iS40
iS40
iS50
Interactive
Music
Workstation
User’s Guide
AI2 Synthesis System
IMPORTANT SAFETY INSTRUCTIONS
WARNING — When using electrical products, basic precautions should be followed, including the following:
1. Read all the instructions before using the
product.
2. Do not use this product near water — for
example, near a bathtub, washbowl, kitchen sink,
in a wet basement, or near a swimming pool, or
the like.
3. This product should be used only with the cart or
stand that is recommended by the manufacturer.
4. This product, either alone or in combination with
an amplifier and headphones or speakers, may
be capable of producing sound levels that could
cause permanent hearing loss. Do not operate
for a long period of time at a high volume level or
at a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you
should consult an audiologist.
5. The product should be located so that its location
or position does not interfere with its proper
ventilation.
6. The product should be located away from heat
sources such as radiators, heat registers, or
other products that produce heat.
7. The product should be connected to a power
supply of the type described in the operating
instructions or as marked on the product.
8. The power-supply cord of the product should be
unplugged from the outlet when left unused for a
long period of time.
9. Care should be taken so that objects do not fall
and liquids are not spilled into the enclosure
through openings.
10.The product should be serviced by qualified
personnel when:
A. The power-supply cord or the plug has been
damaged; or
B. Objects have fallen, or liquid has been spilled
into the product; or
C. The product has been exposed to rain; or
D. The product does not appear to operate
normally or exhibits a marked change in
performance; or
E. The product has been dropped, or the
enclosure damaged.
11.Do not attempt to service the product beyond
that described in the user-maintenance
instructions. All other servicing should be
referred to qualified service personnel.
SAVE THESE INSTRUCTIONS
C A U TI O N
RISK OF ELECTRIC SHOCK
DO NOT OPEN
CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The lightning flash with the arrowhead symbol
within an equilateral triangle, is intended to alert
the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral
triangle is intended to alert the user to the
presence
of
important
operating
and
maintenance (servicing) instructions in the
literature accompanying the product.
GROUNDING INSTRUCTIONS
This product must be grounded (earthed). If it should malfunction or breakdown, grounding
provides a path of least resistance for electric current to reduce the risk of electric shock.
This product is equipped with a cord having an equipment-grounding conductor and a
grounding plug. The plug must be plugged into an appropriate outlet that is properly installed
and grounded in accordance with the local codes and ordinances.
DANGER – Improper connection of the equipment-grounding conductor can result in a risk
of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to
whether the product is properly grounded. Do not modify the plug provided with the product
– if it will not fit the outlet, have a proper outlet installed by a qualified electrician.
THE FCC REGULATION WARNING (FOR THE U.S.A. AND CANADA ONLY)
This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:
•
•
•
•
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
CANADA
THIS APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS
FROM DIGITAL APPARATUS SET OUT IN THE RADIO INTERFERENCE REGULATION OF THE
CANADIAN DEPARTMENT OF COMMUNICATIONS.
LE PRESENT APPAREIL NUMERIQUE N’EMET PAS DE BRUITS RADIOELECTRIQUES
DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE B”
PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE
CE mark for European Harmonized Standards
CE mark which is attached to our company’s products of AC mains operated apparatus until December
31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive
(89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company’s products of Battery operated apparatus means it
conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
IMPORTANT NOTICE FOR THE UNITED KINGDOM
Warning-THIS APPARATUS MUST BE EARTHED
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured
markings identifying the terminals in your plug,proceed as follows:
• the wire which is coloured green and yellow must be connected to the terminal in the plug which is marked with
the letter E or by the earth symbol
,or coloured green or green and yellow.
• the wire which is coloured blue must be connected to the terminal which is marked with the letter N or coloured
black.
• the wire which is coloured brown must be connected to the terminal which is marked with the letter L or coloured
Data Handling
Data in memory may sometimes be lost due to incorrect user action. Be sure to save important
data to floppy disk. Korg will not be responsible for damages caused by data loss.
LCD Display
Some pages of the manuals show LCD screens along with an explanation of functions and
operations. All sound names, parameter names, and values are merely examples and may not
always match the actual display you are working on.
Trademarks
Macintosh is a registered trademark of Apple Computer, Inc. MS-DOS and Windows are
registered trademarks of Microsoft Corporation. All trademarks or registered trademarks are the
property of their respective holders.
Disclaimer
The information contained in this manual has been carefully revised and checked through. Due to
our constant efforts to improve our products, the specifications might differ to those in the manual.
Korg is not responsible for any eventual differences found between the specifications and the
contents of the instruction manual - the specifications being subject to change without prior notice
Liability
KORG products are manufactured under strict specifications and voltages required by each
country. These products are warranted by the KORG distributor only in each country. Any KORG
product not sold with a warranty card or carrying a serial number disqualifies the product sold
from the manufacturer's/distributor's warranty and liability. This requirement is for your own
protection and safety.
Service and User’s Assistance
For service, please contact your nearest Authorized KORG Service Center. For more information
on KORG products, and to find software and accessories for your piano, please contact your local
Authorized KORG distributor.
Web servers
• Home page Korg Italy: “http://www.korg.it”
• Home page Korg.net: “http://www.korg.net”
• Home page Korg Inc.: “http://www.korg.com”
Copyright © 1997 Korg Italy Spa. Printed in Italy
Printed on 100% recycled paper.
How to...
How to...
Demo
Listening
Standard MIDI Files (SMF, Songs)
☞P. 20
Loading
Saving
Arrangements and automatic
accompaniments
☞P. 4, ☞P. 25
Starting & stopping
☞P. 4, ☞P. 23
Fill, intro, ending
☞P. 4, ☞P. 24
Changing the volume
☞P. 5
Loading from disk
☞P. 116
Creating new arrangements ☞P. 54
Listening
Erasing from memory
☞P. 21
☞P. 35, ☞P. 110
☞P. 7, ☞P. 21
☞P. 106
Selecting
Disk
Loading files
Saving files
Formatting a disk
☞P. 115
☞P. 119
☞P. 121
MIDI
Programs (single sounds)
Selecting
Assigning to the keyboard
Editing (Perf. Edit)
☞P. 5, ☞P. 26
☞P. 6, ☞P. 27
☞P. 36, ☞P. 142
Connecting a master keyb.
Connecting other instrum.
Connecting a sequencer
MIDI channel programming
☞P. 40
☞P. 40
☞P. 38
☞P. 95, ☞P. 101
i
Contents
Contents
GETTING
STARTED . . . . . . . . . . . . 1
6. Connecting to a computer (iS40) 42
Installing and setting up the “Korg MIDI Driver” software. . . . .44
Reading Standard MIDI Files with Macintosh. . . . . . . . . . . . . .51
Introduction . . . . . . . . . . . . . . . . . . . 2
Before you begin.... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1. Handbook . . . . . . . . . . . . . . . . . . 4
REFERENCE
GUIDE . . . . . . . . . . . . .53
7. Arrangement Play mode. . . . . . 54
2. Front and Rear Panels . . . . . . . . 10
Arrangement Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Backing Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Program mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Song Play mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Song Edit mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Disk/Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Display pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Functions of Arrangement Play mode . . . . . . . . . . . . . . . . . . .54
Tempo and chord scanning. . . . . . . . . . . . . . . . . . . . . . . . . . .55
Page 1: Performance monitor . . . . . . . . . . . . . . . . . . . . . . . . .56
Page 2: Style select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Page 3: Track settings (1). . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Page 4: Track settings (2). . . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Page 5: Ensemble/Variation change. . . . . . . . . . . . . . . . . . . .60
Page 6: Keyboard scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Page 7: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Page 8: Effect modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Page 9: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Page 10: Effect 1 settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Page 11: Effect 2 settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Page 12: Rename Arrangement . . . . . . . . . . . . . . . . . . . . . . .63
Page 13: Write Arrangement . . . . . . . . . . . . . . . . . . . . . . . . .64
Page 14: Write Keyboard Set (only the iS40) . . . . . . . . . . . . .64
4. Tutorial . . . . . . . . . . . . . . . . . . . 20
8. Backing Sequence mode . . . . . . 65
Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
The arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Recording new songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Standard MIDI Files (SMF) . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
The programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Functions in Backing Sequence mode . . . . . . . . . . . . . . . . . . .65
Page 1: Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
Page 1: Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Page 2: Step recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Page 3: Erase Backing Sequence . . . . . . . . . . . . . . . . . . . . . .75
Page 4: Copy Backing Sequence. . . . . . . . . . . . . . . . . . . . . . .75
Page 5: Edit 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Page 6: Edit 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Page 7: Shift note (Transposition). . . . . . . . . . . . . . . . . . . . . . .81
Page 8: Event edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Page 9: Extra Track settings (1) . . . . . . . . . . . . . . . . . . . . . . . .86
Page 10: Extra Track settings (2) . . . . . . . . . . . . . . . . . . . . . . .87
Page 11: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Page 12: Effect modulation . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Page 13: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Page 14: Effect 1 settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Page 15: Effect 2 settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Page 16: Next Backing Sequence . . . . . . . . . . . . . . . . . . . . . .89
Front panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
3. Operative modes . . . . . . . . . . . . 17
5. MIDI. . . . . . . . . . . . . . . . . . . . . . 38
Using the iS40/iS50 with an external sequencer . . . . . . . . . . 38
Controlling the iS40/iS50 with a master keyboard . . . . . . . . 40
Controlling another instrument with the iS40/iS50. . . . . . . . . 40
What is General MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
What are Standard MIDI Files? . . . . . . . . . . . . . . . . . . . . . . . 41
ii
Contents
Page 17: Rename Backing Sequence. . . . . . . . . . . . . . . . . . . 90
Page 18: SMF converter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
9. Song Play mode . . . . . . . . . . . . 92
Functions of Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . 92
Page 1: Performance monitor. . . . . . . . . . . . . . . . . . . . . . . . . 93
Page 2: Channel settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Page 3: Transpose position. . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Page 4: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Page 5: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Page 6: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Page 7: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Page 8: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
10. Song Edit mode . . . . . . . . . . . . 98
Functions of Song Edit mode . . . . . . . . . . . . . . . . . . . . . . . . . 98
Page 1: Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Page 2: Playback and recording . . . . . . . . . . . . . . . . . . . . . . 99
Page 2: Realtime recording . . . . . . . . . . . . . . . . . . . . . . . . . 100
Page 3: Track parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Page 4: Event edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Page 5: Shift notes (Transposition) . . . . . . . . . . . . . . . . . . . . 105
Page 6: Erase song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Page 7: Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Page 8: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 9: Effect modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 10: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 11: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 12: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Page 13: Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
11. Disk/Global mode. . . . . . . . . 111
Functions in Disk/Global mode . . . . . . . . . . . . . . . . . . . . . . 111
• “Parameter modified - Write?” message. . . . . . . . . . . . . . 112
Introduction to disks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Page 1: DISK functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Page 2: Master tuning/Transpose position . . . . . . . . . . . . . . 121
Page 3: Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . 122
Page 4: MIDI channel settings (1) . . . . . . . . . . . . . . . . . . . . . 123
Page 5: MIDI channel settings (2) . . . . . . . . . . . . . . . . . . . . . 124
Page 6: MIDI channel settings (3) . . . . . . . . . . . . . . . . . . . . . 125
Page 7: MIDI filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Page 8: Assignable pedal/switch. . . . . . . . . . . . . . . . . . . . . 127
Page 9: EC5 external controller (only the iS40). . . . . . . . . . . 129
Page 10: Lower memory/Velocity curve. . . . . . . . . . . . . . . . 130
Page 11: Chord recognition mode. . . . . . . . . . . . . . . . . . . . 131
Page 12: Auto chord scanning/Damper polarity. . . . . . . . . 132
Page 13: Main scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Page 14: Sub scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Page 15: User scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Page 16: MIDI data dump . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Page 17: Joystick settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Page 18: Write Global. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Page 19: Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
12. Program mode . . . . . . . . . . . 140
Functions of Program mode. . . . . . . . . . . . . . . . . . . . . . . . .
Page 1: Program play . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 2: Oscillator basic/Oscillator 2 relative. . . . . . . . . . . .
Page 3: Oscillator tone . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 4: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 5: VDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 6: VDF EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 7: VDF keyboard tracking. . . . . . . . . . . . . . . . . . . . . .
Page 8: VDF velocity sensitivity . . . . . . . . . . . . . . . . . . . . . .
Page 9: VDA EG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 10: VDA keyboard tracking . . . . . . . . . . . . . . . . . . . .
Page 11: VDF velocity sensitivity . . . . . . . . . . . . . . . . . . . . .
Page 12: Vibrato. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 13: Vibrato controller . . . . . . . . . . . . . . . . . . . . . . . . .
Page 14: VDF MG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 15: VDF MG controller/VDA level . . . . . . . . . . . . . . .
Page 16: Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 17: Effect select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 18: Effect modulation . . . . . . . . . . . . . . . . . . . . . . . . .
Page 19: Effect placement . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 20: Effect 1 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 31: Effect 2 settings . . . . . . . . . . . . . . . . . . . . . . . . . . .
Page 24: Rename program. . . . . . . . . . . . . . . . . . . . . . . . .
Page 22: Write program. . . . . . . . . . . . . . . . . . . . . . . . . . .
140
141
143
144
146
148
149
151
153
155
157
159
161
163
164
166
167
168
168
168
168
168
168
169
13. Effects . . . . . . . . . . . . . . . . . . 170
Effect type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
“Effect select” pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
“Effect modulation” pages . . . . . . . . . . . . . . . . . . . . . . . . . .
“Effect placement” pages. . . . . . . . . . . . . . . . . . . . . . . . . . .
“Effect 1 parameters” pages . . . . . . . . . . . . . . . . . . . . . . . .
“Effect 2 parameters” pages . . . . . . . . . . . . . . . . . . . . . . . .
Dynamic modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shelving equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Settings for each effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
170
171
171
172
174
174
175
175
175
14. Appendices . . . . . . . . . . . . . . 195
Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
List of detected chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Implementation chart. . . . . . . . . . . . . . . . . . . . . . . . . .
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Arrangements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Programs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multisamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drum kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drum samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
195
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201
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204
205
207
211
214
220
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Index. . . . . . . . . . . . . . . . . . . . . . 222
iii
Contents
iv
GETTING
STARTED
Getting Started • Introduction
Introduction
Thank you for having chosen the Korg iS40/iS50, the interactive music keyboard created for even the most
demanding musicians! Given the legendary Korg sound and the more sophisticated automatic accompaniment functions, the iS40/iS50 is the ideal instrument for those who play professionally and those who play
just for pleasure.
The iS40/iS50 is not only a keyboard with great sounds, great design and easy to use, it is also a flexible
instrument that allows you to read and save Standard MIDI Files, program new arrangements, create new
sounds. On the whole, it is a complete instrument which enhances the musician's creativity!
We wish you years and years of great music with the iS40/iS50!
User’s guide
The quickest and easiest way to obtain the best from your new instrument is to read the instruction guide.
This guide is divided into two parts:
Getting Started - For those who want to start playing straight away without too much theory. For the lazier
musicians we have dedicated the “Handbook”.
Reference - This is a more detailed look at the instrument and is for those who want to exploit all its potentiality to the full and become a real music programmer.
Safety instructions
Before turning the instrument on, read carefully the “Safety Instructions” on the inside cover. Done that?
Then let's make way for the music!
Before you begin...
Check the accessories included
The following accessories are supplied with the instrument. Check that you have all of them and if any are
missing contact your retailer.
√ User’s guide
√ Floppy disk “Accessory Disk”
√ Music stand
√ Power cable
2
Getting Started • Introduction
Getting ready to play
Connecting the power cable
● Plug the power cable into the power socket.
Make sure that the voltage is suitable for the instrument (the voltage is indicated next
to the AC power inlet).
Turning on the power
● Press the POWER switch to turn the instrument on.
On turning on, the instrument will be in the Arrangement Play mode. If you
are connected to an external amplifying system, turn the diffusers on only
after having switched on the iS40/iS50.
● To turn the instrument off, press the POWER switch again.
In order to save on electricity, turn the instrument off when you are not
using it. Do not turn the power off while the disk indicator is lit or while a
message such as “Loading”, “Saving” or “Formatting” is on the LCD display.
NB: When the instrument is turned off, all the data contained in the RAM memory will be lost (e.g. backing
sequence and song). On the contrary, USER styles, USER arrangements and USER programs are retained.
Adjusting the volume
● Raise the MASTER VOLUME slider to about middle position.
Louder
Moving the slider upward towards “10” will increase the volume, and moving it downward towards the “0” will decrease the volume. In the “0” position the instrument will
be mute.
If you are connected to an external amplifying system, you should at this point, turn the
volume of the diffusers up and then adjust both the volume of the iS40/iS50 and that of
the diffusers.
Mellower
The MASTER VOLUME slider controls the volume of the speakers, the headphones and the OUTPUT jacks
located on the rear panel.
Warning: At higher volumes, the sound can be distorted.
The headphones
● Connect the stereo headphones (with a 1/4” jack plug) to
the PHONES jack located on the rear panel.
Adjust the volume with the MASTER VOLUME slider.
The music stand
● Insert the music stand (included with the instrument) in the
holes in the rear panel.
Make sure it is stable.
3
Getting Started • 1. Handbook
1. Handbook
(Note: The image at the bottom of this page is of the iS40's Control Panel. The iS50 is slightly different.)
Basic functions
How to change the tempo
Move the cursor to the “Tempo” parameter ( =120).
When the display shows the TEMPO label, change the
tempo with the buttons of the TEMPO/VALUE [5]
section. To go faster press UP/+, to slow down
DOWN/-. In the iS40, the DIAL has the same function
as the TEMPO/VALUE keys.
How to start the automatic
accompaniment
Press the ARR PLAY button [1].
How to choose the variation of the
arrangement
How to choose an arrangement
If you are not already in the Arrangement Play mode,
press ARR PLAY [1]. In the section ARRANGEMENT
[2] press the button of the bank (A, B or USER), then
press the number buttons to choose a number between
11 and 88.
The four buttons of the VARIATION [6] section,
enable you to choose each of the variations of the
“style” played by the arrangement. Press one of the
buttons to choose one of the variations.
Example: To choose the “Mazurka” arrangement
(number 85 of bank A) press in succession A, 8, 5.
How to use intro and ending
If the accompaniment is playing, press one of the two
buttons of the INTRO/ENDING [7] section to make
an ending play. If the accompaniment is not playing,
press one of the two buttons to “book” an intro, then
make the automatic accompaniment play: press
START/STOP, or press SYNCRO START (SYNCHRO
START/STOP in the iS50) and play a chord with your
left hand.
How to get an accompaniment going
Press START/STOP [3]. Or press SYNCHRO-START
[4] (or SYNCHRO START/STOP in the iS50) and play
a chord with your left hand.
How to stop the accompaniment
Press START/STOP [3].
2
1
4
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5
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6
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3
4
Getting Started • 1. Handbook
How to select a track
Use the VOLUME [8] buttons to select the tracks. Each
pair of buttons corresponds to the track indicated
above them. Briefly press one of the buttons to select
the corresponding track.
Tracks Upper 2 and Lower can be selected alternatively. It is not possible to activate both Upper2 and
Lower at the same time.
Tracks Upper 2 and Lower are selected by the same
pair of buttons LOW/UPP2. In order to select Upper 2
track, press one of the LOW/UPP2 buttons and activate UPPER 2 in the KEYBOARD ASSIGN [9] section.
To select Lower track activate the SPLIT in the KEYBOARD MODE [10] section, press one of the LOW/
UPP2 buttons and activate LOWER in the KEYBOARD ASSIGN section.
How to choose a sound
The basic sounds of the iS40/iS50 are called “programs”. The programs are split into six banks (A, B, C,
D, E, F-USER/DRUM), each of which has 64 programs. Banks A and B contain the General MIDI
sounds.
Select the track you want to assign a program to. In the
PROGRAM [11] section, press the button of the bank
(A, B, C, D, E, or F-USER/DRUM), then press two
8
number buttons to choose a number between 11 and
88.
Example: To assign the Harmonica program to the
Upper 1 track (program number 37 in bank A) press
one of the UPP1 buttons in the VOLUME section, then
press in succession A, 3, 7 in the PROGRAM section.
In Program mode, you can select a program with the
TEMPO/VALUE buttons (or the DIAL).
How to mute a track
In the VOLUME [8] section, press together the two
buttons of the track to be muted. You can mute the
Upper 1, Upper 2 and Lower tracks using the buttons
in the KEYBOARD ASSIGN [9] section (unlit
led=track in mute).
Example: To mute the drums, press together the two
DRUMS buttons. To make the track play again, press
one of the two buttons, or both buttons together once
more.
How to mix tracks
To individually adjust the volume of each track, both
accompaniment and keyboards, use the pair of buttons
in the VOLUME [8] section. Press the top button to
raise the volume, the lower button to decrease it.
9
11
10
5
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7
5
Getting Started • 1. Handbook
Transposition
How to transpose the sounds of the
keyboard by an octave
To transpose the keyboard (track Upper 1, or the
selected track) by an octave higher or lower use the
buttons in the OCTAVE [12] section. The [+] button
transposes an octave higher, while the [-] transposes
an octave lower. To cancel the transposition press the
two buttons together.
How to transpose the sounds of the
keyboard by semitones
To transpose the whole instrument by a semitone (or
by some semitones) use the buttons in the TRANSPOSE [13] section. Each time the [ ] is pressed, it
transposes a semitone higher, while the [ ] button
transposes a semitone lower. To cancel the transposition press the two buttons together.
Note: When the accompaniment is playing, transposition will occur on the next measure.
Keyboard and sounds
way the tracks are placed on the keyboard. To play a
sound on the whole keyboard, press FULL UPPER in
the KEYBOARD MODE [10] section, then UPPER 1 in
the KEYBOARD ASSIGN [9] section.
(As an alternative, you can press the PROGRAM button, to enter the Program operative mode.)
How to play two tones together on the
keyboard
First press FULL UPPER in the KEYBOARD MODE
[10] section, then press UPPER 1 and UPPER 2
together in the KEYBOARD ASSIGN [9] section.
How to split the keyboard between two
sounds
The button SPLIT in the KEYBOARD MODE [10] section is used to split the keyboard into a lower part
(Lower) and a higher part (Upper). To split the keyboard press SPLIT, then press UPPER 1 and LOWER in
the KEYBOARD ASSIGN [9] section to have a right
hand sound and a left hand sound.
If the program at the left hand is too low, transpose it
by an octave using the OCTAVE [+] button.
How to play the drums on the keyboard
How to play a tone on the whole
keyboard
The buttons in the KEYBOARD ASSIGN [9] section
turn on or off the tracks of the keyboard (Upper 1,
Upper 2, Lower), whereas the buttons in the KEYBOARD MODE [10] section are used to choose the
Press M.DRUMS in the KEYBOARD MODE [10] section. To choose a drum program, press F(USER/
DRUM) twice in the PROGRAM [11] section, to make
the “Dr” abbreviation appear on the display, then
select the number of the drum program by pressing
two number buttons in the PROGRAM section. You
can select drum programs between 11-18 and 21-28.
Programs 27 and 28 are USER drum programs.
14
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13
12
10
Getting Started • 1. Handbook
How to play a right handed ensemble
Press ENSEMBLE [14], then play a left handed chord
and a right handed melody. To turn off the ensemble,
press ENSEMBLE again to switch the led light off.
the MODE [15] section. Press START/STOP [3] to
begin playback of all the pieces contained in the disk.
The pieces are played back in the same order as they
appear on the disk. Press START/STOP again to stop
playback.
Sequencer
How to isolate a track
While you are in the Song Play or Song Edit modes,
you can adjust the volume on all the tracks, except for
the one selected, with the ACC VOLUME cursor.
How to playback a Standard MIDI File
(SMF)
Insert the disk containing the Standard MIDI File to be
played back, into the disk drive. Press SONG PLAY in
the MODE [15] section. Use the buttons in the
TEMPO/VALUE [5] section to choose the song to be
used, then press START/STOP [3] to begin playback.
Press START/STOP again to stop playback.
How to record a new piece
How to playback all the Standard MIDI
Files contained in one disk
Switch on the Backing Sequence mode by pressing
B.SEQ in the MODE [15] section. Select an arrangement with the buttons in the ARRANGEMENT [2]
section. Press REC/WRITE [17] to enter the recording
mode. Press START/STOP [3] and wait for an initial
two measure count (pre-count), then play as if you
were playing normally with the arrangements. At the
end of the piece press START/STOP to stop the
sequencer.
Insert the disk containing the Standard MIDI File to be
played back, into the disk drive. Press SONG PLAY on
To listen to the piece you have just performed, press
START/STOP to begin the playback.
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17
7
Getting Started • 1. Handbook
Disk
ible hole. If you can see two holes the disk is protected
and you need to remove the plastic flap to open up the
closed hole.
How to load a file from a disk
Do not use the disks that are supplied with the iS40/
iS50, otherwise you will lose the data contained on
them!
Note: The iS40/iS50 incorporates a new type of disk
drive, that you can’t hear “click” when the disk is
inserted into place.
Insert the disk you wish to format in the drive, press
DISK/GLOBAL in the MODE [15] section. Select the
(UTIL) option using the CURSOR buttons and press
ENTER/YES to access the “Utilities” subpage. Select
(FORMAT) with the CURSOR buttons, and press
ENTER/YES to begin formatting. The message “Format?” or “Continue?” will appear, confirm by pressing
ENTER/YES again.
The disk supplied with the instrument contains files
that can be loaded into the USER banks. Insert a disk
into the drive. Press DISK/GLOBAL in the MODE
[15] section to access the “Disk” page. While (LOAD)
is selected, press ENTER/YES to access the “Load”
subpage.
While (ALL) is selected, press ENTER/YES to access
the “Load All” subpage. At this point the ALL files are
selected, press ENTER/YES to view the ALL files contained in the disk.
In a couple of minutes the disk will be formatted and
on the display the message “Completed” will appear.
Use the TEMPO/VALUE [5] buttons to run through
the contents of the disk. When the name of the file you
wish to load appears on the display, press ENTER/
YES to load it. All files can contain styles, arrangements and programs for USER banks. They can also
contain backing sequences, songs and keyboard sets.
How to save the contents of memory on
disk
Insert a formatted disk into the disk drive. Press
DISK/GLOBAL to access the “Disk” page. Select
(SAVE) using the CURSOR buttons, and press
ENTER/YES to access the “Save” subpage. Select
(ALL) using the CURSOR buttons, and press ENTER/
YES to give the new file a name.
How to format a disk
Before saving data on a disk, you need to format the
disk in a format that is recognizable by the instrument.
The format is compatible with MS-DOS, therefore it is
the same as formatting a disk on a DOS, Windows, or
Macintosh computer equipped with PC-Exchange or
an equivalent.
The name of the file you wish to save will appear (the
name is “NEW_FILE” before it is modified). Select the
character you wish to modify with the CURSOR buttons, and choose a character with the TEMPO/VALUE
buttons (or the DIAL). Once you have assigned a
name, press ENTER/YES twice in order to save the
file.
To directly format the disk with the iS40/iS50, take a
3.5" HD “blank” disk (new and never used before) or a
disk with data that you do not mind losing. The disk
must be unprotected, that is it must have only one vis-
Do not assign the same name of an existing file on
disk to the new file, otherwise the former will be
erased!
5
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3
Getting Started • 1. Handbook
Arabic scale
the pedal) or page 9 (for the EC5). With the TEMPO/
VALUE buttons, choose the SCALE CHANGE option.
How to program the EC5 or a pedal
The iS40/iS50 is normally tuned with equal temperament. You can assign the switching between equal
temperament and a programmed sub scale, like the
Arabic scale, to a pedal or the EC5 controller.
Connect a footswitch to the ASSIGNABLE PED/SW
connector, or the KORG EC5 controller to the EC5 connector of the iS40.
Press DISK/GLOBAL in the MODE [15] section.
Press repeatedly PAGE+ until you get to page 8 (for
Press PAGE+ a few times to get to “Page 14. Sub
Scale”. With the TEMPO/VALUE buttons, choose the
ARABIC option. The note “Key” will indicate the type
of Arabic scale. Press ARR. PLAY in the MODE [15]
section to get back to the Arrangement Play mode.
How to switch from equal temperament
to Arabic scale
While playing, press the pedal that you have programmed to select the Arabic scale. The Arabic scale
will be selected. Press the pedal again to go back to
equal temperament.
15
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9
9
Getting Started • 2. Front and Rear Panels
2. Front and Rear Panels
Front panel
7
1
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3
8
7
•
4
1 MASTER VOLUME slider
General volume (speakers, headphones and OUTPUT outlets).
