choose IFX1.
L/R: The output will not be sent to the total effects. After
passing through the total effect, the sound will be sent to
AUDIO OUTPUT (MAIN) L/MONO and R.
IFX1–12: The output will be sent to insert effect IFX 1–
12.
1–4, 1/2–3/4: The output will be sent to AUDIO
OUTPUT (INDIVIDUAL) 1–4. It will not be sent to the
insert effects, the master effects, or the total effects.
Off: The output will not be sent to AUDIO OUTPUT
(MAIN) L/MONO, R, or to (INDIVIDUAL) 1–4. Choose
this if you want the signal to be series-connected to the
master effects at the send levels specified by “Send 1
(MFX1)” and “Send 2 (MFX2).”
3. OSC MFX Send specifies the send level from each
oscillator to the master effects.
This can be set only when “Bus Select (IFX/Indiv.Out
Assign)” is either L/R or Off.
If “Bus Select (IFX/Indiv.Out Assign)” is set to IFX1–12,
the send level to the master effects is set by Send1 and
Send2 (Insert FX page) after the signal passes through
the insert effects.
4. “FX Control Bus (All OSCs to)” sends the oscillator 1
and 2 output to the FX Control bus. Use this if you
want the audio input to the effect to be controlled by a
different sound.
You can use the two FX Control buses to control effects
freely.
5. REC Bus sends the oscillator 1 and 2 output to the
REC buses.
204
2. Choose the effect type that you want to use for each
insert effect IFX1–12.
When you press the popup button, all effects will be
displayed, organized into nine categories. Use the pages
located at the left to select a category, and select an effect
from that category on the LCD screen.
You can use the “Copy Insert Effect” page menu
command to copy effect settings from another program
etc. Also, you can use “Swap Insert Effect” to exchange
(for example) IFX1 and IFX12.
3. Press the On/Off button to turn on the insert effect.
Each time you press the button, the insert effect will be
switched on/off. When Off, the result will be the same as
when 000: No Effect is selected. The input sound will be
output without change.
4. Make Chain settings.
If the Chain check box is checked, the insert effect will
be connected in series. Since the output of the oscillator is
being sent to IFX1 in step 2, making settings as shown in
the diagram step 6 would connect all five insertion effects
IFX1  IFX2  IFX3  IFX4  IFX5 in series, so that
Effects selection and routing Using effects in Programs
these effects would be inserted into the output of the
oscillator.
Effect On/Off
P (Effect preset)
5. Make settings for Pan (CC#8), Bus Sel. (Bus Select),
Send 1, Send 2, REC Bus and Ctrl Bus for the sound
after it has passed through the insert effects.
If you’ve specified a chain, the settings that follow the
last IFX in the chain will be valid (except for “Ctrl Bus”).
Pan: Sets the pan of the IFX output.
Bus Sel. (Bus Select): Specifies the output destination.
Normally you will set this to L/R. If you wish to send the
sound that has passed through the insert effects to
AUDIO OUTPUT (INDIVIDUAL) 1–4, select 1–4, 1/2,
or 3/4.
Send 1, Send 2: Sets the send levels to the master effects.
For this example, set this to 127.
Ctrl Bus: The FX Control Buses lets you create effects
“sidechains.” Sidechains let you control an effect with
one audio signal (the sidechain), while the effect
processes a completely different audio signal. This is
convenient for use with vocoders, compressors and
limiters, gates, etc. For more information, see “FX
Control Buses” on page 854 of the Parameter Guide.
REC Bus: The sound processed by the insert effect will
be sent to the REC bus. In the P0– Audio Input/Sampling
page, you can set the Sampling Setup Source Bus to a
REC bus, and sample the signal that is sent to the REC
bus. Use this if you want to sample only the sound of an
audio input source being processed by an insert effect
(and not sample the sound of the oscillator output).
Alternatively, the direct sound from the audio inputs can
be mixed with the sound processed by an insert effect,
sent to a REC bus, and sampled.
6. Go to the P8: Insert Effect– Insert FX page, and edit
the parameters of the insert effect you selected.
Press the IFX 1–12 tab, use the tabs at the left to select
IFX1–12, and edit the effect parameters.
Effect 1 On/Off: Turns the insert effect on/off. This is
linked with the on/off setting in the Insert FX page.
P (Effect Preset): Selects an effect preset. The
KRONOS’ internal memory contains “effect presets”
which are parameter settings for each effect from 001:
St.Dyna Compressor through 185: Mt.BPM
Dly//Mt.BPM Dly.
Wet/Dry
Effect Parameters
For details on the individual effects, see:
• “Dynamics” on page 883 of the Parameter Guide
• “EQ and Filters” on page 896 of the Parameter Guide
• “Overdrive, Amp models, and Mic models” on page 912
of the Parameter Guide
• “Chorus, Flanger, and Phaser” on page 921 of the
Parameter Guide
• “Modulation and Pitch Shift” on page 934 of the
Parameter Guide
• “Delay” on page 955 of the Parameter Guide
• “Reverb and Early Reflections” on page 977 of the
Parameter Guide
• “Mono-Mono Serial” on page 982 of the Parameter
Guide
• “Mono/Mono Parallel” on page 998 of the Parameter
Guide
Master effects
The input levels to the master effects are set by the Send 1 &
2 levels. If Send 1 & 2 are zero, the master effects will not
be heard. Send 1 goes to MFX1, and Send 2 goes to MFX2.
1. Go to the Program P9: Master/Total Effect– Routing
page.
Effect parameters you edit are saved as part of each
program, but effect presets allow you to save favorite
parameter settings for each effect. For more information,
see “Effect Presets” on page 213.
2. In MFX1 and MFX2, select the type of each master
effect.
205
Using Effects
The procedure is the same as when selecting an insert
effect.
3. Press the On/Off button to turn on the master effect.
Each time you press the button, the master effect will be
switched on/off. When Off, the output of the master effect
will be muted.
4. Use “Return 1” and “Return 2” to adjust the output
levels of the master effects.
Note: For each effect, the Wet value of the Wet/Dry
parameter is the output level at the effect. The return
value is multiplied with this (“Return” = 127 will be x1.0)
to determine the actual output level of the master effect.
5. Select the MFX1 and MFX2 pages, and set the
parameters for each selected effect as desired.
Total Effects
If you use Bus Select (IFX/Indiv.Out Assign) to choose
L/R as the oscillator output, or if you set the post-IFX Bus
Select to L/R, the signal will go through the total effect.
The output from the master effects is sent to the total effects
via the Return 1 and Return 2 settings on the Program P9:
Master/Total Effect– Routing page.
After being processed through the total effects, the signal
goes to the AUDIO OUTPUT (MAIN) L/MONO and R
outputs.
1. Go to the Program P9: Master/Total Effect– Routing
page.
2. Choose the desired total effect for TFX1 and TFX2.
The procedure is the same as when selecting an insert
effect. (See step 7)
3. Press the On/Off button to turn the total effects on.
The total effect will be switched on/off each time you
press the button. If this is Off, the result will be the same
as if 000: No Effect is selected. The input sound will be
output without change.
4. Access the TFX1 or TFX2 pages, and edit the
parameters of each effect to adjust the final sound as
desired.
For details on the “Using effects in Programs” step 11.
Using effects in Combinations and Songs
In Combination, and Sequencer modes, you can specify the
routing of each timbre/track to the insert effects, master
effects and total effects. These settings are made in the same
way in each of these modes. We will be using the example of
Combination mode in our explanation here.
Note: The actual send level is determined by multiplying
this by the “Send 1” or “Send 2” settings for oscillators 1
and 2 within the program selected by the timbre. If the
program parameter “Send 1” or “Send 2” is set to 0, the
resulting level will still be 0 even if you raise this send
level.
Routing to IFX, outputs, and buses
If “Bus Select (IFX/Indiv.Out Assign)” is set to IFX1–12,
the send levels to the master effects are set by Send1 and
Send2 (Insert FX page) following the insert effects.
1. Go to the Combination P8: Insert Effect– Routing1
page.
4. Go to the Combination P8: Insert Effect– Routing 2
page.
Bus Select (IFX/Indiv. Out Assign) is the same as in the
Routing 1 page. You can set it from either page.
FX Control Bus sends the output of the timbre to an FX
Control bus. Use this when you want the audio input to an
effect to be controlled by another sound. There are two
FX Control buses, which gives you a great deal of
freedom for controlling effects freely.
REC Bus sends the output of the timbre to a REC bus. In
the P0– Audio Input/Sampling page, you can set the
Sampling Setup Source Bus to a REC bus, and sample
the signal that is sent to the REC bus. Use this if you want
to sample only the sound of a specific timbre.
2. Use “Bus Select (IFX/Indiv.Out Assign)” to specify the
bus to which each timbre will be output. Choose IFX1
if you want to send the output of a timbre to insert
effect 1.
The routing, insert effects, and chain settings are shown
graphically in the upper part of the display screen. In this
example, T01 (timbre 1) uses IFX1 and 2. T02 uses IFX2,
T03 uses IFX3 and 4, T02 and T05 use IFX4, and T06
and T07 use IFX5.
3. Use Send1 and Send2 to specify the send level of each
timbre to the master effects.
This can be set only if “Bus Select (IFX/Indiv.Out
Assign)” is set to L/R or Off.
206
Note: Sequencer mode has settings for MIDI Routing 1/2
and Audio Routing 1/2. These specify the effect routing
for MIDI tracks and audio tracks.
In Sequencer mode, you can also choose a REC bus as
the REC Source for each track in the P0– Audio Track
Mixer page, so that the signals sent to the REC bus(es)
can be recorded to the disk.
Effects selection and routing Using effects in Combinations and Songs
Insert effects
Continuing from the above:
1. Go to the Combination P8: Insert Effect– Insert FX
page.
processed by an insert effect, sent to a REC bus, and
sampled.
Note: In Sequencer mode, you can also choose a REC bus
as the REC Source for each track in the P0– Audio Track
Mixer page, so that the signals sent to the REC bus(es)
can be recorded to the disk.
You can use MIDI to control dynamic modulation
(Dmod) for each effect, the post-IFX pan (CC#8), and
Send 1 and Send 2.
An asterisk “*” is shown at the right of Ch01–Ch16 for
the channel number of tracks routed to IFX. If you’ve
routed multiple tracks that have differing MIDI channel
settings, this specifies the channel on which they will be
controlled.
5. Go to the IFX1–12 pages to edit the individual effect
parameters.
For more details, see step 6 under “Using effects in
Programs,” beginning on page 204.
2. Choose the effect type that you want to use for each
insert effect IFX1–12.
Press the popup button, and choose an effect from the
nine categories.
3. Press the On/Off button to turn on the insert effect.
Each time you press the button, the insert effect will be
switched on/off. When Off, the result will be the same as
when 000: No Effect is selected. The input sound will be
output without change.
Master effects and Total effects
These settings can be made in the same way as in “Using
effects in Programs” (p.205).
You can control these effects via MIDI on the “Ctrl Ch.”
The specified MIDI channel will control dynamic
modulation (Dmod) for the Master and Total Effects.
4. Make Chain settings.
If the Chain check box is checked, the insert effect will
be connected in series.
Make settings for Pan (CC#8), “Bus Sel. (Bus Select),”
“Send 1,” “Send 2,” REC Bus and “Ctrl Bus” for the
sound after it has passed through the insert effects.
If you’ve specified a chain, the settings that follow the
last IFX in the chain will be valid (except for “Ctrl Bus”).
Pan: Sets the pan.
Bus Sel. (Bus Select): Specifies the output destination.
Normally you will set this to L/R. If you wish to send the
sound that has passed through the insert effects to
AUDIO OUTPUT (INDIVIDUAL) 1–4, select 1–4, 1/2,
or 3/4.
Send 1, Send 2: Sets the send levels to the master effects.
For this example, set this to 127.
Ctrl Bus: The FX Control Buses lets you create effects
“sidechains.” Sidechains let you control an effect with
one audio signal (the sidechain), while the effect
processes a completely different audio signal. This is
convenient for use with vocoders, compressors and
limiters, gates, etc. For more information, see “FX
Control Buses” on page 854 of the Parameter Guide.
REC Bus: The IFX output will go to the REC bus. In the
P0– Audio Input/Sampling page, you can set the
Sampling Setup Source Bus to a REC bus, and sample
the signal that is sent to the REC bus. Use this if you want
to sample only the sound of an audio input source being
processed by an insert effect (and not sample the sound of
the oscillator output). You can also use this if you want to
sample only a specific timbre. Alternatively, the direct
sound from the audio inputs can be mixed with the sound
207
Using Effects
Using effects in Sampling mode
In Sampling mode, you can apply effects to external audio
sources from the AUDIO INPUT 1–2 and S/P DIF IN jacks,
and sample the result. You can also apply effects to the audio
from a USB audio CD, and sample the result. It’s also
possible to apply effects to a multisample and resample the
result.
Insert effects
1. Go to the Insert FX page.
Routing an external input
1. Go to the Sampling P0: Recording– Audio Input page.
2. Choose the insert effect that you want to use on the
audio input.
Press the popup button, and choose an effect from the
nine categories.
3. Press the On/Off button to turn on the insert effect.
2. Use Bus Select (IFX/Indiv.) to specify the bus to which
each audio input will be sent.
For example if you want the signal from a device
connected to AUDIO INPUT 1 to be input to insert effect
1, set the INPUT 1 Bus Select (IFX/Indiv.) to IFX1.
3. Use Send1 and Send2 to specify the send level of each
timbre to the master effects.
This can be set only if Bus Select (IFX/Indiv.) is set to
L/R or Off.
4. Make Chain settings.
If the Chain check box is checked, the insert effect will
be connected in series.
5. Make settings for Pan (CC#8), “Bus Sel. (Bus Select),”
“Send 1,” “Send 2,” REC Bus and “Ctrl Bus” for the
sound after it has passed through the insert effects.
If Bus Select (IFX/Indiv.) is set to IFX1–12, the send
levels to the master effects are set by Send1 and Send2
(Insert FX page) following the insert effects.
If effects are chained, the settings that follow the last IFX
are valid (except for “Ctrl Bus”).
4. Set PLAY/MUTE and Solo On/Off as desired. You can
use the control surface to make these settings.
Bus Sel. (Bus Select): Specifies the output destination.
Normally you will set this to L/R. If you wish to send the
sound that has passed through the insert effects to
AUDIO OUTPUT (INDIVIDUAL) 1–4, select 1–4, 1/2,
or 3/4.
5. Use Pan to set the panning of the audio input.
If you’re inputting a stereo audio source, you will
normally set the inputs to L000 and R127 respectively.
6. Use Level to adjust the level of the audio input.
Normally you will leave this at 127.
7. FX Control Bus sends the output of the timbre to an
FX Control bus.
The FX Control Buses lets you create effects
“sidechains.” Sidechains let you control an effect with
one audio signal (the sidechain), while the effect
processes a completely different audio signal. This is
convenient for use with vocoders, compressors and
limiters, gates, etc. For more information, see “FX
Control Buses” on page 854 of the Parameter Guide.
8. REC Bus sends the audio input to a REC bus.
By selecting a REC bus as the “Source Bus,” you can
sample the signal that's being sent to the REC bus.
Normally when sampling in this mode, you will turn this
Off, since the Source Bus will be set to L and R.
208
Each time you press the button, the insert effect will be
switched on/off. When Off, the result will be the same as
when 000: No Effect is selected. The input sound will be
output without change.
Pan: Sets the pan.
Send 1, Send 2: Sets the send levels to the master effects.
For this example, set this to 127.
Ctrl Bus: The signal processed by the insert effect will
be sent to the FX Control bus. Use this if you want to use
another sound to control the audio being input to an
effect. You can use the two FX Control buses to control
effects freely.
For more information, see “FX Control Buses” on
page 854 of the Parameter Guide.
REC Bus: The sound processed by the insert effect will
be sent to the REC bus. In the P0– Audio Input page, you
can set the Sampling Setup Source Bus to a REC bus,
and sample the signal that is sent to the REC bus.
Normally you will sample with Source Bus set to L/R
and REC Bus turned Off. However by using the REC
bus, the direct sound of the audio input and the sound
Effects selection and routing Using effects with the audio inputs
processed by the insert effect can be mixed to a REC bus
and sampled.
Effect– Routing page, and make settings for “Bus
Select (All OSCs to)”.
6. Access the IFX1–12 pages and edit the parameters of
each effect.
For more details, see step 6 under “Using effects in
Programs,” beginning on page 204.
For details on applying an effect to an external audio input
and sampling the result, see “Sampling external audio
through insert effects” on page 139.
Master effects and Total effects
Master effects work the same as the do in Program mode, as
described under “Master effects” on page 205.
Sending the output of a multisample to
an effect bus
1. If you want the samples assigned to a multisample to
be sent to an effect bus, go to the Sampling P8: Insert
For details on resampling through effects, see “Applying an
insert effect to a sample and resampling the result” on
page 140.
Using effects with the audio inputs
Just as you can in Sampling mode, the Program,
Combination, and Sequencer modes also let you apply the
KRONOS’ effects to the signals from the analog, S/P DIF, or
USB inputs and sample the result, or to use the KRONOS as
a 6-in (analog, S/P DIF, and USB) 6-out effect processor.
You can also use the KRONOS as a vocoder effect
(026:Vocoder) that uses an external mic input to control the
internal sounds.
Input-related settings are made in the P0– Audio
Input/Sampling page of each mode. Normally, you will
make settings in the Global mode P0: Basic Setup– Audio
page and share these settings in all modes, but you can also
make individual settings for a specific program (in Program
mode) if, for example, you want to use that program as a
vocoder.
Routing to IFX, outputs, and buses
1. Go to the Global P0: Basic Setup– Audio page.
Note: You must move to Global mode from the mode
(other than Sampling mode) in which you want to input
the external audio signals. If you move from Sampling
mode to Global mode, the Audio Input settings of
Sampling mode will be maintained, and you won’t be
able to view the settings of this page.
These settings are not used in Sampling mode. Audio
input settings for Sampling mode are made in the
Sampling P0: Recording– Audio Input page.
When applying effects to the signals from the analog,
S/P DIF, or USB inputs, oscillation may occur depending
on the effect type and parameter settings. If so, adjust the
input level, output level, and effect parameters. In
particular, use caution when using high-gain effects.
2. Use Bus Select (IFX/Indiv.) to specify the bus to which
each audio input will be sent.
For example if you want the signal from a device
connected to AUDIO INPUT 1 to be input to insert effect
1, set the INPUT 1 Bus Select (IFX/Indiv.) to IFX1.
3. Use Send1 and Send2 to specify the send level of each
timbre to the master effects.
This can be set only if Bus Select (IFX/Indiv.) is set to
L/R or Off.
If Bus Select (IFX/Indiv.) is set to IFX1–12, the send
levels to the master effects are set by Send1 and Send2
(Insert FX page) following the insert effects.
4. Set PLAY/MUTE and Solo On/Off as desired. You can
use the control surface to make these settings.
5. Use Pan to set the panning of the audio input. If
you’re inputting a stereo audio source, you will
normally set the inputs to L000 and R127 respectively.
6. Use Level to adjust the level of the audio input.
Normally you will leave this at 127.
7. FX Control Bus sends the output of the timbre to an
FX Control bus.
209
Using Effects
Use this when you want the audio input to an effect to be
controlled by another sound. There are two FX Control
buses, which gives you a great deal of freedom for
controlling effects freely.
8. REC Bus sends the audio input to a REC bus.
In the P0– Audio Input/Sampling page, you can choose a
REC bus as the Sampling Setup Source Bus so that the
signal sent to the REC bus can be sampled or recorded
(only in Sequencer mode).
Noise can enter the KRONOS via these buses; see
“Avoiding extraneous noise” on page 93.
If you want to save the edited settings in the KRONOS,
you must write them. Use the Global mode page menu
command Write Global Setting to do this.
9. If you want to use the Global mode Input settings in
the other modes, check the “Use Global Setting”
option.
If you want to make independent settings for programs,
combinations, and songs, uncheck this setting.
210
Detailed effects editing Dynamic modulation (Dmod)
Detailed effects editing
Dynamic modulation (Dmod)
Dynamic modulation (Dmod) lets you use MIDI messages
or the KRONOS’s controllers to modulate specific effect
parameters in real-time.
Using Dmod to change the feedback level via
SW1
For more information, see “Dynamic Modulation Sources
(Dmod)” on page 1092 of the Parameter Guide.
5. In the P1: Basic/Vector– Set Up Controllers page, set
the SW1 function to SW1 Mod.CC#80, and the Mode
to Toggle.
Dmod Example
6. Choose P8. Set the Feedback Source to SW1 Mod.
(CC#80), and set Amount to +30.
As an example, let’s set up dynamic modulation to control an
effect parameter in real-time.
1. As described in the procedure for “Using effects in
Programs” on page 204, set IFX1 to 091: L/C/R BPM
Delay. Verify that you’re hearing a delay effect.
2. Go to the Program P8: Insert Effect– IFX1 page.
Using Dmod to change the delay level via the
Joystick
3. Set Input Level Dmod to +100.
4. Set Source to JS+Y: CC#01.
The delay sound will disappear.
The input level to the effect can be controlled by the
joystick. As you move the joystick away from yourself, the
delay sound will gradually increase.
When you move the joystick away from yourself and press
the SW1 switch, the feedback level will increase, and the
delay sound will continue for a longer time. The Amount
setting specifies the feedback level that will be in effect
when the SW1 switch is pressed. If Amount is set to –10,
pressing the SW1 switch will reduce the feedback level to 0.
MIDI/Tempo Sync
MIDI/Tempo Sync lets you synchronize effects LFOs and
delay times to the system tempo. For more information, see
“Tempo Synchronization” on page 853 of the Parameter
Guide.
Using MIDI/Tempo Sync to synchronize
delay time to tempo
1. Set up the effects as described under “Dmod
Example” on page 211.
2. Set BPM to MIDI.
3. For L, C, and R, set the Delay Base Note and Times as
desired.
211
Using Effects
For this example, set Delay Base Note to e and Times to x1
so that the effect will be easily understandable. The delay
time will repeat at an interval of a 8th note.
4. Rotate the TEMPO knob, and the delay time will
change.
When you (push the joystick away from yourself and) press
the SW switch, the feedback level will rise, and the delays
will become longer.
5. When you turn on the KARMA ON/OFF switch,
KARMA will begin playing.
Common FX LFO
Two Common FX LFOs are available for modulation
effects, such as choruses, filters, phasers, etc. In the P8–
Common FX LFO page of Program, Combination,
Sequencer, or Sampling modes, you can specify the reset
conditions and speed of Common FX LFO 1 and 2.
Normally, the LFOs of two or more modulation-type effects
used simultaneously will not have synchronized phase even
if you set them to the identical Frequency, since the LFOs
are being generated independently.
However if you select Common 1 or Common 2 for the LFO
Type parameter of a modulation-type effect, the effect will
use not its own individual LFO but the Common LFO you
specify here. This allows you to use a single Common FX
LFO to simultaneously control two or more modulation-type
effects such as flanger, phaser, or auto-pan with the same
phase. Since you can make independent settings for LFO
waveform and phase offset for each effect, you are free to
create complex combinations of effects.
Common FX LFO
LFO Type = Common1
Common FX LFO1
Frequency[Hz]
Reset
Stereo Flanger
Waveforem = Triangle
Phase Offset = 0 [deg]
Generate original LFO waveform
Stereo Phaser
Waveforem = Sine
Phase Offset = 0 [deg]
Stereo Auto Pan
Waveforem = Sine
Phase Offset = +90 [deg]
212
Select any desired KARMA GE. When you rotate the
TEMPO knob, the delay time will change in synchronization
with the changing tempo of the KARMA.
Depending on the specific delay effect, you may hear a
noise if you change the tempo while the delay is
sounding. This is because the delay sound becomes
discontinuous, and is not a malfunction.
For some effects, you can synchronize the LFO
frequency to the tempo. Set the effect parameters
MIDI/TEMPO Sync to On, and BPM to MIDI. For
more information, see “Tempo Synchronization” on
page 853 of the Parameter Guide.
Detailed effects editing Effect Presets
Effect Presets
Effect Presets let you easily store and recall all of the
settings for an individual effect. You can store up to 16 user
presets for each effect type, in addition to 15 re-writable
factory presets.
Effect On/Off
P (Effect preset)
4. Edit the recalled parameters as desired.
Saving Effect Presets
If you’ve come up with settings you like and want to save
them as a new preset, you can save them.
1. On the IFX 1-12 page, touch the menu button to open
the page menu.
2. In the menu, select the Write FX Preset command.
The Write FX Preset dialog will appear.
3. Name the Preset as desired.
4. Open the “To” popup, and select the Preset number to
save to.
You can save into any of the slots, but we recommend that
you store your settings in U00–U15.
5. Press OK to save the Preset, or Cancel to exit without
saving.
Wet/Dry
Effect Parameters
The same presets appear in all of the modes (Program,
Combination, Sequence, and Sampling), and sets of presets
can be saved to and loaded from disk.
Note that edits to effects parameters are automatically stored
with the Program, Combination, or Song–you don’t need to
store them as an Effect Preset. Presets just make it easier to
re-use your favorite settings.
For instance, you can save an Effect Preset while working on
a particular Program, and then later use the same Effect
Preset in a different Program, Combi, or Song.
Note: Programs, Combinations, and Songs save the effects
parameter settings, but they don’t save the number of the
selected Effect Preset. If you select an Effect Preset, and then
save the Program, the Effect Preset setting will revert to “-------------.”
Selecting Effect Presets
1. Select an effect in the Insert FX page.
2. The P00: Initial Set settings will be recalled.
“P (Effect Preset)” will show --------.
3. Use “P (Effect Preset)” to select an effect preset: P00–
P15 or U00–U15.
The stored parameters will be recalled. Note that this will
overwrite all parameters of the effect.
P00: Initial Set: These are the default settings that are
recalled when you select an effect type in the Insert FX page.
You can’t save your own settings here.
P01…P15: These contain Korg preset data. We recommend
that you store your settings in U00–U15.
U00…U15: These are areas in which you can store your
own settings.
---------------: This shows that no Effect Preset has been
selected. You’ll see this if you’ve just selected an effect,
written a Program, or selected a new Program. Selecting this
setting from the menu will not have any effect.
213
Using Effects
214
Using KARMA
Overview - What is KARMA?
KARMA stands for Kay Algorithmic Realtime Music
Architecture, named after its inventor, Stephen Kay.