2 ACC.VOLUME (Accompaniment Volume) slider
Automatic accompaniment volume. In Song Play
and Song Edit modes, it controls the volume of all
tracks, except the one selected.
3 Display
The editing pages, parameters and messages for the
user will appear in this display.
4 Joystick
Pitch bend (↔), modulation (↑), sound parameters
(↓).
5 Floppy disk drive slot
3.5 inch double-sided double density (2DD) or double-sided high density (2HD) floppy disks can be
inserted in this drive. You can use Korg i-series formatted floppy disks and standard Ms-Dos formatted
floppy disks.
The iS40/iS5o incorporates a new type of disk
drive without auditory feedback (i.e. the “click”
when the disk has been pressed all the way in).
10
5
6
6 Disk eject button
Press this button to remove a floppy disk from the
drive. If pressing this button does not eject the disk,
do not try to force it out. Contact your dealer or
nearest Korg Service Station.
7 Speakers
Built-in speakers. Adjust the volume with the MASTER VOLUME slider.
Warning: Volume that is to high can cause serious
harm to your hearing. Keep the volume at a moderate
level.
Warning: At higher volumes, the sound can be distorted.
8 Control panel
The control panel contains the buttons which are
used to perform the various editing and control
functions. A more detailed description of this panel
is given in the next section.
Getting Started • 2. Front and Rear Panels
Control panel
iS40
A
B
1
1
2
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56
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iS50
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1 MODE section
The buttons in this section activate the operating
modes of the instrument.
• ARR. PLAY (Arrangement Play) button
This button accesses the Arrangement Play mode.
(The instrument is automatically in this mode when
it is turned on). With this mode, you can use the
automatic accompaniment and perform live.
• B.SEQ (Backing Sequence) button
This button accesses the Backing Sequence mode.
With this mode, you can record or playback musical
performances played with automatic accompaniments.
• SONG PLAY button
This button accesses the Song Play mode. With this
mode, you can directly playback musical performances in Standard Midi File (SMF) format without
loading them from disk.
S T
U V
E
W
• SONG EDIT button
This button accesses the Song Edit mode. With this
mode, you can record, playback and edit a Standard
Midi File (SMF).
• DISK/GLOBAL button
This button accesses the Disk/Global mode. With
this mode, you can load and save data from a floppy
disk, and program some of the instrument's general
settings (e.g. the pedals and MIDI channels).
• PROGRAM button
This button accesses the Program mode. With this
mode you can play and edit the single programs
(single sounds).
• DEMO buttons
Press both ARR.PLAY and B.SEQ to access the Demo
mode, where you can listen to 16 demo pieces. Press
START/STOP to listen to all 16 pieces consecutively;
press START/STOP again to stop the demo playback. To listen to a single demo, select it using the
ARRANGEMENT NUMBER and PROGRAM NUM-
11
Getting Started • 2. Front and Rear Panels
BER buttons, then press START/STOP. To exit the
Demo mode, press EXIT/NO.
2 MEMORY-CHORD/TIE button
Arrangement Play and Backing Sequence modes:
keeps the chord after having taken your hand off the
keyboard. Backing Sequence-Step Recording mode:
inserts a tie (ties the last note played to the next note
that is going to be played).
3 MEMORY-LOWER/REST button
Arrangement Play and Backing Sequence modes:
keeps the Lower track after having taken your hand
off the keyboard. (Programming is on page 10 of the
Disk/Global mode). Backing Sequence-Step Recording mode: creates a pause.
4 BASS INV./< (Bass Inversion/backwards) button
Arrangement Play and Backing Sequence modes:
with this function, the lowest note of a chord played
in inverted form will always be detected as the main
note of the chord. Thus, you can specify to the
arranger, chords such as, Am7/G or F/C. When the
Chord Scanning is FULL, the bass note will not
change until another bass note is played. Backing
Sequence-Step Recording mode: this button is used
to go to the previous step.
5 SPLIT POINT/> (Split Point/forward) button
Arrangement Play and Backing Sequence modes:
selects the split point (division of the keyboard).
Hold down the button and play the note you wish to
become the split point. This note and all the notes to
the right of it are part of the Upper range, the notes
to its left are part of the Lower range. Backing
Sequence-Event Editing mode: goes to the next step.
6 TEMPO (Tempo Lock) button
Led lit up: when you change the arrangement the
tempo will not change. The tempo can be changed
by using the DIAL or the TEMPO/VALUE buttons.
7 SINGLE TOUCH button
Led lit up: when an arrangement is changed, keyboard programs and tempo will also change. The
tempo only changes if the TEMPO led is off.
8 ARRANGEMENT section
These buttons are used to select the arrangement.
Press one of the ARRANGEMENT BANK buttons to
choose the bank, use the ARRANGEMENT NUMBER buttons to select a number between 11 and 88 to
choose the arrangement. In the Arrangement Play
mode page 2, these buttons select the style. (You
only need to select the bank if the arrangement or
the style is in a different bank).
9 VOLUME buttons
These buttons are normally used to adjust the track
volume and to mute it. To raise the volume press the
upper button, to lower it press the lower button. To
mute a track, press the upper and lower button
together. To take off the mute, press one of the buttons briefly.
12
Arrangement Play mode: these buttons select the
tracks and change the volume. When a track has
been selected you can set a different program for
that track. Backing Sequence mode: these buttons
select the tracks and change the volume. To select
Extra Tracks, first press the TRK.SELECT button and
then the VOLUME buttons. Song Play mode: these
buttons select the MIDI channels and change the volume or the chosen parameters. To go from channels
1-8 to channels 9-16 press the TRK.SELECT button.
Song Edit mode: these buttons select the tracks and
change the volume or the chosen parameters. To go
from tracks 1-8 to tracks 9-16 press the TRK.SELECT
button.
Program mode: modifies the value of the parameters
indicated under each button.
10 TRK.SELECT button
Arrangement Play mode: mutes the ACC1, ACC2,
ACC3 tracks. Backing Sequence mode: switches
between the arrangement tracks and the Extra
Tracks. Song Play mode: switches between the first 8
MIDI channels and the remaining 8. Song edit
mode: switches between the first 8 tracks and the
remaining 8.
11 PAGE buttons
These buttons select the previous (-) or the next (+)
page in the current mode. The page number appears
on the right of the display.
12 CURSOR buttons
These buttons move the cursor among the parameters that appear on the display (the cursor is the
flashing line). Before modifying the value of a
parameter, the cursor must be positioned on the
value that needs to be modified.
13 TEMPO/VALUE buttons and DIAL
These modify the tempo or the parameter value
selected in the display. The TEMPO and VALUE
indicators show up on the display when they are
functioning. The DIAL is only included in the iS40.
14 EXIT/NO button
This button is normally used to go back to page 1 of
the current operative mode. It allows you to exit
immediately from an edit page (e.g. Octave, Transpose, Demo). After having pressed a VOLUME button to select a track, the EXIT/NO button takes you
straight back to the previous page.
Arrangement Play, Backing Sequence and Song Play
modes: takes you back to the page 1 of the current
mode. Page 1 of the Backing Sequence mode: makes
the arrangement appear. Song Play-Juke Box mode:
makes you exit from the Juke Box mode. Song Edit
mode: calls up page 2 of the current mode. Disk/Global mode subpages: this button takes you back to the
top page.
Getting Started • 2. Front and Rear Panels
The second function (NO) is to be used to give a negative reply to questions that may appear on the display.
15 ENTER/YES button
By pressing this button you can give a positive reply
to questions that may appear on the display. Song
Play mode: by pressing on the name of a song, the
song will be inserted in the Juke Box list and activates the Juke Box mode.
16 CHORD SCANNING section
Arrangement Play and Backing Sequence modes: this
section specifies which area of the keyboard will be
used to detect chords. You have to press the two buttons together in order to activate the FULL mode.
• LOWER button
Chords will be detected in the Lower range (below
the split point).
• UPPER button
Chords will be detected in the Upper range (above
and including the split point).
• FULL buttons
Chords will be detected in the entire range of the
keyboard.
• OFF (unlit leds)
Chords are not detected.
17 KEYBOARD ASSIGN section
Arrangement Play and Backing Sequence modes:
these select the tracks (Upper 1, Upper 2 and Lower)
you wish to assign to the keyboard. Upper 2 and
Lower exclude each other in turn.
18 KEYBOARD MODE section
These buttons select the way in which the tracks are
placed on the keyboard.
• M.DRUM button
A different percussion instrument is assigned to
each note of the keyboard.
• SPLIT button
The right hand (Upper 1 and Upper 2) and the left
hand (Lower) play different sounds and are separated by the split point. The Upper 2 track and
Lower track are alternative, one excludes the other
on the keyboard.
• FULL UPPER button
One or two tracks (Upper 1 and/or Upper 2) play on
the entire keyboard.
19 ENSEMBLE button
Arrangement Play and Backing Sequence modes: the
Ensemble button harmonises the right hand melody
with chords played by the left hand. To do this, the
Chord Scanning must be set on LOWER.
20 SUSTAIN button
Arrangement Play, Backing Sequence, Program, Song
Play modes: this button increases the length of the
note (i.e. lengthening the “sustain” in the program).
21 PROGRAM section
These buttons are used to select a program (single
sound). The selected program is assigned to the
selected track. Press one of the PROGRAM BANK
buttons to choose the bank, then select a two-digit
number between 11 and 88 using the PROGRAM
NUMBER buttons to choose the program.
To select a Drum program press twice the F(USER/
DRUM) button, until the abbreviation “Dr” shows
on the display, then select a number between 11 and
28.
You only need to select the bank if the program is in
a different bank.
22 KEYBOARD SET section (only the iS40)
By pressing only one button, the Keyboard Set
selects the set-up of the keyboard tracks. To choose a
Keyboard Set you have to press once, or repeatedly
BANK to choose bank A, B or C, then you must press
one of the number buttons to choose the Keyboard
Set.
In order to save the current keyboard set-up in a
Keyboard Set, you must keep REC/WRITE pressed
down and press one of the buttons in the KEYBOARD SET section, then release the REC/WRITE
button, press once or repeatedly BANK to choose
bank (A, B or C), press the number button which corresponds to the Keyboard Set where you wish to
save the set-up. Finally, press ENTER/YES twice to
confirm.
23 FADE IN/OUT button
This button fades the accompaniment in or out
(increasing from nothingness or fading out to nothingness). You do not need to press START/STOP.
24 VARIATION buttons
Arrangement Play and Backing Sequence modes:
these buttons select a style variation. Backing
Sequence-Step Recording mode: these buttons are
used to specify the length of the note being input.
25 FILL 1/2 (Fill in) buttons
Arrangement Play and Backing Sequence modes:
pressing one of these buttons during performance
will add a fill-in. Backing Sequence-Step Recording
mode: these buttons are used to specify the length of
the note being input.
26 INTRO/ENDING buttons
Arrangement Play and Backing Sequence modes: by
pressing one of these buttons before you begin playing will cause an introduction to be played after you
press START/STOP. Pressing these buttons during a
performance will cause an ending to be played, after
which the performance will end automatically. Back-
13
Getting Started • 2. Front and Rear Panels
ing Sequence-Step Recording mode: These buttons
are used to specify the length of the note being input.
keyboard, without having to press START/STOP.
SYNCHRO-STOP makes the accompaniment stop
when the hand playing the chords is taken off the
keyboard.
27 RESET/INS button
Backing Sequence, Song Play, Song Edit modes: this
button returns the sequencer to the first measure.
Arrangement Play and Backing Sequence modes. It
restarts the chord scanner and returns to the beginning of the measure. It can be used as a “Midi Panic”
button, in any situation where a note gets stuck, it
can be unblocked by this button.
iS50: The SYNCHRO-START/STOP button makes
the accompaniment start when you play a chord on
the keyboard, or makes it stop when the hand playing the chords is taken off the keyboard. The second
function of the button (DEL) is to delete the event
that has been selected in Step Recording, or to erase
the character located at the cursor when writing a
name.
The second function of the (INS) button is to insert a
Step Recording event, or an empty space where the
cursor is positioned when you wish to write a name.
31 REC/WRITE
Backing Sequence-Realtime Recording, Step Recording and Event Editing modes, Song Edit-Realtime
Recording and Event Editing: this button enters the
record mode. Arrangement Play and Program
modes: this will access the Write page, where you
can save your modified Arrangement, Keyboard Set,
or Program.
28 TAP TEMPO/DEL button (only the iS40)
You can set the tempo with this key. The second
function of the (DEL) button is to cancel the event
that has been selected in Step Recording, or to cancel
a letter where the cursor is positioned when you
wish to write a name.
29 START/STOP button
Arrangement Play, Song Play and Demo modes: This
button starts or stops the automatic accompaniment
or playback. Backing Sequence and Song Edit modes:
It starts or stops recording or playback.
32 TRANSPOSE buttons
These buttons change the transposition (in semitones) of the instrument. In order to cancel the transposition you must press both buttons together.
33 OCTAVE buttons
These buttons change the transposition (in octaves)
of the selected track. In order to cancel the transposition you must press both buttons together.
30 SYNCHRO-START and SYNCHRO STOP buttons (iS40);
SYNCHRO START/STOP/DEL button (iS50)
iS40: The SYNCHRO-START button makes the
accompaniment start when you play a chord on the
Display
1
3
6
4
2
5
7
8
9
10
1 Mode
The first line of the display indicates the operative
modes: ARR.PLAY, BACKING SEQ., SONG PLAY,
SONG EDIT, DISK/GLOBAL, PROGRAM.
2 Tempo/Value
The two indicators TEMPO and VALUE show in
alternation. They show the functioning of the DIAL
14
and the TEMPO/VALUE buttons (tempo controls /
modifiers of the value of the selected parameter).
3 Split
Indicates that the SPLIT POINT button is currently
pressed, and the note shown below in the display is
the split point.
Getting Started • 2. Front and Rear Panels
4 Transpose/Octave
The two indicators TRANSPOSE and OCTAVE show
in alternation. According to which one shows, the
transposition is by semitones or octaves.
5 Page
Indicator of the current page. If [+] shows, there are
pages to follow. If [-] shows there are previous pages.
Go through the pages with the PAGE [+] and [-] buttons.
6 Tempo
Current tempo. If the TEMPO indicator is showing,
you can vary the tempo with the DIAL or with the
TEMPO/VALUE buttons.
7 Tempo mode/Clock (synchronization)
Tempo mode and type of synchronization. AUTO
means that the instrument is reading the tempo
recorded in the song. EXT means it is using a metronome of an external device connected to the MIDI IN
of the iS40/iS50. In the EXT condition, the accompa-
niment and songs must be started by the external
sequencer. You can choose the kind of synchronism
you require on “Page 3: Global MIDI parameters” of
the Disk/Global mode.
8 Chord name
9 Modifiable parameters
Two lines of characters that show the parameters of
the various edit pages. You can move through the
parameters with the CURSOR buttons, and modify
the values with the TEMPO/VALUE buttons or the
DIAL.
10 Volume indicators
Track/channel volume. The tracks that are selected
are shown at the top and on the left (ch =channels,
ET = Extra Track, 1-8 = tracks/channels 1-8, 9-16 =
tracks/channels 9-16). To select the hidden tracks
press TRACK SELECT. If all the indicators are off,
the keyboard and the accompaniment tracks indicated above the VOLUME buttons are shown.
Rear panel
9
MIDI
iS40
EC 5
PC TO HOST
THRU
OUT
INPUT
IN
ASSIGNABLE
PDL/SW
DAMPER
R
OUTPUT
L/MONO
R
L/MONO
PHONES
WARNING:
TO REDUCE THE RISK OF FIRE OR ELECTRIC
SHOCK DO NOT ESPOSE THIS PRODUCT TO
RAIN OR MOISTURE.
1
~ ACV
3
2
POWER
4
5
6
MIDI
EC 5
PC TO HOST
THRU
OUT
7
INPUT
IN
ASSIGNABLE
PDL/SW
DAMPER
R
L/MONO
8
OUTPUT
R
L/MONO
PHONES
To AC power
outlet (power
cable
included
EC5
MIDI keyboard
MIDI OUT
MIDI IN
Sound module
(expander)
1 EC5 connector (only the iS40)
To connect an optional Korg EC5 external controller.
You can program the EC5 on page 9 of the Disk/Global mode, assigning a function to each of the five
pedal switches.
Monitors
with built-in amp
2 PC TO HOST connector (only the iS40)
To connect a computer which has no MIDI interface.
For connections you need an optional kit that is
appropriate for your computer (for a Macintosh the
kit is the AG-002, for a PC the kit is the AG-001).
15
Getting Started • 2. Front and Rear Panels
3 MIDI connector
To connect other MIDI devices (keyboards or computers). For connections you need the special MIDI
cables which you can purchase from your Korg
dealer.
• MIDI IN connector
Receives data from other MIDI devices.
• MIDI OUT connector
Transmits MIDI data to other MIDI devices.
• MIDI THRU connector (only the iS40)
Re-transmits the MIDI data received through the
MIDI IN connector.
4 ASSIGNABLE PDL/SW connector
You can connect an expression pedal here, such as
the Korg XVP-10 or the EXP-2 or a PS-1 or PS-2 type
footswitch. You can program the pedal on page 8 in
the Disk/Global mode. In the iS50, this connector is
pre-set as the Damper (requiring a footswitch).
5 DAMPER connector (only the iS40)
You can connect a damper pedal here, such as the
Korg DS-1 or similar. The damper pedals can have a
different polarity; choose the polarity on “Page 12:
16
Auto chord scanning/Damper polarity” in the
Disk/Global mode.
6 INPUT connectors (only the iS40)
Audio inlets. You can connect a synthesizer, a mixer,
a hi-fi system, or other device with Line level outputs. To connect an electric guitar, set an effect processor, or preamplifier between the guitar and the
iS40. Connect mono devices to the L/MONO inlet.
These signals come out from both the built-in speakers and the OUTPUT outlets.
7 OUTPUT connectors
Audio outlets. You can connect an external amplifier
here. Connect the one L/MONO outlet to an amplifier.
Warning: Volume that is too high can cause serious
damage to your hearing. Keep the volume at a moderate level.
8 PHONES jack
You can connect a stereo headphone here.
9 Music stand holes
The included music stand can be inserted into these
holes.
Getting Started • 3. Operative modes
3. Operative modes
The instrument can function in different “modes”,
each of which groups together functions that are for its
own particular use. In order to choose a mode you
need to press a button in the MODE section.
Arrangement Play mode
Arrangement Play is the main operative mode. When
the instrument is turned on it is always in this mode,
where you can select the arrangements you wish to
use. There are 192 arrangements in total, organized as
64 arrangements in each of the three banks A, B, and
USER. The arrangements in the USER bank are freely
modifiable and can be used to load new data from a
disk.
Each arrangement uses a style and two programs (that
is two sounds) organized on the keyboard according
to a combination set by the buttons in the Keyboard
Mode and Keyboard Assign sections.
The styles are made up of musical material with which
a song or accompaniment can be constructed, and contain “patterns” (musical structures) of a particular
genre of music, e.g. rock, pop, or ethnic music.
Each style contains 4 variations, 2 intros (introductions), 2 endings and 2 fill-ins. The styles can detect
which chord is being played on the keyboard and they
adapt the patterns to that chord.
The styles consist of six tracks: drums, percussion,
bass, accompaniment tracks AC1, AC2 and AC3. These
six tracks are referred to as the Backing Tracks, since
they provide the rhythmical and harmonic backing.
Whilst playing you can modify several arrangement
parameters (e.g. the volume of the instrumental parts),
however if you stop the accompaniment, or decide to
select a different arrangement, your edits will be lost.
If you wish to keep the changes that you have made,
use the Write function of “Page 13: Write Arrangement”. Changes are stored in the USER banks.
Backing Sequence mode
Backing sequence mode allows you to record or playback a song you have played using an arrangement as
backing.
The main parts of a backing sequence are the three
arrangement tracks (keyboard track, controls track
and chord track). The controls track records button
selections of the front panel; the chord track records
the sequence of the chords; the keyboard track records
whatever is played freely on the keyboard. Of course,
you can leave the keyboard track empty and play it
live.
In addition to the arrangement tracks, there are eight
tracks referred to as Extra Tracks, and you can use
these tracks to record other free parts.
Program mode
The sounds played on the iS40/iS50 are called “programs”. The instrument has a total of 400 programs,
organized into six banks (A, B, C, D, E, F-USER) with
64 programs each, plus a DRUM bank which contains
16 DRUM programs (14 ROM +2 USER). In the Program mode, you can edit previously recorded programs in order to create new ones, which can be used
in the arrangements, songs and backing sequences.
17
Getting Started • 3. Operative modes
Song Play mode
The Song Play mode allows you to play songs in Standard MIDI File format, without loading them from
disk. The song of the Song Play mode is made up of 16
MIDI channels. You can change the program of the
MIDI channel, and adjust the volume, pan, effects,
effect send, tempo and transpose settings. However,
the changes are not saved in memory, or on disk.
Song Edit mode
The Song Edit mode allows you to load into memory,
modify and save a Standard MIDI File (SMF). In addition, this mode allows you to convert an SMF in format 1 into an SMF in format 0, faster to load in Song
Play mode.
The Song Play mode is made up of 16 tracks. This
mode allows you to record a new song, with the func-
tions you would normally expect to find in a sophisticated sequencer. The new song can be saved on disk in
Standard MIDI file form.
When you turn the instrument off, the song will be
canceled from memory. Therefore, before turning off
you need to save any modifications on disk.
Disk/Global mode
The Disk/Global mode allows you to load or save
data, and modify the parameters which affect the functionality of the instrument. The operations you can
carry out are:
18
•
Save on disk data contained in memory, and
load into memory data from disk
•
Tune the keyboard
•
Modify MIDI parameters
•
Program pedals and the external controllers
•
Program Lower Memory
•
Program Velocity Curve
•
Select a Scale (temperament)
•
Control transmission/reception of MIDI messages
•
Calibrate the joystick, aftertouch, pedal/footswitch
Apart from the Local Control and Clock Source
parameters, all the settings are saved as Global data,
even when the instrument is turned off. In addition,
Global data, can be saved on disk, and will be saved
with each Save All and Save Global operation.
The iS40/iS50 can read disks from other Korg i-Series
instruments, of which it can re-use the styles. The compatibility level however depends on the individual
style. Considering the difference between the instruments, the old data may be played slightly differently
on the new instrument, for example with slightly different programs.
Getting Started • 3. Operative modes
Display pages
The parameters and functions of the various operative
modes are grouped into several pages, which appear
on the display. The page number is always indicated
on the right-hand side of the display. To move through
the display pages, use the PAGE [+] and [–] buttons. If
you wish to go directly to a page number you know,
hold down the operative mode button the page which
you wish to go to belongs to, and press one of the
ARRANGEMENT NUMBER buttons, or one of the
PROGRAM NUMBER buttons. To go directly to a
page from 1 to 8, press an ARRANGEMENT NUMBER
button from number [1] to number [8]. To go directly
to a page from 9 to 16, press a PROGRAM NUMBER
button from number [1] to number [8].
Subpages
Registering a display page
Use the CURSOR buttons to bring the cursor to the
name of the desired subpage, and press the ENTER/
YES button to enter the selected subpage. To return
from a subpage to the higher page, press the EXIT/NO
button.
When the instrument is new, pages 1 to 8 are assigned
to the ARRANGEMENT NUMBER buttons from number [1] to number [8] and the pages from 9 to 16 are
assigned to the PROGRAM NUMBER buttons from
number [1] to number [8]. To record these pages under
other numbers, use the following procedure.
Some of the display pages allow you to select secondary pages, referred to as “subpages”. The subpages are
indicated by two rounded parenthesis ( ) which
enclose the option. In the LCD shown below, (LOAD),
(SAVE) and (UTIL) access the relative subpages.
1 Access the display page that you wish to register.
2 Hold down the current operative mode button,
and press the REC/WRITE button.
3 Release the REC/WRITE button (continue press-
Cursor
ing the operative mode button).
4 Press the button where you would like to register
the current display page.
Press an ARRANGEMENT NUMBER button from
[1] to [8] or a PROGRAM NUMBER button from [1]
to [8].
5 Release the operative mode button and the button that you have registered.
You may find it convenient to register the same
type of page in the various modes, to the same button. For example, the effect select page could be
found under PROGRAM NUMBER button [7] both
in the Song Play mode and in the Arrangement
Play mode.
Programming a parameter
value
In order to modify the value of a parameter that
appears in the display, you need to, first of all, select
the value with the cursor. The cursor is indicated by
the flashing of the value or the line of text selected.
Move the cursor, in the display, with the CURSOR buttons, and modify the value with the TEMPO/VALUE
buttons or the DIAL.
19
Getting Started • 4. Tutorial
4. Tutorial
This chapter is a practical guide to the use of the
instrument. It is particularly aimed at those who have
never in their lives before, seen a keyboard with
accompaniments. Follow the instructions on the
instrument – it will only take you a few hours. Afterwards you will be able to call yourselves real electronic keyboard experts.
Seeing as the instrument has a great deal of functions,
as good beginners you will often find yourselves in
edit pages that you did not want to get into: press
EXIT/NO, and you should get back to a display with
more familiar data. Other emergency buttons: START/
STOP if you have unknowingly started the sequencer
or the automatic accompaniment, the power switch
will bring the instrument back to its starting condition.
The names of the programs, styles and arrangements
that appear in the next pages may be slightly different
from those of the actual instrument – Don't worry, they
are only examples!
And so… enough chat: with one hand on the manual
and one on the keyboard, let the music begin and have
fun!
Demo
Listening to the Demo
To listen to a single demo
The Demo is a selection of demonstrative songs contained in memory that cannot be erased (ROM). Let's
listen to them to get an idea of the sound capabilities
of the instrument.
1 Select the demo with the ARRANGEMENT NUM-
Entering the Demo mode
● Press the ARR.PLAY and B.SEQ (DEMO) buttons
BER and PROGRAM NUMBER buttons.
If you wish to select a demo from number 1 to
number 8, press a button [1]–[8] of the ARRANGEMENT NUMBER section. If you wish to select a
demo from number 9 to number 16 press a button
[1]–[8] of the PROGRAM NUMBER section.
ARRANGEMENT NUMBER
PROGRAM NUMBER
together.
1
Modern Beat
1
Classic Piano
The “Demo” page will appear.
2
Jazz
2
Contemp. Piano
3
Latin
3
Bolero
4
Rock
4
Dance
5
Gospel
5
Jungle
6
Quick Step
6
Garage
7
German Polka
7
Progressive
8
Valzer
8
Synth World
2 Press START/STOP again to stop the demo.
To listen to all the demo
To exit from the Demo mode
1 Press START/STOP.
● Press
The demo songs will playback one after the other.
2 Press the START/STOP button again to stop the
demo.
20
EXIT/NO or one of the buttons of the
MODE section.
By pressing EXIT/NO you go back to the Arrangement Play mode. By pressing a button of the
MODE section you go to the selected mode.
Getting Started • 4. Tutorial
The Backing Sequence data
contained in the disk
The Accessory Disk supplied with the instrument contains the demonstration backing sequence data. Reading them on disk will help us understand both the
backing sequence data and the disk reading.
1 Insert the Accessory Disk into the disk drive.
Listening to the Songs
The songs are musical pieces available in the form of
Standard MIDI Files (SMF). The iS40/iS50 is able to
playback SMF format 0 without having to load them in
memory, and SMF format 1 after a short loading. You
can playback a single song, or create a list to playback
with just one command (even through the jukebox
function).
2 Press DISK/GLOBAL to enter Disk/Global
mode.
To listen to a song
The DISK/GLOBAL led will light up. The DISK/
GLOBAL indicator will appear on the display.
1 Insert a disk containing the song into the disk
3 While the cursor is on (LOAD), press ENTER/YES
to enter the “Load” subpage.
4 While the cursor is on (ALL), press ENTER/YES to
enter the “Load All” subpage.
5 While the cursor is on (ALL), press ENTER/YES to
view the files contained on the disk.
Filename
6 Use the TEMPO/VALUE buttons (or the DIAL) to
select the file you wish to load. Press ENTER/
YES to load the selected backing sequence.
7 When “Completed” appears on the display,
press B.SEQ to enter the Backing Sequence
mode.
The B.SEQ button led will light up. The BACKING
SEQ. indicator will appear on the display.
8 Use the CURSOR buttons to move the cursor to
the backing sequence name. Use the TEMPO/
VALUE buttons (or the DIAL) to select the backing sequence.
9 Press START/STOP to start playback.
I Press START/STOP again to stop the playback.
Note: When the instrument is turned off, the backing
sequences in memory will be canceled.
drive
2 Press SONG PLAY to enter the Song Play mode.
The SONG PLAY button led will light up.
3 Select the song with the TEMPO/VALUE buttons
(or the DIAL).
You can choose a song by selecting its position
number on the disk. If the file has a number
between 1 and 8, press the ARRANGEMENT
BANK [A] button, then an ARRANGEMENT
NUMBER from [1] to [8]. If the file has a number
between 9 and 16, press the ARRANGEMENT
BANK [B] button and an ARRANGEMENT NUMBER button from [1] to [8]. If the song file has a
number between 17 and 24, press the ARRANGEMENT BANK [USER] button and an ARRANGEMENT NUMBER button from [1] to [8].
4 After having selected the song, press START/
STOP.
If the SMF is format 1, the red START/STOP led
will flash for a few seconds, while the data is being
loaded from the disk. When loading ends, playback
will begin. If there are any backing sequences or
songs already loaded in the Song Edit mode, a message will appear asking you if it is OK to erase this
data. If you don’t mind losing the data in memory,
press ENTER/YES to start playback.
5 To stop the song, press START/STOP.
Listening to all the songs on a disk
1 Insert the disk containing the SMF into the disk
drive.
2 Press SONG PLAY to enter the Song Play mode.
The SONG PLAY led button will light up.
3 Select the “ALL SONGS” filename with the
TEMPO/VALUE buttons (or the DIAL).
21
Getting Started • 4. Tutorial
4 Press START/STOP.
Position on the list
The SMF format 0 are played back at once. The
SMF format 1 must be loaded in memory first, then
after a few seconds wait they are played back. If
there are any backing sequences or songs already
loaded in the Song Edit mode, a message will
appear asking you if it is OK to erase this data. If
you don’t mind losing the data in memory, press
ENTER/YES to start playback.
5 Press START/STOP to stop the playback.
Selected song
5 Choose the second song to be added to the list
JukeBox
The JukeBox allows you to create a list of songs to be
played back with just one command, choosing among
the songs contained on the disk.
1 Insert the disk containing the SMF into the disk
drive.
2 Press SONG PLAY to enter the Song Play mode.
The SONG PLAY led button will light up.
3 Choose the first song with the TEMPO/VALUE
buttons (or the DIAL).
4 Press ENTER/YES to insert the song in the list.
The name of the song, alongside its position number on the list, will appear on the display. Number
1 will appear after you have inserted the first song.
with the TEMPO/VALUE buttons (or the DIAL).
6 Press ENTER/YES to confirm the second song on
the list.
7 Add other songs to the list by following steps 56. You can go backwards in the list with the
CURSOR buttons.
8 Once the list is complete, press START/STOP to
play back all the songs on it.
The songs are played one after the other. The SMF
format 0 are played back straight away, whereas
there is a few seconds wait before a SMF format 1 is
played back while the disk is being read. If there
are any backing sequences or songs already loaded
in the Song Edit mode, a message will appear asking you if it is OK to erase this data. If you don't
mind losing the data in memory, press ENTER/
YES to start playback.
9 Press START/STOP to stop playback.
I Press START/STOP again to re-start playback.
J Press EXIT/NO to exit the JukeBox mode.
22
Getting Started • 4. Tutorial
The arrangements
Playing with the arrangements
Detected chord
The most enjoyable thing about the iS40/iS50 is that
you can play on the keyboard accompanied by
arrangements, just as if you had a real band backing
you. Each arrangement contains a style, that is to say a
series of accompaniment patterns in a particular musical style. Here are some ideas on how you can use the
arrangements.
1 Press ARR. PLAY to enter the Arrangement Play
mode.
The ARR.PLAY led button will light up.
2 Press
ARRANGEMENT BANK [A], then
ARRANGEMENT NUMBER [4] twice to select
arrangement A44.
The selected arrangement name (“A44 Underground”) will appear on the display.
Tempo of the selected arrangement
The keyboard area in which chords are detected
will depend on the buttons of the CHORD SCANNING section and on the split point. In the case of
the “A44 Underground” arrangement, the Chord
Scanning is LOWER. If not yet modified, the general split point is C4 (middle C), therefore the
chords or the notes for the accompaniment are to be
played below middle C. (You can change the split
point by holding down the SPLIT POINT button
and pressing a key on the musical keyboard).
6 Continue playing the progression of chords with
your left hand; and play a melody with your
right hand.
7 Press START/STOP to stop the accompaniment.
Synchro start and stop
Selected arrangement
3 Press RESET to reset the values.
RESET erases the chords that are still in memory.
4 Press START/STOP.
Rhythm play will start. The START/STOP red led
will light up on the first beat, the green led on other
beats, in time with the style time signature contained in the arrangement.
5 Playing a progression of chords with the left
hand.
Bass and other accompaniment tracks are added to
the rhythm, which follow the chords played by the
left hand. As the MEMORY-CHORD led button is
lit up, the chords stay in memory even when you
take your hand off the keyboard. The name of the
chord appears on the display.
You can make the accompaniment start without having to press START/STOP. Turn on the Synchro Start
function and play a chord on the keyboard.
1 With the accompaniment stopped, press SYNCHRO-START (iS40) or SYNCHRO START/STOP
(iS50) to light up its led.
2 Play a chord in the chord scanning area to start
the accompaniment.
iS50: The led of the SYNCHRO-START/STOP button goes off.
3 Press SYNCHRO-STOP (iS40) or SYNCHROSTART/STOP (iS50) to light up its led.
The Synchro Stop will make the accompaniment
stop when you take your hand off the keyboard.
4 Take your hand off the keyboard to stop the
accompaniment. The accompaniment will stop
immediately.
23
Getting Started • 4. Tutorial
5 iS40: Play a chord again, in the chord scanning
area, to restart the accompaniment.
6 iS40: Press SYNCHRO-STOP again to switch off
its led.
7 Continue playing, then press START/STOP to
stop the accompaniment.
Fill
Enough of the usual rhythm. Let's insert a “fill-in”
(that is an interlude) in the automatic accompaniment.
1 Start the automatic accompaniment.
2 Whilst playing press one of the FILL [1] or [2]
keys.
A fill-in will be played. Each style has two different
fill-ins, which are selected by one of the two buttons in the FILL section. When the fill finishes, the
variation may change (see “Page 5: Ensemble/Variation change” of the Arrangement Play mode).
3 Press START/STOP to stop the accompaniment.
Intro/ending
Variations
What kind of music is it, if it never changes? Each style
has four variations of the basic accompaniment.
1 Start the accompaniment.
2 Press one of the buttons in the VARIATION section.
The led of the variation that is going to start will
start flashing. At the end of the measure the pattern
will change. The led of the new variation will stay
lit.
3 Press one of the FILL buttons and straight away
afterwards one of the buttons of the VARIATION
section.
The fill-in will play. The led of the variation that is
going to play at the end of the fill-in will flash. At
the end of the fill-in the new variation will play.
4 Press START/STOP or INTRO/ENDING to stop
the accompaniment.
Note: On “Page 5: Ensemble/Variation change” in
the Arrangement Play mode, you can connect each
FILL button to a variation that will be selected automatically after the fill-in has finished.
1 With the accompaniment stopped, press one of
the INTRO/ENDING [1] or [2] buttons.
2 Start the automatic accompaniment.
The introduction will be played, then the normal
accompaniment pattern will begin. Each style has
two different introductions, which are selected by
one of the two buttons in the INTRO/ENDING section.
3 Play normally, then press one of the INTRO/
ENDING [1] or [2] buttons.
The ending will be played, and the accompaniment
will stop. Each style has two different endings,
which are selected by one of the two buttons in the
INTRO/ENDING section.
24
All the tracks, at once!
1 With the SYNCHRO-START (SYNCHRO-START/
STOP in the iS50) led off, play a chord in the
chord scanning section
2 Press START/STOP (or INTRO/ENDING +
START/STOP) to start the accompaniment.
The accompaniment tracks will begin playing at
once.
3 Press START/STOP or INTRO/ENDING to stop
the accompaniment.
Getting Started • 4. Tutorial
Fade in/out
1 With the accompaniment stopped, play a chord
Selecting a different
arrangement
in the chord scanning area, then press FADE
IN/OUT to start the accompaniment.
1 Press one of the ARRANGEMENT BANK [A], [B]
The accompaniment will start. The accompaniment
track volume and the keyboard volume will be set
at zero, and will gradually increase to full.
2 Using the buttons in the ARRANGEMENT NUM-
Tip: If the Lower track is not in mute, you may
press FADE IN/OUT and then, immediately, play
the chord.
2 While the accompaniment is playing, press
FADE IN/OUT to stop the accompaniment.
The accompaniment track volume and the keyboard volume will gradually decrease to zero. At
the end, the accompaniment will stop and the volume will come back to full.
Varying the tempo
or [USER] buttons.
BER section, select a two digit number between
11 and 88.
If the new arrangement is in the same bank, you
can simply select a two digit number.
After having selected the bank and indicated a two
digit number, the arrangement will be selected. The
style will change, and as the SINGLE TOUCH led
will be lit, the keyboard and accompaniment programs will also change. If the TEMPO
led is off,
the tempo will change, too.
Note: The arrangement can save the settings of the
control buttons, therefore when you change arrangement a fill-in or an intro could start, and a different
variation could be set.
1 With the accompaniment stopped, use the
TEMPO/VALUE buttons (or the DIAL) to vary the
tempo.
As these controls work as tempo controls, on the
left-hand side of the display there will be the
TEMPO indicator. In the iS40, there is an easier way
to vary the tempo which is as follows:
2 iS40: Set (beat) the tempo on the TAP TEMPO
button.
The tempo shown on the display will change.
3 Start the accompaniment.
4 Vary the tempo with the TEMPO/VALUE buttons
(or the DIAL).
5 Stop the accompaniment with START/STOP or
INTRO/ENDING.
Selecting a different
arrangement while playing
1 Start the accompaniment.
2 Press one of the ARRANGEMENT BANK [A], [B]
or [USER] buttons.
If the new arrangement is in the same bank, you
can simply select a two digit number (see next
step).
3 Using the buttons in the ARRANGEMENT NUMBER section, select a two digit number between
11 and 88.
4 Press START/STOP or INTRO/ENDING to stop
the accompaniment
25
Getting Started • 4. Tutorial
The keyboard
Blocking the sounds of the
keyboard
When you change an arrangement, you usually
change the keyboard programs, too. If you wish to
change the accompaniment but don't wish to change
the keyboard sound, press SINGLE TOUCH to turn off
its led. With the SINGLE TOUCH led lit up, the
arrangement will change the programs and the volume of the keyboard tracks, too.
Changing the sounds on the
keyboard
You can leave the arrangement unvaried, but change
the sounds of the keyboard. Upper 1, Upper 2, Lower
tracks can play on the keyboard. In this example, the
sounds on the two parts of the keyboard will be
changed, with the keyboard split.
Note: The Upper 2 track and Lower track are alternative, one excludes the other on the keyboard.
1 Split the keyboard (press SPLIT in the KEYBOARD MODE section).
2 Assign Upper 1 track to the right-hand side,
and Lower track to the left-side (press LOWER
and UPPER1 in the KEYBOARD ASSIGN section).
3 Select the Upper 1 track (press one of the UPP1
buttons in the VOLUME section).
The abbreviation “UP1” will appear on the display,
followed by the bank number, name and number of
the program assigned to the Upper 1 track.
The A and B contain the 128 sounds of the General
MIDI standard. The A bank contains the first 64
sounds, the B bank contains 64 more sounds. The C
and D banks contain sounds that are more or less
organized as General MIDI sounds, however there
are some differences. The E bank contains layered
sounds and fantasia sounds, while bank F(USER)
contains sounds loaded from disk or those directly
programmed by the user.
5 Using the buttons in the PROGRAM NUMBER
section, select a two digit number between 11
and 88.
After having selected a bank and indicated a twodigit number, the program will be selected and
assigned to the Upper 1 track.
6 Select the Lower track (press one of the LOW/
UPP2 buttons in the VOLUME section).
The abbreviation “LOW” will appear on the display, followed by the bank, name and number of
the program assigned to the Lower track.
7 Select a bank using the PROGRAM BANK buttons, then select a two digit number between 11
and 88, using the buttons in the PROGRAM
NUMBER section.
After having selected a bank and indicated a twodigit number, the program will be selected and
assigned to the Lower track.
8 Select the Upper 2 track (press UPPER2 in the
KEYBOARD ASSIGN section).
The Lower track is switched off, while the Upper 2
track is selected. The abbreviation “UP2” will
appear on the display, followed by the bank number, name and number of the program assigned to
the Upper 2 track.
9 Select a bank using the PROGRAM BANK buttons, then select a two digit number between 11
and 88, using the buttons in the PROGRAM
NUMBER section.
Bank
Number
Name
After having selected a bank and indicated a twodigit number, the program will be selected and
assigned to the Upper 2 track.
I Select the Lower track again (press LOWER in
4 Press one of the PROGRAM BANK [A], [B], [C],
[D], [E], [F(USER/DRUM)] buttons.
26
the KEYBOARD ASSIGN section).
Now on the keyboard play the Upper 1 and Lower
tracks.
Getting Started • 4. Tutorial
J Select the Upper 1 track again (press one of the
UPP1 buttons in the VOLUME section).
The abbreviation “UP1” will appear on the display.
Transposition
If the pitch of the keyboard sounds is too high for the
singer you are accompanying, don't worry: you can
transpose the sound and save the singer's vocal
chords!
4 If the UPPER2 led in the KEYBOARD ASSIGN
section is lit up, press the button to turn it off.
The second keyboard track will be deactivated, and
the Upper 1 track will play alone.
5 If the SYNCHRO-START (or SYNCHRO-START/
STOP in the iS50) led is lit up, press the button
to turn it off.
With Synchro Start on, the accompaniment would
start as soon as you put your hands on the keyboard.
Note: While the accompaniment is playing, the transposition will enter at the beginning of the next measure.
6 If the Lower track is too low, transpose it using
● To
7 Play freely.
lower the keyboard sound pitch by one or
more semitones, press the TRANSPOSE [ ] button once or more.
The sound pitch will be lowered by a semitone
each time the button is pressed.
● To
raise the keyboard sound pitch by one or
more semitones, press the TRANSPOSE [ ] button once or more.
The sound pitch will be raised by a semitone each
time the button is pressed.
● To cancel transposition press both TRANSPOSE
buttons together.
Playing the iS40/iS50 as if it
was a piano
Despite all the sophisticated modern technology we
have available, it is nice sometimes to go back to playing as we did in the good old days of the piano – only
one sound at a time, two hands for the same music.
1 Press ARR.PLAY to enter the Arrangement Play
mode.
2 Press FULL UPPER in the KEYBOARD MODE section.
The split point will be ignored. The tracks can be
played on the entire keyboard.
3 Press UPPER1 in the KEYBOARD ASSIGN section
to turn on the led.
The Upper 1 track will be selected.
the OCTAVE [+] button.
Now you can play on the entire keyboard with just
one hand.
Tip (easier if you don’t need arrangements): To play
with only one sound at a time, press PROGRAM to
enter the Program mode.
Selecting a Keyboard Set (only
the iS40)
You can do what was described above more easily by
selecting one of the Keyboard Sets, which are none
other than control panel memories. This means that by
selecting a Keyboard Set, the keyboard programs, their
layout on the keyboard, the transposition, the chord
scanning mode and other characteristics that would
otherwise have to be patiently programmed one at a
time, will be selected.
There are three banks (A, B, C) with five Keyboard Sets
each (1, 2, 3, 4, 5). Let's try selecting Keyboard Set 1 of
the C bank.
1 Press the BANK button in the KEYBOARD SET
section a few times, to turn on the C bank led.
2 Press button 1 of the KEYBOARD SET section.
Keyboard Set 1 of C bank will be selected. On the
keyboard, the programs will change, the Chord
Scanning, Keyboard Assign, Keyboard Mode settings, effects, etc. could change (depending on the
data saved in the Keyboard Set).
27
Getting Started • 4. Tutorial
Recording a Keyboard Set
2 Press a few times the BANK button in the KEY-
It is possible to record the keyboard and the control
panel settings in a Keyboard Set. Let’s try to record the
current settings in Keyboard Set 5 of B bank.
3 Press button 5 in the KEYBOARD SET section.
1 Keep REC/WRITE pressed, and press one of the
buttons in the KEYBOARD SET section.
The Write Keyboard Set page appears.
BOARD SET section, to light up the B bank led.
4 Press ENTER/YES twice to confirm.
The keyboard settings will be saved in Keyboard
Set 5 of B bank. You can save the Keyboard Set with
one of the Save functions in the Disk/Global mode
(see page 120).
Recording new songs
Recording the Backing
Sequences
Why play only other people’s music? Is that the reason
why you bought a musical instrument? With the iS40/
iS50 you can play new songs exploiting the wealth of
material in the automatic accompaniments.
Note: While recording, you cannot select some of the
control panel’s buttons, e.g. the Keyboard Sets.
1 Press B.SEQ to enter the Backing Sequence
mode.
The B.SEQ led will light up. The following display
will appear.
Tempo
Measure number
Press the [A], [B] or [USER] button to select the
bank. Then press two ARRANGEMENT NUMBER
buttons to choose a two-digit number between 11
and 88.
4 What if you need to change the split point, the
Keyboard Mode, the Keyboard Assign and the
Chord Scanning settings?
Split point: hold down the SPLIT POINT button
and play the note that you wish to be the new split
point. Keyboard Mode: use the buttons in the KEYBOARD MODE section. Keyboard Assign: use the
buttons in the KEYBOARD ASSIGN section. Chord
Scanning: use the buttons in the CHORD SCANNING section.
5 Press REC/WRITE to enter the recording mode.
The REC/WRITE led will light up. The Record
page will appear. If the “ATr” tracks (arrangement
tracks) are selected, you can record in realtime.
Tempo
Keyboard track
Arrangement
Control track
Chord track
Backing Sequence name
2 Select the backing sequence you wish to record
with the TEMPO/VALUE buttons (or the DIAL).
For this example, let’s select BSQ3. (If BSQ3 is
recorded, select another backing sequence).
3 Select an arrangement with the ARRANGEMENT BANK and ARRANGEMENT NUMBER
buttons.
28
Selected track(s)
Quantize value
Metronome
6 Press START/STOP (or one of the INTRO/ENDING buttons + the START/STOP button) to start
the accompaniment.
Getting Started • 4. Tutorial
After a two-measure pre-count, recording will
begin and the accompaniment will start playing.
7 You can now play freely. If you wish, you can
use the FILL buttons.
8 Press START/STOP (or one of the INTRO/ENDING buttons + the START/STOP button) to stop
the accompaniment and the recording.
The recording will stop and the REC/WRITE led
will go off. The sequencer will go back to measure
001.
9 Press START/STOP to listen to the song that you
have just recorded.
Recording the Backing
Sequence track by track
We have seen how you can use a backing sequence to
record a “realtime” performance with arrangements. It
is also possible to use the backing sequence to recreate
a musical score with a rhythmical part similar to a
style of the iS40/iS50, recording the backing sequence
tracks separately.
3 Select an arrangement using the ARRANGEMENT BANK and ARRANGEMENT NUMBER
buttons.
Press the [A], [B] or [USER] button to select the
bank. Then press two ARRANGEMENT NUMBER
buttons to select a two digit number between 11
and 88.
4 If necessary, change the split point, the Keyboard Mode, the Keyboard Assign and the
Chord Scanning sections.
Split point: hold down the SPLIT POINT and play
the note that you wish to be the new split point.
Keyboard Mode: use the buttons in the KEYBOARD MODE section. Keyboard Assign: use the
buttons in the KEYBOARD ASSIGN section. Chord
Scanning: use the buttons in the CHORD SCANNING section.
5 Press REC/WRITE to enter the recording mode.
The REC/WRITE led will light up, and the Record
page will appear. The arrangement tracks are
selected (ATr). The display shows the tracks’ status
(REC = in record).
Tempo
Keyboard track
Control track
Chord track
Preparing to record
1 Press B.SEQ to enter the Backing Sequence.
The B.SEQ led will light up. The name of the backing sequence, measure number and tempo will
appear on the display. If this information does not
appear, press EXIT/NO to go back to page 1 of the
Backing Sequence mode.
Tempo
Measure number
Selected track(s)
Quantize value
Metronome
6 If you wish to hear the metronome while you
record, move the cursor to “M” (metronome)
and use the TEMPO/VALUE buttons or the DIAL
to change its status to REC.
7 If you wish to record the tempo changes, bring
Arrangement
Backing Sequence name
the cursor to the small note and press the two
TEMPO/VALUE buttons together to change its
status to TEMPO-REC.
2 Move the cursor to the name of the backing
sequence using the CURSOR buttons, then select
the backing sequence you wish to record using
the TEMPO/VALUE buttons (or the DIAL).
For this example, select BSQ4. (If BSQ4 is already
recorded, select a different backing sequence).
Recording the chord progression
1 Move the cursor to the keyboard track using the
CURSOR buttons. Change the status to “----”
29
Getting Started • 4. Tutorial
(deactivated track) using the TEMPO/VALUE
buttons (or the DIAL).
2 Move the cursor to the chord track, and change
2 Move the cursor to the control track, and
3 Move the cursor to the control track, and
the status to CHRD (recorded track).
change the status to “----” (deactivated track).
change the status to REC (track in record).
Now, the only track in record (REC status) will be
the chord track.
Now, the keyboard track is in “---” status (deactivated), the control track is in REC status (in record),
the chord track is in (CHRD) status (recorded). The
only track in record is the control track.
3 Press START/STOP to start recording and the
accompaniment.
After a two measure precount, recording will
begin.
4 Play the chords in the chord scanning area.
The accompaniment tracks start playing.
5 When finished, press START/STOP to stop
4 Press START/STOP to start recording. Press
immediately one of the INTRO/ENDING buttons, to play an intro.
After a two measure precount, the arrangement
will start playing and recording will begin with an
introduction.
recording.
5 Before the intro is finished, press a VARIATION
Recording will stop and the REC/WRITE led will
go off. The sequencer will go back to measure 001.
6 When you wish to insert a fill-in press a FILL[1]
[1]-[4] button to select a variation.
6 Press START/STOP to listen to the chord progression you have just recorded.
The piece will be played from beginning to end.
When it reaches the end, the sequencer will go back
to measure number 001. You can stop playback
halfway through, by pressing START/STOP, in this
case, press RESET to get back to measure number
001.
7 When finished, press INTRO/ENDING to play
an ending. Press START/STOP to stop recording.
Recording will stop and the REC/WRITE led will
go off. The sequencer will go back to measure number 001.
you have just recorded.
1 Press START/STOP to return to the recording
mode.
The REC/WRITE led will go on, and the Record
page appears.
Control track
Keyboard track
A fill-in will play, then the variation will start up
again.
8 Press START/STOP again to playback the piece
Recording the control track
Selected track(s)
or FILL[2] button.
The piece will be played from beginning to end.
When it reaches the end, the sequencer will go back
to measure number 001. You can stop playback
halfway through, by pressing START/STOP; in this
case, press RESET to get back to measure number
001.
Chord track
Recording the solo part
1 Press REC/WRITE to return to the recording
mode.
The REC/WRITE led will go on, and the Record
page appears.
Tempo mode
30
Quantize value
Metronome
Getting Started • 4. Tutorial
Selected track(s)
Keyboard track
Tempo mode
1 Press the PAGE [+] button repeatedly to get to
Control track
Chord track
Quantize value
the Extra Track page.
Metronome
2 Move the cursor to the control track, and
change the status to CTRL (already recorded).
3 Move the cursor to the keyboard track, and
change the status to REC (in record).
Now, the keyboard track is in REC status (in
record), the control track is in CTRL status (already
recorded), the chord track is in CHRD status
(already recorded). The only track in record is the
keyboard track.
4 Press START/STOP to start recording.
After a two measure precount, the arrangement
will begin playing and recording will start.
2 In the VOLUME section, press one of the right
most pair of buttons to select Extra Track 8
(ETr8).
3 Move the cursor to the upper line using the
CURSOR buttons.
4 Using the PROGRAM BANK and PROGRAM
NUMBER buttons, select the program that you
wish to assign to Extra Track 8.
5 Press EXIT/NO to go back to page 1. Then
press REC/WRITE to enter the recording mode.
Selected track(s)
Control track
Keyboard track
Chord track
5 Play the solo part.
If the keyboard mode is split, the solo part should
be played by the right hand.
6 When finished, press START/STOP to stop
recording.
When recording has stopped the REC/WRITE led
will go off. The sequencer will go back to measure
number 001.
7 Press START/STOP again to playback the piece
you have just recorded.
The piece will be played from beginning to end.
When it reaches the end, the sequencer will go back
to measure number 001. You can stop playback by
pressing START/STOP; in this case, press RESET to
get back to measure number 001.
Tempo mode
Quantize value
Metronome
6 Move the cursor to the selected track (ATr) using
the CURSOR buttons.
7 Use the TEMPO/VALUE buttons to select ETr8
instead of ATr.
This sets the Extra Track 8 in record mode.
Recording an Extra Track
In addition to the arrangement tracks, the song has
extra tracks where you can freely record strings backing, support parts, solos, etc. In the example, we shall
record onto Extra Track 8.
8 Press START/STOP to start recording.
After a two measure precount, the arrangement
will begin playing and recording will start.
31
Getting Started • 4. Tutorial
9 Play freely.
I When finished, press START/STOP to stop
recording.
Recording will stop and the REC/WRITE led will
go off. The sequencer will go back to measure number 001.
J Press START/STOP again to playback the song
you have just recorded.
The song will be played from beginning to end.
When it reaches the end, the sequencer will go back
to measure number 001. You can stop playback
halfway through, by pressing START/STOP; in this
case, press RESET to get back to measure number
001.
K Repeat the steps above to record the other Extra
Tracks.
1. Move the cursor to (UTIL) using the CURSOR
buttons. Press ENTER/YES to enter the “Utilities” sub-page.
2. Move the cursor to (FORMAT) using the CURSOR buttons. Press ENTER/YES to enter the
“Format disk” sub-page.
3. Press ENTER/YES to start formatting. After a
couple of minutes the disk will be ready to use.
4. Press EXIT/NO to go back to the main page of
the Disk/Global mode.
4 Move the cursor to (SAVE) and press the ENTER/
YES button to enter the “Save” sub-page.
5 Move the cursor to (BSQ) and press the ENTER/
YES button.
The following display will appear.
Saving Backing Sequences on
disk
The backing sequences contained in memory will be
lost when you turn the instrument off, therefore you
need to save them on disk. The following procedure
allows you to save all the backing sequences contained
in memory (max 10) in a new file.
1 Insert an empty disk into the disk drive.
The iS40/iS50 uses 3,5” HD (high density) disks.
The disk must be formatted in MS-DOS format,
compatible with Windows, Macintosh and other
systems.
2 Press DISK/GLOBAL to access the Disk/Global
mode.
The following display will appear.
Note: If you have used an arrangement from the
USER bank, choose (ALL) instead of (BSQ). This operation will save the entire contents on memory, including the USER arrangements and USER programs used
by the backing sequence.
6 Assign a new filename.
1. Move the cursor using the CURSOR buttons, to
the character you wish to change.
2. Change the character using the TEMPO/
VALUE buttons or the DIAL.
3. Insert a new character pressing INS, and delete
a character pressing DEL.
7 Press ENTER/YES to save the file on disk.
(At this stage, you can press EXIT/NO instead, if
you wish to cancel the operation).
3 If you have inserted a blank disk you need to
format it.
32
8 When the message “Completed” appears on
the display press the B.SEQ button to go back to
the Backing Sequence operative mode.
Getting Started • 4. Tutorial
Deleting Backing Sequences
If the backing sequence isn't that great, you can delete
it. The backing sequences use up space in memory,
taking it away from other data (e.g. songs in Song Edit,
other backing sequences).
1 Press B.SEQ to enter the Backing Sequence
mode.
2 Press PAGE [+] repeatedly to get to “Page 3:
Erase Backing Sequence” of the Backing
Sequence mode.
3 Press ENTER/YES twice to delete the backing
sequence from memory.
4 Press EXIT/NO to go back to the first page of
the Backing Sequence mode.
Standard MIDI Files (SMF)
Editing Standard MIDI Files
(SMF)
A SMF can be modified, for example by adding a solo
or changing the program played by track. Let's try to
edit the song “i-Lands” which is supplied along with
the instrument.
Loading and listening to a song
1 Insert the disk supplied with the instrument into
the disk drive.
2 Press SONG EDIT to enter the Song Edit mode.
3 Select the file with the TEMPO/VALUE buttons.
6 Press START/STOP to listen to the song.
The song will be played from beginning to end.
When it stops, the sequencer will go back to measure number 001. You can stop playback halfway
through the song, by pressing START/STOP; in this
case, press RESET to get back to measure number
001.
Changing the sound of a track
Let's change the program of the melody line. We will
replace the pan flute with an alto sax.