KARMA generates MIDI data, using many different
algorithms seamlessly integrated to provide a powerful
“music generation engine.” Based on the notes and chords
you play, KARMA creates phrases and patterns in real-time,
generating not just notes but MIDI control data as well. The
KARMA architecture allows the various algorithms to be
reconfigured and varied in realtime, as you play them.
For example, you can create the dynamic tempo changes that
occur within a harp glissando, the synchronized changes in
volume and tone that occur as part of a brass phrase, the
randomness within a drum phrase, the crescendo and
diminuendo of a fill-in, changes in phrase or tone of a techno
groove, complex interweaving phrases that would be
impossible to play on a keyboard, guitar strumming and
finger-picking simulations with natural-sounding changes,
and backing grooves that follow your keyboard playing in
realtime – all under your control. KARMA lets you produce
phrases and patterns at a far more musical and flexible level
than conventional arpeggiators or pattern playback
functions.
On the KRONOS, KARMA is designed to work in close
conjunction with the numerous other functions, giving you
unbelievable performance power on stage or in the studio.
The structure of KARMA
KARMA consists of the following major parts.
KARMA modules
A KARMA module uses a GE (Generated Effect) to create a
phrase or pattern.
In Program mode, only one KARMA module (A) is used. In
Combination or Sequencer modes, four KARMA modules
(A, B, C, D) can be used. For example, each module might
be used to generate phrases and patterns for a separate
sound, such as drums, bass, guitar, and piano.
In Program mode, the KARMA module transmits and
receives all MIDI data on the Global MIDI channel
specified by “MIDI Channel.”
In Combination and Sequencer modes, the MIDI data
from each KARMA module is transmitted and received
on the “Input Channel” and “Output Channel” specified
for each module.
GE (Generated Effect)
The phrases and patterns produced by a KARMA module
are created by a GE (Generated Effect).
MIDI IN
Based on note data from the keyboard, the GE uses various
internal parameters to control how the note data will be
developed, and how rhythm, chord structure, and velocity
etc. will be controlled to generate a phrase or pattern. MIDI
control changes and pitch bend data can also be generated in
synchronization with the phrase or pattern. As a capability
unique to the KRONOS, KARMA can generate MIDI
exclusive messages to control wave sequencing, which
switches between multisamples etc. of a program in
realtime. This lets you create phrases and patterns in which
the tone color and note pitches change independently.
The KRONOS provides a large number of GEs that can be
used for a variety of instruments, performance techniques,
and musical styles.
GE RTP – Real Time Parameters
A GE consists of over two hundred internal parameters. In
each GE, up to 32 of these internal parameters are preselected as the most suitable parameters for use in
controlling the phrase or pattern. These parameters are called
the “GE realtime parameters.”
KARMA function
GE
(Generated Effect)
MIDI OUT
KARMA module
parameters
Phrases or
patterns
Tone
generator
215
Using KARMA
You can control the phrase or pattern by editing these
parameters, or by assigning them to the KARMA
CONTROLS sliders or KARMA SWITCH buttons and
operating these during your performance.
KARMA - Program mode
KARMA function
KARMA module A
GE (Generated Effect)
MIDI IN
KARMA module parameters
Key Zone Bottom
Key Zone Top
Receive MIDI Filter
Transmit MIDI Filter
Transpose
Note Trigger
Env1 Trigger
etc . . .
GE parameters
01: Rhythm: Swing%
02: Note Series: Interval
03: Note Series: Inversion
....
32: Repeat: Repetitions:
Phrases or
patterns
GE RTP, Perf RTP (Real-Time Parameters)
GE Parm 01
(Rhythm: Swing)
Module Parm
(Env1 Trigger)
KARMA REALTIME CONTROLS
MASTER
Dynamic MIDI
KARMA - Combination/ Sequencer mode
KARMA function
MIDI IN
KARMA module A
x xx x
Input Ch
01ch
= 01ch
GE : #0010: Drums1
KARMA
module parameters
Output Ch
= 02ch
GE Real-Time parameters: 01 ... 32
Drums Pattern
KARMA module B
Input Ch
= 01ch
GE : #0100: Bass Riff10
KARMA
module parameters
Output Ch
= 03ch
GE Real-Time parameters: 01 ... 32
Bass Riff
KARMA module C
Input Ch
= 01ch
GE : #0200: Funk Guitar2
KARMA
module parameters
Output Ch
= 04ch
GE Real-Time parameters: 01 ... 32
E.Guitar Riff
KARMA module D
Input Ch
= 01ch
GE : #0300: E.P Phrase3
KARMA
module parameters
Output Ch
= 05ch
GE Real-Time parameters: 01 ... 32
E.Piano Phrase
GE RTP, Perf RTP (Real-Time Parameters)
GE Parm 01
(Rhythm: Swing)
Module Parm
(Env1 Trigger)
KARMA REALTIME CONTROLS
Dynamic MIDI
216
Overview - What is KARMA? The structure of KARMA
RTC Model
All of the preset GEs have an internally-specified RTC
Model. The RTC Model is a certain standardization of the
more than two hundred internal parameters of the GE, based
on the type and purpose of that GE.
GEs for which the same RTC Model has been specified will
(by default) have the same parameters assigned as their GE
realtime parameters. This means that even if you’re
switching through various GEs that have the same RTC
Model, you will be able to control them in a uniform manner
and make valid comparisons between them, since their
default state will be the same. Of course, you are free to edit
the GE realtime parameters.
In the pre-loaded programs and combinations, the KARMA
CONTROLS sliders and switches are assigned in a uniform
manner depending on the RTC Model for the GE used by
each module. For example if a KARMA module used by a
program or combination uses a GE of the Drum/Percussion
category, the KARMA REALTIME CONTROLS sliders and
KARMA SWITCHES will be assigned so that Slider 1
controls the swing and Slider 2 controls the pattern variation.
Of course, you are also free to edit the REALTIME
CONTROLS assignments.
change the GE. This means that regardless of the type of GE
that’s selected, you will immediately be able to use the
standard KARMA CONTROL assignments.
KARMA module parameters
These are the parameters that control the phrases and
patterns generated by a KARMA module.
You can set these parameters independently for each
KARMA module. These parameters include the GE
selection, MIDI input/output channel, key zone, MIDI
filtering, and triggering.
GE RTP (GE Real-Time Parameters)
Perf RTP (Perf Real-Time Parameters)
These are the parameters that you can control via the
KARMA CONTROLS sliders or KARMA SWITCHES.
If GE realtime parameters (GE RTP) and KARMA module
parameters (Perf RTP) are assigned to the KARMA
CONTROLS sliders and KARMA SWITCHES, you’ll be
able to control them in realtime to modify the phrase or
pattern while you play.
Each GE is assigned one of the following RTC Models.
• DP1 - Drum/Perc
Dynamic MIDI
• BL1 - Bass/Lead
Dynamic MIDI is a function that uses the KRONOS’
controllers or MIDI control messages to control specific
functions of KARMA.
• DM1 - Drum Melodic
• GV1 - Gated Vel/Pattern
• GC1 - Gated CCs
• CL1 - Comp/Lead
• WS1 - WaveSeq 1
• WS2 - WaveSeq 2
• EG1 - Dual Env Gen
• LF1 - Dual LFOs
• MR1 - Melodic Repeat
• MB1 - Mel Rpt/Bend
• RB1 - Real-Time Bend
• Custom - a few GEs may require special RTC setups,
outside of the normal RTC Models. In this case, the
assignment of RTC Controls is left up to the sound
designer of the specific Program or Combination.
An example is 2028: VJS Motion. If you load this GE, it
clears all RTC Model assignments (when the GE Load
Options are set to the default setting). With such GEs, it’s
generally best to copy the Module from an existing
Program, so that you have an example of how to map the
controls.
Auto RTC Setup
This is a convenient function that automatically makes
KARMA CONTROLS sliders and KARMA SWITCH
assignments according to the RTC Model setting of a GE.
Use the Load GE Options dialog box to make these settings
automatically. Here you can choose whether you want
KARMA controller assignments to be made automatically
when you use the GE Select parameter to select a GE. If
you’ve chosen “Auto RTC Setup” in this dialog box, the
assignments will be made automatically each time you
For example, this enables you to use the joystick to play
strummed guitar chords, use a foot switch to control the
Run/Mute status of a KARMA module, or use the damper
pedal to latch a KARMA module. You’ll be able to control
them in realtime while you play.
KARMA CONTROLS
These are front panel controls used to control KARMA. The
settings of these controls can be saved independently for
each program, combination, and song.
ON/OFF switch
This switches KARMA on/off.
LATCH switch
If this is on, the phrase or pattern will continue playing even
after you remove your hand from the keyboard.
MODULE CONTROL switch
In Combination or Sequencer mode, this selects the module
that will be controlled by the KARMA sliders 1–8, KARMA
SWITCHES 1–8, and KARMA SCENE switches 1–8.
MASTER: Choose this setting if you want to control
modules A, B, C, and D simultaneously. For example, this
lets you use slider 1 to control the GE realtime parameter
Swing for all modules A, B, C, and D.
A, B, C, D: Choose one of these settings if you want to
control the corresponding module individually.
Note: In Program mode only MASTER can be selected, and
module A will be controlled.
217
Using KARMA
KARMA CONTROLS sliders 1–8
KARMA SWITCHES 1–8
KARMA SCENES 1–8
When CONTROL ASSIGN is set to RT KNOBS/ KARMA,
these control the KARMA module(s) selected by MODULE
CONTROL.
By operating these controls, you can adjust GE realtime
parameters and KARMA module parameters to freely vary
the phrases or patterns generated by the KARMA module.
(Use “GE RTP, Perf RTP” to specify the parameter that each
control will affect.)
SCENE switches
These switches let you store the settings of sliders 1–8 and
switches 1–8 as eight different “scenes” (SCENE 1–8). In
Combination or Sequencer modes, scenes can store separate
settings for each module, and you can use the MODULE
CONTROL switch and the Scene Matrix function to control
this.
For more information, see “7–5d: Module Control Scene
Matrix” on page 481 of the Parameter Guide.
218
Performing with KARMA Performing with KARMA in Program mode
Performing with KARMA
Based on your keyboard playing or on the note data received
from MIDI IN, KARMA automatically generates a diverse
variety of phrases or patterns, such as guitar or keyboard
backing riffs, bass phrases, or drum patterns. You can use the
KARMA CONTROLS sliders and the KARMA
SWITCHES to freely modify these phrases or patterns.
The KRONOS contains pre-loaded programs and
combinations that take full advantage of KARMA, covering
a wide range of instruments, playing techniques, and musical
genres. In these programs and combinations, the parameters
most useful for controlling KARMA have been assigned to
the KARMA CONTROLS sliders and KARMA
SWITCHES.
Performing with KARMA in Program mode
In Program mode you can use one KARMA module to
generate a phrase or pattern appropriate for the sound of the
program.
Selecting a Program and switching
KARMA on/off
1. Press the PROGRAM switch to enter Program mode,
and select the desired program. (See “Selecting
Programs” on page 29.)
Adjusting the performance tempo
1. Use the TEMPO knob or the TAP
TEMPO switch to adjust the
performance tempo.
This will change the “q =” value located in
the upper right of the display. You can adjust
the tempo in a range of 40.00–300.00. The
LED located above the TAP TEMPO switch
will blink at intervals of a quarter note ( q ).
As an alternative to using the TEMPO knob or the TAP
TEMPO switch, you can choose “q =” in the display, use
numeric keys 0–9 to enter the tempo, and then press the
ENTER switch. You can also use the VALUE controller to
set the tempo. The LED will blink at the tempo you specify.
Note: The setting of the TEMPO knob is also saved when
you write a program.
If the Global P1: MIDI–MIDI page MIDI Clock
parameter is set to External, or set to Auto and MIDI
Clock messages are being received, the Tempo display
will indicate “q =” EXT, and the KRONOS will be
synchronized to an external MIDI device. In this case,
you won’t be able to change the tempo by operating the
KRONOS.
As you step through the programs, you’ll find some
programs for which the KARMA ON/OFF switch LED is lit.
Press a key or on-screen pad (on the
P1: Basic/Vector-Pads page), and
KARMA will begin playing.
In other Programs as well, you can
press the ON/OFF switch (LED lit)
to turn KARMA on.
Note: If the Drum Track is on, and
the Trigger Mode is set to Wait
KBD Trig, the Drum Track will
start playing simultaneously.
219
Using KARMA
Checking note-on/off and key zone
The screen shown below is a realtime display of the note
data received from the keyboard, pads 1–8, and MIDI IN,
and the note on/off data generated by the KARMA module,
together with the name of the chord that was detected.
1. Go to the Program P0: Play– KARMA GE page.
Modifying the phrase or pattern generated by
the KARMA module: KARMA CONTROLS 1–8
sliders, KARMA SWITCHES 1–8, SCENE 1–8
switches
Parameters useful for controlling the phrase or pattern are
already assigned to the KARMA CONTROLS 1–8 sliders,
KARMA SWITCHES 1–8, and SCENE 1–8 switches. You
can operate these controllers to create a wide range of
changes in the phrase or pattern that’s playing.
1. Go to the Program P0: Play– KARMA GE page.
When you play the keyboard, the name of the chord detected
by the KARMA module will appear in the “Chord” field of
KARMA Module Info.
The CCs/Notes area shows the key zone of the KARMA
module, and the state of the control data and note on/off data
generated by the KARMA module. (See “Setting KARMA’s
keyboard zone” on page 226.)
The lower part of the display shows the names of the sliders
and switches that are assigned in this program. In the preloaded programs, the KARMA CONTROLS sliders and
KARMA SWITCHES have already been assigned.
2. Operate the front panel KARMA CONTROLS 1–8
sliders and KARMA SWITCHES 1–8.
The pattern or phrase will change accordingly.
You can also turn the switches on/off by pressing them in the
display. You can operate the sliders by selecting them and
then using the VALUE controller to adjust the value.
Using the KARMA controllers
Note: The state of the KARMA controllers is saved when
you write the program.
The type or value of the parameter being controlled by the
sliders and switches is shown in the KARMA Module Info
“KARMA Value” field. This lets you see how the parameters
are being affected by your slider or switch operations.
KARMA on/off: ON/OFF switch
KARMA will turn on/off each time you press the ON/OFF
switch. If it is on, the switch LED will light. When you play
the keyboard, the GE selected for the KARMA module will
start generating a phrase or pattern.
Making the performance continue after you
remove your hand from the keyboard: the LATCH
switch
You can make KARMA continue playing even after you
remove your hand from the keyboard.
LED lit: Latch is on. The performance will continue even
after you remove your hand from the keyboard.
LED dark: Latch is off. The performance will stop when you
remove your hand from the keyboard.
220
The saved value is shown at the lower right of each slider or
switch.
Performing with KARMA Performing with KARMA in Program mode
3. Use the front panel SCENE 1–8 switches to choose a
scene.
The sliders and switches will change to the settings that were
saved in the scene you chose.
Each of the eight scenes contains the values of sliders 1–8
and switches 1–8. By pressing a SCENE 1–8 switch to
choose a scene, you can instantly recall settings for the eight
sliders and eight switches.
Even if you switch scenes, the changes you make using
sliders 1–8 and switches 1–8 are remembered until you
select another program. When you write a program, your
slider and switch settings are saved in the respective scene
1–8.
Restoring the state of the sliders and switches
You can do this by adjusting the controls while you watch
the sliders and switches in the screen, or you can use the
following method.
Restoring the entire program
1. Press the COMPARE switch.
The entire program will revert to the state in which it was
written. (See “Using COMPARE” on page 44.)
2. Hold down the RESET CONTROLS switch, and
press the CONTROL ASSIGN RT KNOBS/KARMA
switch.
The Real-Time Controls knob settings will be reset (to the
center value of 064), and the settings of all scenes will return
to their stored settings.
If you’ve used the RESET CONTROLS switch to reset
the Real-Time Controls knobs and to return all scenes to
their saved setting, there is no way to return to the edited
settings of step 1.
Selecting a GE (Generated Effect)
When KARMA is on, the KARMA module uses a GE to
generate phrases or patterns. The KRONOS provides a wide
range of GEs that you can use for a variety of instruments,
playing techniques, and musical styles (See “The structure of
KARMA” on page 215).
For each of the pre-loaded programs, a GE that’s appropriate
for the sound of the program is already selected. If you
switch to a different GE, the generated phrase or pattern will
change dramatically.
1. Go to the Program P0: Play– KARMA GE page.
2. Press the COMPARE switch once again.
The program will return to the edited state.
Restoring all sliders and switches of the selected
scene
1. Operate the sliders and switches to edit the values
saved in the program.
The LED of the selected SCENE switch will blink.
2. Hold down the RESET CONTROLS switch, and
press the SCENE switch.
All sliders and switches will be reset to their stored settings,
and the SCENE switch LED will light.
3. Once again, hold down the RESET CONTROLS
switch and press the SCENE switch.
All sliders and switches will return to the edited state of step
1, and the SCENE switch LED will blink.
2. In the display, press the “GE Select” popup button to
open the “GE Select” menu.
Restoring a single slider or switch
1. Operate the sliders and switches to edit the values
saved in the program.
2. Hold down the RESET CONTROLS switch, and
operate the slider or switch that you want to restore.
The selected slider or switch will return to its stored setting.
Restoring all scene settings
1. In each scene, operate the sliders and switches to edit
the values saved in the program.
2. Hold down the RESET CONTROLS switch, and
press the MODULE CONTROL switch.
All scenes will return to their stored settings.
If you’ve used the RESET CONTROLS switch to return
all scenes to their original setting, there is no way to
return to the edited settings of step 1.
Resetting the REALTIME CONTROL knob settings for all
scenes
1. Use the REALTIME CONTROL knobs to edit the
sound of the program, and use the sliders and
switches to modify the saved settings in each scene.
3. Select a GE from the list in the right side of the
display.
The selected GE will be highlighted and will become active.
If you now play the keyboard, this GE will generate a phrase
or pattern.
While this menu is displayed, you can select and play these
GEs without pressing the OK button.
221
Using KARMA
4. If you are satisfied with the program you selected,
press the OK button to close the menu.
Alternatively, you can select a GE by choosing “GE Select”
in the display, and operating the VALUE slider or VALUE
dial. You can also use “GE Category Select” to choose a GE
by category. (See “GE Category Select” on page 10 of the
Parameter Guide.)
Editing KARMA module parameters
For details on editing the parameters of a KARMA module,
see “Editing KARMA” on page 225.
Performing with KARMA in Combination mode
In Combination mode, up to four KARMA modules can be
operating simultaneously. You can use the four KARMA
modules together with the sixteen timbre programs in a wide
variety of ways, for example by using them to independently
play phrases and patterns for separate programs such as
drums, bass, guitar, and strings.
Selecting a Combination and turning
KARMA on/off
Checking note-on/off and key zone
The screen shown below is a realtime display of the note
data received from the keyboard, pads 1–8, and MIDI IN,
and the note on/off data generated by KARMA modules A,
B, C, and D, together with the name of the chord that was
detected.
1. Go to the Combination P0: Play– KARMA GE page.
1. Press the COMBI switch to enter Combination mode,
and select the desired combination. (See “Selecting
Combinations” on page 59.)
When you play the keyboard, the name of the chord detected
by each KARMA module will appear in the “Chord” field of
KARMA Module Info.
As you step through the combinations, you will notice that
the KARMA ON/OFF switch LED is lit for some
combinations.
The displayed chord name is the chord that is detected by the
module selected by the front panel MODULE CONTROL
switch. The way in which chords are detected will depend on
the settings of the KARMA module.
With these combinations, KARMA will begin playing when
you play the keyboard.
Note: If the Drum Track is on, and Trigger Mode is set to
Wait KBD Trig, the Drum Track will start playing
simultaneously.
The CCs/Notes area shows the status of the control data and
note-on/off data generated by KARMA modules A, B, C,
and D, and the key zone settings of the KARMA modules.
Even for other combinations, you can press the KARMA
ON/OFF switch (LED lit) to turn on KARMA.
Adjusting the performance tempo
In the same way as for a program, you can use the TEMPO
knob or the TAP TEMPO switch to adjust the performance
tempo. Changing the tempo will affect the tempo of all
KARMA modules that are operating. (See p.219)
You can’t adjust the performance tempo of each KARMA
module individually.
222
Note: Chord detection is affected by the KARMA module’s
key zone settings (Combination 7–1b), “Transpose”
(Combination 7–3b: Module Parameter-Control), and
Dynamic MIDI “Destination” (Combination 7–8) Chord
Scan and Smart Scan.
Performing with KARMA Performing with KARMA in Combination mode
Using the KARMA controllers
You can operate the KARMA controllers to control the
phrase or pattern generated by each KARMA module. In
Combination mode, you can choose the KARMA module
that you want to control.
Note: The state of the KARMA controllers is saved when
you write the combination.
1. Go to the Combination P0: Play– KARMA GE page.
4. Use the front panel SCENE 1–8 switches to choose a
scene.
This changes the scene for the KARMA module(s) selected
by the MODULE CONTROL switch.
If MODULE CONTROL is set to MASTER, each KARMA
module will change to the scene that is saved as the master
setting.
Each of the eight scenes contains the values of sliders 1–8
and switches 1–8. By pressing a SCENE 1–8 switch to
choose a scene, you can instantly recall settings for the eight
sliders and eight switches.
Even if you switch scenes, the changes you make using
sliders 1–8 and switches 1–8 are remembered until you
select another combination. When you write a combination,
your slider and switch settings are saved in the respective
scene 1–8.
Name display for the KARMA CONTROLS 1–8
sliders and KARMA SWITCHES 1–8
Just as in the equivalent page of Program mode, the
Combination P0: Play– KARMA GE page displays the
sliders and switches assigned to the combination, and their
names.
The lower part of the display shows the names of the sliders
and switches that are assigned in this combination.
In the pre-loaded combinations, the KARMA CONTROLS
sliders and KARMA SWITCHES have already been
assigned.
2. Use the front panel MODULE CONTROL switch to
select the module that you want to control.
If you select MASTER, you will be controlling all four
KARMA modules simultaneously.
If you select A–D, you will be controlling the corresponding
KARMA module.
3. Operate the front panel KARMA CONTROLS 1–8
sliders and KARMA SWITCHES 1–8.
The sliders and switches will control the pattern or phrase
generated by the KARMA module selected by the
MODULE CONTROL switch. If you’ve selected MASTER,
you’ll be able to control the module on/off status and vary
the patterns and phrases generated by all of the KARMA
modules.
In the combination, the name shown in square brackets [ ] is
the category of the program selected for the timbre being
controlled by the KARMA CONTROLS 1–8 sliders and
KARMA SWITCHES. This tells you the timbre whose
phrase is being controlled by the KARMA CONTROLS 1–8
sliders and KARMA SWITCHES.
If multiple timbres are being controlled simultaneously, this
will indicate [MLTI].
KARMA module “Run” and “Solo”
settings
In Combination mode, up to four KARMA modules can be
operating simultaneously.
If KARMA is off, all KARMA modules will be stopped. If
KARMA is on, the KARMA module(s) you specify here
will operate.
1. Go to the Combination P7: KARMA– GE Setup/Key
Zones page.
You can also operate the sliders and switches in the display
or using the VALUE controller, just as in Program mode.
The KARMA module and the type or value of the parameter
being controlled by the sliders and switches is shown in the
KARMA Module Info “KARMA Value” field. This lets you
see the KARMA module and parameters that are being
affected by your slider or switch operations.
KARMA module
Value
Parameter
2. Use the “Run” and “Solo” settings to specify the
module(s) that will operate when KARMA is on.
KARMA modules whose “Run” setting is On (checked) will
operate.
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Using KARMA
If you turn “Solo” On (checked), only that KARMA module
will sound. This is useful when you are selecting a GE, or
when you want to audition the phrase that a module is
generating.
Modules whose “Solo” is On (checked) will sound even if
“Run” is Off (unchecked).
The “Solo” setting is cleared when you switch to another
combination. It is not saved when you write the
combination.
KARMA module A will sound.
KARMA module B will sound.
KARMA modules A and B will sound.
Note: If “
” is not shown in the display, “Run” has
been assigned as a performance realtime performance. The
KARMA SWITCHES etc. will control “RUN.”
KARMA module MIDI I/O channel
settings
The MIDI input/output channel setting for each KARMA
module and the MIDI channel setting of each timbre
together determine how the KARMA modules will play the
timbres.
If a KARMA module’s MIDI output channel matches the
MIDI channel of a timbre, the phrase or pattern generated by
that KARMA module (if it’s operating) will play that timbre.
For details on making these settings, see “Editing KARMA
in Combination mode” on page 229 and “7–1c: MIDI I/O”
on page 473 of the Parameter Guide.
GE (Generated Effect) selection
Just as for a program, you can use the “GE Select” field to
select the GE used by each module. (See “Editing KARMA
in Combination mode” on page 229)
KARMA module parameter settings
For details on editing KARMA module parameters, see
“Editing KARMA in Combination mode” on page 229.
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Editing KARMA Editing KARMA in Program mode
Editing KARMA
This section explains how to make settings for KARMA in
each mode. For details on how to perform using KARMA,
see “Performing with KARMA” on page 219.
Editing KARMA in Program mode
In Program mode you can use only one KARMA module
(module A). KARMA settings for a program are made in the
various pages of Program P7: KARMA. Here we will
explain how to use the major parameters, such as selecting a
GE. For other parameters, see “Program P7: KARMA” on
page 106 of the Parameter Guide.
Switching KARMA on/off
Each time you press the KARMA ON/OFF switch, KARMA
will be turned on or off. When on, the switch LED will be lit.
The on/off status is saved when you write the program.
Selecting a GE
Here’s how to select the GE used by the KARMA module.
1. Go to the Program P7: KARMA– GE Setup/Key
Zones page.
In this example, we’ve opted to automatically set the slider
and switch functions to the standard settings for the RTC
Model of the selected GE, so that you’ll be able to control
the phrase or pattern immediately.
3. Use “GE Select” to select the GE used by the KARMA
module.
Use “Tempo” to set the tempo of the pattern or phrase
generated by the GE.
Use “KARMA T.Sig” to specify the time signature of the
pattern or phrase generated by the GE. If you select GE/TS
the time signature specified by the GE will be used; with any
other setting, the time signature will change temporarily.
The KRONOS provides numerous preset GEs that can be
used for a wide range of instruments, playing techniques,
and musical styles.
“Category Select” shows the category of the GE that’s
selected for the KARMA module. All GEs are organized by
category. You can press “Category Select” to open the
Category/GE Select screen, and choose a GE by category
and sub-category (see “GE Category Select” on page 10 of
the Parameter Guide).
Copying KARMA settings from another
Program
You can use the “Copy KARMA Module” page menu
command to copy KARMA settings (EG selection, KARMA
module parameter settings, etc.) from another program.
1. Press the page menu button to open the page menu,
and choose “Copy KARMA Module.”
2. Press “Load GE Options” to open the dialog box, turn
Auto RTC Setup on, and check the User RTC Model
and Reset Scenes options.
2. Specify the copy-source mode, bank, and number.
If you want to copy the GE realtime parameter settings and
scene settings from the copy-source program, choose the
“GE RTP Control Settings & Scenes” option (checked).
“Load GE Options” specifies whether the settings of the
KARMA CONTROLS sliders and KARMA SWITCHES
settings will be automatically set, initialized, or maintained
when you select a GE.
If you want to copy performance realtime parameters
settings and front panel settings from the copy-source
program, choose the “Perf. RTP & Panel Settings” option
(checked).
If you to copy the pad settings from the copy-source
program, choose the “Pads” option (checked).
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Using KARMA
3. Press OK to execute the copy, or press Cancel if you
decide to cancel.
Setting KARMA’s keyboard zone
Here’s how to specify the zone of keys that will trigger
KARMA. For example you might make settings so that the
keys at the bottom of the keyboard will trigger phrases, and
keys above this range can be played normally.
KARMA module MIDI filtering and CC
offset
1. Go to the Program P7: KARMA– MIDI Filter/CC
Offset page.
1. Go to the Program P7: KARMA– GE Setup/Key
Zones page. (See the diagram in step 1 of “Selecting a
GE”)
2. Use the Key Zones Bottom and Top to specify the key
zone.
Any notes that fall within this range—including both playing
on the local keyboard and notes received from MIDI IN—
will be sent to the KARMA module.
Receive MIDI Filter
This specifies whether filtering will be applied to the MIDI
control data received by the KARMA module. If an item is
on (checked), the corresponding data will be received.
In the example shown above, the notes from C-1 through B3
are being input to the KARMA module. When you play B3
or a lower note, KARMA will generate a phrase or pattern.
3. If “Thru In Zone” and “Thru Out Zone” are on
(checked), the notes you play on the keyboard will
play in addition to the phrase or pattern generated by
KARMA.
These two fields are the settings for inside and outside the
key zone.
You can use “Transpose In Zone” and “Transpose Out Zone”
to transpose the notes played on the keyboard in semitone
steps.
In the example shown above, the B3 and lower keys will
control only the phrase or pattern generated by KARMA,
and the C4 and higher keys will be used for manual playing
on the keyboard. Use “Transpose Out Zone” to adjust the
pitch of the manually-played region.
When KARMA is on, MIDI control data received by the
KARMA module is sent directly to the tone generator. If this
setting is off (unchecked), that data will not be sent to the
tone generator.
In the example shown above, damper pedal messages are
enabled when KARMA is off, and disabled when it is on.
Transmit MIDI filter
This specifies whether filtering will be applied to the MIDI
control data generated by the GE selected for the KARMA
module. If an item is on (checked), transmission is enabled.
Normally you will leave these items on. If you don’t want to
use the pitch bend or other control change data generated by
the selected GE, turn these items off (unchecked).
In the example shown above, pitch bend data generated by
the GE will not be transmitted.
CC Offset
Use this if you want to control the effects or the sound of the
program while KARMA is on. For example, you might use
this to decrease the brightness of the sound or raise the
resonance of the sound in conjunction with the phrase that’s
being generated. Alternatively, you might use this to control
effects, for example by turning on a delay effect in
conjunction with a generated phrase.
Use “CC Number” to specify the MIDI control change
number. Choose one of the CC numbers in the 70’s which
control the sound, or an AMS or Dmod source (see “7–2c:
CC Offset” on page 110 of the Parameter Guide).
In the example shown in the preceding page, CC#74 and
CC#71 are controlling filter cutoff and resonance level.
KARMA module parameters
In the Program P7: KARMA– Module Parameters-Control
and Trigger pages you can edit KARMA module parameters.
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Editing KARMA Editing KARMA in Program mode
Here we will describe how to edit the most frequently-used
parameters. For details on the other parameters, refer to “7–
3a: Program Name and Tempo” on page 111 of the
Parameter Guide.
GE Real-Time Parameters
Here you can edit the GE realtime parameters that are
selected by the KARMA module. You can also assign GE
realtime parameters to the KARMA CONTROLS sliders
and KARMA SWITCHES so that you can use them to
control the phrase or pattern in realtime while you perform.
Note: If you use the Auto RTC Setup function of “Load GE
Options,” the standard slider and KARMA SWITCH
assignments for the RTC Model of that GE will
automatically be made when you select a GE. (See
“Selecting a GE” on page 225)
1. Go to the Program P7: KARMA– GE Real-Time
Parameters page.
Control – Transpose
This lets you transpose the note data being input to the
KARMA module in semitone steps. This will control the
pitch of the phrase or pattern generated by the KARMA
module. For example if you want to lower a bass phrase by
one octave, set this to –12.
Use “GE RTC Select” to switch the set of GE realtime
parameters you want to see.
These buttons display GE realtime parameters 1–16 or 17–
32.
The number and type of GE realtime parameters you can edit
here will differ depending on the selected GE. (There will be
a maximum of 32.) In each GE, the parameters most useful
for controlling the phrase or pattern are provided as presets.
Control – Quantize Trig (Quantize Triggers)
This quantizes the timing of the triggering produced by the
note data. (See “Synchronizing KARMA” on page 237)
Off (unchecked): Triggering will occur the moment you
play the key.
On (checked): Trigger timing will be quantized to the
selected note interval relative to the base tempo.
Note – Trigger
This specifies the triggering conditions for the phrase or
pattern generated by the GE. Try these out and see how they
differ.
Any: Triggering will occur each time you play a key, and the
phrase or pattern will play from the beginning.
AKR: Triggering will occur only the first time you play a
key after having released all notes on the keyboard.
1st: Triggering will occur only at the first note you play after
turning on KARMA.
Dyn: Playing the keyboard will not cause triggering.
Triggering will occur when you operate the controller
specified by Dynamic MIDI.
Note: RTC Model: Every GE contains an internal setting
that indicates its RTC Model. Based on the type or purpose
of the GE, the RTC Model provides a certain degree of
standardization to the over 200 internal parameters of the
GE. By default, GEs that have the same RTC Model will be
preset with the same GE realtime parameters.
2. Use “VALUE,” “MIN,” and “MAX” to specify the
value, minimum value, and maximum value of each
GE realtime parameter.
When you select a GE, the default parameter values that are
preset for that GE will be assigned.
The values you assign here are controlled as follows by the
KARMA CONTROLS you specify in the “ASSIGN” field.
Slider 1–8
000-064-127 =MIN-VALUE-MAX
Slider 1–8 (SW)
000-063 = MIN, 064-127 = MAX
SW 1–8
Off = MIN, On = MAX
DynaMIDI 1–8
Depending on Dynamic MIDI setting
3. Use “ASSIGN” to assign each GE realtime parameter
to the desired controller.
4. Use Polarity to specify the polarity of control.
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Using KARMA
+: Control the parameter as shown in the table above.
–: The relationship of MIN and MAX will be inverted. For
example as you move a slider from 000 to 127, the value will
be controlled from the MAX value to the MIN value.
Perf RTP (Perf Real-Time Parameters)
Here’s how KARMA parameters such as KARMA key zone
and KARMA module parameters (i.e., KARMA parameters
other than GE realtime parameters) can be assigned to
controllers.
If you’ve assigned these parameters to KARMA
CONTROLS, you’ll be able to control them in realtime
while you perform (see “Control Surface knobs, sliders, &
switches” on page 35, and “7–6b: Perf Real-Time
Parameters” on page 122 of the Parameter Guide).
parameter is at the Min setting and a C3 note is sounding,
moving slider 1 from 000 toward 127 will cause a pitch
change of C3  G3  C4  G4  C5.
Dynamic MIDI setting
Dynamic MIDI lets you use a KRONOS controller or a
MIDI control message to control a specific parameter of
KARMA. You can specify up to eight controllers (Source)
and what they will do (Destination). For more information,
see “Dynamic MIDI Sources & Destinations” on page 1100
of the Parameter Guide.
Naming the KARMA RTC sliders 1–8 and switches
1–8
1. Go to the Program P7: KARMA– Name/Note Map
page.
1. Go to the Program P7: Perf Real-Time Parameters
page.
As an example, we’ll show how you can use a KARMA
CONTROLS slider to control the KARMA module
parameter “Transpose.”
Here you can select names for the KARMA CONTROLS
sliders and KARMA SWITCHES. You can save these
settings independently for each program. The KRONOS
provides suitable preset names for the KARMA
CONTROLS sliders and KARMA SWITCHES.
2. Use “Group” and “Parameter” to select the
parameter you want to control.
Auto Assign KARMA RTC Name
For this example, set “Group”: Mix, and “Parameter”:
Transpose. Turn “A” on (checked) so that the slider will
control KARMA module [A].
3. Specify the range and value that you want to control.
The setting of the parameter will be assigned by default (–12
in this example), as described under “7–3b: Module
Parameter-Control” on page 111 of the Parameter Guide.
For this example, set “Min,” “Max,” and “Value” to –24, +0,
and –12 respectively.
4. Use “Assign” to assign the desired controller.
For this example, we’ll assign Slider 1.
5. Use Polarity to specify the polarity of control.
For this example, specify “+”.
When you set CONTROL ASSIGN to RT
KNOBS/KARMA and operate slider 1, the Transpose
setting will change in semitone steps over a range of –24 to
+0, with –12 as the center value.
Note: If you set “Parameter” to Transpose Octave, the
change will occur in steps of one octave over a range of –24
to +0, with –12 as the center value.
If you select Transpose Octave/5th, the change will occur in
alternating steps of an octave or a fifth, over a range of –24
to +0 with –12 as the center value. For example if this
228
An appropriate name for each KARMA CONTROLS slider
and KARMA SWITCH will be determined based on the GE
RTP or Perf RTP being controlled, and will be assigned
automatically. (See “Auto Assign KARMA RTC Name” on
page 149 of the Parameter Guide.)
Linking KARMA settings to Program changes
KARMA settings can be saved individually for each
Program. Normally, when you select a new Program, its
KARMA settings will be loaded as well. In some cases,
however, you may wish to try out different Programs while
keeping the KARMA settings the same.
The Global Basic page Load KARMA Settings when
changing parameters let you select between these two
behaviors. There are separate settings for Programs, Combis,
and Songs. To set this up:
1. Go to the Global Basic page.
2. Under “Load KARMA setting when changing”, set
the “Programs” check-box as desired.
Check the box to load the individual Programs’ KARMA
settings.
Un-check the box to keep KARMA settings the same, even
when changing Programs.
For more information, see “Load KARMA settings when
changing” on page 749 of the Parameter Guide.
Editing KARMA Editing KARMA in Combination mode
Editing KARMA in Combination mode
In Combination mode (and Sequencer mode) you can use
four KARMA modules (modules A, B, C, and D). In a
combination, you can use the four KARMA modules and the
sixteen timbre programs in a variety of ways; for example,
separate phrases or patterns can play programs such as
drums, bass, guitar, and strings.
KARMA settings for a combination are made in the various
pages of Combination P7: KARMA. Here we will explain
the procedure for setting the major parameters, such as
“Run” and “Solo” settings, the selection of a GE, and MIDI
I/O settings. For other parameters, see -“Editing the
parameters of each KARMA module” on page 231. and “7–
1b: GE Setup/Key Zones” on page 473 of the Parameter
Guide.
Note: Alternatively, you can make these settings in the
Combination P0: Play– KARMA GE page.
2. Press “Load GE Options” to open the dialog box, turn
Auto RTC Setup on, and check the User RTC Model
and Reset Scenes options.
“Load GE Options” specifies whether the settings of the
KARMA CONTROLS sliders and KARMA SWITCHES
will be automatically set, initialized, or maintained when
you select a GE.
For this example, we’ll choose to set the slider and switch
functions for KARMA modules A, B, C, and D to the
standard settings for the RTC Model of the selected GE, so
that you’ll be able to control the phrase or pattern
immediately.
Switching KARMA on/off
3. Use “GE Select” to select the GE used by the KARMA
module.
Each time you press the KARMA ON/OFF switch, KARMA
will be turned on or off. When on, the switch LED will be lit.
This on/off status is saved when you write the Combination.
Use “Tempo” to set the tempo of the pattern or phrase
generated by the GE.
When KARMA is off, all KARMA modules A, B, C, and D
will be off. When KARMA is on, the KARMA modules will
operate as specified by their “Run” and “Solo” settings.
Use “KARMA T.Sig” to specify the time signature of the
pattern or phrase generated by the GE. If you select GE/TS
the time signature specified by the GE for each module will
be used; with any other setting, the time signature of all GEs
will change temporarily.
“Run” and “Solo” settings
1. Go to the Combination P7: KARMA– GE Setup/Key
Zones page.
Note: Alternatively, you can make these settings in the
Combination P0: Play– KARMA GE page.
MIDI I/O channel settings
You can specify the MIDI input and output channels for each
of the four KARMA modules used by a combination.
The MIDI input/output channel setting for each KARMA
module and the MIDI channel setting for each timbre will
determine the routing that specifies how the KARMA
modules play the timbres. These are the most important
settings when using multiple KARMA modules in a
combination.
1. Go to the Combination P7: KARMA– GE Setup/Key
Zones page.
2. Specify the “Input Channel” and “Output Channel”
of each KARMA module.
“Input Channel”: For a combination, you will normally set
this to Gch so that your keyboard playing will control the
KARMA module.
“Output Channel”: Set this to the MIDI channel of the
timbre(s) that should be played by this KARMA module.
2. Use “Run” and “Solo” to select the module(s) that will
operate when KARMA is on.
For more information, see “0–6b: GE Select” on page 424 of
the Parameter Guide.
Note: For the preloaded combinations, when the MODULE
CONTROL switch is set to MASTER, KARMA
SWITCHES 1, 2, 3, and 4 will switch “Run” on/off for
modules A, B, C, and D.
Selecting a GE
Here’s how to select the GE used by each KARMA module.
(See “Editing KARMA in Program mode” on page 225)
1. Go to the Combination P7: KARMA– GE Setup/Key
Zones page.
Gch Also: This option is available if Input Channel is set to
other than Gch. If you select (check) this option, a module
that would normally be triggered only by the Input Channel
will also be triggered by the Gch. (Gch, Global 1–1a)
Timbre Thru: If this option is on (checked), timbres
differing from the global MIDI channel will sound when
KARMA is off.
Setting example 1
This example shows how the “Gch Also” option works.
1. Set MIDI Channel for the following timbres as
follows.
Timbre 1: G ch
Timbre 2: 2 ch
Timbre 3: 3 ch
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Using KARMA
Timbre 4: 4 ch
Setting example 2
Timbre 5: 5 ch
This example shows how the “Timbre Thru” option works.
2. Set the MIDI channels for the pads as follows.
Pad 1: MIDI channel = 2 ch
Pad 2: MIDI channel = 3 ch
Pad 3: MIDI channel = 4 ch
Pad 4: MIDI channel = 5 ch
3. For each KARMA module, set “Input Channel” and
“Output Channel” as follows.
Select a piano program for timbre 1, a bass program for
timbre 2, and a drum program for timbre 3.
We’ll play timbre 1 manually from the keyboard. KARMA
module A will be used to play a bass phrase on timbre 2, and
KARMA module B to play a drum phrase on KARMA
module B. (Make sure that the global MIDI channel is 01.)
1. Set the MIDI Channel for timbres 1, 2, and 3.
KARMA module A: “Input Ch” = 2 ch, “Out Ch”= 2 ch
KARMA module B: “Input Ch” = 3 ch, “Out Ch”= 3 ch
KARMA module C: “Input Ch” = 4 ch, “Out Ch”= 4 ch
KARMA module D: “Input Ch” = 5 ch, “Out Ch”= 5 ch
4. Turn KARMA off.
When you play the keyboard, timbre 1 will sound.
When you strike pads 1–4, timbres 2–5 will sound.
5. Turn KARMA on.
When you play the keyboard, timbre 1 will sound.
When you strike pads 1–4, KARMA modules A–D will each
trigger a different GE which will play phrases or patterns on
timbres 2–5.
6. For KARMA module A, turn “Gch Also” on
(checked).
7. Turn off KARMA.
When you play the keyboard, timbre 1 will sound.
When you strike pads 1–4, timbres 2–5 will sound.
For this example, set timbre 1 to 01, timbre 2 to 02, and
timbre 3 to 03. Since each timbre is set to a separate channel,
the KARMA module set to the corresponding channel will
play only that timbre.
2. Set the “Input Channel” and “Output Channel” of
each KARMA module as follows.
8. Turn on KARMA.
When you play the keyboard, timbre 1 will sound. KARMA
module A for which you turned “Gch Also” on (checked)
will trigger its GE and play a phrase or pattern on timbre 2.
When you strike pads 1–4, KARMA modules A–D will
trigger their respective GEs and play phrases or patterns on
timbres 2–5.
KARMA module A: “Input Ch” = G ch, “Out Ch”= 02
KARMA module B: “Input Ch” = G ch, “Out Ch”= 03
The timbres played by the KARMA modules are shown in
red, as specified by the timbre’s MIDI channel setting and
the KARMA module’s Out Channel setting.
3. For KARMA modules A and B, turn “Run” on
(checked), and set “GE Select” to GE. (See ““Run”
and “Solo” settings” on page 229.)
KARMA module A: select a bass phrase as the GE
KARMA module B: select a drum phrase as the GE
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Editing KARMA Editing KARMA in Combination mode
When KARMA is on, your playing on the keyboard will
sound a piano on timbre 1, and will simultaneously be sent to
KARMA modules A and B.
The bass phrase generated by module A is sent on MIDI
channel 02 to play timbre 2.
The drum phrase generated by module B is sent on MIDI
channel 03 to play timbre 3.
GE Real-Time Parameters
Here’s how to edit the parameters of the GE selected for
each KARMA module.
1. Go to the Combination P7: KARMA– GE Real-Time
Parameters page.
4. Use “Timbre Thru” to specify what will sound when
KARMA is off.
When KARMA is off, playing the keyboard will normally
sound only the timbres that match the global MIDI channel
(Ch 01).
In this example, this will be the piano sound produced by
timbre 1 (Ch 01).
If “Timbre Thru” is on (checked), you’ll be able to play
timbres that differ from the global channel when KARMA is
off.
For KARMA module A, turn “Timbre Thru” on (checked).
When KARMA is off, playing the keyboard will sound the
piano of timbre 1 (Ch 01) as well as the bass of timbre 2 (Ch
02).
2. In the tabs at the left, select Master A.
3. Set “MIN,” “MAX,” “VALUE,” “ASSIGN,” and
“POLARITY.”
In the Master tabs, specifying “ASSIGN” lets you edit the
“MIN,” “MAX,” “VALUE,” and “Polarity” settings.
4. Make settings in the same way for Master B, C, and D.
The settings you make here are used when MODULE
CONTROL is set to MASTER.
Master lets you control any parameters of modules A, B, C,
or D. You can also use a single controller to simultaneously
control multiple parameters in different modules; for
example, you might use Slider 1 to control the “Rhythm:
Swing%” parameter of modules A, B, C, and D.
KARMA module [A]
Editing the parameters of each KARMA
module
You can specify the keyboard zone in which each KARMA
module operates, make MIDI filter settings, and edit
KARMA module parameters. Just as for a program, these
parameters can be specified independently for each
KARMA module.
MODULE
CONTROL
KARMA module [B]
KARMA REALTIME CONTROLS
MASTER
KARMA SCENES
A
KARMA SWITCHES
B
1
2
3
4
5
6
7
8
KARMA CONTROLS
C
KARMA module [C]
D
KARMA module [D]
5. In the tabs at the left, select Module A.
6. Set “MIN,” “MAX,” “VALUE,” “ASSIGN,” and
“POLARITY.”
7. Make settings in the same way for Module B, C, and
D.
The “ASSIGN” settings for module A, B, C, and D are used
when MODULE CONTROL is set to A, B, C, or D
respectively.
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Using KARMA
KARMA module [A]
MODULE
CONTROL
KARMA module [B]
KARMA REALTIME CONTROLS
KARMA SCENES
MASTER
KARMA SWITCHES
A
B
1
2
3
4
5
6
7
8
KARMA CONTROLS
C
Perf RTP (Perf Real-Time Parameters)
In the same way as for a program, KARMA parameters other
than GE realtime parameters (e.g., KARMA module
parameters) can also be assigned to controllers.
KARMA module [C]
D
KARMA module [D]
These settings are valid when MODULE CONTROL is set
to MASTER.
1. Go to the Combination P7: KARMA– Perf Real-Time
Parameters page.
With the appropriate “ASSIGN” settings, a GE realtime
parameter of (for example) module A can controlled
independently by Master and Module A. For example
you can make settings so that the Swing parameter of a
drum GE on module A is controlled in MASTER by
slider 1 over a range of 0–50%, and in MODULE A by
slider 1 over a range of 50–100%.
Master: 0–50%
Module A: 50–100%
In this case, if you switch MODULE CONTROL
between MASTER and A while using slider 1 to control
the parameter, the parameter will operate in its lastcontrolled state. If you set Swing to 0% in MASTER, and
then switch to module A, Swing will remain at 0% as
long as you don’t move slider 1. However Swing will
change once you move slider 1 to control the parameter in
the range of 50–100%.
1. Set MODULE CONTROL to MASTER, and set slider
1 to the minimum position.  “Swing” operates at
0%.
2. Change MODULE CONTROL to A.  “Swing”
operates at 0%.
3. Move slider 1 to the maximum position.  “Swing”
operates at 100%.
The internal settings are automatically controlled so that the
phrase being generated does not change abruptly. In the
above example when you use MASTER to set “Swing” to
0% and then switch to module A, the displayed indication is
50–100% but the parameter is actually operating at a value
of 0%. In this way, you need to be aware that the displayed
indication may not match the actual result.
In the same way as for a program, set “Group,” “Parameter,”
“Min,” “Max,” “Value,” “Assign,” and “Polarity.” In a
combination, you can use the four KARMA modules A, B,
C, and D.
Turn on (check) the “A,” “B,” “C,” and/or “D” boxes to
select the module(s) you want to control.
In the above example, KARMA REALTIME CONTROLS
switches 1, 2, 3, and 4 are controlling the Run/Mute setting
of modules A, B, C, and D respectively.
Dynamic MIDI settings
You can make these settings in the same way as for a
program. For more information, see “Dynamic MIDI
Sources & Destinations” on page 1100 of the Parameter
Guide.
Naming the KARMA RTC sliders 1–8 and switches
1–8 for MASTER and module A–D
In the same way as for a program, you can select names for
the KARMA CONTROLS sliders and KARMA
SWITCHES. These settings are saved as part of the
combination.
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Editing KARMA Editing KARMA in Combination mode
In a combination, the area in square brackets [ ]
automatically shows a portion of the category name of the
program selected for each timbre controlled by the KARMA
CONTROLS sliders and KARMA SWITCHES. This lets
you know the timbre whose phrase is being controlled by
each KARMA CONTROLS slider and KARMA SWITCH.
If more than one timbre is being controlled, the area in
square brackets will indicate “MLTI.”
Auto Assign KARMA RTC Name (See “Auto Assign
KARMA RTC Name” on page 149 of the Parameter Guide)
Specifying the random seeds
For each GE realtime parameter group, you can specify
whether the random seed (used to generate random values)
will be shared between the four KARMA modules.
1. Go to the Combination P7: KARMA– Random Seeds
page.
Normally, you will set the four modules to use separate
random seeds as shown above; “A”: 1, “B”: 2, “C”: 3, and
“D”: 4. If you have selected the same GE for two or more
KARMA modules and want them to play in unison using the
identical random values, you must select the same random
seed for each of these modules. For more information, see
“7–8: Random Seeds” on page 485 of the Parameter Guide.
Linking KARMA settings to Combi
changes
KARMA settings can be saved individually for each
Combination. Normally, when you select a new
Combination, its KARMA settings will be loaded as well. In
some cases, however, you may wish to try out different
Combinations while keeping the KARMA settings the same.
The Global Basic page Load KARMA Settings when
changing parameters let you select between these two
behaviors. There are separate settings for Programs, Combis,
and Songs. To set this up:
1. Go to the Global Basic page.
2. Under “Load KARMA setting when changing”, set
the “Combinations” check-box as desired.
Check the box to load the individual Combinations’
KARMA settings.
Un-check the box to keep KARMA settings the same, even
when changing Combinations.
For more information, see “Load KARMA settings when
changing” on page 749 of the Parameter Guide.
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Using KARMA
Using KARMA in Sequencer mode
In Sequencer mode you can use four KARMA modules
(modules A, B, C, and D). As in a combination, you can use
the KARMA modules to generate independent phrases or
patterns that play (for example) drum, bass, guitar, and
strings programs, or you can combine the four KARMA
modules and the sixteen track programs in a wide variety of
ways.
You can also copy the settings from a combination, and use
multi-track recording to realtime-record your keyboard
performance.
The structure of the KARMA-related parameters is the same
as in Combination mode. (See “Editing KARMA in
Combination mode” on page 229)
Here we’ll explain how to use the Auto Song Setup function
to get started with realtime recording. We will also describe
the procedure for realtime recording (single-track recording)
using KARMA, and for realtime recording (multi-track
recording) by copying the settings from a combination.
In Sequencer mode, you can use KARMA while realtimerecording song tracks or patterns.
Data from the internal sequencer is not input to the
KARMA module. Also, you cannot use note data from
the internal sequencer to trigger a KARMA module so
that it generates phrases etc.
The note-on/off data and MIDI control data generated by a
KARMA module can be recorded as events in a track or
pattern. At this time, you can use the KARMA CONTROLS
sliders and KARMA SWITCHES to control the phrase in
realtime while you record it.
Auto Song Setup
The Auto Song Setup function automatically copies the
settings of a program or combination into a song, and then
puts the KRONOS in record-ready mode. You can then
begin recording immediately just by pressing the
SEQUENCER START/STOP switch. This lets you
seamlessly move from playing a program or combination
into producing a song, so that phrases or ideas for a song that
occur to you while using KARMA can be immediately
turned into a song.