1 Press PAGE [+] repeatedly to get to “Page 4:
Event edit”.
4 Press ENTER/YES twice to load the song
“ISLANDS”.
The message “Now loading” will appear. When
finished, the message “Completed” will appear.
5 Press PAGE [+] repeatedly to get to “Page 2:
Playback and recording”.
Selected track
2 Select track 6 (Tr06) using the TEMPO/VALUE
buttons (or the DIAL).
The panpipes are to be found in track 6 (Tr06).
33
Getting Started • 4. Tutorial
3 Press REC/WRITE, then START/STOP to access
The melody will now be played by an alto sax.
Event Edit.
Deleting parts of a song
In this example we shall delete the marimba accompaniment from the first four measures.
1 Press PAGE [+] repeatedly to get to “Page 7:
Edit”.
4 Use the CURSOR buttons to move the cursor to
M001#00.
M001#00 indicates the measure number and the
“step” inside the measure (001 = measure 1, #00 =
initial step of the measure).
5 Press TEMPO/VALUE [UP/+] to select M001#01.
The #01 step is the first measure step that contains
performable data (for example, notes). There will
be a message showing the change of program on
the second line of the display text.
Message type
(“status”)
Bank
Select LSB
Program
Change
Program
6 Using the CURSOR buttons, move the cursor to
“075”.
Number “075” is the value of the MIDI Program
Change message. A program can be selected
through the combination of two Bank Select (usually abbreviated in BS MSB and BS LSB, for the
upper and lower parts) and Program Change (usually abbreviated in PC) messages. In the iS40/iS50
the BS MSB=000, BS LSB=00 and PC=075 combination corresponds to program B24 (bank B, program
24), which are the panpipes.
7 Change number to “065” using the TEMPO/
VALUE buttons (or the DIAL).
The PC number “65” corresponds to the B12 program (Alto Sax).
8 Press START/STOP to exit Event Edit.
9 Press PAGE [–] to get back to page 2 (Play).
I Press START/STOP to listen to the edited song.
34
2 Move the cursor to (ERASE) using the CURSOR
buttons.
3 Press ENTER/YES.
4 Move the cursor to “Tr01”.
5 Press TEMPO/VALUE [UP/+] to select “Tr05”.
The marimba part is on track 5 (Tr05).
6 Move the cursor to “001” located at the right of
the arrow (→).
As we want to delete the first four measures, measure 001 should be to the left of the arrow and measure 004 to the right of it.
7 Press TEMPO/VALUE [UP/+] repeatedly to select
measure number “004”.
8 Press ENTER/YES.
A message reading “Completed” will appear on
the display. The first four measures of the marimba
part will be deleted.
9 Press PAGE [–] repeatedly to get to page 2
(Play).
I Press START/STOP to listen to the song.
Getting Started • 4. Tutorial
The marimba part will not play at the beginning of
the song anymore.
Adding parts to a song
In this example, we shall add a counterpoint melody
to the song, recording it onto track (Tr07).
1 If you are not already at page 2 (Play), press
EXIT/NO, or hold down SONG EDIT and press
ARRANGEMENT NUMBER [2].
(This is a shortcut to get directly to a page).
2 Press REC/WRITE.
If you have made any mistakes, press RESET and
begin recording again, following the instructions
from step 2 to step 7.
8 Press START/STOP to listen to the song.
Saving a Standard MIDI File
(SMF)
The songs and backing sequences contained on memory will be lost when you turn the instrument off,
therefore you need to save them on disk. The following procedure will save the song you have just edited,
giving it the name I_LANDS.
1 Insert a new disk into the disk drive.
The disk must be formatted, not copy-protected,
and must have space enough for your song.
2 If you are not already in the Song Edit mode,
press SONG EDIT.
3 Press PAGE [+] repeatedly to get to “Page 13:
3 Move the cursor to “Tr01” using the CURSOR
Save” in the Song Edit mode.
buttons.
4 Press TEMPO/VALUE [UP/+] repeatedly to select
“Tr07”.
5 Press PROGRAM BANK [A], then PROGRAM
NUMBER [7] and [1].
This will assign the “A71 Strings” program to track
7 (Tr07).
4 Move the cursor to the “S” of the name, using
the CURSOR buttons.
Be careful: If you are saving on the same disk
where the original song is stored, you absolutely
need to change the name of the file that you are
saving. A disk cannot contain two files with the
same name (in the same directory).
5 Press TEMPO/VALUE [UP/+] repeatedly to sub6 Press START/STOP to start recording. Play the
new part.
After a two-measure precount, recording will
begin.
7 When finished, press START/STOP to stop
recording.
stitute the “S” with the underline character (_).
6 Press ENTER/YES.
The display message “Are you sure?” will appear.
Press ENTER/YES again to save the Standard
MIDI File on disk. When it has finished, the display
message “Completed” will appear.
35
Getting Started • 4. Tutorial
The programs
Editing a program
changes and save the program in the F(USER) bank. In
this example, we shall start with a digital piano.
iS40/iS50 has a vast selection of Korg sounds, the
same sounds that you hear on records and in concerts
of many famous artists. However, it is also your creativity that needs suitable sounds, these you can create
in Performance Edit by changing the fundamental
parameters of the sound. You can start from a program
that is close to what you wish to create, perform the
1 Press PROGRAM to enter the Program mode.
With this setting the VOLUME buttons work from
the program section PROGRAM. The upper button
increases the indicated parameter value under the
buttons, the lower button decreases it. On the display, the volume indicators are transformed into
parameter value indicators.
VOLUME
DRUMS
PERC
BASS
ACC1
ACC2
ACC3
LOW/UPP2
UPP1
PROGRAM
MUTE
Vibrato intensity
Makes the sound brighter or mellower
VIBRATO
INT.
VDF
CUTOFF
VDF EG
INT.
ATTACK
TIME
RELEASE
TIME
VDA
LEVEL
VELOCITY EFFECT
SENS. BALANCE
Effects intensity
Modifies the sound quality during time
Changes the attack time
Makes the sound disappear faster or more
slowly, after a key has been released
2 Select the program you wish to edit.
In this case, we want to select the digital piano, so
press PROGRAM BANK [A], then PROGRAM
NUMBER [1] [6].
3 Press the upper button PROGRAM [VIBRATO
INT.] to increase the vibrato.
4 Press the lower PROGRAM [VDF CUTOFF] button for a few moments to make the sound less
brilliant.
If you have closed the sound too much, press the
upper button to reopen the filter. VDF means Variable Digital Filter.
Keyboard touch responsiveness
Program volume
5 Press the upper PROGRAM [ATTACK TIME] button, for few moments in order to make the
sound attack slower.
6 Press the upper PROGRAM [RELEASE TIME] button for a few moments to make the sound disappear more slowly.
If the sound lasts too long, press the lower button
to slightly shorten the release time.
7 Regulate the program volume using the PROGRAM [VDA LEVEL] buttons.
VDA means Variable Digital Amplifier.
8 Regulate the effect balance using the PROGRAM [EFFECT BALANCE] buttons.
36
Getting Started • 4. Tutorial
9 If you wish to save the program you have
I Using the TEMPO/VALUE buttons (or the DIAL).
edited, press REC/WRITE to go to “Page 22:
Write program” (see page 169).
select the position in the F(USER) bank, where
you wish to save the program.
J Press ENTER/YES to save the program.
(At this stage you can press EXIT/NO instead, if
you wish to cancel the operation).
Warning: The program you are saving will substitute and therefore delete the existing program at the
selected location. Don't press ENTER/YES if you are
not sure that you want to lose the program.
Selected USER location
37
Getting Started • 5. MIDI
5. MIDI
MIDI (Musical Instruments Digital Interface) is a standard interface that allows two or more electronic
instruments to communicate with each other. In addi-
tion, MIDI also allows you to connect the instrument
to a computer that has a MIDI interface.
Using the iS40/iS50 with an external sequencer
Connecting MIDI
Even though the iS40/iS50 has a built-in sequencer,
there are computer sequencers that have more powerful editing functions. In general, it is easier to use the
internal sequencer of the iS40/iS50 to compose songs
that are based on the automatic accompaniments (i.e. a
backing sequence), and to use a computer sequencer to
make Standard MIDI Files (SMF).
In order to connect the iS40/iS50 to a computer, you
need to have a computer with the MIDI interface.
(Alternatively, you can connect the PC TO HOST connector of the iS40 directly to the computer outlet, as is
explained in the next chapter).
Connect the iS40/iS50 to the computer as in the following diagram.
MIDI Interface
MIDI OUT
MIDI IN
MIDI IN
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
MIDI OUT
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
KEYBOARD ASSIGN
MEMORY
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
START/STOP
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
PROGRAM BANK B (GENERAL MIDI)
51 - 58 SYNTH SFX
11 - 18 REED
61 - 68 ETHNIC
21 - 28 PIPE
71 - 78 PERCUSSIVE
31 - 38 SYNTH LEAD
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
BANK
NUMBER
VDA
VELOCITY
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
The notes that are played on the iS40/iS50’s keyboard
come from the MIDI OUT connector and are sent to
the MIDI IN connector of the MIDI interface, which
then transmits them to the computer. The notes that
are sent from the computer (for example playing back
a song by the external sequencer) are sent to the MIDI
38
C
Interactive Music Workstation
iS40
interface, and transmitted from the MIDI OUT to the
iS40/iS50’s MIDI IN.
If you wish to connect an expander, connect the computer and the instruments as shown below.
Getting Started • 5. MIDI
MIDI Interface
MIDI OUT
expander
MIDI IN
MIDI IN
MIDI THRU
MIDI IN
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
MIDI OUT
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
KEYBOARD ASSIGN
MEMORY
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
PROGRAM BANK B (GENERAL MIDI)
11 - 18 REED
51 - 58 SYNTH SFX
21 - 28 PIPE
61 - 68 ETHNIC
31 - 38 SYNTH LEAD
71 - 78 PERCUSSIVE
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
BANK
NUMBER
VDA
VELOCITY
START/STOP
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
The notes played on the iS40/iS50’s keyboard come
from the MIDI OUT connector and are sent to the
MIDI IN connector of the MIDI interface, which transmits them to the computer. When the computer transmits notes, the data is sent to the MIDI interface, and
from the MIDI OUT sent to the MIDI IN of the
expander. The data will then be retransmitted from the
MIDI THRU of the expander, to the iS40/iS50’s MIDI
IN without any changes.
(iS40: If the expander does not have a MIDI THRU
connector, connect the MIDI OUT of the MIDI interface to the iS40’s MIDI IN, and the iS40’s MIDI THRU
to the expander's MIDI IN).
Performing a song from computer
1 Press SONG PLAY to enter the Song Play mode.
When in the Song Play mode, the iS40/iS50 puts at
your disposal a 16 MIDI channel external
sequencer. There is a corresponding iS40/iS50
MIDI channel for every MIDI channel of a SMF that
is played back by the external sequencer.
Each MIDI channel can play a different program,
has its own effect send and its own panpot (positioning between the stereo channels). You should
imagine every MIDI channel as an instrument in a
band or orchestra: for example, you can have the
C
Interactive Music Workstation
iS40
piano on channel 1, sax on channel 2, strings on
channel 3... You are free to set them where you like,
apart from channel 10 which is reserved for the
drum kit.
The instrument can be controlled completely by the
external sequencer. In reality, along with the notes,
a song can contain control events called MIDI controller, which can regulate parameters such as volume, vibrato, pan, pedal, etc. The MIDI controller
list can be found in the Appendix.
It is possible however, to directly program the general parameters of each channel (program, pan,
effect send) from the iS40/iS50’s control panel. (See
page 95).
2 Load the song (in SMF format) into the external
sequencer, and put it onto playback.
The computer sequencer controls the Start/Stop
functions. At this stage, the iS40/iS50 will become a
simple expander.
Note: The iS40/iS50 is a General MIDI compatible
instrument. If the SMF you are playing back is General
MIDI compatible, the right sounds will be selected, if
not the sounds might not correspond. See the following paragraph.
39
Getting Started • 5. MIDI
The programs
And now for a few technical terms.
The song that is played back by the external sequencer,
can select the iS40/iS50’s programs, through the two
MIDI messages Bank Select and Program Change. The
first column in the chart, indicates the Bank Select
number, the second column indicates the Program
Change number, the third column the iS40/iS50
selected program number.
Bank Select
No.
Program Change
No.
iS40/iS50’s
Program
0–63
A11–A88
64–127
B11–B88
0–63
C11–C88
64–127
D11–D88
2
0-63
E11-E88
3
0–63
F11–F88
4
0–127
Dr11–Dr28
0
1
A suggestion for those who program songs on computer: Even though it is not essential, you usually set
the bass on channel 2, melody on channel 4, drum kit
on channel 10, control of the Korg ih harmonizer on
channel 16.
Sending data to the computer (Local
Control Off)
When the iS40/iS50 is connected to the computer, it is
always advisable that the Local Control parameter is
turned OFF. Local Control Off means that the iS40/
iS50 keyboard will not directly play the internal programs, but will limit itself to sending MIDI data to the
computer. The computer will send the data to the
iS40/iS50’s internal tone generator. It is like having
two separate instruments: a mute keyboard (master
keyboard) and an expander.
Local Control On would cause the return of the notes,
which would be played twice (once by the keyboard
and once by the MIDI).
1 Press DISK/GLOBAL to access the Disk/Global
mode.
2 Press PAGE [+] repeatedly to get to page 3
(Local Control).
3 Switch the setting to “Off”, with the TEMPO/
VALUE buttons (or the DIAL).
4 Press SONG PLAY to get back to the Song Play
mode.
At this stage, you have to make the external
sequencer send data to the iS40/iS50’s MIDI IN.
Follow the next steps.
On the external sequencer, switch the “MIDI Thru”
setting on. The name of the setting depends on the
software you are using; apart from MIDI Thru,
there could be, for example, Echo Back, Patch Thru,
Echo On, etc.
● To regain access to Local Control, repeat the
operation that was described above, switching
the setting onto “On”.
When you switch the instrument on, Local Control
will automatically be “On”.
Controlling the iS40/iS50 with a master keyboard
If you wish to use a master keyboard instead of the
iS40/iS50 integrated keyboard, connect the MIDI IN
connector of the iS40/iS50 to the MIDI OUT connector
of the master keyboard. The master keyboard must
transmit on the same channel of the iS40/iS50 Global
channel. At this point, the master keyboard and its
controls become the equivalent of the iS40/iS50 integrated keyboard, pedals and joystick. Refer to
page 123 for the programming of the iS40/iS50’s Global channel.
Controlling another instrument with the iS40/iS50
You can use the iS40/iS50 as a master keyboard or as
an arrangement module for other instruments. Connect a MIDI lead to the iS40/iS50’s MIDI OUT connec-
40
tor to the MIDI IN connector of an expander or
another keyboard.
Getting Started • 5. MIDI
Using the iS40/iS50 as a master
keyboard
the iS40/iS50’s A and B banks, the sounds selected in
the iS40/iS50 and the other instrument will perfectly
coincide.
In order to use the iS40/iS50 as a master keyboard,
switch the Local Control setting to “Off”, as explained
earlier in the “Sending data to the computer” (Local
Control Off) section.
Using the iS40/iS50 as an arranger
You can change the sounds of the instrument controlled by the iS40/iS50’s control panel. As both of the
iS40/iS50’s A and B banks are General MIDI compatible, if the instrument that is connected is compatible
with these standards and you only select the sounds of
The accompaniment section can control another
instrument. If the controlled instrument (“slave”) is
General MIDI compatible, there won’t be any problems using arrangements that make use of only General MIDI programs (A and B banks).
What is General MIDI?
General MIDI (abbreviated GM) is a series of added
MIDI specifications, that allow you to play a song on
different instruments without any modifications.
Until General MIDI appeared, there were no standards
that governed the organization of sounds and how to
select them. When a song was played by a different
MIDI instrument to the original, the sound could differ entirely from the original ones. For example, a
snare might play instead of a hi-hat, a crash cymbal
instead of a bass drum, or a synth brass instead of a
piano, and so on.
Therefore, in order to play a song on a different instrument, you needed to prepare a comparison table,
which allowed you to identify the sounds on the new
instrument that corresponded to those on the old one.
In addition to the sounds, you also had to adjust other
parameters, for example the volume and the effects.
General MIDI standardizes the organization of
sounds, in such a way that the piano track is always
played by a piano and the drum kit track by a drum
kit; it also standardizes the setup of the drums in a
drum kit, the principle sound parameters (attack, sustain, release...), volume levels and controls for the
effects and effect send functions. The song can be
played in the same way on any General MIDI compatible instrument.
What are Standard MIDI Files?
“Standard MIDI File” format (abbreviated as SMF) is a
standard that allows you to exchange songs between
different sequencers, meaning incorporated sequencers in musical instruments, or computer software. SMF
are not necessarily GM compatible.
The iS40/iS50 sequencer is compatible with SMF 0 and
1 formats. It can read SMF in the Song Play mode (see
page 93) and be edited in the Song Edit mode (see
page 98). In the Backing Sequence mode, it can save a
backing sequence in a normal SMF format 0 (see
page 91).
41
Getting Started • 6. Connecting directly to a computer (iS40)
6. Connecting directly to a computer (iS40)
Thanks to the PC TO HOST outlet, it is possible to connect the iS40 to a computer with just one serial cable,
with no need of a MIDI interface. In order to connect,
you will need a special connecting kit (optional),
which you can purchase from any Authorized Korg
Dealer:
Note: Some software might not permit direct connection via a serial cable. Consult the instruction manual
for the software you wish to use.
Warning: Do not connect both the MIDI OUT and
PC TO HOST connectors to the same external device.
Only connect one of the two connectors to an external
device.
• PC IBM compatible: kit AG-001 (cable, driver software “KORG MIDI Driver”).
• Apple Macintosh: kit AG-002 (cable, driver software “KORG MIDI Driver”).
Connecting to an IBM PC and compatible
Connect the serial port (COM) of
the PC to the PC TO HOST connector of the iS40, with the cable
included in the Korg AG-001 kit.
(As in the image).
COM
Special cable (AC-001 kit)
PC TO HOST
If the serial port is a 25 pin type,
use a 9 pin-25 pin adapter
(optional,
purchasable
from
Authorized Korg dealers or computer stores).
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
PROGRAM BANK B (GENERAL MIDI)
11 - 18 REED
51 - 58 SYNTH SFX
21 - 28 PIPE
61 - 68 ETHNIC
31 - 38 SYNTH LEAD
71 - 78 PERCUSSIVE
41 - 48 SYNTH PAD
81 - 88 SFX
CHORD SCANNING
KEYBOARD ASSIGN
MEMORY
ARRANGEMENT
BANK
VOLUME
NUMBER
VDF
FILL
VDF EG
ATTACK
BANK
NUMBER
RELEASE
VDA
VELOCITY
START/STOP
INTRO/ENDING
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VARIATION
TEMPO/VALUE
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
Interactive Music Workstation
C
•
iS40
Set the Host BR parameter to a
value of “38.4”. (See paragraph
“HOST BR settings” further on in
this manual).
The software you need to control the iS40 must be Windows compatible or directly support the iS40. If you use
Windows, install the KORG MIDI Driver by following the procedure explained on page 44.
Connecting to an Apple Macintosh
Connect the modem port or the
printer port of the Mac to the
PC TO HOST connector of the
iS40, with the cable in the Korg
AG-002 kit. (As in the image).
Set the Host BR to the value of
“31.25”. (See paragraph “HOST
BR settings” further on).
Modem or Printer port
Special cable (AC-002 kit)
PC TO HOST
ARRANGEMENT BANK A
11 - 18 8 BEAT
21 - 28 16 BEAT
31 - 38 LATIN 1
41 - 48 LATIN 2
MASTER
VOLUME
ARRANGEMENT BANK B
11 - 18 LATIN 3
21 - 28 LATIN 4
31 - 38 WALTZ
41 - 48 TRADITIONAL
51 - 58 POP
61 - 68 JAZZ 1
71 - 78 JAZZ 2
81 - 88 ROCK 1
PROGRAM BANK A (GENERAL MIDI)
51 - 58 BASS
11 - 18 PIANO
21 - 28 CHROMATIC PERC. 61 - 68 STRINGS
71 - 78 ENSEMBLE
31 - 38 ORGAN
81 - 88 BRASS
41 - 48 GUITAR
51 - 58 DISCO 1
61 - 68 DISCO 2
71 - 78 ROCK 2
81 - 88 ROCK 3
MODE
ACC.
VOLUME
BANK
ARRANGEMENT
VOLUME
NUMBER
FILL
INTRO/ENDING
TEMPO/VALUE
VDF EG
ATTACK
RELEASE
START/STOP
KEYBOARD MODE
PROGRAM
PROGRAM
MUTE
VDF
VARIATION
PROGRAM BANK B (GENERAL MIDI)
51 - 58 SYNTH SFX
11 - 18 REED
61 - 68 ETHNIC
21 - 28 PIPE
71 - 78 PERCUSSIVE
31 - 38 SYNTH LEAD
81 - 88 SFX
41 - 48 SYNTH PAD
CHORD SCANNING
KEYBOARD ASSIGN
MEMORY
BANK
NUMBER
VDA
VELOCITY
EFFECT
SYNCHRO
TRANSPOSE
KEYBOARD SET
OCTAVE
A
B
•
HOST BR settings
42
C
Interactive Music Workstation
iS40
“Host BR” means “Host Baud Rate”, that is, “transmission speed of an external device”. This setting
Getting Started • 6. Connecting directly to a computer (iS40)
allows you to adjust the speed of the PC TO HOST
port to that of the computer.
1 Press DISK/GLOBAL to access the Disk/Global
mode.
3 Use the CURSOR buttons to select “Host BR”.
4 Use the TEMPO/VALUE buttons (or the DIAL) to
select 31.25 k (Mac) o 38.4 k (IBM PC compatible).
2 Use the PAGE buttons to get to “Page 3: Global
MIDI parameters”.
Cable connection diagrams
Mini DIN 8-pin
D-SUB 9-pin
3
4
8
7
2
5
5
3
Mini DIN 8-pin
Mini DIN 8-pin
1
2
3
4
5
6
7
8
2
1
5
4
3
8
7
6
D-SUB 9-pin male
8
7
2
5
3
D-SUB 25-pin female
5
4
3
7
2
43
Getting Started • 6. Connecting directly to a computer (iS40)
Installing and setting up the “Korg MIDI Driver” software
The “Korg MIDI Driver” software, included in the AG001 and AG-002 connection kits, enables the computer
software to read and totally manage the iS40. With
IBM PC computers (or compatibles), the Korg MIDI
Driver works with Windows compatible sequencers.
With Apple Macintosh, the Korg MIDI Driver works
with Apple MIDI Manager compatible sequencers.
Installing the Korg MIDI Driver into Windows 3.1
Note: Data from MIDI IN may not be received correctly if your
computer is too slow.
1 In the Control Panel, double click the Drivers icon.
2 Click on [Add...].
3 From the list of drivers, select [New or updated driver]
and click on [OK].
4 Insert the disk included with the AG-001 kit into disk
drive A of your computer and type “A:\” (or “B:\” if you
are using disk drive B), and then click on [OK].
44
Getting Started • 6. Connecting directly to a computer (iS40)
5 Select Korg PC I/F Driver, and click on [OK]. The setup
window will appear. Follow the instructions of “Setting up
the Korg MIDI Driver (Windows)”, in the next section, to
perform setup.
6 After setup is complete, remove the floppy disk and select
[Restart now] to make the driver operational.
Setting up the Korg MIDI Driver (Windows)
1 Double click on the Drivers icon in the Control Panel,
select [Korg PC I/F Driver], then click on Set to open the
setup window.
2 From the Serial Port list, select the serial port that the instrument is physically connected to (COM1 ~
COM4).
If, in the future, you wish to use the serial port for a different purpose, you can delete the Korg MIDI Driver or
select [None] to disconnect it.
3 The [Independent Synth/MIDI Out] option is not to be used while the instrument is connected through the
serial port, therefore you must not select it.
By selecting this option, the transmission of MIDI data may not function correctly.
4 In the [MIDI Out Messages] list, choose which messages that will be transmitted to the instrument.
5 After setup is complete, click on [OK]. If you want to cancel the modifications you have made, click on
[Cancel].
45
Getting Started • 6. Connecting directly to a computer (iS40)
Installing the Korg MIDI Driver into Windows 95
Note: Data from MIDI IN may not be received correctly if your
computer is too slow.
1 In the task bar, click on [Start]. In [Settings], click on [Control Panel].
2 In the Control Panel, double click on the [New Hardware]
icon to start up the guided installation of your hardware.
Click on [Next >].
3 You should answer [No] to the question “Search for new
hardware?”, then click on [Next >].
4 Select [Sound, video and game controllers] and click on
[Next>].
5 Click on [Disk...].
A dialog window will appear where you can indicate the
floppy disk drive and directory.
6 Insert the disk included with the AG-001 connection kit,
into the disk drive of your computer. If you have inserted
the disk into drive A, type “A:\” (or “B:\” if you are using
drive B), then click on [OK].
46
Getting Started • 6. Connecting directly to a computer (iS40)
7 Click on [OK], then click on [End].
8 Perform the driver setup by following the procedure
described on page 45 in the “Setting up the Korg MIDI
Driver (Windows)” section, then click on [OK].
9 Restart your computer to make the driver operational.
47
Getting Started • 6. Connecting directly to a computer (iS40)
Setting up the Korg MIDI Driver for Windows 95
1 In the Control Panel, double click on the [Multimedia]
icon, so that the Multimedia Properties dialog window
will appear.
2 Click on the [Advanced] tab located to the upper right.
3 Click on the [+] next to [MIDI Devices and Instruments]
(the symbol will change to [–]), then click on [Korg PC I/F
MIDI Port].
4 Click on [Properties].
The “Korg PC I/F MIDI Port” properties will be displayed.
5 Click on [Properties...].
Follow the instructions in the “Setting up the Korg MIDI
Driver (Windows)” section on page 45, then click on [OK]. If
you have modified something, you must restart Windows.
48
Getting Started • 6. Connecting directly to a computer (iS40)
Installing the Korg MIDI Driver into a Macintosh
Note: In order to install the Korg MIDI Driver, the Apple MIDI manager and PatchBay must already be installed
(they are not supplied with the A-002 kit). Use the Apple MIDI Manager and PatchBay supplied with the software
that you wish to control the iS40 with.
Once you have installed the Korg MIDI Driver, it is possible to turn on or off from the computer, the MIDI channels
and MIDI messages that will be transmitted to the iS40. The programming of this is dealt with in the dialog window
“Modem MIDI Out/Port settings” (see further on). If you are not interested in selecting MIDI channels and messages, you can use the normal Apple MIDI Driver without installing the Korg MIDI Driver.
6 Copy the Korg MIDI Driver, contained in the disk included
in the AG-002 kit, in the System Folder of your startup
disk.
7 If the System Folder already contains the Apple MIDI
Driver, either delete it or move it to another folder. Be
careful not to either delete or move the Apple MIDI Manager.
* The Korg MIDI Driver includes all the functions of the Apple
MIDI Driver.
8 Select “Restart” from the Special menu.
Setting up the Korg MIDI Driver (Macintosh)
1 Open PatchBay.
If installation has been performed correctly, the Korg MIDI
Driver icon will appear in the PatchBay window, as shown in
the image alongside. (Depending on the system setup, the
Modem/Printer port icon might be displayed differently).
Porta Time
Porta MIDI In
Porta MIDI Out
Porta Collegata
Porta Modem
Porta Stampante
2 In PatchBay, double click on the Korg MIDI Driver icon.
The “Korg MIDI Driver Settings” dialog window will appear.
3 Select the Port Enabled for the port where the instrument
is connected, and then [1 MHz] as the Interface Type.
(Do not select [Korg PC I/F], non compatible with the Macintosh).
49
Getting Started • 6. Connecting directly to a computer (iS40)
4 Click on the [Out Port Setting: MIDI Out] button.
The dialog window shown alongside will appear. In this dialog window you can select the MIDI channels and messages
you wish to output from each port. Once you have programmed this, click on [OK].
5 Start up your MIDI application (sequencer); whose icon
will appear in the PatchBay window. Drag the mouse
from the Out Port symbol of the MIDI application, to the
MIDI IN symbol of the MIDI Driver.
• You can find more information on using PatchBay in “About PatchBay...” in the “
” menu.
Setting up the Apple MIDI Driver
If you wish to use the Apple MIDI driver instead of the Korg MIDI driver, remove the Korg MIDI Driver from the
System Folder, open the PatchBay, double click Apple MIDI Driver icon, select Enabled for the port that the instrument is connected to, and then [1 MHz] as the Interface Type, finally, close the dialog window. In PatchBay, drag the
mouse from the Out Port symbol of the MIDI application (sequencer) to the MIDI IN of the Korg MIDI Driver.