Procedure (using the example of Combination mode)
1. Enter Combination mode.
2. In the Combination P0: Play– Prog Select/Mixer page,
select a combination and edit the KARMA RTC
parameters etc. as desired.
Note: If you want to keep the edited state of your
combination, execute “Update Combination” or “Write
Combination.”
3. Hold down the ENTER switch and press the
REC/WRITE switch.
The “Setup to Record” dialog box will appear.
4. To execute the Auto Song Setup function, press the
OK button. If you decide to cancel, press the Cancel
button.
You will automatically move to Sequencer mode, and the
settings of the combination will be copied to a song.
The copy-destination song will be the first unused song.
Content copied from a Combination:
The same content will be copied as when you execute the
Copy From Combi page menu command with IFXs,
MFXs, and TFXs checked, and Multi REC Standby
checked. For more information, see “Copy from
Combination” on page 625 of the Parameter Guide.
Content that is copied from a Program:
The same content will be copied as when you execute the
“Copy From Program” page menu command with IFXs,
MFXs, and TFXs checked, To: set to MIDI Track01, with
KARMA checked and To: set to KARMA Module A, and
with Drum Track checked and To: to set to Track 10.
234
5. The KRONOS will automatically enter record-ready
mode, and the metronome will begin sounding
according to the Metronome setting (Sequencer 0–5c).
6. Press the START/STOP switch to begin realtime
recording. When you’ve finished recording, press the
START/STOP switch once again. (See “Recording
MIDI in real-time” on page 80.)
Using KARMA in Sequencer mode Recording using KARMA (single-track recording)
Recording using KARMA (single-track recording)
In the following example, we’ll use KARMA to record a
drum pattern on track 1.
1. Select the desired drum program for track 1 as
described in the procedure for realtime-recording a
track and for preparing to record (see p.80).
Also make any other necessary settings for recording, such
as setting “Track Select” to T01.
Specify the copy-source program. Turn on (check) “GE RTP
Control Settings & Scenes” and “Perf. RTP & Panel
Settings.” Press OK to execute the copy.
The settings of the KARMA REALTIME CONTROLS
sliders, switches, and scenes will be copied to Module
Control A.
2. Press the KARMA ON/OFF switch to turn on
KARMA.
2. Go to the Sequencer P7: KARMA– GE Setup/Key
Zones page.
When you play the keyboard, KARMA will generate a drum
pattern just as it did for the program.
Make MIDI I/O settings for the KARMA modules so that
KARMA module A will play track 1 (See “Editing KARMA
in Combination mode” on page 229).
3. Use the SEQUENCER REC/WRITE switch and the
START/STOP switch to realtime-record on track 1.
(See “Recording MIDI in real-time” on page 80)
For KARMA module A, set the “Input Channel” and
“Output Channel” to 01 and 01 respectively. Setting them to
Tch and Tch will have the same result. For more information,
see “7–1c: MIDI I/O” on page 473 of the Parameter Guide.
You can operate the KARMA REALTIME CONTROLS
sliders/switches and the SCENE switches while recording,
and the changes in the pattern or sound that occur will be
recorded just as they occur.
The song tempo and KARMA tempo cannot be set
independently.
4. If you want the KARMA module to be in
synchronization with the sequencer during recording,
check the “Quantize Trigger” option.
As specified by the MIDI track’s MIDI Channel setting and
the KARMA module’s Out Channel setting, the MIDI track
played by the KARMA module is displayed in red.
Go to the Sequencer P7: KARMA– Module ParametersTrigger page.
3. Select a GE for KARMA module A, and set its
parameters.
You are free to select a GE and make settings as desired, but
in this example we’ll use the “Copy KARMA Module” page
menu command to copy all of the program’s KARMA
settings. This is an easy way to set up and record the phrase
or pattern that the program’s KARMA is generating.
1. Use the page menu button located in the top left of the
screen to display the page menu, and choose “Copy
KARMA Module.”
The trigger timing will be synchronized to sixteenth-note
intervals of the sequencer beat. (See “Synchronizing
KARMA” on page 237)
5. You can synchronize the KARMA module to the start
timing of the sequencer.
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Using KARMA
• While KARMA is running, press the START/STOP
switch; KARMA will synchronize to the synthesizer
timing.
• If you again press the START/STOP switch, the
sequencer and KARMA will both stop. If you want to
stop only KARMA, press the (KARMA) ON/OFF switch
to turn it off.
• If you want KARMA to start at the moment recording
begins, press the (KARMA) ON/OFF switch to turn it
on, and then play the keyboard during the pre-count
before recording. The KARMA module will not be
triggered immediately, but will be triggered in
synchronization with the sequencer when recording
begins. (See “Synchronizing KARMA” on page 237)
Multi-track recording using settings copied from a Combination
The pre-loaded combinations include a diverse array of
combinations that take full advantage of KARMA. You can
play these combinations to stimulate ideas for songs, and
record your playing to create basic tracks. Many of these
combinations consist of timbres and KARMA modules with
differing MIDI channel settings.
In the example below, we’ll show how you can use multitrack recording to record a performance consisting of
multiple MIDI channels.
1. We’ll start by copying the settings of a combination
into a song. Go to the Sequencer P0: Play/REC– MIDI
Track Prog Select/Mixer page.
2. In the upper left of the screen, press the page menu
button to open the page menu, and choose “Copy
From Combination.”
Set the tracks you’re not recording to either Play or Mute.
However if you’re recording the performance of a
combination, and none of the tracks have already been
recorded, it’s ok to leave all tracks set to REC.
6. Press the REC/WRITE switch and then the
START/STOP switch to begin realtime recording.
(See “Recording MIDI in real-time” on page 80)
While you record, you can operate the KARMA
REALTIME CONTROLS sliders, KARMA SWITCHES,
and SCENE switches to vary the pattern or sound. The
changes you create will be recorded just as you make them.
Select the copy-source combination. Turn IFX-All, MFXs,
TFXs, and Multi REC Standby on (checked). Press OK to
execute the copy.
3. The settings of the combination’s timbres 1–16 will be
copied to MIDI tracks 1–16. Effect settings, KARMA
settings, and all other common parameters will be
copied to the tracks of the song.
4. Choose “Track Select.” Select a track whose MIDI
channel matches the global MIDI channel.
Press the ON/OFF switch to turn KARMA on, and play the
keyboard and/or pads to make KARMA begin playing in the
same way as it did in the copy-source combination.
(Depending on the track you selected in “Track Source,” the
performance may not be the same as when you were playing
the combination. Be sure to select the track whose MIDI
channel is the same as the global MIDI channel.)
5. Perform multi-track recording. Make preparations
for recording as described in “Multi (multitrack
recording)” on page 82. Turn “Multi REC” on
(checked).
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The song tempo and KARMA tempo cannot be set
independently.
Synchronizing KARMA Synchronization basics
Synchronizing KARMA
Synchronization basics
Synchronization with Wave Sequences
KARMA will be reset, and the phrases or patterns it
generates will start from the beginning.
If you want a KARMA module to synchronize with
currently-playing Wave Sequences (“Mode”= Tempo), turn
“Quantize Trigger” on (checked) so that it will synchronize
to the selected note interval.
• While the sequencer is playing and KARMA is stopped,
and you change the location by pressing the LOCATE
switch etc., KARMA will be reset, and the phrases or
patterns it generates will start from the beginning.
Synchronization with the Drum Track
• If you then press the START/STOP switch, the
sequencer and KARMA will both stop. If you want to
stop only KARMA, press the (KARMA) ON/OFF
switch.
For information on synchronizing KARMA with the Drum
Track, see “Using KARMA and the Drum Track together”
on page 245.
Synchronization with song start/stop
• While KARMA is running, pressing the START/STOP
switch will synchronize KARMA with the sequencer.
• If you want KARMA to start the moment recording
begins, press the (KARMA) ON/OFF switch, and then
play the keyboard during the pre-count before recording.
The KARMA modules will not be triggered
immediately, but will be triggered in synchronization
with the sequencer the moment recording starts.
The “Quantize Trigger” parameter
The trigger timing of a KARMA module will depend on the
setting of its “Quantize Trigger” parameter.
On (checked): The trigger timing of a KARMA module will
be quantized to the selected note interval.
Off (unchecked): The KARMA module will be triggered at
the timing at which you play the keyboard.
For more information, see “Quantize Trigger” on page 116
of the Parameter Guide.
Note: If you want a wave sequence to synchronize to the
currently-playing KARMA, go to the P2: Track Parameters
Wave Sequence/KARMA page and turn “Wave Sequence
Quantize Trigger” on.
Synchronization between KARMA
modules A, B, C, and D
In Combination and Sequencer modes, four KARMA
modules can be running. Each module has a “Quantize
Trigger” setting that determines how that module will
synchronize with the other modules.
“Quantize Trigger” Off: The KARMA module will be
triggered at the timing at which you play the keyboard.
There will be no synchronization between KARMA
modules; each will be triggered at their own timing.
Synchronization with songs, patterns,
and RPPR performance in Sequencer
mode
If you want a KARMA module to play (or be recorded) in
synchronization with the currently-playing song, pattern, or
RPPR, turn “Quantize Trigger” on.
“Quantize Trig” Off: The KARMA module will be
triggered at the timing at which you play the keyboard. It
will not synchronize to the currently-playing song, pattern,
or RPPR.
“Quantize Trig” On: The trigger timing of the KARMA
module will be quantized to the selected note interval of the
currently-playing song, pattern, or RPPR.
Note: If you want patterns played by RPPR to synchronize
to the currently-operating KARMA, set “Sync” (Sequencer
P5: Pattern/RPPR– RPPR Setup page) to SEQ.
Note: If you want a wave sequence to synchronize to the
currently-playing song, pattern, RPPR, or the currentlyrunning KARMA, go to the P2: Track Parameters Wave
Sequence/KARMA page and turn on “Wave Sequence
Quantize Trigger” as well. For more information, see “Wave
Sequence Quantize Trigger” on page 462 of the Parameter
Guide.
“Quantize Trigger” On: The KARMA module will
synchronize to the selected note interval of the timing the
first-triggered KARMA module that is currently running.
If you want to simultaneously trigger multiple KARMA
modules from the keyboard or pads, turn “Quantize Trigger”
on for each of these KARMA modules.
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Using KARMA
Slave operation
Connect the MIDI OUT of your external MIDI device to the
KRONOS’ MIDI IN.
Set MIDI Clock (Global 1–1a: MIDI Setup) to External
MIDI. The KRONOS will synchronize to MIDI realtime
clock and realtime command messages it receives from the
connected MIDI device.
Note: If the KRONOS is set to MIDI Clock= Auto, it will
also synchronize to the external MIDI device in the same
way if MIDI realtime clock messages are being received
from the external device.
Synchronization to MIDI clock
KARMA will synchronize to a tempo based on the external
MIDI clock timing.
START/STOP switch. KARMA also will be controlled in the
same way as when you operate the front panel START/STOP
switch. (See “Synchronization with song start/stop”)
When the KRONOS receives a Song Position Pointer
message, it will change the location of the song just as when
you change the song location by operating the KRONOS,
and KARMA will be controlled in the same way as when
you change the location on the KRONOS.
In Program and Combination modes, Song Start, Continue,
and Stop messages that the KRONOS receives will control
KARMA.
• While KARMA is running, Song Start, Continue, and
Song Position Pointer messages received by the
KRONOS will reset KARMA, causing the generated
phrases or patterns to start from the beginning.
• If a Song Stop message is received, KARMA will stop.
Synchronization with MIDI realtime
commands
In Sequence mode, Song Start, Continue, and Stop messages
that the KRONOS receives will control song playback and
recording just as when you operate the front panel
Master operation
Connect the KRONOS’ MIDI OUT to the MIDI IN of your
external MIDI device.
Set MIDI Clock (Global 1–1a) to Internal. The connected
external MIDI device will synchronize to the MIDI realtime
clock and realtime commands it receives.
Note: The same applies if MIDI Clock=Auto and MIDI
realtime clock messages are being transmitted. For more
information, see “MIDI Clock (MIDI Clock Source)” on
page 766 of the Parameter Guide.
Synchronization via MIDI clock
The connected external MIDI device will synchronize to the
MIDI clock of the KRONOS.
Synchronization via MIDI realtime
commands
Enable Start/Stop Out in Prog/Combi
You can set up KRONOS so that starting and stopping
KARMA in Program and Combi modes will also control
start and stop on external MIDI devices, such as sequencers
and drum/groove machines (such as the Korg Electribe
series).
To do so:
1. Go to the Global MIDI page.
2. Under MIDI Routing Setup, turn on “Enable
Start/Stop Out in Prog/Combi.”
• In Program and Combination modes, playing a note-on
from the keyboard or pads to trigger the GE selected for
a KARMA module will also cause the MIDI system
realtime message “Start” to be sent at the trigger timing.
238
• After the Start message has been sent, turning off
KARMA ON/OFF will send the MIDI system realtime
“Stop” command.
Using the Drum Track
Overview
What is the Drum Track?
The Drum Track is a built-in drum machine, fueled by the
KRONOS’s high-quality drum sounds.
It gives you a beat to play along with as you experiment with
Programs and Combinations, or as you work out the outline
of a song. If you’re playing with the Drum Track and want to
capture your inspiration quickly, you can use Auto Song
Setup to immediately start recording in Sequencer mode.
There are hundreds of preset Drum Track patterns covering a
wide range of musical styles, and you can also create your
own (as we’ll explore later in this chapter).
Drum Track Pattern contents
Bank
Contents
Preset P000…697
Factory Drum Track patterns
User U000…999
User Drum Track patterns
There are options to control how the Drum Track pattern
starts, such as starting immediately when you press the
DRUM TRACK button, or waiting until you start to play the
keyboard. If you’re starting the pattern by playing the
keyboard, you have the option of starting it by using a
specific range of notes or velocities.
You can also link the Drum Track with KARMA, so that
they play in sync and start and stop together.
In Program mode, the Drum Track has its own mixer
channel (including EQ) and separate effects routing, for
independent control of the sound. In Combinations and
Songs, the Drum Track plays normal Timbres and Tracks,
with all the normal controls over Program selection, EQ,
effects routing, and so on.
239
Using the Drum Track
Performing with the Drum Track
Using the Drum Track in Program mode
In Program mode, the Drum Track lives alongside the main
Program, similar to a second MIDI Track in Sequencer
mode.
Selecting the Drum Track pattern &
sound
Here we’ll explain how to make the most important settings.
For more details, please see “1–3: Drum Track” on page 42
of the Parameter Guide.
1. Press the Basic/Vector tab, and then press the Drum
Track tab.
The Drum Track page will appear.
Pattern Bank/No.
Turning the Drum Track on and off
Drum Track Program
1. Press the DRUM TRACK switch.
The switch’s LED will either light solidly or blink on and
off, depending on the Program’s Trigger Mode setting.
If the LED is solidly lit: this means that the Trigger Mode is
set to Start Immediately. The Drum Track pattern will start
according to the Sync setting (for more information, see
“Controlling how the Drum Track starts and stops” on
page 243). When you turn it off, the pattern will stop.
If the LED is blinking: this means that the Trigger Mode is
set to Wait KBD Trig. The Drum Track pattern will start
when you play the keyboard or when a MIDI note-on is
received. If the front panel LINKED LED and KARMA
ON/OFF switches are lit, the KARMA performance will
start and stop together with the Drum Track.
Note: If the selected pattern is either P000:Off or is empty
(which can happen with User patterns), the DRUM TRACK
switch won’t turn on.
2. Note the Drum Pattern section, in the upper left of the
display.
The Pattern parameter has two popup menus. The one on the
left selects between the Preset and User banks; the one on
the right selects the pattern within the bank.
Setting the tempo
3. In the popup menu on the left, select the Preset bank.
1. Use the TEMPO knob or the TAP TEMPO button to
set the tempo.
4. In the popup menu on the right, select pattern P001:
Pop & Ballad [All].
This sets the system tempo, as shown in the
“q =” value located in the upper right of the
display. The TAP TEMPO button’s LED
also shows the tempo, blinking at intervals
of a quarter note ( q ).
Next, note the Drum Program section of the page (to the
right of the Drum Pattern section). This area contains a few
parameters for adjusting the basic sound of the Drum Track.
You can also edit the tempo directly from the
display using the standard data entry
controls, including the numeric keypad.
Simply select the “q =” in the display, and then enter a value.
The tempo is variable between 40.00–300.00 bpm, and is
saved when you write the Program.
External clock
If the MIDI Clock parameter (on the Global MIDI Basic
page) is set to External MIDI or External USB, or to Auto
MIDI or Auto USB if MIDI Clock messages are being
received, the tempo value will display as “q =” EXT, and the
KRONOS will sync to the incoming clocks. When syncing
to external clock, the TEMPO knob and TAP TEMPO button
have no effect.
5. Press the Program popup menu.
The Category/Program Select dialog appears. By default, the
Drum category will already be selected.
6. Select a drum Program for the Drum Track to play.
You can actually select any sound, even outside of the Drum
category—but the in general, the patterns will only make
sense when playing a drum Program.
7. Use Volume to adjust the volume of the Drum Track
Program.
8. Use Detune to adjust the overall pitch of the Drum
Program in one-cent increments.
One cent is 1/100th of a semitone.
You can adjust the pitch of individual drum samples by
editing Drum Kits in Global mode.
Shift
Shift lets you transpose the Drum Track pattern in semitone
steps, causing different instruments of the drum kit to play.
This will generally cause unexpected results, which may
often be interesting—experiment and see!
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Performing with the Drum Track Using the Drum Track in Program mode
Drum Track
Play/Mute,
(SWITCHES [3])
Drum Track
Select,
(SWITCHES [11])
[MIXER]
T1–8
KARMA LINKED LED
[DRUM TRACK]
Drum Track Volume
(SLIDERS [3])
Linking with KARMA
Drum Track and the Control Surface
You can link KARMA and the Drum Track so that they start
and stop together.
You can use the control surface to control the Drum Track’s
mix parameters, including volume, play/mute, solo on/off,
EQ, and effects sends.
1. Go to the KARMA Trigger page.
2. In the Module Parameters - Trigger section, in the
Control Group, note the Link to Drum Track checkbox.
3. Turn on Link to Drum Track.
The front panel LINKED LED will light.
If Link to Drum Track is on, KARMA will be linked with
the Drum Track start/stop.
4. Turn the KARMA ON/OFF switch on.
When linked, KARMA will always wait for the Drum Track.
So, unless the DRUM TRACK switch is on, KARMA won’t
start yet.
5. Turn the DRUM TRACK switch on.
KARMA will start to play along with the Drum Track,
according to the Drum Track’s Trigger Mode. See “Turning
the Drum Track on and off,” above, for more information.
If you turn off the DRUM TRACK switch while KARMA is
operating, KARMA will also stop.
For more details, please see “Using KARMA and the Drum
Track together,” on page 245.
1. Play a Drum Track pattern.
See “Turning the Drum Track on and off” on page 240.
2. Press the CONTROL ASSIGN TIMBRE/TRACK
switch.
3. On the display, press the Play tab, and then press the
Control Surface tab.
The Control Surface page will appear.
This page displays and reflects the control surface settings.
It’s convenient to watch this page while using the control
surface, since it shows the parameter names and precise
values.
Note: You can use the control surface regardless of the page
that’s currently shown in the display.
4. Use slider 3 to adjust the Drum Track volume.
5. Use Play/Mute switch 3 to toggle the Drum Track’s
sound on and off.
Note that this controls only the sound of the Drum Track
Program, and is independent of whether or not the Drum
Track pattern is playing.
6. Press the MIXER KNOBS button until
the CHANNEL STRIP LED lights up.
This makes the knobs control a virtual channel
strip, including pan, EQ, and effects sends.
7. Press the MIX SELECT 3 button to
select the Drum Track on the Control Surface.
8. Use knobs 2-6 to adjust the Drum Track’s EQ.
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Using the Drum Track
Using the Drum Track in Combination mode
Turning the Drum Track on and off
You can turn the Drum Track on and off, and control the
tempo, just as in Program mode. For more information, see
“Turning the Drum Track on and off” on page 240, and
“Setting the tempo” on page 240.
Selecting a Drum Track pattern and
sound
In Program mode, the Drum Track has a special reserved
mixer slot, a dedicated Program select parameter, and so
on—and the Drum Track pattern always plays that dedicated
Program. In Combinations (and Songs), the Drum Track
simply sends MIDI to play one or more of the 16
Timbres/Tracks.
To set up the Drum Track in Combination mode:
1. Go to the Combination Play page.
2. Choose a Timbre to use as the Drum Track Program.
You can use two or more Timbres at once, if you want to get
really fancy—but in general, all you’ll need is one. In this
case, let’s use Timbre 10.
3. Open the Timbre’s Category popup, and select a
drum Program.
I-F078 Standard Kit is a good first choice.
4. Go to the Timbre Parameters MIDI page.
5. Set Timbre 10 (the drum Program) to MIDI channel
10.
Note: if another timbre uses the same MIDI channel, the
drum pattern will play that timbre as well.
You can use any MIDI channel, but it’s best to use
something other than the Global MIDI channel. Otherwise,
the Drum Track pattern will play all of the sounds assigned
to the keyboard, with unpredictable results.
6. Go to the EQ/Vector/Control page, and select the
Drum Track tab.
In the MIDI Channel section, set the Output to 10 (to match
the Timbre’s channel, as set in step 5).
7. In the upper left of the page, select a Drum Pattern.
For more details, see “Selecting a Drum Track pattern and
sound” on page 242.
Note: If you select an empty pattern, you won’t be able to
turn the DRUM TRACK switch on.
8. Press the DRUM TRACK switch to verify that the
pattern sounds correctly.
The method of triggering will depend on the Trigger
settings. If Trigger Mode is Start Immediately, the Drum
Track pattern will start when you press the ON/OFF switch.
For more information, please see “Synchronizing the Drum
Track” on page 246.
242
Drum Track settings Drum Track settings in Program mode
Drum Track settings
Drum Track settings in Program mode
Controlling how the Drum Track starts
and stops
You have several options to control how and when the Drum
Track starts and stops.
1. Go to the Basic/Vector page, and select the Drum
Track tab.
2. In the Trigger section, set the Mode to control how the
pattern will start and stop.
Start Immediately: When you turn on the Drum Track by
pressing the DRUM TRACK switch, the LED will light and
the Drum Track pattern will start according to the Sync
setting. It will stop when you turn off the switch.
Wait KBD Trig: When you press the DRUM TRACK
switch to turn it on, the LED will blink and the Drum Track
pattern will wait to start. When you play the keyboard or
receive a MIDI note-on, the Drum Track pattern will start
according to the Sync setting.
If the Trigger Mode is set to Start Immediately, the switch
status is always saved as Off, regardless of the whether the
switch is on or off when you Write.
EQ adjustments for the Drum Track
Program
The Drum Track Program has its own three-band EQ, just
like the Program’s oscillators. You can control this on the
Drum Track page, or directly from the Control Surface as
with the oscillator EQs.
If you enable Auto Load Program EQ, the EQ settings
stored in the Drum Program will be automatically loaded
when you switch Drum Track Programs. Normally, you
should leave this enabled.
Even if Auto Load Program EQ is enabled, you can still
adjust the EQ manually.
3. Specify the Sync setting.
MIDI in and out
Off: The Drum Track pattern will not synchronize to the
currently-running KARMA, but will start immediately.
The Drum Track can interact with MIDI in several different
ways. You can:
On: The Drum Track pattern will synchronize to the
currently-running KARMA.
• Trigger the Drum Track pattern via MIDI in
For more information, see “The Trigger “Sync” parameter”
on page 246.
• Transmit the Drum Track pattern via MIDI out
4. If Trigger Mode is set to Wait KBD Trig, specify the
Latch setting.
Latch controls whether the Drum Track pattern will
continue playing even after you take your hands off of the
keyboard.
Off: If the DRUM TRACK switch is on, the LED will blink,
and the pattern will start when you play the keyboard. When
you stop playing, the Drum Track will stop as well.
On: If the DRUM TRACK switch is on (the LED will
blink), the pattern will start when you play the keyboard
(note-on). The pattern will continue when you release the
keyboard (note-off). The pattern will stop when you turn the
DRUM TRACK switch off (the LED will go dark).
Use KARMA Latch Switch: The on/off status of the
KARMA LATCH switch will correspond to the above Off
and On modes of operation. You will probably want to use
this in conjunction with KARMA’s Latch operation.
5. If Trigger Mode is set to Wait KBD Trig, specify the
Keyboard Zone and Velocity Zone.
These settings specify the range of keys and velocities that
will trigger the Drum Track pattern when you play the
keyboard (or receive a note-on).
Storing the on/off setting
If the Trigger Mode is set to Wait KBD Trig, the on/off
status of the DRUM TRACK switch is also saved when you
save the Program.
• Play the Drum Track Program via MIDI in
Triggering the Drum Track pattern via MIDI
If you’re triggering the Drum Track pattern by playing the
keyboard, input on the Global MIDI Channel will trigger the
Drum Track as well.
Playing the Drum Track Program via MIDI
You can play the Drum Track Program via MIDI, separately
from the main Program sound. In Program mode, the Drum
Track’s MIDI channel is set by the Global MIDI page’s Prog
MIDI Ch parameter. The default is channel 10.
(In Combination and Sequencer modes, this works a little
differently; see “Drum Track settings in Combination
mode,” below.)
Note that the Drum Track Program does not transmit or
receive Program changes.
Transmitting the Drum Track pattern via MIDI
With the factory settings, the Drum Track pattern will not be
sent via MIDI out. If you like, however, you can do so—for
instance, you could use it to play an external MIDI device, or
record it into an external sequencer. To do so:
1. Go to the Global MIDI page.
2. Under Drum Track MIDI Setup, enable Prog MIDI
Out.
3. Set the Prog MIDI Ch. as desired.
The Drum Track pattern will then transmit MIDI on the
selected channel.
243
Using the Drum Track
Drum Track settings in Combination mode
Unlike Program mode, Combination mode does not have a
dedicated track for the Drum Track. Instead, you can assign
any of the 16 Timbres to the Drum Track.
To do so, select a drum Program for the desired Timbre.
Then, set the Drum Track’s Output MIDI channel to match
the timbre’s MIDI channel.
MIDI in and out
Triggering the Drum Track pattern via MIDI
If you’re triggering the Drum Track pattern by playing the
keyboard, input on the Global MIDI Channel will trigger the
Drum Track as well.
Playing the Drum Track Program via MIDI
Since the Drum Program(s) use standard Combination
Timbres, you can play the Drum Program just as you would
any other Timbre.
In Combination mode, MIDI interacts with the Drum Track
differently than in Program mode. You can still:
Transmitting the Drum Track pattern via MIDI
• Trigger the Drum Track pattern via MIDI in
The Drum Track will transmit on the MIDI channel specified
by the Drum Pattern Output setting of each Combination.
• Play the Drum Track Program via MIDI in
• Transmit the Drum Track pattern via MIDI out
Set this to match the MIDI channel of the timbre you’ve
specified for the drum Program.
If the timbre’s Status is EXT or EX2, the Drum Track
pattern will be transmitted via MIDI out
Drum Track settings in Sequencer mode
The Drum Track works much the same in Sequencer mode
as it does in Combination mode.
Drum Track MIDI in and out
However, while Combinations trigger the Drum Track
pattern via the global MIDI channel, Songs trigger the Drum
Track pattern on the MIDI channel specified by Drum
Pattern Input. Normally you’ll set this to Tch. With the Tch
setting, the MIDI channel of the track selected by Track
Select will automatically be used as the trigger channel.
In Sequencer mode, the Drum Track transmits and receives
on the following MIDI channels.
For details, please see “Selecting the Drum Track pattern &
sound” on page 240.
Transmit: The Drum Track will transmit on the MIDI
channel specified by the Drum Pattern Output setting of
each song. Set this to match the MIDI channel of the MIDI
track for which you’ve assigned the drum Program.
Receive: The Drum Track will receive on the MIDI channel
specified by the Drum Pattern Input setting of each song.
Normally you’ll set this to Tch and use the KRONOS’s
keyboard to control the triggering.
If the track’s Status is BTH, EXT, or EX2, note data etc. of
the Drum Track pattern will be transmitted.
In Sequencer mode you can use the Drum Track while realtime-recording a song track or pattern.
The note-on/off data transmitted by the Drum Track pattern
can be recorded as events in a track or pattern.
You can’t use note data from the internal sequencer as a
trigger to start Drum Track patterns.
If you’re playing a Program or Combination along with the
Drum Track and come up with an idea for a song, you can
use Auto Song Setup to immediately start recording. For
more information, see “Auto Song Setup” on page 84.
244
Drum Track settings Using KARMA and the Drum Track together
Using KARMA and the Drum Track together
If you’re using the Drum Track and KARMA together, you
can link the start/stop operation of both, and specify whether
or not the Drum Track pattern will play for each KARMA
scene.
Settings in Program mode
Linking KARMA with Drum Track start/stop
Here’s how to start and stop the KARMA performance along
with the Drum Track pattern:
1. Go to the Program P7: KARMA Module Parameters–
Trigger page.
2. Turn on Link To Drum Track.
The front panel LINKED LED will light.
If Link to Drum Track is on (selected), KARMA will be
linked with the Drum Track start/stop.
Settings in Combination and Sequencer
modes
Linking the KARMA performance with the Drum
Track pattern start/stop
In Combination mode and Sequencer mode, KARMA can
operate up to four KARMA modules simultaneously.
Start/stop for each KARMA module can be synchronized
with the Drum Track pattern start/stop.
Here we’ll explain how to make settings in Combination
mode. Settings for Sequencer mode are the same as in
Combination mode.
1. Go to the Combi P7: KARMA Module Parameters–
Trigger page.
3. Turn the KARMA ON/OFF switch on.
2. Under Control, turn on the Link to Drum Track
setting for the KARMA module(s) that you want to
link with the Drum Track pattern start/stop.
Even when you play the keyboard (or receive a note-on),
KARMA will not be triggered.
When you turn on Link for at least one of the four modules,
the front panel LINKED LED will light.
4. When you turn the DRUM TRACK switch on, the
Drum Track will start at the specified timing.
3. When you turn the KARMA ON/OFF switch on and
play the keyboard (or receive a note-on), the KARMA
modules whose Link to Drum Track is off will be
triggered, and will start. KARMA modules whose
Link to Drum Track is on will not be triggered.
If Trigger Mode is set to Start Immediately, KARMA will
be triggered and begin operating when you turn the DRUM
TRACK switch on (if you’re playing the keyboard, or if the
KARMA LATCH switch is on).
If Trigger Mode is set to Wait KBD Trig, operation will
begin when you play the keyboard (or when a note-on is
received).
If you turn the DRUM TRACK switch off while KARMA is
operating, KARMA will also stop.
Turning Drum Track on and off for each KARMA
scene
4. When you turn the DRUM TRACK switch on, the
KARMA modules whose Link to Drum Track is on
will start along with the Drum Track.
If Trigger Mode is set to Start Immediately, KARMA will
be triggered when you turn the DRUM TRACK switch on,
and will begin operating (if KARMA LATCH is on).
If Trigger Mode is set to Wait KBD Trig, it will begin
operating when you play the keyboard (or receive a note-on).
For each KARMA scene, you can control whether or not the
Drum Track will play. To do so:
If you turn the DRUM TRACK switch off while KARMA is
operating, KARMA will also stop if KARMA LATCH is
off.
1. Go to the Prog P7: KARMA GE Real-Time
Parameters/Scenes page.
5. Make settings so that the beat will match (synchronize
to) the operating KARMA modules.
2. Select the Scenes tab, on the left-hand side of the page.
In the Trigger section of the Drum Track page, turn Sync on.
The Scenes page will appear.
3. In Drum Track Run, clear the check box of each scene
for which you don’t want the Drum Track to play.
6. Make settings so that the KARMA modules will
synchronize to the currently-running Drum Track
pattern.
For example, you might turn this on for scene 1 and off for
scene 2.
In the P7: KARMA– Trigger A/B/C/D page, turn Quantize
Trigger on (selected).
4. Press the KARMA ON/OFF switch to turn it on.
Specifying whether the Drum Track will play for
each KARMA scene
On the Control Surface, select scene 1.
5. Press the DRUM TRACK switch.
If Trigger Mode is set to Wait KBD Trig, play the keyboard
(or transmit a note-on via MIDI).
Verify that KARMA and the Drum Track pattern are
playing.
6. On the Control Surface, select scene 2.
Just as you can in Program mode, you can specify whether
the Drum Track will play for each KARMA scene in
Combination mode and Sequencer mode. These settings are
made by the respective P7: KARMA– Scene Matrix page
Drum Track Run parameters. For more information, see
“Turning Drum Track on and off for each KARMA scene”
on page 245.
You’ll stop hearing the Drum Track pattern. If you press the
SCENE 1 switch, you’ll hear the Drum Track pattern again.
245
Using the Drum Track
Synchronizing the Drum Track
The Trigger “Sync” parameter
The trigger timing of a Drum Track will depend on the
setting of its Trigger Sync parameter.
On (checked): The trigger timing will be quantized to the
nearest beat relative to the base tempo.
Off (unchecked): If Trigger Mode is Start Immediately,
triggering will occur at the moment you press the DRUM
TRACK switch. If this is set to Wait KBD Trig, triggering
will occur at the moment you play the keyboard.
Synchronizing the Drum Track with KARMA, the
Sequencer, and RPPR performance
If you want the Drum Track pattern to play in sync with the
currently-operating KARMA function, currently-playing
song, or RPPR performance, turn Trigger Sync on.
Trigger Sync Off: If the Trigger Mode setting is Start
Immediately, the Drum Track pattern will be triggered the
moment you press the DRUM TRACK switch. If this is set
to Wait KBD Trig, the Drum Track pattern will be triggered
the moment you play the keyboard. It will not synchronize to
the currently-operating KARMA function or to the
currently-playing song, pattern, or RPPR.
Trigger Sync On: Triggering will synchronize to the
currently-playing song, pattern or RPPR performance in
units of a measure. Triggering will synchronize to the
currently-operating KARMA function (in Sequencer mode if
the song or pattern is stopped) in units of a beat.
Note: If you want to synchronize KARMA to the
currently-running Drum Track, enable the Quantize
Trigger parameter (Prog P7: KARMA– Trigger,
Combi/Seq P7: KARMA– Trigger A/B/C/D).
Note: If you want to synchronize the RPPR pattern
performance to the currently-running Drum Track, set
the Sync parameter to Beat or Measure.
Synchronization with Songs
• When you press the SEQUENCER START/STOP
switch, the Drum Track will stop along with the
sequencer.
• If you want the Drum Track to start simultaneously with
the beginning of recording, press the DRUM TRACK
switch during the pre-count before recording (if Trigger
Mode is Start Immediately) or play the keyboard (if
Trigger Mode is Wait KBD Trig). The Drum Tracks
will not be triggered immediately, but will be triggered
in synchronization with the sequencer the moment
recording starts.
Slave operation
Connect the KRONOS’s MIDI IN to your external MIDI
device’s MIDI OUT, or connect the KRONOS’s USB B
connector to your computer’s USB port. Then, set up the
KRONOS as described under “MIDI Clock
synchronization” on page 162.
246
Synchronization with MIDI real-time commands
In Sequencer mode, Song Start, Continue, and Stop
messages that the KRONOS receives will control song
playback and recording just as when you operate the front
panel START/STOP switch. KARMA also will be controlled
in the same way as when you operate the front panel
START/STOP switch. (See “Synchronization with Songs,”
above.)
Master operation
Connect the KRONOS’s MIDI IN to your external MIDI
device’s MIDI OUT, or connect the KRONOS’s USB B
connector to your computer’s USB port.
Set the Global MIDI Clock to Internal. The connected
external MIDI device will synchronize to the MIDI real-time
clock and real-time commands it receives.
Note: You can also use MIDI Clock=Auto MIDI or Auto
USB, as long as clock messages are not being received. For
details, please see “MIDI Clock synchronization” on
page 162.
Synchronization via MIDI clock
The connected external MIDI device will synchronize to the
MIDI clock of the KRONOS.
Creating Drum Track patterns Preparing a user pattern
Creating Drum Track patterns
To create a Drum Track pattern, you’ll use the Sequencer
mode P10: Pattern/RPPR– Pattern Edit page to convert a
user pattern into a user Drum Track pattern. Once you’ve
converted the pattern in this way, you’ll be able to use it with
the Drum Track in each mode. These converted Drum Track
patterns are held in internal memory even after you turn off
the power. This means you can manage them together with
the Programs and Combinations.
Preparing a user pattern
You’ll first need to prepare the user pattern that you want to
convert to a Drum Track pattern.
To create a user pattern, you can record the pattern in realtime in the Sequencer Pattern/RPPR– Pattern Edit page, or
step-record it.
Alternatively, performance data from a track can be
imported into a pattern, meaning that performance data
you’ve created in a track or SMF data you’ve loaded in
Media mode can be used as a user pattern. To do this,
execute the Get From Track menu command in the
Sequencer Pattern/RPPR– Pattern Edit page.
Converting a Sequencer pattern to a Drum Track pattern
1. Press the front-panel SEQ switch to enter Sequencer
mode.
2. Go to the Sequencer Pattern/RPPR– Pattern Edit
page.
3. Select the user pattern that you want to convert to a
Drum Track pattern.
Set Pattern to User, and use Pattern Select to select the
desired pattern.
4. Choose the menu command Convert to Drum Trk
Pattern to open the dialog box.
Song
Drum Track
522
Preset
Patterns
Program
/Combination
Track/RPPR
Drum Track
100
User
Patterns
1,000
User
Drum Track
Patterns
Convert to
Drum Track Pattern
Sequencer memory
(stored on disk)
Internal memory
(saved in RAM)
5. Use the To “Drum Track Pattern Select” field to
specify the user Drum Track pattern number that will
hold the converted data. When you execute the
command, the data will be overwritten onto this
number.
6. If you select the “All Patterns available in Song ***”
option, all patterns in the song that contain note data
will be converted, starting with the number you
specified in step 4.
7. If you execute this command with “Note Only”
selected, only the note events will be converted.
8. Press the OK button or the ENTER switch to execute.
If you decide not to execute, press the Cancel button
or the EXIT switch.
9. As described in “Using the Drum Track in Program
mode” on page 240, set the Drum Track “Pattern
Bank” to User, and set “Pattern No.” to the user
Drum Track pattern you converted. Then play the
Drum Track pattern.
247
Using the Drum Track
248
Appendices
Troubleshooting
Power supply
Power does not turn on
Startup does not complete
Is the power cable connected to an outlet? For more
information, see “Connections” on page 20.
In some cases, the KRONOS will not start up properly if
certain USB storage devices are connected. In this case,
disconnect the USB devices from the KRONOS, wait about
10 seconds, and then turn on the power again. You may be
able to solve the problem by formatting the USB device on
the KRONOS (see “Formatting media” on page 190).
Is the POWER switch turned on?
• Turn on the rear panel POWER switch. See “Turning the
power on/off” on page 20.
LCD screen
Display is blank or incorrect
For more information, see “1–1h: Play Page MS/WS/DKit
Display” on page 41 of the Parameter Guide and “Show
MS/WS/DKit Graphics,” on page 149 of the Parameter
Guide.
The power is turned on, but nothing is shown in
the LCD screen. However, the KRONOS functions
normally when you play the keyboard or perform
other operations.
Problems using the touch-screen
Is the LCD screen’s backlight brightness adjusted correctly?
Can’t operate the LCD screen correctly
1. Press the GLOBAL switch, and then press the EXIT
switch twice.
On the Basic Setup tab of the Global P0 page, use the Touch
Panel Calibration page menu command to adjust the touch
panel response.
2. Hold down the ENTER switch, and press numeric key
6.
The LCD Setup dialog will appear.
Note: If you are unable to select commands from the page
menu, do the following:
3. Select the Brightness parameter, and increase the
value until the screen is bright enough.
1. Press the GLOBAL switch.
4. Press the OK button to confirm the change.
3. Hold down the ENTER switch and press 3 on the
numeric keypad.
The power is turned on, but the LCD screen does
not display normally, or an error message is
displayed. There is no sound when you play the
keyboard, and the KRONOS does not function
normally.
It is possible that the system has been damaged. Use the
included Accessory Disks to restore the KRONOS to its
factory state.
2. Press the EXIT switch twice.
The Touch Panel Calibration page will appear. Follow the
on-screen instructions to re-calibrate the touch panel.
Can’t switch modes or pages
If the KRONOS is doing any of the following, you may not
be able to change modes or switch to a different page:
• Recording or playing back a song or pattern
• Sampling (if the Sampling REC button is lit)
HD-1 Program P0: Play page display
The HD-1’s Program P0: Play page can display either photos
or other images representing the sound, or the
Overview/Jump graphics which show the settings of various
important parameters (such as EGs, LFOs, and so on).
The choice of which to display is controlled by a
combination of the Program P1:Program Basic page’s Play
Page MS/WS/DKit Display parameters (one for each
Oscillator) and the Program P0:Play page’s Show
MS/WS/DKit Graphics menu command. You can set these
as desired.
• Playing a CD on a connected USB CD drive
• Playing a WAVE file
• A menu dialog or select dialog is on the LCD display
In Combination or Sequencer modes, can’t edit
the value of Timbre/Track parameters such as
MIDI Channel or Status
Some parameters can’t be edited while notes are playing,
either locally or from MIDI. If the damper pedal is held
down, or if its calibration is incorrect, notes may be
sustaining even if they aren’t audible.
• Are you using a damper pedal with a polarity that does
not match the Damper Polarity setting (Global P2:
249
Appendices
Controllers/Scales)? For more information, see “Damper
Polarity,” on page 774 of the Parameter Guide.
• In some cases, this problem can be solved be executing
the page menu command Half Damper Calibration
(Global P0: Basic Setup). For more information, see
“Half Damper Calibration,” on page 799 of the
Parameter Guide.
No beep sounds when you touch the LCD screen
Check the Beep Enable check box (Global P0: Basic Setup).
For more information, see “Sounding a beep when you press
the LCD screen” on page 161.
Audio input and output
No sound
Are connections made correctly to your amp, mixer, or
headphones? For more information, see “Connections” on
page 20.
Is the MAIN VOLUME knob raised?
If you created the CD using the KRONOS, has the CD been
finalized?
• In Global P1: MIDI, check the Local Control On check
box.
• A CD-R/RW disc created using the Disk mode Make
Audio CD page cannot be played until you also finalize
the disc. Use the page menu command Finalize Audio
CD to finalize the disc. For more information, see
“Finalize Audio CD” on page 849 of the Parameter
Guide.
Is the MAIN VOLUME knob raised? See “MAIN
VOLUME knob” on page 1.
Audio inputs don’t work properly
Is the MASTER slider raised? (See “Master Volume” on
page 24 of the Parameter Guide.)
Are the appropriate sources connected to the analog,
S/P DIF, or USB inputs?
Could MASTER VOLUME have been assigned to the
ASSIGNABLE PEDAL, and the pedal set in the minimum
position?
If there is no sound in Sampling mode, check that Bus Select
(IFX/Indiv.), and Level are set correctly in the Sampling P0:
Recording– Audio Input page.
Alternatively, is SAMPLING REC turned on?
Is the connected amp or mixer powered-on, and is its volume
raised?
Is Local Control turned on?
Could the vector joystick be controlling the volume?
• Try moving the vector joystick as you play.
If there is no sound from the AUDIO OUTPUT
(INDIVIDUAL) 1–4 jacks, make sure that Bus Select or
Bus Sel. (Bus Select) following the insert effect is set to 1–4,
or 1/2–3/4.
If a specific timbre doesn’t sound in Combination mode, is
its Play/Mute button set to Play? Alternatively, are all Solo
settings turned off? (If the Solo button is blinking, this
means that at least one timbre is being soloed.)
If a specific track doesn’t sound in Sequencer mode, is its
Play/Rec/Mute button set to Play? Alternatively, are all Solo
settings turned off? (If the Solo button is blinking, this
means that at least one track is being soloed.)
Make sure that the Status is INT or BTH. (See “Preparations
for recording” on page 78.)
Are the Key Zone and Velocity Zone set so that sound will
be produced when you play?
Is the Global System Clock set to S/P DIF? If this is the
case, and a valid 48kHz S/P DIF source is not connected,
then the KRONOS outputs will be silent.
Can’t output sound from an audio CD
Make sure that you have selected the Disk mode Play Audio
CD page or Sampling mode.
Is the output of the audio CD being input correctly?
• In the Disk mode Play Audio CD Page, make the
appropriate settings for Bus Select (IFX/Indiv.) and
Level. Alternatively, in the Sampling mode P5: Audio
CD– Ripping page, make the appropriate settings for
Bus Select (IFX/Indiv.) and Level.
250
• Is the Drive Select setting correct?
If there is no sound in Program, Combination, and
Sequencer modes, check that Bus Select (IFX/Indiv.), and
Level are set correctly in Global P0: Basic Setup– Audio
page; or in the P0: Sampling pages of Program,
Combination, or Sequencer modes.
On the 0–8: Audio Input/Sampling page, is the Use Global
Setting parameter set correctly?
Analog audio inputs
If you are using AUDIO INPUT 1 and/or 2, make sure that
the AUDIO INPUT LEVEL knobs are raised.
If you are using AUDIO INPUT 1 and/or 2, are the
MIC/LINE switches set appropriately?
S/P DIF input
If you are using the S/P DIF IN, is the input signal in an
unsupported format?
• Please make sure that the connected digital audio device
is compatible with CP-1201 or S/P DIF. ADAT format is
not supported.
Is the S/P DIF device set to a compatible sample rate?
• Only 48 kHz sampling rate is supported. If the connected
device is using an unsupported rate, you may hear noise,
and the message “CLOCK ERROR!” may appear.
Troubleshooting Programs and Combinations
Noise or distortion on audio inputs or recorded
sound
If you are recording from audio inputs 1 and/or 2, are the
AUDIO INPUT LEVEL knobs and Recording Level
settings appropriate?
When using the MIDI/Tempo Sync function to control the
delay time of an effect, noise may occur in the delay sound.
This noise is due to discontinuities in the delay sound, and is
not a malfunction.
Some effects, such as 023: Stereo Analog Record, generate
noise intentionally. It is also possible to create oscillation
using a filter with resonance. These are not malfunctions.
• If Recording Level shows “ADC OVERLOAD !,”
adjust the LEVEL knob. If “CLIP !” is displayed, adjust
the Recording Level slider.
Disk access noise is heard in the analog outputs
If you are recording from the S/P DIF or USB inputs, are the
level of the output device and the Recording Level set
appropriately?
Check that the electrical grounding is correct for the
KRONOS and all connected audio equipment, and remove
any ground loops.
• If “CLIP !” appears, adjust the Recording Level slider.
Is the system clock set correctly?
Notes do not stop
• If cyclic click noise is occurring, check that you have
selected the System Clock that is being input.
In Program P1: Basic/Vector, select the Program Basic page,
make sure that the Hold check box is unchecked.
After sampling or sample edits
Could you have used Tone Adjust to turn Hold on?
After a sample edit has been executed, or after a stereo
sample has been recorded, a small noise may be heard. This
has no effect on the audio data that was edited or sampled.
In Global P2: Controllers/Scales, make sure that Damper
Polarity or Foot Switch Polarity is set correctly.
Noise or oscillation with effects
Sound fades in and out
When using an effect on external audio inputs, oscillation
may occur depending on the type of effect or on the
parameter settings. Please adjust the input level, output level,
and effect parameters. You need to be particularly careful
when using a high-gain effect.
If an option is in demo mode, any sound which uses the
option will fade in and out.
Programs and Combinations
Program or Combination does not play
correctly
EXi programs don’t play correctly in a
Combination.
Preloaded programs don’t play correctly.
Does the Timbre’s number have a gray background color,
instead of blue? And, does [Inactive] appear after the
Program name in the Selected Timbre Info?
Does the “Samples Not Loaded” message appear? If so, is
the required EXs sample data loaded?
• In Global mode, use the Auto-Load KSC feature to load
the PRELOAD.KSC file. For more information, see
“Automatically loading sample data” on page 166.
Settings for oscillator 2 are not displayed
Make sure that the Oscillator Mode (Program P1:
Basic/Vector) parameter is set to Double.
EXi2–related settings are not displayed
• The Programs in the Combination are asking for more
than the maximum available EXi fixed resources.
Remove one or more of the EXi Programs which uses
fixed resources.
For more information, see “CX-3 & other EXi:
Limitations on EXi fixed resources” on page 422 of the
Parameter Guide.
Combination does not play correctly
after loading from disk
On the Basic/Vector page, is there an EXi instrument
selected for EXi2? For more information, see “EXi 2
Instrument Type” on page 171 of the Parameter Guide.
In the dialog box when you saved the data, did you check the
items that you wanted to save?
Reverse can’t be enabled
• If you have switched program banks, you can use the
Change all bank references menu command to change
the program bank for each timbre of a combination. For
more information, see “Change all bank references” on
page 799 of the Parameter Guide.
If a Multisample or Drum Sample is loaded using Virtual
Memory, Reverse cannot be enabled.
• Use the Global P0: Sample Management page to change
the Multisample or Drum Sample’s Load Method to
RAM.
Are the bank/numbers of the programs used by the
combination the same as when the combination was created?
251
Appendices
Can’t write a Program
Samples don’t play from the correct keys
You can’t write HD-1 programs into bank USER-A.
Conversely, you can’t write EXi programs into banks USERB–F. However for banks USER-A–G, you can use the Global
mode page menu command Set Program User-Bank Type
to change the type of each bank, so that it will accommodate
the desired type of programs. For more information, see
“Changing the Bank Type for USER banks” on page 29.
Is Portamento enabled? When Portamento glides between
two notes which are mapped to different samples, the system
always plays the higher sample and then glides to the target
pitch. If a Multisample contains distinct samples mapped to
different key ranges—for instance, loops or sound effects—
this can produce unexpected results.
• To prevent this from occurring, turn off Portamento.
Songs
Song does not play correctly after being
loaded
Playback does not start when you press
the SEQUENCER START/STOP switch
In the dialog box when you saved the data, did you check all
of the items that you wanted to save?
Is the MIDI Clock (Global P1: MIDI) set to Internal or
Auto?
Are the Programs used by the Song the same as when the
song was created?
Can’t record in Sequencer mode
• If you have switched Program banks, you can use the
page menu command Change all bank references to
change the Program bank for each track of a Song. For
more information, see “Change all bank references” on
page 799 of the Parameter Guide.
• When saving the song, it is best to use Save All or Save
PCG & SEQ so that the programs are saved together
with the song. Then when loading, load both the .PCG
and the .SEQ data.
Have you loaded the multisamples and samples used by the
program?
Audio tracks don’t play
The audio files for the Song must be stored within a
directory at the same directory level as the .SNG file, and
that directory must be have the same name as the .SNG file ,
followed by “_A” (for “Audio”). For instance, if the .SNG
file is named WAMOZART.SNG, its audio folder must be
named WAMOZART_A. If you move or rename the .SNG
file, make sure to move or rename the main audio folder as
well.
If the folder containing the WAVE files for the song you
loaded has the wrong name, the icon is shown in gray. Could
you have moved or renamed the folder?
Loading OASYS-format Songs
The KRONOS can play Songs created on the Korg OASYS.
However, the name of the audio directory will need to be
changed slightly.
OASYS files were limited to 8 characters, and so the name
of the audio file directory was typically abbreviated. For
instance, if the .SNG file was named WAMOZART.SNG, the
OASYS audio folder would be named WAMOZA_A.
Before you load an OASYS .SNG file, edit the name of the
directory so that it matches the KRONOS standard: the same
name as the .SNG file , followed by “_A” (for “Audio”). In
the case above, you’d rename “WAMOZA_A” to
“WAMOZART_A.”
252
Did you use Track Select to select the MIDI track or audio
track that you want to record?
Is the Memory Protect Song check box (Global P0)
unchecked?
Is the MIDI Clock (Global P1: MIDI) set to Internal or
Auto?
EXi programs don’t play correctly in a
Song.
Does the Track’s number have a gray background color,
instead of blue? And, does [Inactive] appear after the
Program name in the Selected Track Info?
• The Programs in the Song are asking for more than the
maximum available EXi fixed resources. Remove one or
more of the EXi Programs which uses fixed resources.
For more information, see “CX-3 & other EXi:
Limitations on EXi fixed resources” on page 422 of the
Parameter Guide.
KARMA doesn’t record properly after
using “Copy From Combi”
Is Multi REC (Sequencer P0: Play/REC) checked?
Are the settings in the Copy From Combination dialog box
correct?
• In the Copy From Combination dialog box, check the
Multi REC standby option before you execute the copy.
This will cause the settings to be adjusted automatically.
Can’t record your performance using
Tone Adjust
Changes you make using Tone Adjust are recorded as system
exclusive data. Did you check the Global mode MIDI Filter
Enable Exclusive check box?