Applications which do not use the Apple MIDI Manager
If you wish to use a MIDI application (sequencer) that is incompatible with the Apple MIDI Manager, program the
communication parameters through the MIDI Preferences of the application itself. As a communicating port, select
the port that the instrument is actually connected to (Modem or Printer). Choose a [1 MHz] Clock.
50
Getting Started • 6. Connecting directly to a computer (iS40)
Reading Standard MIDI Files with Macintosh
As SMF are usually supplied in MS-DOS formatted
disks, a Macintosh must be equipped with software
that enables it to read MS-DOS disks, e.g. PCExchange (standard in the more recent Mac range),
DOS Mounter or AccessPC.
Converting SMF documents through PC
Exchange
In the following example let’s imagine you want to
read the songs in SMF format, contained in a MS-DOS
disk, with the MIDI player included in the Korg Audio
Gallery pack.
1 In the Control Panels, open PC Exchange.
The PC Exchange control panel will appear.
ters after the file name. SMF documents usually
have the “.MID” extension.
4 From the list of documents that appears in the
lower part of the window, select application
“MIDI Player v1.0.1”.
Underneath the Macintosh Application title, the
selected application icon will appear. This application (sequencer) will be used to open SMF documents.
5 From the [Document Type] pop up menu, choose
the [MIDI] format and click on [OK].
The new item which refers to the SMF documents
will be added to the format/application list shown
in the PC Exchange window, and will automatically be registered there.
2 Click on the [Add...] button.
The [Specify application associated with DOS
extension] window will appear.
3 Type “MID” into the DOS Extension box.
MS-DOS recognizes the type of document thanks
to an extension consisting of a period and three let-
Now you can insert a MS-DOS disk containing
songs in SMF format, and read the songs directly.
* For more information on reading MS-DOS disks,
see the instructions in the “DOS and Windows documents” section of the Mac OS Guide (Help menu).
51
Getting Started • 6. Connecting directly to a computer (iS40)
52
REFERENCE
GUIDE
Reference • 7. Arrangement Play mode
7. Arrangement Play mode
Functions of Arrangement Play mode
The following table lists the Arrangement Play mode pages, and the main functions contained in each page.
Display page
54
Function
Manual
page
1. Performance monitor
Select arrangement and programs
☞P. 56
2. Style select
Select a style
☞P. 57
3. Track setting (1)
Select a program, set pan and effect send level
☞P. 58
4. Track setting (2)
Damper pedal settings, track status, wrap around point, octave
☞P. 59
5. Ensemble/Variation change
Program the ensemble, automatic selection of variation after a fill in
☞P. 60
6. Keyboard scale
Scale selected by the arrangement
☞P. 61
7. Effect select
Effect type, effect on/off
☞P. 62
8. Effect modulation
Effect modulation
☞P. 62
9. Effect setup
Effect setup, C/D pan programming, L/R levels for Effects 1/2
☞P. 62
10. Effect 1 settings
Program effect 1 parameters
☞P. 62
11. Effect 2 settings
Program effect 2 parameters
☞P. 62
12. Rename Arrangement
Modify the arrangement name
☞P. 63
13. Write Arrangement
Save procedure of arrangement into USER bank
☞P. 64
14. Write Keyboard Set
Save procedure of keyboard set into memory
☞P. 64
Reference • 7. Arrangement Play mode
Tempo and chord scanning
The tempo and chords are always shown at the top of the page.
Tempo
Chord name
= (Tempo)
[40…240]
Adjust the tempo using the TEMPO/VALUE buttons or the DIAL. In iS40, you can define the tempo by tapping it on TAP TEMPO/DEL. Values:
= 40 – 240.
AUTO
Normal metronome functioning.
EXT
External Synchronism. Automatically selected if the Clock Source parameter in the Disk/Global
mode is on MIDI or HOST. Start/Stop and tempo are controlled by an external device connected to MIDI (sequencer, other keyboards).
Name of the chords
When a chord is played, its abbreviation appears on the display. The chords control the arrangement patterns.
Because the chords are detected, one of the Chord Scanning modes must be selected (if the led of the CHORD
SCANNING section are all off, the name of the chords will not appear on the display).
• Chord Scanning LOWER: detects chords below the split point.
• Chord Scanning UPPER: detects chords above the split point.
• Chord Scanning FULL: detects chords along the entire keyboard (even when playing with two hands).
In order to program the split point, hold down the SPLIT POINT button and play the note you wish to set as
the split point.
The number of notes you have to play for the chord to be detected, depends on the Chord Recognition parameter, contained on “Page 11: Chord recognition mode” of the Disk/Global mode. The “One Finger” mode
detects single notes as major chords; the other Chord Recognition modes, require more than one note, in order
to detect the chord.
The detected chord stays in memory, even if you change the arrangement while the accompaniment is playing. You can reset the chord scanning by pressing RESET, or by selecting an arrangement with the accompaniment stopped.
55
Reference • 7. Arrangement Play mode
Page 1: Performance monitor
Press the ARR.PLAY button to enter the Arrangement Play mode. In this page you can select the arrangement
and assign programs to the tracks.
Arrangement
Track
ARR (Arrangement)
Program
[A11…A88, B11…B88, U11…U88]
Use the buttons in the ARRANGEMENT section to choose an arrangement. The display will show the
selected bank, number and arrangement name.
If you choose a new arrangement while you are performing, the new arrangement will start playing at the
beginning of the next measure, and the tempo will change accordingly. If you do not want the tempo to
change when you switch from one arrangement to the other, press the TEMPO
button.
If, when selecting an arrangement you wish to change the keyboard programs as well, press SINGLE TOUCH
to enlighten its led.
You can also select the arrangements by using a footswitch or an external controller KORG EC5 (optionals).
For more information see the Disk/Global mode “Page 8: Assignable pedal/switch” or “Page 9: EC5 external
controller (only the iS40)”.
Track
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
Use the VOLUME buttons to choose the track you wish to assign a different program to. You can use either
the upper or lower button. The track name is indicated above each pair of buttons.
• To select the Upper 2 track, press one of the LOW/UPP2 buttons, then activate UPPER2 in the KEYBOARD
ASSIGN section.
• To select the Lower track, press one of the LOW/UPP2 buttons, then activate SPLIT in the KEYBOARD
MODE section and LOWER in the KEYBOARD ASSIGN section.
Program
[A11…U88, Dr11…Dr28]
Before selecting a program, you must select the track you want to assign the program to (unless it is already
selected). Select the program using the buttons in the PROGRAM section. Select a bank first (A, B, C, D, E, FUSER/DRUM), then a two-digit number, using the number buttons. If the program is in the same bank, you
only need to select the two-digit number.
In order to select a Drum program (Dr11–28), press the F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then select a two-digit number with the number buttons.
56
Reference • 7. Arrangement Play mode
Page 2: Style select
In this page you can select the style played by the arrangement.
Arrangement
Style
ARR (Arrangement)
[A11…A88, B11…B88, U11…U88]
For more information about selecting arrangements, see “Page 1: Performance monitor”.
STY (Style)
[A11…A88, B11…B58, U11…U28]
The style is a set of patterns played by an arrangement. Select the style using the buttons in the ARRANGEMENT section. Select a bank (A, B) first, then a two-digit number using the number buttons. There are 128
styles in total, in the A and B banks, so you can select A11-A88 and B11-B88.
If you want to select a style loaded from disk, choose the USER bank, and a two-digit number using the number buttons. There are a maximum of 16 USER styles, so you can only select U11-U28.
If you change the style while the accompaniment is stopped, the style programs will be assigned to the
accompaniment tracks, transpositions deleted and the “wrap around” parameter will be set on ORG. For
more information about these parameters, see “Page 4: Track settings (2)”
If you change the style while the accompaniment is playing, the accompaniment patterns will change,
whereas the programs and the track parameters will not. If the TEMPO
led is off, the tempo of the new
style will be selected.
In order to create a new arrangement, select a style that is close to what you have in mind, then change the
programs, volume, pan, tempo, effects. Finally, save the new arrangement in the USER bank. USER styles and
arrangements will stay in memory even when the instrument is turned off.
You can also select styles by using an optional footswitch or KORG EC5 external controller. For more information refer to “Page 8: Assignable pedal/switch” or “Page 9: EC5 external controller (only the iS40)” in the
Disk/Global mode.
57
Reference • 7. Arrangement Play mode
Page 3: Track settings (1)
In this page you can choose the program (sound), pan (stereo position), and effect send (send levels) for each
of the eight tracks in the arrangement.
Program
Track
Pan
Track
Effect sends
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
For more information about selecting tracks, see “Page 1: Performance monitor”.
Program
[A11…U88, Dr11…Dr44]
For more information about selecting programs, see “Page 1: Performance monitor”.
Pan (Channels A and B)
[OFF, L15…L01, CENT, R01…R15, PROG]
Track position in the stereo “panorama”. The pan corresponds to the A and B channels of the internal sound
generation. The A and B channels usually form the direct signal (A=Left, B=Right). If the effect setup is not
Parallel 3, the A and B channels can function as effect send. See “Page 9: Effect placement”.
CNT
In the center.
L values
On the left (channel Left, A).
R values
On the right (channel Right, B).
OFF
No output of track from channels A and B.
PROG
Pan of program used.
C=/D= (Effect send, channels C and D)
[0…9, P]
Effect send levels. 0: there will be no output of the track from channels C and D. P: the levels of each program
will be used.
Normally, channel C is the reverb effect setting, channel D is the modulating effect setting (chorus, flanger...).
If the effect placement is not on Parallel 3, the C and D channels can function in different ways. See “Page 9:
Effect placement”.
58
Reference • 7. Arrangement Play mode
Page 4: Track settings (2)
For each track in the arrangement, you can set the damper pedal and the parameters related to keyboard
range (octave, wrap around) for each arrangement track.
Track
Program
Damper
Track
Track status
Track
Program
Wrap-around
[DRUM, PERC, BASS, ACC1…ACC3, UP1, LOW/UP2]
For more information about selecting tracks, see “Page 1: Performance monitor”.
Program
[A11…U88, Dr11…Dr44]
For more information about selecting programs, see “Page 1: Performance monitor”.
Damper
[DIS, ENA]
This enables or disables the damper effect on the keyboard tracks. This parameter will only appear if track
UP1 or LOW/UP2 is selected.
ENA
Enabled.
DIS
Disabled.
Track status
[OFF, INT, EXT, BOTH]
This determines whether the track should be played by the internal tone generator and/or an external instrument connected via MIDI. It will only appear if you select one of the DRUM, PERC, BASS, or ACC1–ACC3
tracks.
OFF
The track will not play.
INT
Normal setting. The track will only play the internal tone generator, and will not transmit data
to the MIDI OUT and PC TO HOST connectors.
EXT
The track will not be played by the internal tone generator, but will transmit data to external
devices through the MIDI OUT and PC TO HOST connectors.
BOTH
The track will be played by the internal tone generator, and transmit data to the MIDI OUT and
PC TO HOST connectors.
Wrap (wrap-around point)
[ORG, 1…12]
The wrap-around point is the highest register limit for the backing track. The accompaniment patterns will be
transposed according to the chord being played on the keyboard. If the chord is too high, the backing track
might play in a register that is too high, and therefore unnatural. If, however, it reaches the wrap-around
59
Reference • 7. Arrangement Play mode
point, it will automatically be transposed an octave lower. This parameter will only appear when you select
the BASS or ACC1–3 tracks.
The wrap-around point can be set for each track in semitone steps up to a maximum of 12 semitones, relative
to the chord keynote. This value will be the interval between the key specified by the Chord Variation and the
wrap-around point. It would be better not to program all the tracks at the same wrap-around point, to avoid
them all jumping by an octave the same time. In order to find the best wrap around point for the track you are
editing, mute all the other tracks and try experimenting on each track.
ORG
The track will use wrap-around point of the style.
1-12
Number of semitones relative to the Chord variation pitch.
Page 5: Ensemble/Variation change
In this page you can choose the kind of Ensemble you want, and latch the FILL buttons to a variation.
Ensemble
Fill 1
Fill 2
Ensemble
[DUET, BRASS, REED, POWER, 4THS]
This enables you to set the Ensemble function thus activating the ENSEMBLE button.
DUET
Add a third to the melody.
CLOSE
“Closed” chord harmonization.
OPEN 1
“Open” chord harmonization.
OPEN 2
The same as the above, but with a different algorithm.
OCTAVE
Add one or more octaves to the melody.
POWER ENS
Add a fifth and an octave to the melody, typical hard rock harmonization.
4THS
Add a fourth and a minor seventh to the melody (two layered fourths), typical jazz harmonization.
BLOCK
“Block” harmonization, typical jazz piano harmonization.
BRASS ENS
Typical brass section harmonization.
REED ENS
Typical reed section harmonization.
Fill 1/Fill 2
[OFF, →1…→4, 1&2…3&4, UP, DOWN]
These parameters determines the variation to be selected at the end of the fill-in. Fill 1 will program the FILL
[1] button and Fill 2 will program the FILL [2] button.
60
OFF
At the end of the fill-in the initial variation will resume playing.
Values →1 - →4
At the end of the fill-in, the indicated variation will play. For example, if the parameter or Fill 1
Reference • 7. Arrangement Play mode
has been set on “→2”, after Fill 1, variation 2 will be selected.
Values 1&2–3&4
Each time a fill-in ends, one of the two indicated variations will be selected. For example, if the
Fill 1 parameter is set on “2&3”, after the first Fill 1 playback, variation 2 will be selected, after
the second fill-in playback, variation 3 will be selected 3.
UP and DOWN
These settings increase or decrease the variation respectively. For example, if the Fill 1 parameter is set on UP, starting form variation 1, after the Fill 1, variation 2 will be selected. After
variation 4, variation 1, before variation 1, variation 4 will be selected. Thus the cycle is:
2→3→4→1→2→…
Page 6: Keyboard scale
In this page you can choose the keyboard scale automatically selected by the arrangement.
Scale type
Scale type
Key
[EQUAL TEMP…USER SCALE]
The scales that you can select for the Main Scale and the Sub Scale are the same.
EQUAL TEMP.
Equal temperament. This scale is normally used nowadays, in traditional Western music. Consists of 12 absolutely identical semitones.
EQUAL TEMP. 2
The same as the previous setting, but with some irregularities in pitch, consenting a more realistic imitation of acoustic instruments.
PURE MAJOR
The major chords of the selected key will be perfectly tuned.
PURE MINOR
The minor chords of the selected key will be perfectly tuned.
ARABIC
Arabic scale, with quarter tones. The Key parameter should be set to C for “rast C/bayati D”,
to D for “rast D/bayati E”, to F for “rast F/bayati G”, to G for “rast G/bayati A”, to A# for
“rast B b/bayati C”.
PYTHAGOREAN
Pythagorean scale, based on ancient Greek theory. It is suitable for playing melodies.
WERCKMEISTER
Late baroque/classical scale.
KIRNBERGER
18th century harpsichord scale.
SLENDRO
Indonesian gamelan scale. The octave is divided into 5 notes (C, D, F, G, A). The remaining
notes will play equal temperament notes.
PELOG
Indonesian scale. The octave is divided into 7 notes (all the white keys, if the key parameter is
assigned to C tonic). The black keys will play equal temperament.
USER SCALE 1…4 One of the 4 scales that you create on “Page 15: User scale” of the Disk/Global mode.
Note: When a scale other than Equal Temperament or Equal Temperament 2 is selected, the TRANSPOSE buttons
may cause undesired chords to be recognized, depending on the scale selected and on the Transpose Position setting (see “Page 2: Master tuning/Transpose position” in the Disk/Global mode).
61
Reference • 7. Arrangement Play mode
Key (Tonic)
[C…B]
This parameter selects the key for the scales where it is necessary to indicate the key as well.
Page 7: Effect select
The instrument has two incorporated digital effect processors. In this page, you can choose which effects you
wish to assign to an arrangement and turn them on or off. For more details, see “Effects” chapter.
Page 8: Effect modulation
In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity.
For more details, see “Effects” chapter.
Page 9: Effect placement
In this page you can choose the effect setup of the arrangement, and program pan and levels for channels C
and D. Pan and sending of arrangement tracks are programmed on “Page 3: Track settings (1)”. For more
details, see “Effects” chapter.
Page 10: Effect 1 settings
Page 11: Effect 2 settings
These pages contain the effect parameters selected on “Page 7: Effect select”, that will be used for the selected
arrangement. The parameters contained in these pages will depend on the effects you have selected. For more
information on programming effects, see “Effects” chapter.
62
Reference • 7. Arrangement Play mode
Page 12: Rename Arrangement
The “Rename Arrangement” page allows you to modify the arrangement name. The name can be made up of
a maximum of 10 characters.
Selected arrangement
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the character you wish to change and the TEMPO/VALUE
buttons (or the DIAL) to choose a character.
Press INS to insert a new character at the cursor location. Press DEL to delete the character at the cursor location.
63
Reference • 7. Arrangement Play mode
Page 13: Write Arrangement
The “Write Arrangement” page allows you to save the arrangement in a location of the USER bank. Press
REC/WRITE to directly enter this page while you are in Arrangement Play mode. Along with the arrangement, the status of the Chord Scanning and Keyboard Assign settings will be saved.
1 Select the location where the arrangement will be saved using the TEMPO/VALUE buttons (or the
DIAL).
It is not possible to use the buttons in the ARRANGEMENT section to choose a location. Along with the location number, the arrangement name currently existing in the location you selected previously will be shown.
Make sure that you are not working with important data without having first made a copy.
Warning: Once you have saved a new arrangement, it will not be possible to recover the erased arrangement.
2 Press ENTER/YES.
The USER arrangements will stay in memory even when the instrument is switched off. It is possible to save
them on disk or with one of the Save operations in the Disk/Global setting: “Save All” or “Save Arr”.
Page 14: Write Keyboard Set (only the iS40)
This page allows you to save the current situation of the keyboard tracks and the control panel in a Keyboard
Set. To go directly to this page, hold down the REC/WRITE button and press one of the buttons in the KEYBOARD SET section. Select one of the 15 locations, press ENTER/YES to save the data.
Keyboard Set location
You can also save a Keyboard Set by with a different procedure.
1. Press REC/WRITE and one of the buttons in the KEYBOARD SET section.
2. Press the BANK button repeatedly, in the KEYBOARD SET section, to turn on the led of the bank you wish to
use (A, B,C).
3. Press the button in the KEYBOARD SET that corresponds to the location you wish to use.
4. Press ENTER/YES twice.
64
Reference • 8. Backing Sequence mode
8. Backing Sequence mode
Functions in Backing Sequence mode
The following table lists the Backing Sequence mode, and the main functions contained in each page.
Display page
Function
1. Playback
Select a backing sequence, volume/mute
1. Recording
Initial settings
Track, track status, quantize, metronome, recording mode for Extra
Tracks, start/end measure
Recording track selection
☞P. 66
☞P. 67
☞P. 70
2. Step recording
Recording
Manual
page
Input of notes
3. Erase backing sequence
Erase a backing sequence
☞P. 75
4. Copy backing sequence
Copy a backing sequence
☞P. 75
5-1. Delete measures
Delete measures
☞P. 76
5-2. Insert measures
Insert measures
☞P. 76
5-3. Erase measures
Erase data from measures
☞P. 78
6-1. Copy measures
Copy measures
☞P. 79
6-2. Bounce Track
“Fusion” of tracks
☞P. 80
6-3. Quantize
Quantize (correction of timing errors)
☞P. 80
Transposition of a range of notes
☞P. 81
5. Edit 1
6. Edit 2
7. Shift note
Select the edit track
☞P. 82
8. Event edit
Edit
Edit events
9. Extra Track setting (1)
Select track
Select program
MIDI channel, transposition,
detune
10. Extra Track settings (2)
Select program, pan setting and effect send level
☞P. 87
11. Effect select
Effect type, effect on/off
☞P. 88
12. Effect modulation
Effect modulation
☞P. 88
13. Effect placement
Effect placement, pan C/D channels, L/R levels for effects 1 and 2
☞P. 88
14. Effect 1 parameters
Set effect 1 parameters
☞P. 88
15. Effect 2 parameters
Set effect 2 parameters
☞P. 88
16. Next backing sequence
Select next backing sequence to be played after the one playing
☞P. 89
17. Rename Backing sequence
Change the name of a backing sequence
☞P. 90
18. SMF converter
Convert a B/S into a Standard MIDI File
☞P. 91
☞P. 86
Saving the backing sequence before turning the instrument off
Warning: When the instrument is turned off, the backing sequences in memory will be erased. Before turning
off the instrument, save the backing sequences by following the Save procedure contained in “Page 1. DISK
parameters” of the Disk/Global mode. This function is also explained in chapter “Tutorial” on page 32.
65
Reference • 8. Backing Sequence mode
Page 1: Playback
Press B.SEQ to enter this page. Press START/STOP to start or stop the playback. Press RESET to go back to
measure 001.
Backing Sequence
Measure number
Arrangement
BSQ (Backing sequence)
[0…9]
Backing sequence selected. In theory, the memory could contain up to a maximum of 10 backing sequences; in
practice, The number of backing sequences you can fit into memory depends on their size and complexity. If a
song was saved in song edit, the free memory available for the backing sequences will be reduced further.
Warning: Backing sequences are not saved on memory when the instrument is turned off. Before turning off the
instrument, save the backing sequences on disk (see “Page 1. DISK parameters” in the Disk/Global mode).
M (Measure)
[001…999]
This is the measure at which playback will begin. Each track of a backing sequence can record up to 999 measures. By pressing RESET, the indicator will go back to 001. If the backing sequence reaches the end, the indicator will automatically go back to 001.
66
Reference • 8. Backing Sequence mode
Page 1: Recording
While you are at Page 1 of the Backing Sequence mode, press REC/WRITE to enter the recording mode. In
order to go back to the playback mode, press REC/WRITE or EXIT/NO.
Tempo
Chord name
Tempo mode
Tempo
This indicates the tempo of the current backing sequence.
Tempo mode
[TEMPO-REC, AUT, 40…240]
This indicates the backing sequence tempo mode. Move the cursor to the “Tempo” parameter (the note with
the equal symbol and the numeric value), then change the tempo mode with the TEMPO/VALUE buttons (or
the DIAL).
• Press together the TEMPO/VALUE buttons to select TEMPO-REC.
• Press together the TEMPO/VALUE buttons, and then press TEMPO/VALUE [+] to select AUTO.
• Press TEMPO/VALUE [UP/+] again to adjust the tempo manually.
If you want to simplify recording of a quick song, record with a slower tempo and only choose a normal
tempo after recording.
REC
Tempo changes are recorded whilst you are recording. This option can only be chosen if you
are recording (REC/WRITE led lit up).
AUTO
Recorded tempo playback. It automatically appears in playback. The tempo will be the one
recorded in the backing sequence.
Values 40-240
The tempo can be adjusted manually during recording or playback, using the TEMPO/VALUE
buttons (or the DIAL).
Chord name display
When a chord is played, its abbreviation will appear on the display. The chords control the arrangement patterns. As the chords are detected, one of the Chord Scanning modes must be selected (if the CHORD SCANNING section led are off, the chord name will not appear on the display).
• Chord Scanning LOWER: chord detected below the split point.
• Chord Scanning UPPER: chord detected above the split point.
• Chord Scanning FULL: chord detected along the entire keyboard (even when playing with two hands).
In order to program the split point, hold down the SPLIT POINT button and play the note you wish to set as
the split point.
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Reference • 8. Backing Sequence mode
The number of notes you have to play, in order for the chord to be detected, will depend on the Chord Recognition parameter, contained in “Page 11: Chord recognition mode” of the Disk/Global mode. The “One Finger” mode detects single notes as major chords; the Chord Recognition modes need more than one note to
detect the chord.
Realtime recording
Pressing REC/WRITE, while you are at Page 1 of the Backing Sequence mode, will take you to the recording
page. The page of the Backing Sequence-Realtime recording mode, allows you to select the track you wish to
record, choose the recording quantize, set the metronome.
Set the parameters and press START/STOP to begin recording. Press START/STOP again to stop recording.
Tempo
Control track
Keyboard track
Selected
track(s)
Chord track
Quantize value
Metronome
Recording mode
Selected
track(s)
Last measure
First measure
Quantize value
Metronome
Selected track
This selects the track you wish to record. If the ATr is selected, all the tracks of the arrangement (accompaniment, keyboard, control, chords) will be recorded in one go. ETr1-ETr8 are the Extra Tracks 1-8, used to add
freely recorded parts (non-automatic).
Track status
[– – – –, REC, (KBTr/CTRL/CHRD), MUTE]
These settings will appear if you select track ATr. They determine the status of the keyboard, control and
chord tracks.
Hyphens (– – – –)
An empty track. It will only be possible to select REC.
REC
The track is recording. The data already contained in the track, will be deleted.
MUTE
The track will be mute.
KBTr, CTRL, CHRD Play status, of the keyboard, control and chord tracks, respectively.
Recording mode
[OVWR, OVDB, AUTP, MANP]
These settings will appear when you select an (ETr1–8). It indicates how the extra track you have selected, will
be recorded.
68
OVWR
(Overwrite). Data previously recorded onto the track will be erased.
OVDB
(Overdub). New data will be added to data previously recorded onto the track.
AUTP
(Auto Punch). This option allows you to demarcate the area, between a start measure and an
end measure, where you wish to record. When this option is selected, the “First measure” and
“Last measure” parameters appear.
MANP
(Manual Punch). This option allows you to manually specify the area where you wish to record.
Reference • 8. Backing Sequence mode
How to carry out Manual Punch. Playback the song. Press REC/WRITE when you get to
the beginning of the area where you wish to record. Press REC/WRITE again when you get to
the area you wanted to record.
Instead of pressing the REC/WRITE button, you can use a pedal which has been especially set
for the PUNCH IN/OUT function. See “Page 8: Assignable pedal/switch” or “Page 9: EC5
external controller (only the iS40)” in the Disk/Global mode.
Q (Recording quantize)
[HI, …]
Quantization is the correction of timing imprecisions. The notes are moved during recording, so that the timing of the song is more regular, without any notes off time.
Since the continuous controllers (like pitch bend) are quantized, If you use these controls heavily, it would be
better to record with the HI option set, and use the quantize function later on (see “6-3. Quantize ” on
page 80).
HI
No quantize; the notes will be recorded exactly as they were performed (with a precision of 1/
96th of a quarter note).
Other options
All the notes are brought to ideal intervals, determined by the value you have selected. For
example, with a setting of q, the beginning of all the notes you play will be moved to the nearest quarter note.
M (Metronome)
[OFF, ON, REC]
Metronome options.
OFF
The metronome will only sound during the pre-count, before recording.
ON
The metronome will sound during recording and playback.
REC
The metronome will only sound during recording.
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Reference • 8. Backing Sequence mode
Page 2: Step recording
Step recording (recording step by step) allows you to insert an event at a time. It can be used for all the tracks
(keyboards, chords, controls, extra tracks). Step recording erases the data of the measures you are recording
on. In order to leave the Step recording mode, press START/STOP.
Track in record
Measure number
When in this page, first select the track to be recorded, then press REC/WRITE and START/STOP. To go out
of the step recording sub-pages and go back to this page, press START/STOP. To playback the new backing
sequence go back to Page 1 and press START/STOP.
Recording track
[KBTr, CHRD, CTRL, ETr1…ETr8]
This indicates the track be recorded.
KBTr
Keyboard track.
CHRD
Chord track.
CTRL
Control track.
ETr1–ETr8
Extra tracks 1-8.
M (Measure number)
[001…999]
This indicates the measure where recording will begin. Each track of a backing sequence can record up to 999
measures. Press RESET to bring the measure indicator back to 001.
Step recording on the keyboard track
In order to step record on the keyboard track, go to page 2 of the Backing Sequence mode, select track KBTr,
press REC/WRITE and then START/STOP. The following page will appear.
Note
Time signature
Step
Measure
Velocity
Location
Duration
1. Move the cursor to the parameter you wish to modify, using the CURSOR buttons, and change the value
using the TEMPO/VALUE buttons (or the DIAL).
2. Select the step using the buttons with the notes silk-screened, and play the note to be entered.
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Reference • 8. Backing Sequence mode
3. When finished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To playback the new
backing sequence, go back to Page 1 and press START/STOP.
Note
This indicates the name of the most-recently entered note. This will appear if you have selected track KBTr or
ETr1–8.
M (Measure number)
Current measure.
Location
This indicates the location where the next event will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the
beat, in 1/96th quarter note units.
Time signature
[1/4…16/16]
This indicates the time signature at the beginning of the backing sequence. This will appear if you have
selected KBTr or ETr1–8 as the track. To insert time signature changes during backing sequence, go to “Page 8:
Event edit”.
Step
[
]
This specifies the length of the step by which you will move forward each time a note is entered (or other
event). This will appear if you have selected KBTr or ETr1–8 as the track. The value will be indicated by a
musical symbol. You can select any musical value from w (whole note) to r (32nd note), including a lengthened (dotted) note (.) and a triplet note ().
You can select the step by using either the TEMPO/VALUE buttons (or the DIAL), or the VARIATION, FILL,
INTRO/ENDING buttons.
Velocity
[002…126, KEY]
This indicates the dynamism or intensity of the note. If the value is KEY, the velocity with which the note was
actually played will be input. This will only appear if you have selected KBTr or ETr1–8 as the track.
Duration (gate)
[001…100%]
This specifies the duration of the note, relative to the length of the step.
100
Duration of the step.
Lower values
Staccato (sharply detached) notes.
Higher values
Legato (smooth flowing) notes.
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Reference • 8. Backing Sequence mode
Step recording on the control track
In order to step record on the control track go to page 2 of the Backing Sequence mode, select the CTRL track,
press REC/WRITE, and then START/STOP. The following page will appear.
Measure
Location
Value
Type of event
1. Select the type of event and the value using the CURSOR and TEMPO/VALUE buttons.
2. Press ENTER/YES to enter an event. The events will be input at eighth-note steps ( = 48 tics). If you need
greater precision, input the events and then use “Page 8: Event edit” to adjust their position.
3. Move to a different event using the < and > buttons.
4. When finished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To listen to the new
backing sequence, go back to Page 1 and press START/STOP.
M (Measure number)
Current measure.
Location
This indicates the location where the next chord will be entered. The number to the left of the colon (:) indicates the beat within the measure. The number to the right of the colon (:) indicates the position within the
beat, in 1/96th quarter note units.
Type of event
This indicates the type of event you wish to input on the control track. The following events can be input.
Type of event
ARRANGEMENT *
U11–88, A11–88, B11–88
STYLE
A11–88, B11–58, U1–16
STY, ELEMENT (style element)
KB MODE/ASSIGN (keyboard mode/assign) **
CHORD SCAN (chord scanning)
OFF, VAR1–VAR4, INT1, INT2, END1, END2, FIL1, FIL2
FUL-UP1, FUL UP1-2, SP UP1&L, DRUM, FUL-MUTE, FUL-UP2, SP-MUTE,
SP-UP1, SP-UP2, SP-UP1&2, SP-LOW
OFF, LOWER, UPPER, FULL
CHORD MEMORY
OFF, ON
BASS INV. (bass inversion)
OFF, ON
TRANSPOSE
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Value
–11… –1, 00, +1… +11
Reference • 8. Backing Sequence mode
Type of event
Value
DRUM MUTE
PERC MUTE
BASS MUTE
PLAY, MUTE
ACC1 MUTE
ACC2 MUTE
ACC3 MUTE
UP1 PROG (Upper 1 program) *
A11–A88, B11–B88, C11–C88,
D11–D88, E11–E88, Dr11–Dr28, F11–F88
UP2 PROG (Upper 2 program) *
LOW PROG (Lower program) *
UP1 OCT. (Upper 1 octave)
UP2 OCT. (Upper 2 octave)
–2, –1, 0, +1, +2
LOW OCT. (Lower octave)
*
These events can also be input using the ARRANGEMENT or PROGRAM buttons.
** The KB MODE/ASSIGN parameter controls the KEYBOARD ASSIGN and KEYBOARD MODE sections:
Option
Keyboard Assign
Keyboard Mode
UPPER1
FULL
FUL UP1-2
SP UP1&L
UPPER1, LOWER
SPLIT
DRUM
FUL-MUTE
---
FULL
SP-MUTE
---
SP-UP2
SP-LOW
FUL-UP1
Option
Keyboard Assign
Keyboard Mode
UPPER1, UPPER2
FULL
---
DRUM
FUL-UP2
UPPER2
FULL
SPLIT
SP-UP1
UPPER1
SPLIT
UPPER2
SPLIT
SP-UP1&2
UPPER1, UPPER2
SPLIT
LOWER
SPLIT
Step recording on the chord track
In order to step record on the chord track go to page 2 of the Backing Sequence mode, select the CHRD track,
press REC/WRITE and then START/STOP. This page will appear.
Measure
Chord
Tension
Location
Bass note
1. Select the chord using the CURSOR and TEMPO/VALUE buttons, or play it on the keyboard.
2. Press ENTER/YES to enter a chord. The chords will be input at eighth-note steps ( = 48 tics). If you need
greater precision, input the events and then use “Page 8: Event edit” to adjust their position.
3. Move to a different chord using the < and > buttons.
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Reference • 8. Backing Sequence mode
4. When finished, press START/STOP to go back to Page 2 of the Backing Sequence mode. To listen to the new
backing sequence, go back to Page 1 and press START/STOP.
M (Measure number)
Current measure.
Location
This indicates the location where the next note will be entered. The number to the left of the colon (:) indicates
the beat within the measure. The number to the right of the colon (:) indicates the position within the beat, in
1/96th quarter note units.
Chord
This specifies the chord you wish to enter.
Tension
Tension adds notes that have actually been played to the accompaniment, even if they haven't been written in
the style pattern.
Bass note
You can indicate a bass note that is different to the chord root.
Step recording on the extra tracks
In order to step record an extra track, go to page 2 of the Backing Sequence mode, select the extra track (ETr1ETr8), press REC/WRITE and then START/STOP. This page will appear.
Note
Time signature
Step
Measure
Velocity
Location
Duration
The extra track recording pages are very similar to the keyboard track recording page.
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Reference • 8. Backing Sequence mode
Page 3: Erase Backing Sequence
This function erases all the data from the selected backing sequence.
Backing Sequence to be erased
Select the backing sequence you wish to erase using the TEMPO/VALUE buttons (or the DIAL). Press
ENTER/YES to erase it.
Page 4: Copy Backing Sequence
This function copies the entire contents of the selected backing sequence to another backing sequence.
Source
Target
Select the copy destination of the backing sequence using the TEMPO/VALUE buttons (or the DIAL), and
press ENTER/YES.
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Reference • 8. Backing Sequence mode
Page 5: Edit 1
In this page you can select one of the following three options: delete measure (DELETE), insert measure
(INSERT), erase data from measure (ERASE). Move the cursor to the desired operation using the CURSOR
buttons, then press ENTER/YES to enter the subpage.
DELETE
INSERT
ERASE
5-1. Delete measures
This operation deletes measures from the selected track. The following measures will then be moved back,
filling the gap that was created by deleting the other data.
Track
First measure
Last measure
1. Move the cursor to the “Track” parameter using the CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons (or the DIAL). The ALL value, deletes measures from all the tracks (chord track,
control track, tempo track, keyboard track, etc.)
2. Move the cursor to the “First measure” parameter, and choose a measure number. Move the cursor to the
“Last measure”, and choose a measure number. If you only wish to delete only one measure, assign the same
measure to both fields.
3. Press twice ENTER/YES to confirm deletion.
5-2. Insert measures
This operation inserts measures into the selected track. The following measures will then be moved forward.
Time signature
Track
76
First measure
Measures to be inserted
Reference • 8. Backing Sequence mode
1. Move the cursor to the “Track” parameter using the CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons (or the DIAL). The ALL value, inserts measures from all the tracks (chord track,
control track, tempo track, keyboard track, etc.
2. Move the cursor to the “First measure” parameter (the measure where you would like to insert the new measures) and choose a measure. Move the cursor to the “Measures to be inserted” parameter, and choose the
number of measures you wish to insert. Move the cursor to the “Time signature” parameter, and choose the
time signature for the measures you wish to insert.
3. Press twice ENTER/YES to confirm insertion.
< If you insert a different time signature >
The change of time signature during playback will take place if the tempo is =AUT. If measures are inserted
with a different time signature in a track, all the tracks will have the new time signature. The data will remain
intact however, and the tracks will play exactly as they did before.
Inserting two measures of time signature = 7/8
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
After the Insert
Tr02
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
If you assign the value **/** to the time signature parameter, the new measures will have the same time signature as the measures that are in the same position on the other tracks. If the other tracks are still empty, the
time signature of the nearest measure to the measures that will be inserted, will be used.
Time signature = **/**
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
After the Insert
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
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Reference • 8. Backing Sequence mode
5-3. Erase measures
This operation erases all or part of the data contained in the specified measure(s). The measures themselves
will remain.
Track
First measure
Last measure
Type of data
1. Move the cursor to the “Track” parameter, using the CURSOR buttons and choose the track with the
TEMPO/VALUE buttons (or the DIAL). The ALL value, erases measures from all the tracks (chord track, control track, tempo track, keyboard track, etc.
2. Move the cursor to the “First measure” parameter and choose the first measure of the range where data will
be erased. Move the cursor to the “Last measure” parameter and choose the last measure of the range from
which you wish to erase the data. If you only want to erase data from one measure, assign the same measure
to both the parameters.
Type of data
Erased data
ALL
All data
NOTE
All note messages
CTRL
All control change messages
AFTT
Channel/polyphonic aftertouch messages
BEND
All pitch bend messages
PROG
All program change messages
3. Press ENTER/YES twice to confirm erasure of data.
< If you erase control change data >
Control change messages (CTRL), can be made up of an activating part (to turn the effect on) and also a deactivating part (to turn the effect off). If you erase the deactivating message, the control can get “stuck”. For
example, if you erase the deactivating message of the damper, the pedal will stay open; if you erase the pitch
bend reset message, the track could be out of tune. If this occurs, you should manually erase the activating
messages or insert new deactivating events with the functions of “Page 8: Event edit”.
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Reference • 8. Backing Sequence mode
Page 6: Edit 2
In this page you can select one of the following three operations: copy measures (COPY), combine tracks
(BOUNCE), adjust timing errors (QUANTIZE). Move the cursor to the operation you wish to carry out using
the CURSOR buttons, then press ENTER/YES to access the subpage.
COPY
BOUNCE
QUANTIZE
6-1. Copy measures
This operation copies measures within a track or from one track to another.
Target track
Source track
First source measure
First target measure
Last source measure
1. Move the cursor to the “Track” parameter, using the CURSOR buttons and choose the track with the
TEMPO/VALUE buttons (or the DIAL). The ALL value, erases measures from all the tracks (chord track, control track, tempo track, keyboard track, etc.).
2. Move the cursor to the “First source measure” parameter, and choose the first measure you wish to copy.
Move the cursor to the “Last source measure” parameter, and choose the last measure you wish to copy. If
only want to copy one measure, assign the same measure to both the parameters.
3. Move the cursor to the “Target track” parameter, and choose the copy destination track. If you have chosen
ALL as the copy source, this parameter will automatically be set on ALL.
4. Move the cursor to the “First target measure” and choose the first copy destination measure.
5. Press ENTER/YES twice to confirm copying of data. If the destination measure contains other data, this will
be erased and substituted with the new data.
< If you copy in measures with different time signature >
If the destination measures have a different time signature to the original ones, the data will remain intact, but
the time signature of the copied data will not now coincide with the original data.
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Reference • 8. Backing Sequence mode
6-2. Bounce tracks
This operation combines two tracks (keyboard tracks or extra tracks) into one track. The resulting track will
use the program, the MIDI channel and all the settings of the Bounce destination track. The data on the source
Bounce track will be erased.
The combination of two tracks containing continuous controls or change control data (e.g. pitch bend,
damper, etc.) requires particular care, since the combination of this data can produce undesired results. Before
combining these two tracks, it would be better to remove the continuous control data from at least one of the
tracks. In order to do this, you should use the functions of subpage “5-3. Erase measures”.
Origin track
Target track
1. Move the cursor to the “Source track” parameter using the CURSOR buttons, and choose the track with the
TEMPO/VALUE buttons (or the DIAL).
2. Move the cursor to the “Target track” parameter and choose a track.
3. Press ENTER/YES twice to confirm completion of the Bounce operation.
6-3. Quantize
This operation corrects timing errors of previously-recorded data. Rather than the quantize function in the
recording phase (see “Page 1: Recording” on page 67), this function allows you to specify the type of data to
work upon and a range of measures.
Type of data
Track to be
quantized
First measure
Quantize value
Last measure
1. Move the cursor to the “Track to be quantized” parameter using the CURSOR buttons and choose the track
with the TEMPO/VALUE buttons (or the DIAL). CHRD, CTRL and TEMPO are the chord, control and tempo
tracks respectively.
2. Move the cursor to the “First measure” parameter, and choose the first measure you wish to quantize. Move
the cursor to the “Last measure” parameter, and choose the last measure you wish to quantize.
3. Move the cursor to the “Type of data” parameter and chose the type of data you wish to quantize. Apart from
the tempo track, the following types of data can be selected for quantization.
Type of data
80
Data to be quantized
ALL
All data
NOTE
All note data
Reference • 8. Backing Sequence mode
Type of data
Data to be quantized
CTRL
All control change messages
AFTT
All channel/polyphonic messages
BEND
All pitch bend messages
PROG
All program change messages
4. Move the cursor to the “Quantize value” parameter and choose a musical symbol: HI, , , , , , , .
The HI value does not modify data. With other values, the data will be adjusted to ideal intervals, whose
spacing is determined by the musical symbol you have selected.
3. Press ENTER/YES twice to confirm the quantizing operation.
Page 7: Shift note (Transposition)
This operation shifts the pitch of notes making them more acute (higher) or more grave (lower), in semitone
steps. You can shift all the notes or choose a range of notes.
Track
First measure Last measure
Shift value
1. Move the cursor to the “Track” parameter using the CURSOR buttons and choose the track with the TEMPO/
VALUE buttons (or the DIAL). You can select either the keyboard track or the extra tracks.
2. Move the cursor to the “First measure” parameter and choose the first measure you wish to shift the pitch of.
Move the cursor to the “Last measure” parameter and choose the last measure you wish to shift the pitch of.
3. Move the cursor to the “Shift value” parameter and indicate the value in semitones, up to a maximum of ±24
semitones (±2 octaves).
4. Press ENTER/YES twice to confirm the shift operation.
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Reference • 8. Backing Sequence mode
Page 8: Event edit
This operation allows you to edit single events, such as notes and control change messages.
Track
1. Move the cursor to the “Track” parameter using the CURSOR buttons and choose the track with the TEMPO/
VALUE buttons (or the DIAL).
2. Press REC/WRITE and then START/STOP.
3. Move the cursor to the event and edit it with the TEMPO VALUE buttons (or the DIAL). The parameters will
differ according to the type of event and the track you have selected.
4. When you have finished editing, press START/STOP to exit event edit.
Event editing for KBTr (keyboard track) and ETr1–8 (extra tracks)
• Bar lines
Measure number / Index number
Bar line
Time signature
Measure number/Index number
The index number is the event number starting from the beginning of the measure. By modifying this number
you can step from one event to another within the measure. Index number “00” displays the bar line (i.e. the
point that divides two measures) and the time signature of the measure.
Time signature
This indicates the time scanning of the measure, i.e. (a) number of movements in which it is divided, and (b)
scanning unit.
• End of track
This display indicates the end of the track.
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Reference • 8. Backing Sequence mode
• Event
Measure number / Index number
Location
Type of event
Location
[1:00…8:95]
This indicates the location of the event within the measure. The value is displayed in the form of “quarter:tic”
(1 tic = 1/96th of a quarter note). If the abbreviation TIE appears, The note has been tied to the last note in the
previous measure.
Event type
The following table shows the event type and possible values.
You can insert an event before the displayed event by pressing the INS button. However it isn't possible to
carry out this operation if the bar line (BAR event) of the first measure is displayed.
You can delete the displayed event by pressing the DEL button. It isn’t possible to delete BAR (bar line) or the
End of Track indicator.
Event type
Value
0:00…4:00
length (beats: clock)
C-1…G9 (note number)
V:002…V:126 (velocity)
BEND (pitch bend)
–8192…+8191 (upper/lower)
AFTT (aftertouch)
000…127 (intensity)
PROG (bank select:program change)
000…127: 000…127
(bank: number of program)
CTRL (control change)
C000…C127 (control change number)
000…127 (control number)
C-1…G9 (note number)
000…127 (value)
PAFT (polyphonic aftertouch)
*4
*1
*2
*3
*1. If connected to a note in the next measure, this will be displayed as TIE.
*2. The pitch bend is divided in two parts. Use the CURSOR buttons to select the part you wish to edit.
*3. The LSB values of the Bank Select message can be 000…127, whereas the MSB value is always 0. “- - -” means
that the bank is not transmitted, and the previously selected bank will be left unchanged.
*4. MIDI Polyphonic Key Pressure (Poly Touch) messages will be transmitted but will not be received.
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Reference • 8. Backing Sequence mode
Event editing of the CTRL track (controls)
Measure number / Index number
Location
Type of event
Type of event
Value
ARRANGEMENT *
U11–88, A11–88, B11–88
STYLE
A11–88, B11–58, U1–16
STY, ELEMENT (style element)
OFF, VAR1–VAR4, INT1, INT2, END1, END2, FIL1, FIL2
KB MODE/ASSIGN (keyboard mode/assign) **
FUL-UP1, FUL UP1-2, SP UP1&L, DRUM, FUL-MUTE, FUL-UP2, SP-MUTE,
SP-UP1, SP-UP2, SP-UP1&2, SP-LOW
CHORD SCAN (chord scanning)
OFF, LOWER, UPPER, FULL
CHORD MEMORY
OFF, ON
BASS INV. (inversione del basso)
OFF, ON
TRANSPOSE
–11… –1, 00, +1… +11
DRUM MUTE
PERC MUTE
BASS MUTE
PLAY, MUTE
ACC1 MUTE
ACC2 MUTE
ACC3 MUTE
UP1 PROG (programma Upper 1) *
A11–A88, B11–B88, C11–C88,
D11–D88, E11–E88, Dr11–Dr28, F11–F88
UP2 PROG (programma Upper 2) *
LOW PROG (programma Lower) *
UP1 OCT. (ottava Upper 1)
UP2 OCT. (ottava Upper 2)
–2, –1, 0, +1, +2
LOW OCT. (ottava Lower)
*
These events can also be input using the ARRANGEMENT or PROGRAM buttons.
** The KB MODE/ASSIGN parameter controls the KEYBOARD ASSIGN and KEYBOARD MODE sections:
Option
Keyboard Assign
Keyboard Mode
UPPER1
FULL
FUL UP1-2
SP UP1&L
UPPER1, LOWER
SPLIT
DRUM
FUL-MUTE
---
FULL
SP-MUTE
--UPPER2
FUL-UP1
SP-UP2
84
Option
Keyboard Assign
Keyboard Mode
UPPER1, UPPER2
FULL
---
DRUM
FUL-UP2
UPPER2
FULL
SPLIT
SP-UP1
UPPER1
SPLIT
SPLIT
SP-UP1&2
UPPER1, UPPER2
SPLIT
Reference • 8. Backing Sequence mode
Option
SP-LOW
Keyboard Assign
Keyboard Mode
LOWER
SPLIT
Option
Keyboard Assign
Keyboard Mode
Event editing of the CHRD track (chords)
Measure number / Index number
Chord
Tension
Location
Bass note
Chord
This indicates the chord that will be input.
Tension
Tension adds notes that have actually been played to the accompaniment, even if they haven't been written in
the style pattern.
Bass note
You can indicate a bass note that is different to the chord root.
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Reference • 8. Backing Sequence mode
Page 9: Extra Track settings (1)
In this page you can set the initial parameters of the eight extra tracks ETr1-ETr8. In the same way as the keyboard track, you can individually adjust the transpose and detune settings. You can also specify the MIDI
channel of every extra track.
Extra Track
Program
MIDI channel
Transposition
Extra Track
Detune
[ETr1…ETr8]
Select the extra track using the buttons in the VOLUME section.
Program
[A11…U88, Dr11…Dr44]
Select the program using the buttons in the PROGRAM section. Select a bank first (A, B, C, D, E, F-USER/
DRUM), then a two-digit number, using the number buttons. If the program is in the same bank, you only
need to select the two-digit number.
In order to select a Drum program (Dr11–44), press the F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then select a two-digit number with the number buttons.
Ch (MIDI channel)
[01G…16]
The track will receive data from the keyboard, from MIDI IN and from the TO HOST connector on this MIDI
channel. It is possible to assign two or more tracks to the same MIDI channel, so that they play in unison
when receiving data from MIDI or from the PC TO HOST connector. You can assign the same MIDI channel to
two tracks, so you can record the notes on one and the controls on the other (e.g. volume, damper, pitch bend
variations).
Xpose (Transposition)
[–24…+24]
This transposes the track in semitones, up to a maximum of ±24 semitones (±2 octaves). At 0 there is no transpose. Since each program has an upper range limit, The higher notes might not play with a very high transpose setting.
DT (Detune)
[–50…+50]
This finely tunes the track in 1-cent steps, up to a maximum of ±50 cents (1/2 of a semitone). Tip: You can create a richer sound by detuning two tracks relative to each other and playing them in unison; assign the same
MIDI channel to the two tracks, detune them with the same value, one positive and one negative (if one of the
tracks is detuned at +10, the other should be detuned at -10), then record the data onto only one of the two
tracks.
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Reference • 8. Backing Sequence mode
Page 10: Extra Track settings (2)
In this page you can choose the program (sound), pan (stereo location) and the effect level sent to the two
built-in effect systems, for each of the 8 extra tracks.
Extra Track
Pan
Program
Effect sends
Extra Track
[ETr1…ETr8]
Select the track using the buttons in the VOLUME section.
Program
[A11…U88, Dr11…Dr44]
Select the program using the buttons in the PROGRAM section. Select a bank first (A, B, C, D, E, F-USER/
DRUM), then a two-digit number, using the number buttons. If the program is in the same bank, you only
need to select the two-digit number.
In order to select a Drum program (Dr11–44), press the F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then select a two-digit number with the number buttons.
Pan
[OFF, L15…L01, CNT, R01…R15, PROG]
This specifies the stereo location of the track. It will determine the levels of channels A and B.
CNT
Track placed in the center.
L values
Track placed to the left.
R values
Track placed to the right.
OFF
Track output on channels A and B off.
PROG
pan settings of program will be used.
C=/D= (effect send levels)
[0…9, P]
These are the send levels for the selected track (sent by channels C and D to the built-in effect systems).
P
Program send levels will be used.
0-9
Send levels of channels C (usually reverb) or D (usually modulating effect, chorus or flanger
type).
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Reference • 8. Backing Sequence mode
Page 11: Effect select
The instrument has two incorporated digital effect processors. In this page, you can choose which effects you
wish to assign to the backing sequence and turn them on or off. For more details, see “Effects” chapter.
Page 12: Effect modulation
In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity.
For more details, see “Effects” chapter.
Page 13: Effect placement
In this page you can choose the effect setup of the backing sequence, and program pan and levels for channels
C and D. Pan and sending of arrangement tracks are programmed in the Arrangement Play mode. Pan and
sending of extra tracks are programmed on “Page 10: Extra Track settings (2)”. For more details, see “Effects”
chapter.
Page 14: Effect 1 settings
Page 15: Effect 2 settings
These pages contain the effect parameters selected on “Page 11: Effect select”, that will be used for the selected
backing sequence. The parameters contained in these pages will depend on the effects you have selected. For
more information on programming effects, see “Effects” chapter.
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Reference • 8. Backing Sequence mode
Page 16: Next Backing Sequence
The “Next Backing Sequence” page allows you to choose a backing sequence which will be automatically
selected when the current backing sequence ends.
Next backing sequence
Play/Stop
Next backing sequence
[OFF, BSEQ0…BSEQ9]
This indicates the backing sequence that will be selected when the current backing sequence ends. If it is OFF,
at the end the current backing sequence will carry on playing.
Play/Stop
[STOP, PLAY]
This will set the backing sequence you have selected as the next one, in Play or Stop. If all the backing
sequences in memory are Play, they will link up with the next backing sequence, and backing sequence 9 will
link up with backing sequence 0, thus you can create a “loop” of backing sequences that playback continuously until you press START/STOP.
STOP
The next backing sequence will be selected but will not be played back.
PLAY
The next backing sequence will be selected and played back.
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Reference • 8. Backing Sequence mode
Page 17: Rename Backing Sequence
The “Rename Backing Sequence” page allows you to change the name of the backing sequence. The name can
be made up of a maximum of 10 characters.
Selected backing sequence
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the location of the character you wish to change and the
TEMPO/VALUE buttons (or the DIAL) to choose a character.
Press INS to copy the character at the cursor location. This allows you to insert a new character. Press DEL to
delete a character at the cursor location.
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Reference • 8. Backing Sequence mode
Page 18: SMF converter
This function converts a selected backing sequence into a Standard MIDI File format 0 (SMF0). The SMF can
be read and played back by any other sequencer or instrument.
filename
suffix
program bank
Insert a disk into the disk drive and press ENTER/YES. A confirmation message will appear; press ENTER/
YES again to confirm and the backing sequence will be converted into a SMF.
The displayed file name will consist of the first eight characters of the backing sequence name, all in capital
letters. Characters other than numbers and letters will be changed into underscored characters (_). You can
modify the name with the CURSOR and TEMPO/VALUE buttons (or DIAL). The SMF file extension name
SMF (.MID) will appear after the file name.
The DRUM, PERC, BASS, ACC1, ACC2 and ACC3 tracks will be assigned to the MIDI channels that were
specified in “Page 4: MIDI channel settings (1)” and in “Page 5: MIDI channel settings (2)” of the Disk/Global
mode. The extra tracks will be assigned to the MIDI channels that were specified in “Page 9: Extra Track settings (1)” in the Backing Sequence mode.
The UP1 track will be assigned to the MIDI channel that was specified in “Page 4: MIDI channel settings (1)”
of the Disk/Global mode. In the same page you can assign a channel to the LOW/UP2 track, that will however, be automatically assigned to a channel that is not being used by other tracks.
PB (Program Bank)
[NUM, BANK]
This will determine whether the Bank Select message should be saved in the SMF or not.
NUM
The bank select messages will not be saved in the SMF; choose this option when the backing
sequence has been created with the sounds that belong to the iS40/iS50 (C, D, E, F banks) and
not with the GM programs (A and B banks).
BANK
The bank select messages will be saved in the SMF; choose this option when the SMF has to be
played by another Korg i series instrument.
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Reference • 9. Song Play mode
9. Song Play mode
Functions of Song Play mode
The following table lists the pages of Song Play mode, and the main functions contained in each page.
Display page
Function
Manual
page
1. Performance monitor
Select song, tempo, initial measure
☞P. 93
2. Channel settings
Pan, effect send
☞P. 95
3. Transpose position
Position at which transpose will take place in the MIDI data, transpose effect
☞P. 96
4. Effect select
Effect type, on/off
☞P. 97
5. Effect modulation
Program effect modulation
☞P. 97
6. Effect setup
Setup pan C/D, L/R levels to effects 1 and 2
☞P. 97
7. Effect 1 parameters
Program effect 1 parameters
☞P. 97
8. Effect 2 parameters
Program effect 2 parameters
☞P. 97
If an error message appears while you are reading an SMF, refer to the list of errors in the “Appendix”.
Sending MIDI Bank Select messages
The Program Filter settings contained on “Page 7: MIDI filter” of the Disk/Global mode allow you to specify
how the select bank messages will be sent to the MIDI. In order to connect the iS40/iS50 to another Korg
instrument, set the parameter to “o”. To connect a device of another manufacturer, if the results are not correct, set the parameter to “s” or “n”. If “n” is selected, the bank select will be ignored, and the bank number
will not be sent.
Programming a song on an external computer
To program a song on an external sequencer, set the iS40/iS50 in the Song Play mode. In this way the instrument will transmit on the selected channel with the Volume buttons, and receive from the external sequencer
on all the MIDI channels (1-16). See chapter “MIDI” for more information.
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Reference • 9. Song Play mode
Page 1: Performance monitor
The iS40/iS50 can read Standard MIDI files (SMF) in format 0 and 1. Format 0 SMF will be played back immediately, without having to load them onto disk, whereas format 1 SMF will be loaded first, then played back a
few seconds later. While loading the START/STOP led will flash, and the message “Please wait a moment”
will appear on the screen.
It is also possible to read files in format Yamaha “.DOC”, although there are some limitations. The sounds will
be converted, where possible, into GM sounds. As their are differences between standard DOC and standard
GM, on some of the tracks the programs and levels might playback differently as regards the original ones.
Tempo
Song name
Measure
Song name
Song in playback. You can choose one song, playback all the songs contained on disk, or create a list of songs
to playback with just one command.