Troubleshooting Set Lists
RPPR does not start
Is the Sequencer P0: Play/REC RPPR setting checked? (See
“Using RPPR (Realtime Pattern Play/Record)” on
page 108.)
Are Assign, Pattern Select, and Track set correctly? See
“Using RPPR (Realtime Pattern Play/Record)” on page 108.
Is the MIDI Clock (Global P1: MIDI) parameter set to
Internal or Auto? See “MIDI Clock (MIDI Clock Source)”
on page 766 of the Parameter Guide.
• Save a copy of important WAVE files on external media,
and then delete them from the disk.
Are the REC Source settings correct?
A “File already exists” message appears, and you can’t
record.
• In the P0: Play/REC– Preference page, change the name
of the WAVE file that you’re going to record.
• Delete the files in the TEMP folder.
Can’t record on an audio track
Can’t import WAVE files into a region of
an audio track
Have you unchecked the Memory Protect Internal HDD
Save check box (Global P0)?
In the Import Region/WAVE dialog box, you selected a
WAVE file but can’t press the OK button.
Have you set Track Select to the audio track you want to
record?
• Only 44.1 kHz and 48 kHz WAVE files can be imported.
If you want to perform multi-track recording (Multi REC
checked), is Play/Rec/Mute set to REC?
Are the audio input settings correct?
• Please see Audio input and output, and Audio inputs
don’t work properly.
Is there space remaining on the disk?
• Delete unwanted WAVE files.
• You can only directly import WAVE files from the
internal disk. To use files from CDs or external USB
devices, you must first copy them to the internal disk,
and then import the copied file into the Song.
Noise in sampled audio
If you use COMPARE or change the EXi Instrument type in
an EXi Program while recording a sample, this can cause a
glitch in the resulting sample.
Set Lists
COMPARE doesn’t affect Control Surface
When you’re in Set List mode, the COMPARE button acts
on edits to the Set List, such as the sounds selected for each
Slot, hold times, comments, and so on.
Control Surface edits in Set List mode apply to the Slot’s
Program, Combination, or Song, and not to the Set List
itself. This means that pressing COMPARE in Set List mode
will not revert such edits.
To revert Control Surface edits made in Set List mode:
1. Go to the sound’s native mode.
For instance, if the Slot contains a Program, go to Program
mode.
2. Press COMPARE.
The Control Surface edits will be reverted. You can then
return to Set List mode if desired.
Sampling
Can’t sample
Are the audio input settings correct?
• See “Audio inputs don’t work properly” on page 250
Is there enough free RAM memory for sampling?
Is there free space in memory? For more information, see
“0–1f: Free Sample Memory/Locations” on page 680 of the
Parameter Guide, and “0–9: Media Information” on
page 816 of the Parameter Guide.
• In order to sample to RAM, you must allocate sufficient
space for sampling.
• If you are sampling to disk, select a different disk. For
more information, see “Select Directory/File for Sample
To Disk” on page 150 of the Parameter Guide.
• Delete unneeded samples. For more information, see
“Delete Sample” on page 721 of the Parameter Guide,
and “0–4: Sample Management” on page 759 of the
Parameter Guide.
• Save important samples to disk, and then delete them
from memory.
If you’re sampling to the internal disk, did you uncheck the
Memory Protect “Internal HDD Save” dialog box? (Global
P0)
If you’re sampling to external USB storage media, did you
select recordable media?
Is the Trigger setting correct? For more information, see
“Trigger” on page 19 of the Parameter Guide.
In Sampling mode, if Resample is set to Auto, has the
sample to be resampled been assigned to the keyboard, and
the Key parameter set correctly? See “Applying an insert
effect to a sample and resampling the result” on page 140.
Is the Source Bus setting correct?
If a “buffer overrun error occurred” message is displayed
frequently when you are sampling to disk, execute the page
menu command Check Medium (Disk– Utility page) to find
253
Appendices
and correct any errors on the selected MS-DOS format
media. For more information, see “Check Medium” on
page 848 of the Parameter Guide.
Song or CD playback stops temporarily
when you sample
Is Auto Optimize RAM checked?
A stereo sample can’t be played in stereo
Is the multisample actually stereo?
• Execute the page menu command “MS Mono To Stereo”
to convert the multisample to stereo. For more
information, see “MS Mono To Stereo/MS Stereo To
Mono (Change Multisample Type)” on page 724 of the
Parameter Guide
Is the sample name assigned correctly? (See “Stereo” on
page 677 of the Parameter Guide.)
Volume of a recorded sample is too
low/too high
Samples that you resampled at a Recording Level of
approximately 0.0 (dB) have a lower volume than when you
resampled them.
• Did you turn on the Auto +12 dB On setting when you
resampled? See “Auto +12 dB On” on page 132.
• If you resampled with Auto +12 dB On turned off, turn
on +12 dB (Sampling mode Loop Edit page) for that
sample.
• If this is checked, RAM will be optimized automatically
when sampling ends, causing the sound to stop at that
point. If a song is being played in Sequencer mode or if a
CD is being played back, the playback will stop.
AIFF file can’t be loaded
Make sure that the file suffix is three characters: .AIF. Some
computer applications create files with a four character
suffix, .AIFF, which is not recognized by the KRONOS.
Time lag between pressing the
SAMPLING REC switch and entering
sampling-standby mode
The length of time until you enter sampling-standby mode
will depend on the state of the free space on the disk (i.e.,
whether the free space is continuous or fragmented).
• When sampling to the disk, pressing the SAMPLING
REC switch will cause the amount of space specified by
Sample Time to be allocated within the disk.
• Set Sample Time only slightly longer than the length
that you will actually sample; avoid specifying an
excessively long sample time.
Snap/click noise in recorded sample
Some things can cause the system to pause briefly in the
middle of recording a sample, creating a snap or click noise.
These include pressing the COMPARE button, changing the
EXi type parameters on the EXi Program P4: Program Basic
page, or receiving a System Exclusive bulk dump. Avoid
these while sampling.
KARMA
KARMA does not start
Is the KARMA ON/OFF switch turned on (lit)?
If a KARMA module does not start in Combination or
Sequencer mode, is the Run Check Box checked for that
module? Also, are the Input Channel and Output Channel
settings appropriate?
Is MIDI Clock (Global P1: MIDI) set to Internal or Auto?
In the Global P0: Basic Setup page, could All KARMA Off
be checked?
Is the KARMA LINKED LED lit? If so, KARMA is linked
with the Drum Track. Start the Drum Track to trigger
KARMA. For more information, see “Using KARMA and
the Drum Track together” on page 245.
254
Troubleshooting Drum Track
Drum Track
Drum Track does not start
Is the DRUM TRACK ON/OFF switch turned on (lit)?
If you’re in Sequencer mode, are the Input Channel and
Output Channel settings appropriate? See “Drum Track
settings in Sequencer mode” on page 244.
Is the DRUM TRACK [ON/OFF] switch blinking? Trigger
Mode is set to Wait KBD Trig. The drum track pattern will
start when you play the keyboard, or when a note-on is
received via MIDI. See “Turning the Drum Track on and
off” on page 242.
Is the MIDI Clock parameter set correctly? See “MIDI
Clock synchronization” on page 162.
Does the current Drum Track pattern contain data? If there’s
no data in the pattern, the Drum Track won’t play.
If the Drum Track stops when you switch the KARMA
Master scene, have you checked the DT Run (Drum Track
Run) check box of the KARMA Master scene?
If you’re in Combination mode, is the Output Channel
setting appropriate? See “Using the Drum Track in
Combination mode” on page 242.
In the Global P0: Basic Setup page, is All KARMA/DT Off
checked? See “Globally disabling KARMA and the Drum
Track” on page 161.
Vector
Can’t control the volume
Is the Enable Volume Control check box checked?
Is the Combination or Sequencer mode VJS Assign setting
appropriate?
Have you checked the Enable Program Vector Volume
check box so that the volume control of a program can be
reproduced in Combination or Sequencer mode?
CC control does not work
Is the Enable CC Control check box checked?
Are the VJS X mode and VJS Y mode settings appropriate?
In Combination or Sequencer mode, are the Enable Combi
Vector CC or Enable Song Vector CC check boxes
checked?
Have you checked the Enable Program Vector CC check
box so that the CC control of a program can be reproduced in
Combination or Sequencer mode?
An envelope doesn’t operate according
to its settings
Is the front panel vector joystick set to the center position?
The operation of the envelope is offset by the position of the
vector joystick.
• Hold down the RESET CONTROLS button and move
the vector joystick to reset it to the center.
Drum Kits
The drum sample’s pitch does not change
You have left the Assign check box unchecked, and want to
play the drum sample at the adjacent right a semitone lower,
but the pitch does not change.
• If you have selected a drum program in Program mode,
and then want to edit the drum kit in Global mode, go to
the Program P2: Edit-Pitch, OSC1 Pitch Mod. page and
set Pitch Slope to +1.0 before you enter Global mode.
Wave Sequences
The wave sequence does not advance
Is the Run check box checked?
Swing does not work properly
Is the wave sequence’s Mode set to Tempo?
Is the wave sequence’s Swing Resolution set appropriately?
255
Appendices
Effects
Effects are not applied
Have you selected effect program 000?
• Select an effect other than 000: No Effect for IFX1–12,
MFX 1, 2 or TFX 1, 2.
Are the Effect Global SW IFX 1–12 Off, MFX1&2 Off, or
TFX1&2 Off (Global P0: Basic Setup page) settings
checked?
If you are in Combination or Sequencer mode and master
effects are not applied when you raise the timbre/track
Send1 or Send2 settings, does Return 1 or Return 2 from
the master effect need to be raised?
Alternatively, have Send 1 or Send 2 for each oscillator of
the program used by the timbre/track been lowered?
Note: The actual send level is determined by multiplying the
send setting of each oscillator in the program with the send
setting of the timbre/track.
Have you routed the output to an insert effect?
MIDI
The KRONOS does not respond at all to
incoming MIDI data
The KRONOS does not respond correctly
to incoming MIDI data
Are all MIDI cables connected correctly?
Are the Global P1: MIDI settings MIDI Filter Enable
Program Change, Enable Bank Change, Enable Control
Change, Enable AfterTouch, and Enable Exclusive each
checked?
Is the MIDI data being received on the channel on which it is
being transmitted?
Does the KRONOS support the types of messages that are
being sent to it?
Incorrect response to program change messages
Is the Bank Map setting correct?
Disks, CDs, and USB Media
Internal disk and external USB devices
If you are writing audio tracks to create an audio CD, it is not
necessary to format the disc.
External USB devices are not recognized
Are you using the recommended media for your drive?
Has the drive been formatted?
If you are writing from an external USB drive to CD-R/RW,
it is possible that the transfer speed is insufficient.
Is the external device connected correctly?
Have you waited a few seconds for newly-connected USB
devices to be recognized?
“Error in writing to medium” occurs frequently
when saving data
Use the page menu command Check Medium (Disk–
Utility page) to detect and repair errors on the media. For
more information, see “Check Medium” on page 848 of the
Parameter Guide.
Save or Load operations cannot be completed
• Writing may be successful if you first copy the data from
the external USB drive to the internal disk, and then
execute the writing operation from the internal disk.
Are you using blank media?
• If using CD-R, please use new media. If using CD-RW,
use the page menu command Erase CD-RW (Disk–
Make Audio CD) to erase the contents of the media
before you execute Save.
If there is no more room on the internal disk (the Disk mode
Media Info page’s Free Space parameter will show zero free
space), then Write, Save, or Load operations may not be
completed.
A KRONOS CD-R/RW is not recognized by an
external device
CD-R/RW
• If you install a UDF version 1.5 compatible UDF reader
or packet writing software on your computer, it will be
possible to recognize the disc.
CD-R/RW drive is not recognized, or Can’t write
Was the drive subjected to physical shock or vibration while
data is being written?
If you are unable to save data such as PCG or SNG files, has
the disc been formatted?
256
• Writing may be successful if you lower the writing
speed.
A CD-R/RW saved or copied on the KRONOS using packet
writing is not recognized on a computer.
• In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu
command Convert to ISO9660 Format (Disk– Utility
page) to convert the disc to ISO9660 format. However
Troubleshooting Other problems
depending on the state in which the disc was saved, it
may be converted into ISO9660 level 3 format, and may
still not be recognized. In this case if you install
ISO9660 level 3 compatible reader software or packet
writing software on your computer, it will be possible to
recognize the disc.
Are you using CD-R media?
• Since some CD players are unable to play CD-RW
media, we recommend that you use CD-R media.
Have you tried using a different type of media?
• Some CD-R/RW media cannot be played by some CD
players. You may be able to play back successfully by
using a different type (brand) of CD-R/RW media.
A CD-R/RW that was saved or copied on the KRONOS
using packet writing is not recognized by the
TRITON/TRITON pro/TRITON proX/ TRITONRack/TRITON Le.
WAVE files
• These models do not support UDF version 1.5, and
therefore will not recognize such a disc.
Can’t load
• In the case of a CD-R, it may be possible to make the
disc be recognized by executing the page menu
command Convert to ISO9660 Format (Disk– Utility
page) to convert the disc to ISO9660 format. However
depending on the state in which the disc was saved, it
may be converted into ISO9660 level 3 format, and may
still not be recognized.
Can’t write audio tracks
Additional writing is not possible on a CD-R/RW disc that
has been finalized.
Can’t play back the disc on an audio CD player
Did you finalize the disc?
• If you want to finalize the disc after writing additional
data, check the Execute finalize too check box when
executing the page menu command “Write to CD”
(Disk– Make Audio CD), so that the disc will be
finalized. For more information, see “Write to CD” on
page 848 of the Parameter Guide.
• If you only want to finalize the disc, select the page
menu command Finalize Audio CD (Disk– Make Audio
CD), and press the OK button to finalize the disc. For
more information, see “Finalize Audio CD” on page 849
of the Parameter Guide.
Is the WAVE file in a format that the KRONOS can load?
• Only 48 kHz or 44.1 kHz WAVE files can be inserted
into an audio track in a Song, or into the Track CD List.
Can’t preview
Is the WAVE file in a format that the KRONOS can load?
• Only 48 kHz or 44.1 kHz WAVE files can be previewed
by pressing the Play button in the directory window.
Some Global settings are stored
automatically, and not saved to PCG files
Some settings in Global mode are stored automatically, and
are not saved in the Global section of PCG files. If you wish
to duplicate or restore these settings, you will need to do so
by editing the parameters manually.
This includes:
• The Auto Power-Off parameter (for those models which
support this function)
As well as all settings on the following pages:
• 0–3: KSC Auto-Load
• 0–5: Network
• 2–3: Function Assign
Other problems
Power turns off automatically
If the KRONOS is not cooled adequately, the internal
temperature will rise. The power supply may shut down
automatically to protect the device from high temperatures.
Date and time are incorrect
Saved files or sampled WAVE files have an incorrect date or
time.
• Use the page menu command Set Date/Time (Disk–
Utility page) to set the current date and time. For more
information, see “Setting the date and time” on page 200.
Does the message “The clock battery voltage is low. Please
replace the battery, and set the date and time in Disk mode”
appear? If so, the calendar backup battery needs to be
replaced. Your Korg Distributor can help you find a service
center to replace the battery.
257
Appendices
Error and confirmation messages
A (ADC–Are You Sure)
ADC Overload
• Adjust the MIC/LINE gain select switch, the LEVEL
knob , or the output level of your external audio source.
Meaning: If the ADC OVERLOAD! indication appears
above the Recording Level bar, the signal is distorting
because of an overload at the AUDIO INPUT stage. To solve
this problem:
Are you sure?
Meaning: This message asks you to confirm execution. To
execute press the OK button. To cancel, press the Cancel
button.
B (Buffer)
Buffer overrun error occurred
Meaning: When sampling to external USB media, the
processing could not keep up with the sampling. To solve
this problem:
• Execute the Disk Utility page menu command Check
Medium. Then try the sampling operation again. If this
does not resolve the problem, copy several files from that
media to other media, delete those files, and then try the
sampling operation again.
Note: Sampling may not be possible because of the media
you’re using. Please use the recommended types of media.
Note: If the “Buffer overrun error occurred” error message
appears. the data up to the point the error occurred has been
sampled, but the data at the point the error occurred may not
play back correctly.
Buffer underrun error occurred
Meaning: When playing back a WAVE file from external
USB media, the data could not be read fast enough for
playback processing.
• Copy the file you want to play into another folder, and
then execute the operation again.
Note: Playback may not be possible because of the media
you’re using. Please use the recommended types of media.
(Media that can be used on the KRONOS.)
C (Can’t calibrate–Completed)
Can’t calibrate
• Uncheck the Internal HDD Save item, and try the
recording again.
Meaning: Calibration could not be performed correctly.
• Try again.
Can’t execute Audio Track recording
Meaning: You attempted to record audio tracks when
Recording Setup is set to Loop All Tracks
• You cannot perform audio track recording with Loop All
Tracks. Choose a different Recording Setup, and try
recording again.
Meaning: You attempted to record audio tracks with the
Global mode MIDI Clock set to External MIDI/USB or
Auto MIDI/USB, and an external device (such as a computer
or another MIDI device) is acting as the MIDI clock master
• You cannot perform audio track recording when an
external device is the MIDI clock master. Set MIDI
Clock to Internal so that the KRONOS is the MIDI clock
master.
Meaning: If the Global mode Memory Protect parameter
Internal HDD Save is checked, writing to the internal disk
is prohibited. This error message will appear if you attempt
to record on audio tracks in this state.
258
Can’t insert event in stereo track
Meaning: In Sequencer mode, you were performing audio
event editing on an audio track that is assigned as a stereo
pair, and were unable to insert an audio event because the
paired track contained an audio event.
• Delete the unwanted audio event from the paired audio
track, and then insert the desired event.
Can’t load divided PCG file
Meaning: The page menu command Load PCG (RAM)
and Samples cannot be performed on a divided PCG file.
Can’t open pattern
Continue?
Meaning: When you finished recording, it was not possible
to allocate enough memory to open the pattern that was Put
into the track. (When it must be opened automatically.) If
you press the OK button, the pattern data will be deleted, and
the recorded or edited content will be saved. If you press the
Cancel button, the recorded content will be discarded.
Error and confirmation messages D (Destination–Disk)
CLIP!
parameter. For more information, see “System Clock” on
page 750 of the Parameter Guide.
Meaning: The “CLIP!” indication will appear if the signal
level exceeds 0 dB.
• Make sure that your external device is correctly
transmitting a digital signal.
• The signal being sampled or recorded to an audio track
has overloaded; use the Recording Level slider to adjust
the level.
• Make sure that the sample rate of the external device is
48 kHz.
Note: When using the analog audio inputs, you will obtain
the widest possible dynamic range if you adjust the
MIC/LINE gain select switch and the LEVEL knobs as high
as possible without allowing “ADC OVERLOAD!” to
appear. In addition, you should set Level (0–2a) to 127, and
adjust Recording Level as high as possible without allowing
“CLIP!” to appear.
CLOCK ERROR!
Meaning: The Global System Clock is set to S/P DIF, but
the clock at the digital input is not being detected correctly.
• Whenever you use digital audio connections, make sure
that all connected systems are set so that there is one and
only one word clock master. You can set the word clock
for the KRONOS using the Global page System Clock
• Make sure that there is no problem with the cable.
Completed
Meaning: Execution of the command ended normally.
Could not execute Capture Random
Seed, because the selected Start Seed is
assigned as an RTParam
Meaning: If the KARMA module's “Start Seed” parameter
has been assigned as a performance realtime parameter, this
message will appear when you attempt to execute the
Capture Random Seed command; the command cannot be
executed. (Press the OK button to close the message.)
• In the Perf RTP page, cancel the performance realtime
parameter assignment for Start Seed.
D (Destination–Disk)
Destination and source are identical
Meaning: When copying or bouncing, the same song, track
or pattern was selected for both the source and destination.
To solve this problem:
• Select a different song, track, or pattern for the source
and destination.
Destination from-measure within the
limits of source
Meaning: When executing the Move Measure command for
all tracks or within the same track, the specified destination
measure is within the source range. To solve this problem:
• Set a destination measure that is outside of the source
range.
Destination is empty
Meaning: When editing, the track or pattern that was
specified as the destination contains no musical data. To
solve this problem:
• Select a track or pattern that contains musical data.
Destination measure is empty
Meaning: The measure that was specified as the destination
contains no data.
• Either delete the multisample at the destination (save
location), or change the save destination multisample
number.
Destination multisample and source
multisample are identical
Meaning: The same multisample is selected for the source
and destination.
• Select different multisamples for the source and
destination.
Destination sample already exists
Meaning: A sample already exists at the destination (save
location).
• Either delete the sample at the destination (save
location), or change the save destination sample number.
Destination sample data used in source
sample
Can’t overwrite
Meaning: Since the sample data at the destination (save
location) is also used by the source sample, it cannot be
overwritten.
• Without using Overwrite, specify a different sample for
the destination (save location).
• Specify a destination measure that contains data.
Destination sample is empty
Destination multisample already exists
Meaning: The sample for editing is empty.
Meaning: A multisample already exists at the destination
(save location) multisample.
259
Appendices
Directory is not empty Cleanup directory
Are you sure?
Meaning: When deleting a directory, files or directories
exist within that directory.
• Press the OK button to delete all files and/or directories
within that directory.
• Either write to other media, or remove unneeded tracks.
Disk not formatted
Meaning: When you attempted to perform a high-level
format (quick format) of media, the media had not been
physically formatted yet. To solve this problem:
• Use the Disk mode Utility page menu command Format
to physically format the media (full format).
Disc full
Meaning: When using the Write to CD command in the
Disk mode Make Audio CD page, there is insufficient space
remaining on the CD-R/RW for the data to be written.
E (Error–Exceeded)
Error in formatting medium
Meaning: An error occurred while performing a physical
format (full format) or high-level format (quick format) of
the media. To solve this problem:
• Use other media.
Meaning: When executing the Disk mode Utility page menu
command Convert to ISO9660 Format, an error occurred
while rewriting the UDF area. To solve this problem:
• Copy the file to the USB media again, or if that fails,
download the data again.
Error loading Drumsamples.
Error loading Multisamples.
Meaning: When executing Change load method, a sample
could not be loaded correctly.
• Use other media.
Error: not enough disk space for the
installation
Error in mount process. Please backup
files
Meaning: While preparing to install an option (such as an
EXs), the system has determined that the internal SSD is too
full. To solve this problem:
Meaning: An error was found on a UDF-format CD-R/RW
or DVD-R/RW disk. To solve this problem:
• Make a backup of the data, and stop using the disk which
caused the error.
Error in reading from medium
Meaning: An error occurred while reading data from media.
This error may also appear when data is being written to
media by a Save or Copy operation. To solve this problem:
• Execute the reading operation once again. If the same
error occurs, it is possible that the data on the disk has
been damaged.
• Remove data from the SSD, backing it up to USB media,
in order to free up space.
Error unloading Drumsamples.
Error unloading Multisamples.
Error unloading Exs
Error unloading RAM
Meaning: When executing Change load method or Unload
all data from selected bank, a sample could not be
unloaded correctly.
Exceeded 16 Programs
Error in writing to medium
Meaning: A verification error occurred while writing data to
a medium. To solve this problem:
• It is possible that the media has been physically
damaged. Try another media. Avoid using the media that
produced the error.
• When using external USB media, execute the Disk mode
Utility page menu command Check Medium.
Error: invalid option file
Meaning: While preparing to install an option (such as an
EXs), the system has detected corrupted data in the files to
be installed. To solve this problem:
260
Meaning: You exceeded 16 programs while performing
Advanced Conversion Load. When an AKAI Program is
loaded, it will be converted into multiple programs and one
combination according to its structure. At this time, the
maximum number of KRONOS programs resulting from
this conversion is limited to 16, which is the maximum
number of programs that can be used in a combination. To
solve this problem:
• Load the AKAI programs individually, and edit them on
the KRONOS.
• Instead of using Advanced Conversion Load, load the
multisamples or samples, and edit them on the
KRONOS.
Error and confirmation messages F (File–Front)
F (File–Front)
Failed. Source device not found
Failed. Bad install.info - invalid SOURCE
Failed. Bad install.info - VERSION missing
Failed. Bad install.info - CRC fails
Meaning: When executing the Global mode Update
System Software command, these messages will appear if
the update could not be performed correctly. To solve this
problem:
• Try the update again. Alternatively, try again using
another CD/DVD or USB flash memory.
File already exists
Meaning: When executing a Create Directory or File
Rename operation, a directory or file of the same name
already exists on the disk.
Meaning: When executing the Disk mode Utility Copy
command without using wild cards, the copy destination
contained a file of the same name as the copy source.
Meaning: When you executed the Disk mode Utility Save
Sampling Data for All, All Multisamples, All Samples, or
One Multisample, a directory already existed on the disk
with the same name as the directory that you attempted to
create on the KRONOS.
Meaning: When sampling to the disk, an identically-named
file exists in the save-destination.
• Either delete the existing directory or file, or specify a
different name.
Meaning: When recording an audio track, an identicallynamed WAVE file exists in the save-destination on the disk.
• Either delete the existing file, or use the Sequencer P0–
Preference page to specify a different name.
Meaning: If an audio track you recorded before last
powering-off was not saved as a SNG file, the following
message will appear when you turn on the power.
There are un-saved audio files from your previous
recording session.
Do you want to restore these files, or delete them from
the disk?
[Restore] [Delete]
If you choose Restore, a folder named TEMP will remain on
the internal disk. If you then record audio tracks in this state,
and use the default name in the Preference page, the name
may be identical to the already-existing WAVE file, causing
this message to appear.
• Specify a different name. (Sequencer P0– Preference
page)
• Use the Disk Utility page menu command Delete to
delete the TEMP folder.
Meaning: When saving a .SNG file, a separate directory is
created for the Song’s audio files. The directory’s name
consists of the .SNG file name followed by “_A” (for
“Audio”). If this error appears when saving a .SNG file, it
can mean that a directory with this name already exists. To
solve this problem:
• Change the .SNG file name to something other than the
name of an existing directory, and then save the data
again.
File contains unsupported data
Meaning: You attempted to load an AIFF, WAVE, or KSF
file that was in a format not supported by the KRONOS.
• In the case of a AIFF or WAVE file, use a computer (if
possible) to convert the file into a format that is
supported on the KRONOS, and then load it.
File is read-only protected
Meaning: You attempted to write to a file or to delete a file
that had a read-only attribute.