• Playing back one song
Select the song with the TEMPO/VALUE buttons. You can select the song on disk with the number buttons of
the ARRANGEMENT (songs 1-8) or PROGRAM (songs 9-16) sections.
Press START/STOP to start playback. Press START/STOP again to stop playback.
During playback, you can press RESET to go back to the beginning of the song. In this way the song’s initial
tempo will be reset.
• Playing back all the songs
To successively playback all the songs contained on disk, select “- - - -” as the song name, and press START/
STOP. The songs will playback in the order that they are filed on the disk. You can stop playback by pressing
the START/STOP button again.
• The JukeBox
You can create a list of songs in a different order with the JukeBox function. For more information, see also the
chapter “Tutorial” on page 22.
1. Choose the first song with the TEMPO/VALUE buttons (or the trackball).
2. Press ENTER/YES to insert the song in the list.
3. Choose the second song with the TEMPO/VALUE buttons (or the dial).
4. Press ENTER/YES to insert the song in the list.
5. Proceed in the same way for all the other songs you wish to insert.
6. Press START/STOP to playback the songs on the list.
7. You can use START/STOP to stop or restart playback.
8. Press EXIT/NO to exit the JukeBox mode.
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Reference • 9. Song Play mode
< There are already backing sequences and songs in memory >
If there is already a backing sequence or a song playing back in the Song Edit mode, before loading a SMF in
format 1, a message will appear asking you if you want to erase the backing sequence or song in memory: “Or
to erase B.Seq & Song Edit”. Press ENTER/YES, to erase the data in memory and playback the new song.
If you do not wish to lose the contents on memory, press EXIT/NO. If you are playing back a song list, as soon
as you press EXIT/NO the following SMF will be read. (If you want to save the data contained in memory,
follow the Save procedure in the Disk/Global mode to save the backing sequences, the Save function on
“Page 13: Save” of the Song Edit mode to save the song).
If the size of the file you wish to load is larger than the size of the edit memory (> 156 K), the message “Can’t
play all tracks” will appear. Some tracks might be missed out during playback. Press ENTER/YES to continue
loading, or EXIT/NO to cancel.
< A file does not appear >
In Song Play mode, only files with an extension of “.MID” will be played back. You cannot view the SMF
which have been saved with a different filename extension. Read the disk with a computer, and change the
filename extension to “.MID”. The name of the file must be 8 characters long, plus period and “MID” suffix
(MS-DOS conventions).
= (Tempo)
[20…250]
Initial tempo of the song. The initial tempo of the song is normally the one that was saved in the SMF. The
tempo values can be between 20 - 250. If you tap the tempo with the TAP TEMPO button, the values will be
limited to 40–240. The initial tempo will be automatically selected.
M (Measure number)
[001…999]
Current measure. You can choose a different measure both when the sequencer is in playback or when it has
stopped. If you change a measure while the sequencer is in playback, the START/STOP led will briefly flash
while the measure is being searched for, then the song will start up again from that point.
If you choose a measure number following the last measure number of the song, the sequencer will go to the
last measure and playback will stop. The message “Measure not exists. Continue?” will appear. If you press
ENTER/YES playback will continue with the next song. If you press EXIT/NO playback will stop on the last
measure of the current song.
If you move to a measure — or after a measure — that contains tempo change, program change or volume
change data, the data for all the channels will be updated, apart from the ones that are muted. If you wish to
update these channels as well, change their channel status to Play.
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Reference • 9. Song Play mode
Page 2: Channel settings
When a Standard MIDI File (SMF) is played back, the channels are momentarily reprogrammed according to
the settings of the SMF. When playback finishes they will be reset as in this page.
Channel
Pan
Program
Send levels
Ch (Channel)
[01…16]
Select the channel you wish to edit using the buttons in the VOLUME section. The corresponding channel will
be indicated in the display, above the volume indicator. You can move on from channels 1-8 to channels 9-16
by pressing the TRK SELECT button. The program of the selected channel will play on the keyboard.
Note: In Song Play mode both channels and tracks coincide.
Program
[A11…U88, Dr11…Dr44]
Program that is assigned to the selected channels. Select the program using the buttons in the PROGRAM section. To select a drum program (Dr11–Dr28), press F/USER/DRUM repeatedly until the abbreviation “Dr”
appears on the display, then select a two-digit number with the number buttons.
Note: Channel 10 can only play a DRUM program.
Pan
[OFF, L15…CENT…R15, PROG]
Stereo positioning of the channel. This works as the A and B send levels of the stereo channel. CNT will position the channel in the center. L values will place the channel to the left. R values will place the channel to the
right. Higher values will move the sound further away from the center. OFF will turn off the channel output
from channels A and B. The PROG value uses the pan setting of the program.
C=/D= (Effect send)
[0…9, P]
Effect send level of channels C and D. Signal level of channels C and D sent to the effect processors. P value
uses the send level of the program.
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Reference • 9. Song Play mode
Page 3: Transpose position
Transpose position
[KBD/MIDI, ALL/MIDI, ALL/INT]
This parameter determines whether the TRANSPOSE buttons must apply to the sounds played from the keyboard, the sounds played back from the song and the messages sent to MIDI OUT. These settings only regard
the Song Play mode, the same settings of “Page 2: Master tuning/Transpose position” of the Disk/Global
mode, will be ignored.
The OCTAVE buttons always apply only to the keyboard sounds, and are not affected by this setting. With the
KBD/MIDI value, the notes will be transposed when they are played on the keyboard. Notes played from the
sequencer or received from MIDI IN will not be transposed.
MIDI IN
Song Play
sequencer
Transpose
Scale
Tone
generator
MIDI OUT
With the ALL/MIDI value, the notes played on the keyboard and played back from the sequencer will be
transposed. The notes sent to the internal expander and MIDI OUT will be transposed. The notes received
from MIDI IN will not be transposed.
MIDI IN
Song Play
sequencer
Transpose
Scale
Tone
generator
MIDI OUT
With the ALL/INT value, all the notes entering the internal expander will be transposed. The notes received
from MIDI IN will be transposed. The notes sent to MIDI OUT will not be transposed.
MIDI IN
Song Play
sequencer
Scale
MIDI OUT
96
Transpose
Tone
generator
Reference • 9. Song Play mode
Page 4: Effect select
The instrument has two built-in digital effect processors. In this page, you can choose the effects assigned to
the arrangement and switch them on/off. For more information, see the “Effects”
Page 5: Effect modulation
In this page, you can connect the effects to one or two controls, which allow you to dynamically “modulate”
their intensity. For more information, see the effects chapter.
Page 6: Effect placement
In this page you can setup the effects of the arrangement. Among the programmable parameters, there is the
pan setting and the send level for channels C and D. Pan and channel send are programmed on “Page 2:
Channel settings”. For more information, see the “Effects” chapter.
Page 7: Effect 1 settings
Page 8: Effect 2 settings
These pages contain the effect parameters selected on “Page 4: Effect select”, that will be used for the selected
arrangement. The settings for the other operative modes are set in their respective modes.
The parameters contained in these pages will depend on the effects you have selected. For more information
on effects, see “Effects” chapter.
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Reference • 10. Song Edit mode
10. Song Edit mode
Functions of Song Edit mode
The following table lists the pages of Song Edit mode, and the main functions contained in each page.
Display page
Functions
Manual
page
1. Load
Load a Standard MIDI File
☞P. 99
2. Playback & recording
Playback and recording
☞P. 99
3. Track parameters
Parameter settings of the tracks
☞P. 101
4. Event edit
Modify single events of the tracks
☞P. 102
5. Shift note
Transposition
☞P. 105
6. Erase song
Erase a song
☞P. 106
7-1. Delete measure
Delete measures
☞P. 106
7-2. Insert measures
Insert measures
☞P. 107
7-3. Erase measures
Erase events from measures
☞P. 108
8. Effect select
Effect type, effect on/off
☞P. 109
9. Effect modulation
Effect modulation settings
☞P. 109
10.Effect placement
Effect setup
☞P. 109
11. Effect 1 settings
Effect 1 settings
☞P. 109
12. Effect 2 settings
Effect 2 settings
☞P. 109
13. Save
Save as Standard MIDI File (SMF)
☞P. 110
7. Edit
Saving a song before turning off
Warning: When the instrument is turned off, the song in Song Edit will be erased. Before turning off the
instrument, save the song by following the Save procedure contained on “Page 1. DISK functions” of the
Disk/Global mode. The function is also explained in the “Tutorial” chapter on page 35.
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Reference • 10. Song Edit mode
Page 1: Load
Load a Standard MIDI File (SMF).
Insert the disk containing the SMF you wish to load. The disk must be MS-DOS, 3.5” format, 720K capacity
(DS-DD) or 1.44MB (HD).The SMF must have the filename extension “.MID”.
It is also possible to read files in Yamaha “.DOC” format, with however some limitations. The sounds are converted, where possible, into GM sounds. Given the differences between the DOC standard and the GM standard, some tracks may playback with programs and levels that differ to the originals.
Choose the SMF with the TEMPO/VALUE buttons (or the DIAL). The files will appear in the order in which
they were saved on disk. Press ENTER/YES to load the selected file. Once the file has been loaded, press
START/STOP to go to page 2 and start playback. You can press EXIT/NO instead, to go to page 2 without
starting playback.
Page 2: Playback and recording
In this page you can playback the loaded SMF, whose name will appear in the display.
Tempo
Selected track
Initial tempo
Octave
Tempo mode
Measure number
[40…240]
Initial tempo of the song (both in playback and recording). If you wish to adjust the tempo manually, set the
“Tempo mode” parameter to MAN.
Tempo mode
[AUT, MAN, REC]
If this parameter is set on AUT, the song tempo will play. If it is set on MAN the tempo used will be as defined
by the TEMPO/VALUE buttons, and the tempo changes recorded in the song will be ignored. If set on REC,
the tempo can be adjusted manually after pressing the REC/WRITE button. Set the parameter on REC, press
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Reference • 10. Song Edit mode
REC/WRITE and then START/STOP to start recording. At this point, you can carry out tempo changes,
which will be recorded on the tempo track of the song.
M (measure number)
[001…999]
Current measure. You can choose a different measure both when the sequencer is in playback or when it has
stopped. If you change a measure while the sequencer is in playback, the START/STOP led will briefly flash
while the measure is being searched for, then the song will start up again from that point.
If you move to a measure — or after a measure — that contains tempo change, program change or volume
change data, the data for all the channels will be updated, apart from the ones that are muted. If you wish to
update these channels as well, change their channel status to Play
In the recording mode, it is not possible to choose a different measure while the sequencer is running. If the
sequencer is off, it is possible to choose start measure of the recording.
Octave
[-2…+2]
Transposition of the keyboard in octaves. Use the OCTAVE buttons to change this value.
Page 2: Realtime recording
While you are at page 2, press REC/WRITE to set the tracks on record. Select the track you wish to record
using the buttons in the VOLUME section and the TRK SELECT button. Program the various parameters and
press START/STOP to begin recording. Press START/STOP again to end recording.
Track
First measure
Recording mode
Tempo mode
Tr (Track)
Quantize
Last measure
Metronome
[0…16]
Track to be recorded.
Note: In Song Edit mode, the terms track and channel do not coincide. The MIDI channel of each track can be
freely defined on “Page 3. Track parameters”.
Recording mode
[OVWR, OVDB, AUTP, MANP]
OVWR (Overwrite): previously existing data on the track will be erased and substituted by new data. OVDB
(Overdub): new data will be added to previously existing data. AUTP (Auto punch): you can specify a start
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Reference • 10. Song Edit mode
measure and an end measure before beginning, so that only the specified area will be recorded onto and other
recording parts will not be “spoilt”. MANP (Manual punch): you can define the recording area manually. Follow this procedure:
1. Select the track you wish to record.
2. Press START/STOP to start playback.
3. Press REC/WRITE at the beginning of the area you wish to record. Recording will begin.
4. Press REC/WRITE again at the end of the area you have recorded. Recording will stop, and playback will
continue.
Instead of using the REC/WRITE button, you can switch on or off the Manual Punch function with a specially
programmed pedal or with the EC5 controller. See “Page 7. Assignable pedal settings” or “Page 8. EC5 external controller settings” of the Disk/Global mode.
Q (Recording quantize)
[HI,
… ]
Correction of timing imprecisions during recording. Set on HI, the notes will be recorded as they were played.
(On the iS40/iS50, precision is 96 “tic” per quarter). Values that differ to HI make the notes adjust to ideal
intervals, whose spacing is determined by the quantize value you have chosen. For example, if the parameter
is set on q, the attack time of the notes will be positioned to the nearest quarter. Since the pitch bend and the
other continuous controls are also quantized, you need to be careful not to make your recording too unnatural.
M (Metronome)
[OFF, ON, REC]
Turning the metronome on or off. When it is set on OFF, the metronome will only sound during the precount
of recording. When set on ON, the metronome will sound both during recording and during playback. On
REC, the metronome will only sound during recording.
Page 3: Track parameters
In this page you can view and modify the parameters of each individual track.
Track
MIDI channels
Tr (Track)
Program
Pan
Send levels
[Ch01…Ch16]
Select the track you wish to edit using the buttons in the VOLUME section. The track number will be indicated in the display above the volume indicator. Move from tracks 1-8 to tracks 9-16 by pressing the TRK
SELECT button. The selected track program will play on the keyboard.
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Reference • 10. Song Edit mode
Program
[A11…U88, Dr11…Dr44]
Program that is assigned to the selected track. Select the program using the buttons in the PROGRAM section.
To select a drum program (Dr11–Dr28), press repeatedly F/USER/DRUM until the abbreviation “Dr”
appears in the display, then select a two-digit number with the number buttons.
Ch (MIDI channel)
[01…16]
MIDI channel of the track. If a song is converted into a Standard MIDI File “Page 13. Save”, the MIDI channels
specified here will be used. You can assign the same channel to more than on track. However, once the song
has been saved as a SMF 0 format, the program change messages and controls will be mixed in the same channel.
Pan
[OFF, L15…CENT…R15, PROG]
Stereo positioning of the channel. This will be the A and B send levels of the stereo channel. CNT will position
the channel in the center. L values will place the channel to the left. R values will place the channel to right.
Higher values will move the sound further away from the center. OFF will turn off the output to channels A
and B. PROG value will use the pan of the program.
C=/D= (effect send)
[0…9, P]
Effect send levels of channels C and D. Signal level of channels C and D sent to the effect processors. P value
will use the send level of the program.
Page 4: Event edit
This operation allows you to modify single events, for example the notes and control change messages. When
you have finished editing, press START/STOP again to exit from Event Edit.
Track
Track
The track that you wish to edit.
102
[01…16, Tempo]
Reference • 10. Song Edit mode
Event filter
Press REC/WRITE to access the Event Filter page. Assign “o” to the type of event you wish to view, “x” to the
type of event that you do not wish to view. For more information on the various types of event, refer to the
paragraph about this further on.
“Note” events
“Control change” events
“Pitch bend”
events
“Program change”
events
“Mono Aftertouch”
events
“Poly Aftertouch“
events
Press START/STOP to get back to the Event Edit page.
Event types
• Bar lines
Measure number / index number
Bar line
Time signature
Measure number/Index number
The index number is the event number within the measure. By modifying this number you can step from one
event to another within the measure. Index number 0 corresponds to the bar line (i.e. the point that separates
two measures) and the time signature of the measure.
Time signature
This indicates the time scanning of the measure, i.e. the number of movements in which it is divided, and the
scanning unit.
• End of track
This display indicates the end of the track.
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Reference • 10. Song Edit mode
• Event
Location
Event type
Location [1:00…8:95]
This indicates the position within the measure. The value is displayed in the form of “quarter steps” (1/96th
of a quarter note steps). If the abbreviation TIE appears as well, the note has been tied to the last note in the
previous measure.
Event type
Event type
Values
C-1…G9
(note data)
V:002…V:126
(velocity)
BEND
(pitch bend)
–8192…+8191
(upper/lower values)
AFTT
(aftertouch)
000…127
(value)
PROG
(program change)
000…127: 000…127
(bank: program number)
CTRL
(control change)
C000…C127
(control change number)
000…127
(control number)
C-1…G9
(note number)
000…127
(value)
PAFT
(polyphonic: aftertouch)
*4
0:00…4:00
length (beats: tics)
*1
*2
*3
*1. If a note is connected to a note in the next measure, this writing TIE will be displayed.
*2. Use the CURSOR buttons to set the pitch bend values.
*3. 02 is the Drum bank (drum sounds) but the percussion programs are paired up with the values indicated in
the following table. The LSB values of the MIDI Bank Change messages are 000…127, while the MSB value is
0. - - - means that the bank is not transmitted, and the previously selected bank will be left unchanged.
*4. MIDI Polyphonic Key Pressure messages will be transmitted but will not be received.
• You can delete the selected event by pressing the TAP TEMPO/DEL key. It is not possible however, to delete
the BAR (bar line) or the End of Track indicator.
• You can insert an event before the selected event by pressing the RESET/INS button. It isn't possible however,
to carry out this operation if the bar line has been selected (BAR event) of the first measure.
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Reference • 10. Song Edit mode
Page 5: Shift notes (Transposition)
This function shifts (i.e. transposes) the pitch of notes making them more acute (higher) or more grave
(lower), in semitone steps. You can shift all the notes or choose certain measures.
Track
First measure
Last measure
Shift value
1. Move the cursor to the “Track” space using the CURSOR buttons and choose the track with the TEMPO/
VALUE buttons (or the dial).
2. Move the cursor to the “first measure” space and choose the first of the measures you wish to shift. Move the
cursor to the “last measure” and choose the last of the measures you wish to shift.
3. Move the cursor to the “Shift value” parameter and indicate the value in semitones, up to a maximum of ±24
semitones (±2 octaves).
4. Press ENTER/YES to confirm the shift operation
Track
[Ch01…Ch16, ALL]
Selected track(s). Choose value to select all the tracks.
Start measure
[001…999]
The first measure where you wish to shift the pitch of the notes.
End measure
[001…999]
The last in the range of measures where you wish to shift the pitch of the notes.
Sh= (Shift amount - transposition value)
[–24…+24]
Shift amount in semitones. The +24 value corresponds to +2 octaves. A value of
-24 corresponds to -2 octaves. A value of +00 has no effect.
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Reference • 10. Song Edit mode
Page 6: Erase song
When a song has been loaded in memory, the remaining memory available for the backing sequences will
decrease, and it may no longer be possible to load a new backing sequence. By erasing the song you can free
some of the memory. Go to this page and press ENTER/YES twice.
If you do not want to lose the data, save it on disk before erasing it from memory. Use the Save function on
“Page 13. Save ”.
Page 7: Edit
In this page, you can select one of the three operations: delete measure (DELETE), insert measure (INSERT),
erase data from measure (ERASE). Move the cursor to the desired operation using the CURSOR buttons, then
press ENTER/YES to enter the subpage.
DELETE
INSERT
ERASE
7-1. Delete measures
This operation deletes measures from the selected track. The following measures will then be moved back,
filling the gap that was created by deleting the other data.
Track
First measure
Last measure
1. Move the cursor to the “Track” field using the CURSOR buttons, and choose the track with the TEMPO/
VALUE buttons (or the trackball). The ALL value, deletes measures from all tracks (chord track, control track,
tempo track, keyboard track, etc.).
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Reference • 10. Song Edit mode
2. Move the cursor to the “First measure” field, and choose the first of the measures you wish to delete. Move
the cursor to the “Last measure”, and choose the last of the measures you wish to delete If you only wish to
delete one measure, assign the same measure to both the fields.
3. Press ENTER/YES twice to confirm deletion.
7-2. Insert measures
This operation inserts measures into the selected track. The following measures will be moved forward.
Time signature
Track
First measure
Number of measures
1. Move the cursor to the “Track” field using the CURSOR buttons, and choose the track with the TEMPO/
VALUE buttons (or the dial). Choose ALL to insert measures on all the tracks (chord track, control track,
tempo track, keyboard track, etc.).
2. Move the cursor to the “First measure” field, and indicate where the measure where you wish the insert to
take place. Move the cursor to the “Number of measures” field and indicate the number of measures to be
inserted. Move the cursor to the “Time signature” field, and choose the time signature for the measures you
wish to insert.
3. Press ENTER/YES twice to confirm insertion.
< Inserting measures with a different time signature >
The change of time signature during playback will take place if the tempo is q =AUT. If measures are inserted
with a different time signature in a track, all the tracks will have the new time signature. The data will remain
intact however, and the tracks will play exactly as they did before.
Inserting two measures of time signature = 7/8
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
After the Insert
Tr02
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (7/8)
3 (7/8)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
If you assign the value **/** to the “Time signature” parameter, the new measures will have the same time
signature as the measures that are in the same position on the other tracks. If the other tracks are still empty,
the time signature of the measure that precedes the measures to be inserted, will be selected.
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Reference • 10. Song Edit mode
Time signature = **/**
Before the Insert
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Insert
After the Insert
Tr02
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
Tr01
1 (4/4)
2 (2/4)
3 (2/4)
4 (4/4)
5 (3/4)
6 (3/4)
7 (3/4)
7-3. Erase measures
This operation erases all or part of the data contained in the specified measure(s). The measures themselves
will not be erased.
Track
First measure
Last measure
Data type
1. Move the cursor to the “Track” field using the CURSOR buttons, and choose the track with the TEMPO/
VALUE buttons (or the dial). Choose ALL to erase data from all the tracks (chord track, control track, tempo
track, keyboard track, etc.).
2. Move the cursor the “first measure” field, and choose the first of the measures you wish to erase. Move the
cursor to the “Last measure”, and choose the last of the measures you wish to erase. If you only want to erase
data from one measure, assign the same measure to both the fields.
Type of data
Erased data
ALL
All data
NOTE
All note messages
CTRL
All control change messages
AFTT
Channel/polyphonic aftertouch messages
BEND
All bend messages
PROG
All program change messages
3. Press ENTER/YES to confirm erasure of data.
< Erasing control change messages >
Control change messages (CTRL) can be made up of an activating part (to turn the effect on) and a deactivating part (to turn the effect off). If you erase the deactivating part, the control can get “stuck”. For example, if
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Reference • 10. Song Edit mode
you erase the deactivating message of the damper, the pedal will stay open; if you erase the pitch bend reset
message, the track could be out of tune. Manually erase the activating messages or insert new deactivating
events with the functions of “Page 4. Event edit”.
Page 8: Effect select
The instrument has two built-in digital effect processors. In this page you can select the effects you wish to
assign to the song and switch them on or off. For more information, see the “Effects” chapter.
Page 9: Effect modulation
In this page you can connect the effects to one or two controls, which allow you to dynamically “modulate”
their intensity. For more information, see the “Effects chapter”
Page 10: Effect placement
In this page you can setup the effects of a song. Among the programmable parameters, there is the pan and
the send levels for channels C and D. For more information see the “Effects” chapter.
Page 11: Effect 1 settings
Page 12: Effect 2 settings
These pages contain the effect parameters selected on “Page 10. Effect setup”, that will be used for the
selected backing sequence. The settings for the other operative modes are set in their respective modes.
The parameters contained in these pages will depend on the effects you have selected. For more information
on programming effects, see “Effects” chapter.
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Reference • 10. Song Edit mode
Page 13: Save
In this page you can save the song on disk, in Standard MIDI File (SMF) form. You can change the name of the
song before saving it. To save the song, when this page is displayed press ENTER/YES twice.
Filename
Format
Bank Select conversion
The filename can be up to 8 characters long. Move the cursor with the CURSOR buttons and modify the
selected character with the TEMPO/VALUE buttons (or the trackball). Press RESET/INS to copy the character at the cursor location, so that you can insert another character. Press TAP TEMPO/DEL to delete the character at the cursor location.
Format
[0, 1]
Format of the Standard MIDI File (SMF). In order to playback the song in the Song Play mode of the iS40/
iS50, choose format 0, which will allow loading to take place more quickly and will occupy space in memory.
If two or more tracks are using the same MIDI channel (for example, if you recorded the two hands onto different tracks, or you have recorded the percussion instruments onto different tracks, and the tracks have the
same MIDI channel), it would be better to save the data in format 1 to keep the tracks separate.
Remember that a SMF in format 1 occupies more memory, therefore playing it back in the Song Play mode
means that some tracks might not be loaded and thus not played.
PB (Program bank - Bank Select conversion)
[NUM, KORG, SERI]
This parameter allows you to decide whether to save the bank select messages in a SMF or not. The NUM setting means that the bank select messages will not be saved. If you have used programs from banks other than
A and B (General MIDI banks), the SMF may playback with sounds that differ to the original ones. An exception to this is channel 10, which maintains the program change standard. The KORG setting means that the
SMF will contain bank select messages that can be used with Korg instruments. Korg GM compatible products will playback perfectly SMF data, carried out with programs from banks A and B, and will select the correct drum kits. Some sounds may not play at all on some instruments of other manufacturers. The SERI
setting means the following bank select messages will be inserted in the SMF: AB=00,00, CD=00,01, E=00,02,
F=00,03, Dr=00,04.
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Reference • 11. Disk/Global mode
11. Disk/Global mode
Functions in Disk/Global mode
The following table lists the display pages of the Disk/Global mode, showing the main functions contained in
each page.
Display page
1. DISK functions
Functions
Manual
page
1-1. Load
Load data from disk
☞P. 115
1-2. Save
Save data on disk
☞P. 119
1-3. Utility
Delete data, delete styles, format disks
☞P. 120
☞P. 121
2. Master tune/Transpose position
3. Local control/Clock source/Host BR
Local On/Off, MIDI synchronization, port speed PC TO HOST
☞P. 122
4. MIDI channel settings (1)
MIDI Global channels, MIDI keyboard track channels
☞P. 123
5. MIDI channel settings (2)
MIDI chord detection channels, of Keyboard Set change, of
Arrangement change
☞P. 124
6. MIDI channel settings (3)
MIDI backing track channels
☞P. 125
7. MIDI filter
Filter of MIDI events
☞P. 126
8. Assignable pedal/switch
ASSIGNABLE PEDAL settings
☞P. 127
9. EC5 external controller (only the iS40)
KORG EC5 external controller settings
☞P. 129
10. Lower memory/Velocity curve
Lower Memory and velocity curve settings
☞P. 130
11. Chord recognition mode
Chord recognition mode
☞P. 131
12. Auto Chord Scanning,
Damper switch polarity
Automatic selection of Chord Scanning mode settings,
Damper switch polarity (only the iS40)
☞P. 132
13. Main scale
Main scale
☞P. 133
14. Sub scale
Sub scale
☞P. 133
15. User scale
USER scale settings
☞P. 134
16. MIDI data dump
Data transmission via MIDI
☞P. 135
17. Joystick X Switch
Joystick settings (Pitch bend)
☞P. 136
18. Write Global
Global memory
☞P. 136
Joystick calibration (X, Y)
☞P. 137
Aftertouch calibration
☞P. 138
Assignable pedal calibration
☞P. 139
19. Calibration
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Reference • 11. Disk/Global mode
• “Parameter modified - Write?” message
After having modified some parameters, if you press the button of another operative mode, the question
“Parameter modified - Write?” will appear in the display. If you wish to save the changes you have made,
press ENTER/YES, otherwise press EXIT/NO. If the changes are not saved, switching the instrument off and
then on again will reset any changes.
If you confirm the save, the changes will be saved in memory, and kept even when the instrument is turned
off. They will be saved in the Global file when you perform one of the following operations:
• Save > Save All
• Save > Save Global
Changes will be loaded in memory when you perform one of the following operations:
• Load > Load Global
• Load > Load All > All
You can also save the Global in memory with the “Page 18: Write Global” function.
Introduction to disks
The iS40/iS50 can save most of the data contained in memory on a 3,5” DS-DD disk (720KB capacity) or HD
(1,44MB capacity), formatted MS-DOS. A disk can contain up to 112 files, irrespective of the disk size. The
iS40/iS50 can format disks, load, save and delete data.
The data is saved in different types of files, each of which containing a particular kind of data. In order to distinguish one file from another, each type of file has an extension of a period followed by three characters. The
following table shows the correspondence between filename extensions and types of file.
Type of data
Extension
Size
Arrangement
.ARR
9 KB
Style
.STY
256 KB (max.)
Backing sequence
.BSQ
132 KB (max.)
Standard MIDI File (SMF)
.MID
720 KB (max.)
Program
.PRG
14 KB
Global
.GBL
448 Byte
Arrangement Global
.ARG
79 Byte
Keyboard Set
.KBS
500 Byte
You can view the file extensions with the UTILITY> Delete function, on “Page 1. DISK functions”.
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Reference • 11. Disk/Global mode
Write protection
You can protect a disk from the accidental overwriting of data, by opening the write protect hole. To protect
the disk from the overwriting of data, slide the protection flap so that the hole becomes visible.