Meaning: You attempted to save a file to media that
contained a read-only file of the same name.
• Save the file with a different name.
Meaning: You attempted to save a file or directory in a
Locked directory.
• Use the page menu command Lock/Unlock to unlock
the directory.
File name conflicts
Meaning: When saving a .SNG file, the directory in which
the WAVE file used by the region is to be saved already
contains a directory with the same name as the .SNG file ,
followed by “_A,” and that directory contains an identicallynamed WAVE file.
Meaning: When saving a SNG file, the WAVE files being
saved are such that some of them would have the same
filenames as files in the save-destination.
• Using the text edit field shown below “Rename,” edit the
name of the WAVE file being saved so that it does not
conflict. Then press “OK.” If you press “Cancel,” that
WAVE will not be saved, so you should normally edit
the name and save the data.
File unavailable
Meaning: You attempted to load or open a file whose format
was incorrect.
File/path not found
Meaning: When loading a sample file in Disk mode, the
specified file does not exist. Alternatively, the specified
filename does not exist in the location you selected in a
dialog box for choosing another directory level or other
media.
Meaning: When executing the Delete command in the Disk
mode Utility page, the specified file did not exist.
Meaning: When executing the Copy command in the Disk
mode Utility page, and you used a wild card to specify the
copy file name, the specified file was not found.
Alternatively, the length of the copy source path name
exceeded 76 characters.
261
Appendices
Meaning: In Disk mode when you used the Open button to
open a directory, the path length including the selected
directory name exceeded 76 characters.
Meaning: When executing Insert in the Disk mode Make
Audio CD page, you attempted to use the Insert All button to
add a WAVE file, but no WAVE file with a sampling
frequency of 44.1 kHz or 48 kHz exists in the selected
directory.
• Check the file or directory.
Meaning: In Disk mode when loading a .KCD file, a WAVE
file listed in the Audio Track List could not be found.
• The file whose Size is not shown in the Disk mode Make
Audio CD page is the one that could not be found. Check
the file or directory, or delete it from the Audio Track
List.
Front sample data used in rear sample
Can’t overwrite
Meaning: When executing Link in the Sampling mode
Sample Edit page, the sample data of the front sample is also
being used by the rear sample, and therefore cannot be
overwritten. To solve this problem:
• Instead of using Overwrite, specify a different sample as
the save-destination.
H
HD Protected
Meaning: The internal SSD is protected. To solve this
problem:
• On the Global-Basic tab, under Memory Protect, turn off
(un-check) the Internal HDD Save check box.
I (Illegal–Index)
Illegal file description
Inconvertible file exists
Meaning: The filename that you specified when saving a
file or creating a directory contained invalid characters. To
solve this problem:
Meaning: A file that cannot be used with ISO9660 format
exists on the media. To solve this problem:
• Change the filename you are specifying. Filenames not
permitted by MS-DOS cannot be used as a filename.
Illegal SMF data
Meaning: You attempted to load a file that was not a
Standard MIDI File.
Illegal SMF division
Meaning: You attempted to load a Standard MIDI File that
was timecode-based.
Illegal SMF format
Meaning: You attempted to load a Standard MIDI File of a
format other than 0 or 1.
K
KRONOS system version ... update
complete. Please restart the system.
Meaning: This message will appear when you've used the
Global P0 page menu command Update System Software,
after the update is complete. Restart the system to use the
updated software.
• Turn the power switch off, and then on again.
262
• Media that was formatted or written by a device other
than the KRONOS may be impossible for the KRONOS
to convert into ISO9660 format. To perform the
conversion, use the packet writing software that was used
to format or write the media.
Index number over limit
Meaning: When sampling into RAM in Combination,
Program, or Sequencer mode, there are too many indexes to
be simultaneously converted into a multisample.
• Either convert the samples into a different program or
multisample, or use Sampling mode to delete some of the
indexes before you continue sampling.
Error and confirmation messages M (Master–Multisample)
M (Master–Multisample)
Master Track can’t be recorded alone
Meaning: When real-time-recording a single track, you
attempted to begin recording with the master track as the
current track.
• Select a MIDI or Audio Track for recording, instead of
the Master Track.
• Delete other song data etc. to increase the amount of free
memory.
Meaning: While real-time recording in Sequencer mode,
there is no more free memory to accommodate the recorded
data, so recording has been forcibly halted. To solve this
problem:
• Delete other song data etc. to increase the amount of free
memory.
Master Track is empty
Meaning: You cannot open Audio Event Edit because the
Master Track is empty. To solve this problem:
• Execute the Sequencer P4– Track Edit page menu
command Set Song Length etc. with an appropriate
length to create a master track, and then open Audio
Event Edit.
Measure number over limit
Meaning: The attempted edit operation would cause the
track length to exceed 999 measures.
Memory overflow
Meaning: While receiving exclusive data in Disk mode
Save Exclusive, all remaining internal memory was used up.
To solve this problem:
• If you are receiving two or more sets of exclusive data,
transmit them separately to the KRONOS.
Meaning: In Disk mode, you attempted to load more sample
waveform data than there was free memory capacity. To
solve this problem:
• Delete unnecessary measures.
• In Sampling mode, execute Delete sample to create free
space in the sample waveform data area, and re-load the
data.
Measure size over limit
Memory Protected
Meaning: When loading a Standard MIDI File, the number
of events in a measure exceeded the maximum
(approximately 65,535 events).
Meaning: The internal program, combination, song, drum
kit, wave sequence, KARMA GE, or Internal HDD Save is
protected.
Meaning: The attempted edit operation would cause the
maximum number of events in a measure (approximately
65,535) to be exceeded.
Meaning: The song was protected when you executed .
To solve either of these problems:
• In Global mode, turn off write-protect, and execute the
write or load operation once again.
• Use event editing etc. to delete unwanted data.
MIDI data receiving error
Medium changed
Meaning: While receiving MIDI System Exclusive data, the
format of the received data was invalid, for example because
the size of the data was incorrect.
Meaning: When executing the Copy command in the Disk
mode Utility page, the media was exchanged or ejected, and
it was not possible to copy between separate media on the
same drive.
Mount Error
Medium unavailable
Meaning: This message will appear when you execute the
Global mode Update System Software command if the CD
could not be executed successfully. To solve this problem:
Meaning: You selected a medium that does not allow
writing.
• Try again. Alternatively, try again using a different CD.
Medium write protected
Multisample L and R are identical
Meaning: The other writing-destination media is writeprotected.
Meaning: Since the destination (save location) L and R
multisample numbers are the same, the editing operation
could not be executed. To solve this problem:
• Turn off write protect on the other media, and execute
the command once again.
• Select a different multisample number for the L and R of
the destination (save location).
Memory full
Meaning: In Sequencer mode when editing a song, track or
pattern, the total data of all songs has used up all of the
sequence data memory, and further editing is not possible.
To solve this problem:
263
Appendices
N (No data–Not enough song memory)
No data
Meaning: When loading a Standard MIDI File, the file
contained no events.
Meaning: When you executed Samples in One Multisample
in the “Export Samples as AIF/WAV” command in the Disk
mode Save page, there were no samples.
To solve either of these problems:
• Create sample data.
Not enough Drum Track pattern
locations available
Meaning: When converting a song's user patterns to user
drum track patterns, the allowable number of user drum
track patterns was exceeded. To solve this problem:
• As necessary, use the Disk mode Save PCG command to
save the user drum track patterns. Then in Sequencer
mode, use the Erase Drum Track Pattern menu
command to free up more drum track user patterns. After
that, try the conversion again.
No medium
Meaning: When executing a command in Disk mode, no
media was inserted in the drive. To solve this problem:
• Insert media such as a mount the drive.
No recording track specified
Meaning: When converting a song's user patterns to user
drum track patterns, there was not enough free memory. To
solve this problem:
• Set the desired tracks for recording to REC.
• As necessary, use the Media mode Save PCG command
to save the user drum track patterns. Then in Sequencer
mode, use the Erase Drum Track Pattern menu
command to delete the other user drum track patterns to
free up more memory. After that, try the conversion
again.
No Selected Item
Not enough empty slot to copy
Meaning: When you attempted to save a single effect with
Save Effect Preset, there was no effect to be saved.
• If you want to save a single effect, select either the
Preset or the User check box before executing the save.
Meaning: This message will appear when you execute Copy
Insert Effect or Copy From Program if there are not enough
vacant insert effects in the copy-destination. To solve this
problem:
Meaning: When executing Add KSC on the Global - Basic
KSC Auto-Load tab, you pressed Add without selecting a
file.
• Set unused insert effects in the copy-destination to 000:
No Effect so that there will be enough vacant insert
effects.
• First select the KSC that you want to add, and then press
Add.
Not enough memory
Meaning: When performing real-time multi-track recording,
you attempted to begin recording with no tracks set to REC.
To solve this problem:
Meaning: When executing Insert Track on the Media Audio CD - Make Audio CD tab, you pressed Insert without
selecting a file.
• First select the WAVE file that you want to add, and then
press Insert.
No space available on medium
Meaning: When you attempted to save or copy a file, or to
create a directory, there was not enough free space on the
other medium. To solve this problem:
• Either delete an existing file, or exchange the medium
with one that has sufficient free space.
No space available on medium
Do you want to make a divided file?
Meaning: When saving a .PCG or .KSF file, there was
insufficient free space on the media. Please specify whether
you want to save the file in divided form.
• Press the OK button to save the file across multiple
volumes of media, or press the Cancel button to cancel.
264
Not enough Drum Track pattern memory
Meaning: When starting real-time recording in Sequencer
mode, the minimum amount of free memory (such as
memory for the BAR events up to the recording start
location) could not be allocated. To solve this problem:
• Delete other song data etc. to increase the amount of free
memory.
Meaning: When executing “Load Exclusive,” you
attempted to load an .EXL file that required more than
1,048,576 bytes. Such a file cannot be loaded by the
KRONOS.
Meaning: When in Disk mode you attempted to load an
EXL file from media other than the internal disk, memory
for temporary use could not be allocated on the internal disk.
To solve either of these problems:
• On the internal disk, create free space that is larger than
the .EXL file.
Error and confirmation messages N (No data–Not enough song memory)
Not enough memory to load
Not enough sample memory
Meaning: When you attempted to load a .SNG file or a
standard MIDI file in Disk mode, there was insufficient free
memory in the sequence memory. To solve this problem:
Meaning: There is insufficient sample memory (for sample
parameters or sample waveform data).
• Delete other song data etc. to increase the amount of free
memory.
Not enough memory to open pattern
• Delete samples to increase the amount of free memory.
Not enough sample/multisample
locations available
Meaning: There was insufficient sequencer memory to open
the pattern, so editing is not possible.
Meaning: The data you attempted to load would exceed the
maximum number of multisamples or samples. To solve this
problem:
• Either delete unwanted data such as a song, track, or
pattern, or do not open the pattern.
• In Sampling mode, use Delete Multisample or Delete
Sample to free a sufficient number, and reload the data.‘
Not enough multisample memory
Not enough song locations available
Meaning: There is insufficient multisample memory. (The
number of multisamples would exceed the maximum of
4,000.) To solve this problem:
Meaning: When loading a .SNG file with Append
specified, you attempted to load more songs than can be
loaded.
• Delete multisamples to increase the amount of free
memory.
Meaning: When executing Auto Song Setup, a new song
could not be selected automatically because there was no
song with the default settings. This can be caused by using
the Global mode “Change all bank references” command
with the Song option selected, since this modifies the
settings of all songs away from the defaults; after this, the
system will not recognize those songs as being empty and
available.
Not enough pattern locations available
Meaning: When using the Load Drum Track Pattern
command, you attempted to load more than the remaining
number of user patterns in the selected song. To solve this
problem:
• Create a new song, and reload the patterns into user
patterns of the new song. You can load up to 100 user
patterns for each song. If you need to load more than this
number of drum tracks or patterns, you can distribute
them between two or more songs.
Meaning: When using Auto Song Setup, the new song
could not be automatically created because there was no
song with the initial settings. If you executed the Global
mode Change all bank references command on the song,
all songs will differ from the initial settings, causing the
system to determine that there is no song with the initial
settings.
• In Sequencer mode, use the Initialize Song command to
increase the number of Songs that can be used, and then
load the song again.
Not enough song memory
Meaning: When executing the Sampling mode Time Slice
or Save commands, the total data for all songs occupies all
of the sequence data memory area, so that saving is not
possible.
Meaning: When sampling to RAM in Sequencer mode, it is
not possible to create track data at the same time.
• Increase the amount of free memory, for example by
deleting another song.
Not enough region locations available
Meaning: The allowable number of regions was exceeded
during realtime-recording, or when you attempted to load an
entire SNG file, 1 Song, or Tracks with regions being
appended.
• In Sequencer P4– Track Edit, select the audio track and
use the page menu command Region Edit to create
enough vacant space following the last region so that the
allowable number of regions will not be exceeded. Then
try the operation again.
No unused WAVE files found
Meaning: When you executed the Disk Utility page menu
command Delete Unused WAVE files, no unused WAVE
files were found.
Not enough relative parameter memory
Meaning: There is insufficient memory for relative
parameters. (The number of samples in the multisamples
would exceed the maximum of 16,000.)
• Delete multisamples or indices of multisamples to
increase the amount of free memory.
265
Appendices
O (Obey copyright rules–Oscillator)
Obey Copyright Rules
Meaning: When you execute the Disk mode Make Audio
CD page Write to CD command, or when you execute
Destination in the Sampling mode Audio CD page
Destination command.
Please read “COPYRIGHT WARNING” on page 3 of the
Quick Start Guide before you use this data.
Oscillator Mode conflicts (Check PROG
P1)
Meaning: In Sampling mode when you executed Convert
MS To Program with Use Destination Program Parameters
checked, the conversion destination program Oscillator
Mode setting did not match.
• In Program mode, set the Oscillator Mode of the
conversion destination program. If converting a
monaural multisample, select Single. If converting a
stereo multisample, select Double.
P (Pattern–Program)
Pattern conflicts with events
Pattern used in song - Continue ?
Meaning: It was not possible to execute the Bounce
operation because one of the tracks contained a pattern, and
the same measure of the other track contained events or a
pattern.
Meaning: When editing, the specified pattern has been
placed in a track. If you wish to execute, press the OK
button. If you decide not to execute, press the Cancel button.
• Open the pattern.
Program Bank Type conflicts
Pattern exists across destination to-endof-measure or source from-measure
Meaning: When receiving a dump of an individual bank or a
single program, the KRONOS received a program that did
not match the bank type. If the bank type does not match, the
program will not be received.
Meaning: When moving a measure, the edit operation could
not be executed because a pattern had been put in the
destination end measure or the source start measure, and had
not been opened.
• Open the pattern.
Pattern exists in destination or source
track - Open pattern?
Meaning: A pattern has been placed in the track that you
specified as a destination or source for editing. If you wish to
open the pattern and execute (the events of the pattern will
be copied), press the OK button. If you wish to execute
without opening the pattern, press the Cancel button.
Meaning: When receiving an All Programs dump, the
KRONOS received a bank whose bank type did not match.
Only banks of the matching bank type will be received.
• If you’re receiving banks USER-A…G or AA…GG, use
Global Set Program User -Bank Type to change the
bank type so that it’s the same as the one being
transmitted. Then try the operation again.
Program Type conflicts
Meaning: This message will appear when you execute Copy
Tone Adjust if the copy-source and copy-destination
program types are different. You cannot copy between HD-1
and EXi Programs, or between different types of EXi
Programs.
R (Rear sample–Root)
266
Rear sample is empty
Root directory is full
Meaning: When you executed Link in the Sampling mode
Sample Edit page, the sample that you specified as the rear
sample is empty.
Meaning: You attempted to create a file or directory in the
root directory of the media, but this would exceed the
maximum number of root directory entries.
• Specify a sample that contains data as the rear sample,
and execute once again.
• Either delete an existing file or directory, or Open a
directory to move down one level before executing once
again.
Error and confirmation messages S (Sample–Source)
S (Sample–Source)
Sample data used in other sample(s)
Continue?
sample name and number of the first KSF file will be
displayed.)
Meaning: Other sample(s) use the same sample data as the
sample that you are editing. To continue editing, press the
OK button.
Slice point over limit
Can’t divide
Sample L and R are identical
Meaning: When using the Sampling mode Time Slice or
Time Stretch commands, the Slice setting would divide the
sample into more samples than the maximum possible
number (1000), and thus Divide cannot be executed.
Meaning: The edit operation could not be executed because
the destination (save location) L and R sample numbers are
identical.
• Select different sample numbers for L and R of the
destination (save location).
Sample length is shorter than minimum
• Use Link to connect any Index that you do not require,
and then execute Divide.
Source file is not 44100Hz or 48000Hz
Can’t convert
Meaning: You attempted to execute an editing operation
that would make the sample data shorter than 8 samples.
Meaning: When executing the Disk mode Utility page menu
command Rate Convert, you selected a WAVE file of a
sampling rate other than 44.1 kHz or 48 kHz.
• Change the editing range so that the sample data will be
longer than 8 samples.
• You cannot convert WAVE files other than 44.1 kHz or
48 kHz.
Sample used in other multisample(s)
Continue?
Source IFX is all empty
Meaning: The sample you are editing is used by other
multisamples. To continue editing, press the OK button.
Meaning: This message will appear when you execute Copy
Insert Effect or Copy From Program if there is no insert
effect to be copied.
Selected file/path is not correct
Source is empty
Meaning: When loading a divided .PCG file, you attempted
to load a .PCG file of the same name that was not divided or
had differing contents.
Meaning: No data exists in the track or pattern that you
specified as the source.
• Specify a track or pattern that contains musical data.
• Load the correct .PCG file.
Meaning: When loading a KSF file that was split across
multiple media, the order in which you attempted to load the
files was incorrect.
• Load the KSF file in the correct order. To view the file
number order in which the KSF files were saved, you can
check the Translation page menu command. (The
Source sample is empty
Meaning: When executing Insert, Mix, or Paste, the source
sample is empty.
• Execute the Copy operation before executing Insert, Mix,
or Paste.
T (The clock–Track)
The clock battery voltage is low. Please
replace the battery, and set the date and
time in Disk mode.
Meaning: The battery for the clock/calendar function has
run low, and needs to be replaced. Your Korg Distributor can
help you find a service center to replace the battery.
The data on the medium will be lost. Are
You Sure?
Meaning: When you format a disk, all of the data on the
disk will be erased. Make sure that you have any data backed
up before proceeding! To proceed with formatting the disk,
press OK.
267
Appendices
There are un-saved audio files from your
previous recording session.
Do you want to restore these files, or
delete them from the disk?
[Restore] [Delete]
Meaning: The WAVE files created when you recorded audio
tracks before powering-off were not saved as song data, and
remain in the TEMP folder of the internal disk. Since the
data was not saved as song data, all audio events and region
data were deleted, but if necessary you can save these WAVE
files and use them to create a new song.
• If you want to keep this data, press Restore. If you want
to delete this data, press Delete.
There is no readable data
Meaning: Either the file size is 0 or the file does not contain
data that can be accessed by the load or open operation.
Alternatively, the data is damaged etc., and cannot be loaded
or accessed.
This file is already loaded
Meaning: When loading a divided .PCG file, you attempted
to load a file that had already been loaded.
• Load the .PCG files that have not yet been loaded.
Track is full
Meaning: In the Disk mode Make Audio CD page, you
attempted to insert a track that would make the total exceed
99 tracks.
• Cut unneeded tracks, and then execute the Insert
operation once again.
U (Unable to create directory–USB Hub)
Unable to create directory
Meaning: When sampling to disk, the save-destination path
for the WAVE file exceeded 76 characters.
Meaning: You attempted to create a directory that would
exceed the maximum path name length of 76 characters for
the full path name, including the names of the directory and
all its parent directories up to the root level of the disk.
• Rename the file and/or directories so that the file path
fits within 76 characters. This includes the file name and
the names of all parent directories up to the root level of
the disk.
Unable to save file
USB HUB Power exceeded
Please disconnect USB device
Meaning: When executing the Disk mode Utility command
“Copy,” the copy destination path length exceeded 76
characters.
Meaning: When saving a file in Disk mode, the save
destination path exceeded 76 characters.
Meaning: The power consumption of your USB devices has
exceeded the capacity of the hub to which they are
connected. The USB hub will not be recognized correctly in
this state. To solve this problem:
Meaning: When you executed the Disk mode Utility page
menu command “Copy,” the file management data exceeded
the size of the management area.
• If you’re using a USB hub or device that is capable of
being self-powered, use it in self-powered mode. If you
are using more than one USB hub, you may be able to
W (Wave)
.WAV already exists. Overwrite?
Meaning: When importing a WAVE file that requires
conversion to 48kHz/mono, a file of the same name already
exists on the disk. To solve this problem:
• Either delete the existing file, or rename it before
importing.
WAVE files on this external medium will
not be played with sequencer audio track
playback. Copy SNG and WAVE Directory
to Internal HDD, and load SNG from
internal HDD
Meaning: The WAVE file used by the SNG data you’re
loading in Disk mode exists on external media, and will not
play back correctly when loaded. Audio track recording and
playback is available only on the internal disk. To solve this
problem:
• Copy the .SNG file and the directory for that .SNG file
(the directory containing the WAVE files it uses) to the
same directory of the internal disk, and then load the data
again.
268
Error and confirmation messages Y (You)
WAVE file size over limit
Meaning: When editing an audio track in Sequencer mode,
you exceeded the maximum number of 230,400,000 samples
(80 minutes at a sample rate of 48 kHz, 16-bit) allowable in a
WAVE file.
Y (You)
You can’t undo this operation
Are you sure?
Meaning: Once you enter event editing (even if you leave
event editing without actually editing an event), it will no
longer be possible to execute a Compare of the previous edit.
If you wish to enter event editing, press the OK button. To
cancel, press the Cancel button.
You can’t undo last operation
Are you sure?
Meaning: When you exit recording or event editing in
Sequencer mode, the memory area for Undo (Compare
function) is not allocated. If you wish to keep the data that
was just recorded or edited, press the OK button. If you wish
to return to the previous data (i.e., to delete the data that was
just recorded or edited), press the Cancel button.
Meaning: When editing in Sequencer mode, memory area
for Undo (Compare function) cannot be allocated. If you
wish to execute the edit, press the OK button. (It will not be
possible to return to the state before editing.) If you decide
not to execute the edit, press the Cancel button.
• In order to allocate memory area for Undo (Compare
function), delete unneeded data such as songs, tracks, or
patterns. We recommend that you save data to media
before you execute the edit operation.
269
Appendices
Disk and Media information
Types of media supported by the KRONOS
Internal disk
For more information, including requirements for external
USB storage media and details on connecting USB devices,
please see “5. Connecting USB devices” on page 23.
Naturally, you can read and write data using the built-in disk.
External USB storage media
USB CD-R/RW and DVD
The KRONOS supports USB external storage class devices,
including hard drives, flash drives, magneto-optical disks,
floppy disks, etc. Both MS-DOS FAT16 and FAT32 formats
are supported, with the following capacities:
Using a USB CD-R/RW drive, the KRONOS can read and
write UDF format CD-R/RW disks. For more information,
see “CD-R/RW disks on the KRONOS: UDF and packetwriting” on page 1142 of the Parameter Guide.
FAT32: up to 2 Terabytes (2,000 Gigabytes)
FAT16: up to 4 Gigabytes
The KRONOS can also play and record audio CDs (CDDA), read ISO9660 (level 1) CDs, and read UDF format
DVD disks.
Operations that the KRONOS can perform on media
• Audio CD creation (Disk mode)
You can create audio CDs from WAVE files, using
either internal or USB CD-R/RW drives.
Functions available with all media
• Saving and Loading files (Disk mode)
You can save and load any data stored in memory. For
details on KRONOS file types, please see “Files,
directories, and icons” on page 809 of the Parameter
Guide. Loading or saving divided files is supported for
USB media.
• Convert to ISO9660 Format (Disk mode)
The native KRONOS CD-R/RW format is UDF, which
allows you to write repeatedly to the same CD. UDF is a
standard format, but you can also convert such disks to
the more common (but less flexible) ISO9660 format.
• Utility operations (Disk mode)
You can copy or format media.
Functions available only on the internal
disk(s)
• Sampling/resampling (Program, Combination,
Sequencer, Sampling modes)
If Save to = DISK, sampled/resampled Wave files will
be written directly to media.
• Audio recording and playback (Sequencer mode)
You can record and play back audio tracks.
• Audio track editing (Sequencer mode)
You can edit the WAVE files used by audio tracks.
• Wave file playback (Sequencer, Disk modes)
Some limitations apply. *2
Internal
Disk
Function
USB HD,
Flash
Drives, MO
USB CD-R/RW
(UDF Packet
Write)
USB CD-R/RW
(ISO9660)
USB DVD-ROM
(ISO9660, UDF)
x
x
Save
l
l
l
l
Load
l
l
l
l
l
1
l
1
Sampling/Resampling
l
l
x
–*
–*
x
WAVE File Play
l
l
x
x
x
l
Make Audio CD
l (source)
l (source)
x
l
l (source)
x
Convert to ISO9660 Format
–
–
–
l
–
x
Audio Track Recording
l
x
x
x
x
x
Audio Track Edit
l
x
x
x
x
x
l : supported
x : not supported
– : not applicable
*1:
CD-DA (audio CDs) can be ripped in Sampling mode.
Note: If you have any questions regarding the media that can
be used, please contact your local Korg distributor. You may
also check the Korg website (http://www.korg.com).
270
USB
Floppy
Disks
Disk and Media information Restoring the factory settings
Restoring the factory settings
Restoring the original sounds
You can easily restore the Programs, Combinations, Drum
Kits, Wave Sequences, Set Lists, and EXs samples to their
original state as shipped from the factory. This is done by
loading the PRELOAD.PCG file, which is included both on
Accessory Disk 2 and the internal disk.
This operation will erase all of the internal KRONOS
sounds. If there are any non-factory sounds that you want
to keep, save them to disk now! For more information,
see “Saving data” on page 183.
Make sure that Memory Protect is off
Before loading, make sure that Memory Protect is turned
off:
1. Press the front-panel GLOBAL button.
2. Go to the Basic tab of the Basic Setup page.
3. Make sure that all of the Memory Protect check-boxes
are not checked.
8. Use “.PCG Contents” to select the data you want to
load. To completely restore the factory sounds, select
All.
Loading from the internal disk
“All” will load all of the factory sounds, including Programs,
Combinations, Set Lists, Drum Kits, Wave Sequences, and
Drum Track patterns.
Generally, it will be more convenient to load sounds from
the internal disk:
1. Press the DISK button to enter Disk mode.
2. Go to the Load tab of the File page.
For more information on the factory sounds, see “Program
bank contents” on page 29, “Combination bank contents” on
page 59, “Drum Kit memory structure” on page 178, and
“Wave Sequence banks” on page 170.
9. Set “.KSC Allocation” to Clear All.
10.Set the Load Method to KSC Settings.
11.Press the OK button to load the data.
Next, to make sure that the KSC loads automatically at
startup:
12.Go to the Global Basic—KSC Auto-Load page.
13.In the list of KSCs, check the Auto-load box next to
PRELOAD.KSC.
14.Un-check all of the other KSCs.
Loading from Accessory Disk 2
3. Use Drive Select to select HDD.
The LCD screen will show the files and folders on the
internal disk.
4. Touch the FACTORY folder to select it.
5. Press the on-screen Open button.
The LCD will now show the contents of the FACTORY
folder.
6. Select the PRELOAD.PCG file.
7. Press the Load button.
The Load PCG dialog box will appear.
If the sounds have somehow been erased from the internal
drive, you can also load them from Accessory Disk 2:
1. Insert the included Accessory Disk 2 into a connected
USB DVD drive.
2. Press the DISK button to enter Disk mode.
3. Wait for a few seconds, to give the KRONOS time to
recognize the disk.
4. Go to the Load tab of the File page.
5. Use Drive Select to select CDD.
The LCD screen will show the files and folders on the disk.
6. Follow the instructions in steps 4 through 14 under
“Loading from the internal disk,” above.
Never attempt to remove media while data is being
loaded.
271
Appendices
Specifications
Operating
temperature
+5 – +35 °C (no condensation)
System/Keyboard
System
KRONOS
Keyboard
88-key
RH3 (Real Weighted Hammer Action 3)*1
73-key
RH3 (Real Weighted Hammer Action 3)*1
61-key
Natural Touch Semi Weighted
*1: The key weight of the RH3 keyboard differs in four stages across the pitch range (with low notes
being heavier, and high notes being lighter), delivering a playing feel similar to that of a grand
piano.
Tone Generator
Synthesis Types: 9
Maximum Polyphony*2*3
HD-1
High Definition Synthesizer (PCM)
HD-1
AL-1
Analog Synthesizer (Analog Modeling)
CX-3
Tonewheel Organ (Tonewheel Organ Modeling)
EXi
(Expansion
Instruments)
STR-1
Plucked String (Physical Modeling)
MS-20EX
Component Modeling Technology (Analog Modeling)
PolysixEX
Component Modeling Technology (Analog Modeling)
MOD-7
Waveshaping VPM Synthesizer (VPM Synthesis)
SGX-1
Premium Piano (Acoustic Piano)
EP-1
MDS Electric Piano (Electric Piano)
HD-1
140 voices
AL-1
80 voices
CX-3
200 voices
STR-1
40 voices
MS-20EX
40 voices
PolysixEX
180 voices
MOD-7
52 voices
SGX-1
100 voices*4
EP-1
104 voices
*2: In rare cases, when a large number of processor-intensive effects are active simultaneously (for
instance, more than 14 O-Verbs), polyphony may be slightly reduced.
*3: A portion of the multicore processor in KRONOS is devoted to generating voices, and a
separate portion is devoted to generating effects. KRONOS dynamically allocates the voice
processing power between the engines as necessary. The quoted maximum numbers of voices
apply when 100% of the voice processing power is devoted to a single engine.
*4: 100 dual-stereo notes (equivalent to 400 mono voices)
Preset PCM
314 MB (ROM 1,505 multisamples, 1,388 drum samples)
Build-in Expansion PCM
Libraries
EXs1
Capacity of PCM RAM
ROM Expansion
EXs2
Concert Grand Piano
EXs3
Brass & Woodwinds
EXs4
Vintage Keyboards
EXs5
ROM Expansion 2
EXs6
SGX-1 German D Piano
EXs7
SGX-1 Japanese C Piano
EXs8
Rock Ambience Drums
EXs9
Jazz Ambience Drums
KRONOS: About 1GB, expandable to about 2GB*5: KRONOS X: About 2GB*5
*5: The memory available for Sampling Mode will change based on the use of Expansion PCM
libraries and User Sample Banks.
Wave Sequences
Preload
165 Wave Sequences
User Memory
598 Wave Sequences
Support for stereo multisamples, synchronization of individual notes, and tempo-based settings.
272
Specifications HD-1 Program
HD-1 Program
Advanced Vector Synthesis
Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the
tempo-synchronized Vector Envelope.
Structure
Single: only OSC1, Double: OSC1 and OSC2.
Double mode lets you layer two completely separate synth voices, each with their own velocityswitched oscillator, dual filter, EGs, LFOs, etc.
Oscillator
Virtual Memory Technology (VMT) plays large samples directly from the internal SSD.
8 velocity zones per oscillator, with switching, crossfades and layering.
Each zone can play mono or stereo Multisamples or Wave Sequences.
Filters
Two multi-mode filters per voices (low-pass, high-pass, band-pass and band- reject),
Four-mode filter routings (single, serial, parallel and 24dB mode).
Driver
Per voice non-linear driver and low boost circuit.
EQ
Three bands, with sweepable mid.
Modulation
Three envelope generators, two LFOs per voice, common LFO, four key tracking generators,
AMS (Alternate Modulation Source), two AMS mixers.
Advanced Vector Synthesis
Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the
tempo-synchronized Vector Envelope.
Modulation
Common Step Sequencer, AMS (Alternate Modulation Source), Common LFO, 2 Key Tracking
Generators.
EQ
Three bands, with sweep-able mid
Drums: One drum kit, Double Drums: Two drum kits.
EXi Program
Common
AL-1 Program
Oscillators
Ultra-low-aliasing oscillators
OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM and Sync.
CX-3 Program
STR-1 Program
Audio Input
External audio can be processed through the ring modulator, filter, driver, amp, and EQ.
Filters
Two multi-mode filter (low-pass, high-pass, band-pass and band-reject) with four types of filter
routings (single, serial, parallel and 24dB mode), MultiFilter mode (only Filter-A; modulatable mix of
Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and
effects).
Driver
Per-voice non-linear driver and low boost circuit.
Modulation
Five Envelope generators, four per-voice LFOs, two Key Track generators, two AMS Mixers,
Per-voice Step Sequencer.
Tonewheel Organ Modeling
Phase-synchronous tonewheels (clean and vintage modes), percussion, key click, wheel brake.
EX Mode
Four additional, user-specified drawbars, and expanded percussion.
Internal Effects
Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-band EQ.
Drawbar Control
Controlled via nine front-panel sliders (via Tone Adjust).
Split
Upper, Lower
Modulation
Two AMS mixers.
Physically Modeled String
Includes physically modeled damping, decay, dispersion, nonlinearity, harmonics, dual pickups,
and more.
Most string parameters can be controlled in realtime.
String Excitation
Three independent excitation sources can be used simultaneously: Pluck, Noise, and PCM.
16 preset “pluck” types, with modulatable width and randomization.
Noise generator with saturation and dedicated lowpass filter.
PCM Oscillator
Korg’s ultra-low-aliasing technology, as introduced in the HD-1.
4 velocity zones per oscillator.
Uses any mono Multisamples, including ROM, EXs, User Sample Bank, or
Sampling Mode. Supports Virtual Memory.
PCM can either be used as an excitation signal, or layered with the output of
the string.
Excitation Filter
Dedicated 2-pole multimode filter for shaping the string excitation.
Filter can be enabled/disabled separately for each excitation source.
Low Pass, High Pass, Band Pass, and Band Reject modes.
Audio Input and Feedback
Run real-time audio through the string, including feedback through effects.
Filters
Dual multi-mode filters per voice; Single, Serial, Parallel (with split stereo output), and 24dB (4-pole)
configurations. Low Pass, High Pass, and Band Reject modes.
Modeled feedback includes modulate-able instrument-to-amp distance and orientation.
Multi Filter mode (Filter A only).
Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of
unique filter types and effects.
Modulation
5 Envelopes, 4 per-voice LFOs, 2 Key Track generators, String Tracking generators, 4 AMS Mixers.
273
Appendices
MS-20EX Program Oscillators
Ultra-low-aliasing oscillators.
VCO1, VCO2, Ring Mod, Pink and White Noise Generator.
Audio Input
Run real-time audio through the synthesis engine and ESP (External Signal Processor).
Filters
12dB/octave High Pass and Low Pass self-resonant filters.
Patch Panel
Patchable audio and modulation, at audio rates.
ESP section: 24dB/octave Low Cut and High Cut filters, available per voice.
Keyboard: Keyboard CV Out, Keyboard Trigger Out, VCO1+VCO2 CV In, VCO2 CV In
VCO: VCO1+VCO2 External Frequency Control In, VCO1 Out*, VCO2 Out*
VCF: External Signal In, External HP Filter Cutoff Frequency Control In, External LP Filter Cutoff
Frequency Control In, HPF Out*, LPF In*, LPF Out*
VCO+VCF: Total External Modulation In
VCA: External Initial Gain Control In, VCA In*
EG: EG1 Envelope Signal Normal Out, EG1 Envelope Signal Reverse Out, EG1+EG2 Trigger In, EG1
Trigger In, EG2 Envelope Signal Reverse Out
MG: Triangle Out, Rectangle Out
Noise Generator: Pink Noise Out, White Noise Out
Sample and Hold: Clock Trigger In, Sample Signal In, S/H Out
Modulation VCA: Control Voltage In, Signal In, Signal Out
Manual Controller: Control Wheel Out, Momentary Switch
* New patch points not provided ESP: Signal In, AMP Out, BPF In, BPF Out, F-V CV Out, Envelope Out, Trigger Out
on the original MS-20. Others: EXi Audio In*, Mixer 1 In*, Mixer 1 Out*, Mixer 2 In*, Mixer 2 Out*
Patch Points
ESP (External Signal
Processor)
Use incoming audio as a trigger and/or CV source.
Modulation
MS-20: Original DAR and HADSR EGs 1 & 2, original MG (with MIDI sync), Sample-and-Hold, MVCA.
KRONOS: 4 additional multi-stage Envelopes, 4 additional per-voice LFOs, and 4 AMS Mixers.
PolysixEX
Program
Oscillators
VCO: Saw, Pulse, PWM
Sub Oscillator: Off, 1 octave below, 2 octaves below
Filter
24dB (4-Pole) Low Pass self-resonant filter
Effects
Integrated Polysix Chorus, Phase, and Ensemble.
Arpeggiator
Integrated MIDI-synced arpeggiator, with adjustable Range, Mode, and Latch.
Modulation
Polysix: Original ADSR EG and MG (with MIDI sync).
KRONOS: 2 additional multi-stage Envelopes, 2 additional per-voice LFOs, and 4 AMS Mixers.
MOD-7 Program
Waveshaping VPM
Synthesizer
Combines Variable Phase Modulation (VPM), waveshaping ring modulation, PCM sample playback,
and subtractive synthesis.
Able to convert-load SYX files.
Oscillators
6
Phase and modulatable pitch per oscillator.
VPM/Waveshaper/Ri 101 Waveshaper tables plus modulatable Drive and Offset.
ng Modulation
Use as oscillators, or as Waveshapers or Ring Modulators for other signals.
Oscillators
PCM Oscillator
Korg’s ultra-low-aliasing technology, as introduced in the HD-1.
4 velocity zones per oscillator.
Uses any mono Multisamples, including ROM, EXs, User Sample Bank, or
Sampling Mode. Supports Virtual Memory.
PCM can be used as an FM modulator and/or layered with the VPM
Oscillators.
Noise generator with saturation and dedicated low pass filter.
Audio input
Filters
Run real-time audio through the VPM Oscillators and filters.
Dual multi-mode filters per voice (Low Pass, High Pass, Band Pass, and Band Reject modes).
Two types of filter routing (parallel, 24 dB (4-pole)).
Multi Filter mode (Filter A only):
Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of
unique filter types and effects.
Patch Panel
Supports both algorithm (78 types) selection and free patching.
Three 2-in, 1- out mixers for scaling and merging audio, fully modulatable, with phase inversion.
Main 6-input stereo mixer, with modulatable pan and volume, plus phase inversion.
SGX-1 Program
274
Modulation
10 Envelopes, 4 per-voice LFOs, 9 Key Tracking generators, Per-voice Step Sequencer, 4 standard
AMS Mixers plus 4 simple AMS Mixers.
Premium Piano
Virtual Memory Technology (VMT) plays large samples directly from the internal SSD.
Chromatically sampled at eight velocity levels, no looping.
Damper resonance and mechanical noise.
PCM
EXs6 - SGX-1 German D Piano; EXs7 - SGX-1 Japanese C Piano
Piano Type
32 or more
Oscillator Control
Damper Resonance, Damper Noise, Mechanical Noise, Note Release
Specifications EP-1 Program
EP-1 Program
MDS Electric Piano
Tine-type and reed-type electric pianos powered by Multi-Dimensional Synthesis (MDS), and
vintage effects.
Electric Piano Model Types: 6
Tine EP I, Tine EP II, Tone EP V, Tine EP DMP, Reed EP200, Reed EP200A
Oscillator Control
Harmonic Sound Level, Attack Noise Level, Release Noise Level, Attack Brightness, Hammer Width
Panel Control
Tine Type
Preamp Volume, Tone (Treble, Bass), Vibrate (On/Off, Intensity, Speed),
Amp/Cabinet (On/Off, Drive)
Reed Type
Preamp Volume, Tone (Treble, Bass), Vibrate (Intensity, Speed), Amp/Cabinet
(On/Off, Drive)
Effect Types: 9
Combination
Drum kit
Small Phase, Orange Phase, Clack Phase, Vintage Chorus, Black Chorus, EP Chorus, Vintage Flanger,
Red Comp, VOX Wah
Number of Timbres
16 Maximum
Master Keyboard
Functionality
Keyboard and velocity splits, layers, and crossfades of up to 16 Programs and/or external MIDI
devices.
Advanced Vector Synthesis
Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the
tempo-synchronized Vector Envelope.
Assignable stereo/mono samples with 8 velocity zones per oscillator (with crossfade functions).
Number of
User memory programs
Programs/Combi User memory combinations
nations/Drum kits
User memory drum kits
2,560 (1,536 or more preloaded [768 or more HD-1+768 or more EXi])
1,792 (480 or more preloaded)
264 (78 or more preloaded)
256 GM Level2 preset programs+ 9 GM Level 2 drum preset programs
Set lists
Number of set lists/slots
128 set lists, 128 slots per set list
Each set list provides a 9-band graphic EQ, and a Tone Adjust function that allows program settings to be adjusted.
Hold Time setting of Smooth Sound Transition (SST) supported for each slot.
Sampling
Effects
KARMA
System
Open Sampling System (resampling, In-Track sampling)
Bit/Frequency
RAM: 16bit/48kHz Stereo/Mono Sampling
Disk: 16 or 24 bit/48kHz
Sampling time
RAM: Depends on the amount of available PCM RAM
DISK: Maximum of 80 minutes stereo (879 MB: 16bit)
Samples
16,000 samples/4,000 multisamples (128 indexes per multisample)
Ripping
Direct sampling (ripping) from audio CD (CD-DA)
Formats
Korg format, AKAI S1000/S3000 data (with advanced Program parameter conversion); SoundFont
2.0, AIFF, and WAVE formats
Editing
Time Stretch, Time Slice, Crossfade Loop, and other standard editing features.
Insert Effects
12, Stereo in / stereo out
Master Effects
2, Stereo in / stereo out
Total Effects
2, Stereo in / stereo out
Timbre/Track EQ
One 3-band EQ for each timbre/track
Effect Types
185 different Effects types (Any Effect type may be used for Insert, Master, or Total Effects.)
Modulation
Dynamic Modulation and Common LFO
Effects Control Busses
Stereo side-chaining for compressors, gates, vocoders, etc.
Effect Presets
783, Maximum 32 per 1 effect (Preset User)
KARMA Modules
One module in Program mode, four modules in Combination and Sequencer modes.
Generated Effects (GE)
2,048 presets, 1,536 Users (96 come Preload)
Controllers
On/Off, Latch, Chord, Assign, Module, Control
KARMA Realtime Control Sliders [1]–[8], KARMA Scene [1]–[8], KARMA Switches [1]–[8], KARMA
Wave-Sequencing, GE Sub Category, Freeze Randomize, Time Signature Control, Tempo
Synchronize
Auto RTC (Real Time Control) setup
Drum Track
Preset patterns
697 preset (common with the preset patterns of the MIDI sequencer)
User patterns
1,000 patterns
Patterns created in Sequencer mode can be converted to drum track user patterns.
Trigger Mode/Sync/Zone settings can be specified.
Sequencer/HDR
Tracks
16-track MIDI sequencer + 16-track hard disk recorder + master track.
Number of Songs
200 songs
Resolution
q /480
Tempo
40.00–300.00 (1/100 BPM resolution)
Maximum memory
400,000 MIDI events (with MIDI data only) or 300,000 Audio events (with Audio data only)
MIDI Tracks
16 tracks plus the master track
697 preset/100 user patterns (per song)
18 preset/16 user template songs
Format: Korg (KRONOS, OASYS) format, SMF formats 0 and 1
Audio Tracks
16-track playback, 4-track simultaneous recording, WAV file format 16bit/24bit
Automation: Volume, Pan, EQ, and Send1/2
10,000 regions (max.), Event Anchors, BPM Adjust
Other Functions
RPPR (Realtime Pattern Play and Record): 1 Pattern set per song.
Auto Song Setup function
275
Appendices
General
Disk Mode
Load, save, utility, audio CD burning, audio CD playback, data filer function (save/load MIDI System
Exclusive data), CD-R/RW (UDF format read/write), ISO9660 Level 1
Controllers
Vector joystick, joystick, ribbon controller, switches 1 & 2
Control Surface
Control Assign Switches: Assigns the Control Surface to Timber/Track, Audio,
External, Realtime Knobs/KARMA, Tone Adjust/EQ
Mixer Knobs Switch: Assigns the Mixer Knobs to either Channel Strip or
Individual Pan, Reset Control Switch, Solo Switch, Knobs 1-8, Switches 1-8
(Upper Row), Switches 1-8 (Lower Row), Sliders 1-8, Master Slider
KARMA Control: On/Off, Latch, Chord Assign, Module Control
KARMA Controller
Section
Switches = ON/OFF, LATCH, MODULE CONTROL
DRUM TRACK
Controller Section
Switches = ON/OFF
Display
TouchView graphical user interface, 8 inch TFT, SVGA (800x600 dots), adjustable brightness.
Principal specifications
Frequency response 20 Hz–22 kHz ±1.0 dB, 10 k load
Audio Outputs
(Analog)
THD+N
20 Hz–22 kHz 0.01 %, 10 k load (typical)
Signal to noise ratio
95 dB (typical)
Dynamic range
95 dB (typical)
Crosstalk
95 dB, at 1 kHz (typical)
AUDIO OUTPUT
(MAIN) L/MONO, R
1/4” TRS balanced
AUDIO OUTPUT
(INDIVIDUAL) 1–4
Nominal Level: +4.0 dBu
Output Impedance: 350  stereo; 175  mono (L/Mono only)
Maximum Level: +16.0 dBu
Load Impedance: 600  or greater
MAIN VOLUME knob controls only AUDIO OUTPUT (MAIN) L/MONO and R
Headphones
1/4” stereo phone jack
Output Impedance: 33 
Maximum Level: 60+60 mW @33 
MAIN VOLUME knob (link with AUDIO OUTPUT (MAIN))
Optical S/P DIF
(Digital)
Format: 24 bit, S/P DIF IEC60958 EIAJCP-1201
Sample Rate: 48 kHz
Digital output of the same signals as AUDIO OUTPUT (MAIN) L/MONO and R
USB B
Format: 24 bit
Sample Rate: 48 kHz
2 channels (Digital output of the same signals as AUDIO OUTPUT (MAIN)
L/MONO and R)
Audio Inputs
(Analog)
Audio inputs 1, 2
1/4” TRS balanced
MIC/LINE input level switches, LEVEL knobs
Input Impedance: 10 k
Nominal Level: LINE
+4 dBu (LEVEL knob = min), –36 dBu (LEVEL knob = max)
Nominal Level: MIC
–22 dBu (LEVEL knob = min), –62 dBu (LEVEL knob = max)
Maximum Level: LINE
+16 dBu (LEVEL knob = min), –24 dBu (LEVEL knob = max)
Maximum Level: MIC
–10 dBu (LEVEL knob = min), –50 dBu (LEVEL knob = max)
Source Impedance: 600 
Signal to noise ratio: 95 dB (typical)
Dynamic range: 95 dB (typical)
Crosstalk: 95 dB, at 1 kHz (typical)
(Digital) Optical S/P DIF
Format: 24 bit, S/P DIF IEC60958 EIAJCP-1201
Sample Rate: 48 kHz
USB B
Format: 24 bit
Sample Rate: 48 kHz
2 channels
Control Inputs
DAMPER (half damper supported)
MIDI
IN, OUT, THRU
USB
USB A (TYPE A) x 2
For connection to external USB MIDI and storage devices
USB B (TYPE B) x 1
MIDI/audio interface
MIDI: 1 (16 channel) input / 1 (16 channel) output
Audio: 2 channel input / 2 channel output
ASSIGNABLE SWITCH, ASSIGNABLE PEDAL
2 USB 2.0 High-Speed ports (supports 480 Mbps)
276
Disk Drive
KRONOS: 30 GB SSD (2.5"); KRONOS X: 62 GB SSD (2.5”); optional installation of second internal SSD
Power
AC Power Supply terminal, POWER On/Off switch
Specifications Hardware
Dimensions (W x D x H)
88-key: 57.28" x 16.18" x 5.71" / 1,455 x 411 x 145 mm
73-key: 48.94" x 16.18" x 5.71" / 1,243 x 411 x 145 mm
61-key: 41.42" x 14.25" x 5.28" / 1,052 x 362 x 134 mm
Weight
88-key: 50.71 lbs. / 23.0 kg
73-key: 44.75 lbs. / 20.3 kg
61-key: 27.56 lbs. / 12.5 kg
Power Consumption
60W
Accessories
AC cord, Quick Start Guide, Accessory DVD Disc 1, 2 (DVDs include KRONOS Operation Guide,
Parameter Guide, and Voice Name List PDF files; Video Manual; KORG USB-MIDI Driver; System
Restore Data, etc.)
Options
Hardware
Software
Expression/Volume Pedal
XVP-10
Foot Controller
EXP-2
Damper Pedal
DS-1H
Pedal Switch
PS-1, PS-3
Other
MIDI Cable
EXs Expansion Samples:Expansion PCM library
* Appearance and specifications of this product are subject
to change without notice.
277
MIDI Implementation Chart
[Music Workstation]
Date : 2011. 1. 18
MIDI Implementation Chart
KRONOS
Function
Basic
Channel
Default
Changed
Mode
Memorized
Messages
Altered
Note
Number:
Velocity
Aftertouch
Transmitted
Recognized
1 – 16
1 – 16
1 – 16
1 – 16
Remarks
Memorized
3
9n, V=1 – 127
8n, V=1 – 64
Note On
Note Off
All note numbers 0–127 can be transmitted
by the KARMA function or as sequence data
0 – 127
0 – 127
0 – 127
True Voice
9n, V=1 – 127
8n, V=0 – 127
Sequencer does not record Note Off velocity.
Polyphonic aftertouch transmitted
only as sequence data
Polyphonic (Key)
Monophonic (Channel)
Pitch Bend
*C
0, 32
1, 2, 16, 18
4, 5, 7, 8, 10
11, 12, 13
64, 65, 66, 67
70 – 79
Control
80, 81, 82, 83
Change
93, 91, 92, 94, 95
14, 22 – 31, 102 – 109
110 – 117, 118, 119
6, 38, 96, 97
98, 99, 100, 101
0 – 119
0 – 119
0 – 119
120, 121
Program
Change
*A
*A
*P
Bank Select (MSB, LSB)
Joystick (+Y, –Y), Ribbon, Value Slider *C
Pedal, Portamento Time, Volume, IFX pan, Pan *C
Expression, Effect Control 1, 2
*C
Damper, Portamento Sw., Sostenuto, Soft *C
Sound (Realtime Knobs 1–4: 74, 71, 79, 72) *C
Switch 1, 2, Foot Switch, Controller
*C
Send 1, 2, Effect ON/OFF (IFXs, MFXs, TFXs) *C
KARMA Controllers
*C, *2
Pad1–8, Vector Joystick (X, Y)
*C, *2
Data Entry, Increment, Decrement
*C
NRPN (LSB, MSB), RPN (LSB, MSB) *C, *3
Realtime Knobs 5–8 VJS Assign
*C
Seq. Data, KARMA GE data output *C (Seq when received)
External Mode (Knobs, SWs, Sliders) *C, *4
All Sound Off, Reset All Controllers
*C
0 – 127
Variable Range
*E, *5
System Exclusive
System
Common
Song Position
Song Select
Tune
System
Real Time
Clock
Command
Aux
Messages
Local On/Off
All Notes Off
Active Sense
Reset
*P
0 – 127
0 – 127
0 – 127
*1
*1
0 – 127
*1
*1
123 – 127
Notes *P, *A, *C, *E: Transmitted/received when Global P1: MIDI Filter (Program Change, After Touch, Control Change, Exclusive) is Enable, respectively.
*1: When Global P1: MIDI Clock is Internal, transmitted but not received. The opposite for External MIDI.
*2: Valid if assigned as a MIDI control change in Global P2 Controller. The number shown here is the CC default assignment.
*3: RPN (LSB,MSB)=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune
*4: Valid if assigned as a MIDI control change in Global P1: External 1, 2
*5: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse
Tune are supported.
Mode 1: OMNI ON, POLY
Mode 2: OMNI ON, MONO
: Yes
For more information, consult
Mode 3: OMNI OFF, POLY
Mode 4: OMNI OFF, MONO
: No
your local Korg Distributor.
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be
used. If you have purchased this product via the internet, through mail order, and/or via a
telephone sale, you must verify that this product is intended to be used in the country in
which you reside. WARNING: Use of this product in any country other than that for which
it is intended could be dangerous and could invalidate the manufacturer’s or distributor’s
warranty. Please also retain your receipt as proof of purchase otherwise your product may
be disqualified from the manufacturer’s or distributor’s warranty.
4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan
© 2011 KORG INC.