To write-protect the disk: move the flap
and open the hole
To write-enable the disk: move the flap
and hide the hole
Inserting a disk
Insert the disk delicately into the disk drive, with the label facing upwards and the metal part to the front.
Press it in as far as it will go.
Note: The iS40/iS50 incorporates a new type of disk drive that you cannot hear “click” when the disk is inserted
into place.
Disk activity
indicator
Removing a disk
Before removing a disk, make sure that the disk drive operating led indicator is off. If the led is off, remove
the disk by pressing the eject button.
Warning: Do not remove the disk, if the disk drive operating led is lit up.
Disk activity
indicator
eject button
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Reference • 11. Disk/Global mode
Cleaning the heads
The disk drive read/write heads get dirty with use and become less accurate. You can clean the heads with a
special cleaning disk, purchasable from any computer or musical instrument store. Use a 3,5” DS wet type
head cleaning disk; and carefully follow the instructions included with the cleaning disk.
Precautions
• Make a backup copy of the disks, in order not to lose data forever in case of damage. If you have a personal
computer, you can keep a copy of the data on its hard disk.
• Do not open the metallic shutter on the disk, and do not touch the surface of the magnetic media inside it. If
the magnetic media becomes scratched or soiled, it may cause irreparable damage.
• Do not leave a disk in the disk drive while transporting the instrument: the read/write heads may scratch the
disk and ruin data.
• Keep the disks away from sources that generate magnetic fields, for example televisions, refrigerators, computers, monitors, speakers and transformers. Magnetic fields can alter the contents of the disks.
• Do not keep disks in very hot or humid places, do not expose them to direct sunlight and do not store them
without use in dusty or dirty places.
• Do not place heavy objects on top of the disks.
• After use, replace the disks in a case.
• Do not remove the disk or move the instrument while the disk drive is operating.
Possible problems
• In exceptional cases, the disk can get stuck in the disk drive. In order to avoid this happening, you should
only use disks of the best quality. If the disk does get stuck, do not try to force it out. Contact your local dealer
or your nearest Korg Service Center.
• Magnetic fields, dirt, humidity and usage can damage data on disk. You can try to recuperate the data with
disk repair utilities for personal computers (e.g. Norton Utilities, PC Tools or Mac Tools). It is however, a good
idea to make a backup copy of data.
The disk supplied along with the instrument
The iS40/iS50 is supplied with a “bonus” disk, containing data to be loaded in memory.
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Reference • 11. Disk/Global mode
Page 1: DISK functions
In this page you can select one of the three disk functions: LOAD, SAVE, UTIL. Move the cursor to the desired
function, then press ENTER/YES to access its subpages.
Load from disk
Save on disk
Utility
1. Load
The Load function allows you to load data onto disk. You can load all the data that can fit in memory (Load
All), only some data (Load One), only Global data (Load Global), or only iS40 Keyboard set data (Load Kbset).
Choose one of the three options and press ENTER/YES to access the relative subpage.
Warning: Loading data can cause erasure of data previously existing in memory. Before loading new data, make
sure that you have a copy on disk of any important data in memory.
Load Keyboard Set
Load all items
Load only one
item
Load Global
1-1. Load all
The Load All function loads all data of a file, or all data of a particular type contained in a file. Choose one of
the options and press ENTER/YES to view the disk directory.
All data
All arrangements
All programs
All backing
sequences
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Reference • 11. Disk/Global mode
ALL
An ALL file contains all the data that can fit in memory. In reality, it is a file that points to other files, which
can even be loaded separately. The ALL files allow you to load all the data you may need for an entire concert,
in one operation. This operation loads also the Global data, including the user scales and the two user drum
kits.
1. Insert the disco.
2. Choose ALL and press ENTER/YES. The ALL filenames contained on disk will appear in the display. The filename extension will not appear.
3. Choose the desired file with the TEMPO/VALUE buttons (or the DIAL).
4. Press ENTER/YES to load the file (or, press EXIT/NO to cancel the procedure). If all the data requested by the
ALL file is not found on the disk, an error message will appear after loading.
ARR (ARRANGEMENT)
The ARR files contain up to 64 arrangements to be located in the USER bank. If there are also files with styles
of the same name as the ARR file (but with the filename extension STY), the USER styles (up to a maximum of
16) will also be loaded along with the arrangements.
The loading procedure is the same as for the above-described ALL files. Only the arrangement filenames will
appear in the display.
PRG (PROGRAM)
The PRG files contain 64 programs of the F(USER) bank and the two Drum programs USER (Dr 27 e Dr 28)
type. The loading procedure is the same as for the above described ALL files. Only the program filenames will
appear in the display.
BSQ (BACKING SEQUENCE)
The BSQ files contain up to 10 backing sequences.
The loading procedure is the same as for the above described ALL files. Only the backing sequence filenames
will appear in the display.
1-2. Load one
The Load One function allows you to load a single element from an arrangement (ARR), a program (PRG), a
backing sequence (BSQ) or a style (STY) file. Choose one of the options and press ENTER/YES to view the
disk directory.
Arrangement
116
Program
Backing
Sequence
Style
Reference • 11. Disk/Global mode
ARR (ARRANGEMENT)
This option allows you to load an arrangement from an arrangement file.
Source file
Arrangement to
be loaded
Target location
1. Use the TEMPO/VALUE buttons (or the DIAL) to choose the arrangement file from which you wish to load
the arrangement.
2. With the CURSOR buttons, move the cursor to the second field. Use the TEMPO/VALUE buttons (or the
DIAL) to choose the arrangement to you wish to load.
3. With the CURSOR buttons, move the cursor to the third field. Use the TEMPO/VALUE buttons (or the DIAL)
to choose the USER location where you wish to load the arrangement. Alternatively, you can choose the location with the buttons in the ARRANGEMENT section.
4. Press ENTER/YES to load the arrangement.
PRG (PROGRAM)
This option allows you to load a program from a program file. If you load a USER Drum program, the
exploited USER drum kit will be loaded as well.
Source file
Program to be
loaded
Target location
1. Use the TEMPO/VALUE buttons (or the DIAL) to choose the program file from which you wish to load the
program.
2. With the CURSOR buttons, move the cursor to the second field. Use the TEMPO/VALUE buttons (or the
DIAL) to choose the program you wish to load.
3. With the CURSOR buttons, move the cursor to the third field. Use the TEMPO/VALUE buttons (or the DIAL)
to choose the F(USER) or the Dr 27-28 location, where you wish to load the program. Alternatively, you can
choose the location with the buttons in the PROGRAM section.
4. Press ENTER/YES to load the program.
Warning: If the loaded program uses a USER drum kit, that drum kit will automatically be loaded. In this case,
any previously existing drum kit in memory will be a overwritten by the new drum kit.
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Reference • 11. Disk/Global mode
BSQ (BACKING SEQUENCE)
This option allows you to load a backing sequence from a backing sequence file.
Source file
BS to be loaded
Target location
1. With the TEMPO/VALUE buttons (or the DIAL) choose the backing sequence file from which you wish to
load the backing sequence.
2. With the CURSOR buttons, move the cursor to the second field. Use the TEMPO/VALUE buttons (or the
DIAL) to choose the backing sequence you wish to load.
3. With the CURSOR buttons, move the cursor to the third field. Use the TEMPO/VALUE buttons (or the DIAL)
to choose the location where you wish to load the backing sequence.
4. Press ENTER/YES to load the backing sequence.
STY (STYLE USER)
This option allows you to load a style from a style file. There are 16 USER style locations available. The procedure is the same as for the above described backing sequence.
Source file
Style to be
loaded
Target location
1-3. Load global
The Load Global function allows you to load a Global file, containing most of the settings of this operative
mode. By loading the Global data, the scale, pedal settings, control settings and MIDI channel settings may be
automatically modified. The Global contains also the four USER scales and the two USER drum kits.
Source file
1. Using the TEMPO/VALUE buttons (or the DIAL) choose the Global file you wish to load.
2. Press ENTER/YES to load the file.
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Reference • 11. Disk/Global mode
1-4. Load keyboard set (only iS40)
The Load All Keyboard Set function allows to load the Keyboard Sets from a file. Any Keyboard Sets already
in memory will be deleted.
Source file
1. Select the file you wish to load the Keyboard set from, using the TEMPO/VALUE (or the DIAL).
2. Press ENTER/YES to load the file.
2. Save
The save function allows you to save data on disk. It is not possible to save single elements in a file; All the
data of a certain type previously existing in memory, will always be saved in a file.
All data
All arrangements
All programs
All Keyboard Sets
All backing
sequence
The Global
1. Choose a file type and press ENTER/YES to give it a name.
2. Use the CURSOR buttons to move the cursor to the character to be changed. Choose a character with the
TEMPO/VALUE buttons (or the DIAL). Press INS to insert a character at the cursor location, DEL to delete
the character at the cursor location. The name can be up to 8 characters long (capital letters and numbers).
3. Press ENTER/YES to save the file on disk. If a file with the same name already exists on disk, a message will
appear asking you if you wish to proceed and delete the old file, replacing it with the one you are saving.
Press ENTER/YES to confirm (or EXIT/NO to interrupt the operation).
Warning: If you save a file with the same name as a file that already exists on disk, the latter will be erased from
the disk and lost forever.
ALL
The Save All function allows you to save all the data contained in memory, in only one operation. This function offers you the advantage of automatically saving all connected data, for example the USER programs and
the USER styles used by a USER arrangement.
This function creates an ALL file, and a series of files that contain single elements (programs, arrangements,
styles, backing sequences, Global data). The single elements used by an ALL file, can also be loaded individually. The filename extension (.KST, .PCG, .ARR, .STY, .BSQ, .GBL, .ARG) will be automatically added.
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Reference • 11. Disk/Global mode
KBSET (KEYBOARD SET) (only iS40)
The KBSET function allows to save all the Keyboard Sets contained in memory. The filename extension (.KBS)
will be automatically added.
GLB (GLOBAL)
The GLO option saves two files containing the Global data. The filename extension of the two files (.GBL and
.ARG) will be automatically added.
ARR (ARRANGEMENT)
The ARR option saves a file containing 64 arrangements of the USER bank, and a file that contains the USER
styles, on disk. The style file will automatically be given the arrangement filename. The filename extension
(.ARR and .STY) will be automatically added.
PRG (PROGRAM)
The PRG option saves a file containing the 64 programs of the F(USER) bank and the two Drum programs set
by the user (Dr 27 and Dr 28). The filename extension (.PRG) will be automatically added.
BSQ (BACKING SEQUENCE)
The BSQ option saves a file containing 10 backing sequences. The filename extension (.BSQ) will be automatically added.
3. Utility
This page gives access to deleting files and to formatting disks. Move the cursor to the desired function, then
press ENTER/YES to access its subpage.
Delete data from
disk
Delete USER styles from Format disk
memory
DEL (Delete file)
This function deletes a file contained on disk.
1. Select the file you wish to delete using the TEMPO/VALUE buttons (or the DIAL).
2. Press ENTER/YES twice, to delete the file. The file will be deleted forever.
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Reference • 11. Disk/Global mode
E.STY (Erase style)
This function erases a style from memory. Use it when you receive the message “Not enough memory” by
loading an arrangement that makes use of USER styles loaded from disk.
1. Select the style you wish to erase using the TEMPO/VALUE buttons (or the DIAL).
2. Press ENTER/YES twice, to erase the style.
FORMAT (Format disk)
New disks must be formatted before they can be used with the iS40/iS50. (It is possible to purchase ready formatted MS-DOS disks that can be used immediately by the iS40/iS50). The formatting function can also be
used to entirely delete a previously used disk.
1. Insert the disk into the disk drive. If the disk is empty, the “Format disk?” question will appear. If the disk
already contains data, the question “Disk contains xx files. Continue?” will appear.
2. Press ENTER/YES. The disk will be formatted.
Warning: Formatting will delete all data from disk.
Page 2: Master tuning/Transpose position
This page allows you to program the overall pitch and the transpose position.
Master tune
Transpose position
Master Tune
[–50…+50]
Overall pitch of the instrument. You can raise or lower the tuning in one cent steps (100th of semitone), up to
a maximum of 50 cents (1/2 semitone). This parameter has no effect on the pitch of a MIDI device connected
to the iS40/iS50.
Xpose Pos (Transpose position)
[POST-KB, PRE-OSC]
This parameter determines whereabouts the TRANSPOSE buttons take effect in the transmission of MIDI
data. In any case, data sent to MIDI OUT will be transposed, therefore this parameter will also function on
MIDI devices connected to the MIDI OUT of the iS40/iS50.
In the Program mode, the OCTAVE buttons will always function as POST-KBD. In the Arrangement Play and
Backing Sequence modes, the OCTAVE keys always function as PRE-OSC.
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Reference • 11. Disk/Global mode
Note: The transpose position for the Song Play mode is set by the parameter in “Page 3: Transpose position” in the
Song Play mode (see pagina 96).
The POST-KBD option will transpose data immediately after it leaves the keyboard. Both notes sent to the
internal tone generator, and notes sent to MIDI OUT will be transposed. Notes that are received by MIDI IN
will not be transposed.
MIDI IN
Recording
Playback
Sequencer
Transpose
Scale
Tone
generator
Note numbers
change
MIDI OUT
The PRE-OSC option transposes the notes immediately before they enter the internal tone generator. The
notes played from the iS40/iS50 will be transposed. Notes sent to MIDI OUT will not be transposed. Notes
received by MIDI IN will be transposed.
MIDI IN
Recording
Playback
Sequencer
Pitch changes
Scale
Transpose
Tone
generator
MIDI OUT
Page 3: Global MIDI parameters
Local control
MODE
Clock source
DISK/GLOBAL
VALUE
PAGE
Host baud rate
Velocity input
Local (Local control)
[OFF, ON]
The status of this parameter determines whether the iS40/iS50 will respond to its own local controllers (keyboard, joystick, pedals). Set the parameter to OFF when you wish to use the iS40/iS50 as a mute master keyboard. When the power is turned on, this setting will automatically set to ON.
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ON
The iS40/iS50 will respond to local controls.
OFF
The internal tone generator of the iS40/iS50 will be disconnected from the local controls. The
Reference • 11. Disk/Global mode
data will be sent to MIDI OUT but not to the internal tone generator. The internal tone generator
will only respond to messages coming from MIDI IN. In the Arrangement Play mode, chord
scanning will not take place.
Clock (Clock source)
[INT, MIDI, HOST]
The status of this parameter determines how the iS40/iS50 will synchronize with other MIDI devices. If the
MIDI or HOST options are selected, the abbreviation EXT will appear in the display next to the tempo. When
the power is turned on, this parameter is automatically set to INT.
INT
The iS40/iS50 uses the tempo generated by its own internal clock (metronome). MIDI OUT will
transmit MIDI Clock messages, to which other devices can synchronize.
MIDI
The iS40/iS50 will synchronize to incoming MIDI Clock messages to MIDI IN. The Start/Stop
message can only be given by an external device which is controlling the iS40/iS50. The
iS40/iS50 responds to Start, Stop, Continue, Song Select, Song Position Pointer messages.
HOST
(only the iS40) As for the MIDI option, the messages however, will be received through the PC
TO HOST connector and not by MIDI IN.
Note: In the Song Play mode, synchronism is always set on INT, regardless of the status of this parameter.
Host BR (Host baud rate - PC TO HOST connector) (only the iS40)
[38.4 k, 31.25 k]
PC TO HOST transmission rate. The transmission rate must coincide with that of the computer connected to
this connector. Choose “38.4 k” to connect an IBM PC or compatible, “31.25 k” to connect an Apple Macintosh
or compatible. More information is included in the “Connecting directly to a computer” chapter.
Velocity Input
[Nor, 0…127]
The status of this parameter determines how iS40/iS50 will receive velocity data. This is very useful when
using keyboards that don’t transmit velocity data, for example MIDI accordions.
Nor
Normal. Notes are played back with the same velocity they are received from the MIDI.
0-127
Fixed velocity. Notes are played back with the specified value.
Page 4: MIDI channel settings (1)
The fist of the pages dedicated to the programming of the arrangement MIDI channels.
Global
Lower/Upper 2
Upper 1
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Reference • 11. Disk/Global mode
GL (Global)
[01…16]
Global MIDI channel. This can be assigned to one of the sixteen standard MIDI channels.
• System Exclusive messages will be received on the Global channel.
• In the Arrangement Play and Backing Sequence modes, the MIDI messages that have been received will simulate entirely the messages received by the local controls of the iS40/iS50 (keyboard, joystick, pedals). If you
wish to substitute the integrated keyboard with an external master keyboard, you should connect the master
keyboard to the MIDI IN of the iS40/iS50 and program it to transmit on the Global channel of the iS40/iS50.
• In the Backing Sequence mode, the Upper 1 track transmits on the Global channel.
• In the Arrangement Play mode, the program change messages that reach the Global channel select the
arrangements (unless the Global channel does not coincide with the channel of Upper 1 or Upper 2/Lower
track). The program change messages generated from the iS40/iS50 when an arrangement is selected, will be
transmitted on the Global channel.
• In the Program mode, the iS40/iS50 transmits and receives on the Global channel.
UP1 (Upper 1)
[01…16]
In the Arrangement Play mode: MIDI channel of Upper 1 track (provided that it is different to the Global
channel).
In the Backing Sequence mode this parameter will be ignored, as transmission and reception of Upper 1 track
always take place on the Global channel.
LOW/UP2 (Lower/Upper 2)
[01…16]
MIDI channel assigned to Upper 2/Lower track.
Page 5: MIDI channel settings (2)
The second page dedicated to the programming of the arrangement MIDI channels.
Chords 1
Keyboard Set
CHRD 1 (Chord 1)
Chords 2
Arrangement
[--, 01-16]
Used for receiving chords from an external device (master keyboard, sequencer, MIDI accordion). The notes
received on this channel are redirected to the chord recognition engine, and mixed with the notes received on
the ARNG and CHRD2 channels.
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Reference • 11. Disk/Global mode
When using a MIDI accordion it would be better to assign it to MIDI channel 3, this being the channel that is
usually dedicated to the chords part. If you wish to substitute the local controls (keyboard, joystick, pedals)
with an external master keyboard, choose the same channel that is assigned to Global.
To switch this parameter off press “--”.
CHRD 2 (Chord 2)
[--, 01-16]
Used for the receiving of chords from an external device (particularly a MIDI accordion or pedal controls).
The notes received on this channel are redirected to the chord recognition engine, and mixed with the notes
received on the ARNG and CHRD1 channels.
When using a MIDI accordion, it would be better to assign it to MIDI 2, this being the channel that is usually
dedicated to the bass part. See the “Accordion” chapter for more information.
To switch off this parameter, choose the “--” option.
KBSET (Keyboard Set) (only the iS40)
[--, 01-16]
Used for receiving program change messages for the selection of Keyboard Sets. To switch this parameter off,
choose the “--” option.
ARNG (Arrangement)
[--, 01-16]
Used for receiving program change messages for the selection of arrangements. To switch this parameter off
choose the “--” option.
Page 6: MIDI channel settings (3)
The third page dedicated to the programming of arrangement MIDI channels.
Drum
Accomp. 1
DRM/PER/BAS/AC1/AC2/AC3
Percussion
Accomp. 2
Bass
Accomp. 3
[01…16]
MIDI channels of the accompaniment tracks. Channels 10-15 are usually assigned channels to these tracks.
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Reference • 11. Disk/Global mode
Page 7: MIDI filter
This page contains a series of MIDI filters, to be used to restrict transmission and reception of some kinds of
MIDI events. For example, events like aftertouch use up a great deal of memory and make the songs too large,
therefore you can choose to “filter” them whilst recording.
Note: The data that has already been recorded in a backing sequence or an accompaniment track of the arrangement, will always be transmitted (whatever the status of this parameter is).
Program change
Aftertouch
Control change
System Exclusive
PR (Program change)
[x, o, n, s]
Program change and bank select message filter.
o
Messages will be transmitted and received normally.
x
Messages will be neither transmitted, nor received.
n
Program change messages will be transmitted, but the bank select messages will not.
s
Program change messages will be transmitted and received. Program banks A and B will be
transmitted as [MSB 0, LSB 0], and the DRUM bank will be transmitted as [MSB 0, LSB 0]. The
other banks will be transmitted normally.
AF (Aftertouch)
[x, o]
Aftertouch message filter. During recording with the internal sequencer, it would be better to set this parameter to “x”, to avoid recording aftertouch messages from MIDI IN and limit the size of the song.
o
Aftertouch messages will be transmitted and received normally.
x
Messages will be neither transmitted, nor received.
CT (Control change)
[x, o]
Control change message filter. During recording with the internal sequencer, it would be better to set his
parameter to “x”, to avoid recording control change messages from MIDI IN and limit the size of the song.
Also, the, iS40/iS50 will not transmit control change messages to MIDI OUT.
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o
Control change messages will be transmitted and received normally.
x
Messages will be neither transmitted, nor received.
Reference • 11. Disk/Global mode
EX (System Exclusive)
[x, o]
System Exclusive message filter, used to transfer programming data via MIDI, for example programs,
arrangements, styles, and editing commands for the Arrangement Play and Backing Sequence modes. These
messages are particularly useful when you are working with a Korg ih Harmony unit, or if you are using a
sound editor on computer.
o
System exclusive messages will be transmitted and received normally. A Korg ih connected to
the MIDI OUT of the iS40/iS50 will be controlled by the chords played in the Arrangement
Play and Backing Sequence modes. The internal chord scanning system of the ih will be automatically switched off. If the iS40/iS50 is in the Song Play mode, the chord scanning function
of the ih will operate normally.
x
Messages will be neither transmitted, nor received.
Page 8: Assignable pedal/switch
You can connect a footswitch or an expression pedal to the ASSIGNABLE PEDAL jack. The function of this
pedal can be programmed in this page. The function that is assigned to this pedal by default on the iS50 is the
Damper.
While this parameter is selected, you can select the function by pressing the corresponding button on the control panel.
The iS40/iS50 is compatible with a number of pedal models. To be absolutely sure, we recommend using a
Korg PS-1 or PS-2 pedal switch, and a Korg XVP-10 or EXP-2 expression pedal.
Function assigned to the pedal
ASSIGNABLE PEDAL/SW
[OFF, START/STOP…DATA ENTRY]
Assignable footswitch functions
Option
OFF
Function
None
Option
Function
START/STOP
Same as the START/STOP button
SYNC START/STOP
Same as the SYNCHRO START/STOP
button(s)
RESET
Same as the RESET button
TAP TEMPO
(only the iS40)
Same as the TAP TEMPO button
TEMPO LOCK
Same as the TEMPO LOCKbutton
INTRO/ENDING 1
Same as the INTRO/ENDING [1 button]
INTRO/ENDING 2
Same as the INTRO/ENDING [2] button
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Reference • 11. Disk/Global mode
Option
Function
Option
Function
FILL 1
Same as the FILL [1] button
FILL 2
Same as the FILL [2] button
VARIATION 1
Same as the VARIATION [1] button
VARIATION 2
Same as the VARIATION [2] button
VARIATION 3
Same as the VARIATION [2] button
VARIATION 4
Same as the VARIATION [4] button
CHORD HOLD
Same as the MEMORY-CHORD button
BASS INVERSION
Same as the BASS INV. button
SCALE CHANGE
Main Scale/Sub Scale switch
ARR/STYLE UP
Select the next arrangement or style*
ARR/STYLE DOWN
Select the previous arrangement or
style*
PROGRAM UP
Select the next program
PROGRAM DOWN
Select the previous program
VARIATION UP
Select the next variation
VARIATION DOWN
Select the previous variation
PUNCH IN/OUT
Punch-in recording switch
EFFECT 1 ON/OFF
Switch on/off Effect 1
EFFECT 2 ON/OFF
Switch on/off Effect 2
DRUM MUTE
Mute the Drum track
PERC MUTE
Mute the Percussion track
BASS MUTE
Mute the Bass track
ACC1 MUTE
Mute the Acc.1 track
ACC2 MUTE
Mute the Acc.2 track
ACC3 MUTE
Mute the Acc.3 track
MEMORY-SOUND
Same as the MEMORY-SOUND button
SUSTAIN ON/OFF
Same as the SUSTAIN button
FADE IN/OUT
Same as the FADE IN/OUT button
ENSEMBLE ON/
OFF
Same as the ENSEMBLE button
QUARTER TONE
Quarter tone setting**
DAMPER ON/OFF
Damper pedal function***
CHORD LATCH ON/
OFF
Chord Latch makes the chord scanning function hold the current chord,
until the pedal is released.****
Assignable expression pedal functions
Option
*
Function
Option
Function
KEYBOARD VOLUME
Program volume of selected track
MASTER VOLUME
General volume of the iS40/iS50
EXPRESSION
Relative volume of the program or
selected track
VDF CUTOFF
VDF cutoff frequency (brightness)
EFFECT CONTROL
Effect realtime modulation
DATA ENTRY
Selected function value
In the Arrangement Play or Backing Sequence mode pages where it is possible to select arrangements or
styles.
** The iS40/iS50 can detune single notes by a quarter tone (50 cents), particularly for use in Middle Eastern
music. In order to program this, you need to use a pedal with open-type polarity, such as the Korg PS-1 or the
Korg PS-2 (connecting through its right jack). See the next paragraph, “Setting quarter tone”.
*** On the iS50 the Damper is the default function.
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Reference • 11. Disk/Global mode
Setting quarter tones
You can program an Arab scale in realtime, by assigning a footswitch or an EC5 pedal the “Quarter tone”
function. The selected scale must be the Main Scale (this function has no effect on the Sub Scale).
The quarter tones that are set in this page only apply to the Main Scale. When you modify one note it reflects
on all the notes with the same name in the other octaves (for example, if C4 is modified, C3, C5, etc. will also
be modified).
In the Backing Sequence mode, quarter tones only work on the keyboard tracks (both on the recorded notes,
and the notes received by MIDI IN).
To lower a note by a quarter tone: Keep the pedal pressed, then press the MEMORY-CHORD button. While the
MEMORY-CHORD led is off, play the note you wish to lower by a quarter tone. Release the pedal.
To raise a note by a quarter tone: Keep the pedal pressed, then press the MEMORY-CHORD button. While the
MEMORY-CHORD led is lit up, play the note you wish to raise. Release the pedal.
To cancel the quarter tone setting: Simply press and release the pedal. At this point, press and then immediately release the pedal. Another way to do this would be to assign a different option to the “Assignable pedal”
setting. The setting will be canceled when the instrument is turned off.
Page 9: EC5 external controller (only the iS40)
Note: This page will not appear in the iS50.
You can connect the Korg EC5 external controller to the EC5 jack. This versatile controller includes five completely programmable pedals, which make live controlling of the iS40 easier.
Pedal
Pedal
Function assigned to the pedal
[A…E]
Select the one of the five EC5 pedals you wish to program. The EC5 pedals are marked by the letters A, B, C,
D, E. While the parameter is selected, you can choose the pedal you wish to program by pressing it directly.
Function
[OFF, START/STOP…CHORD LATCH]
Functions assignable to the selected pedal. The functions are the same as those assignable to the ASSIGNABLE PEDAL setting (see “Page 8: Assignable pedal/switch”). While the parameter is selected, you can
choose the function by pressing the equivalent button on the control panel.
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Reference • 11. Disk/Global mode
Page 10: Lower memory/Velocity curve
In this page you can program the functioning of the MEMORY-LOWER button and the response to the keyboard dynamics.
Lower Memory
Velocity curve
Lower Memory
[ACTUAL, AUTO, BASS]
Functioning of the MEMORY-LOWER button.
ACTUAL
Chords are reproduced exactly as they are played.
AUTO
This option completes the chords that are played with some missing notes (i.e. without the fifth).
BASS
While the accompaniment is stopped, the chord root will be held and sounded by the Bass
track.
Note: Since Intro 1 and Ending 1 use a particular chord progression, which can vary from arrangement to
arrangement, Lower Memory will be automatically switched off to prevent unnatural sounding results.
Note: In the Backing Sequence mode, Lower Memory will not function during playback. In recording, the notes
held by the Lower Memory function will be recorded as normal Note events.
Velocity Curve
[1…9]
You can select one of nine response curves relating to the
keyboard dynamics. The effect of each curve is shown in the
diagram below.
1-8
9
Response curve to dynamics.
All the notes played on the keyboard will
have Velocity=90. The notes that are
received on MIDI IN (or through the PC TO
HOST jack) will not be influenced by this
parameter.
Maximum (127)
(90)
9
Velocity
8
Minimum (1)
ppp
1
130
7
6
5
4
32
(Keyboard playing strength)
MIDI velocity
1
fff
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Reference • 11. Disk/Global mode
Page 11: Chord recognition mode
This is the mode where the chord played in the part enabled by the Chord Scanning function will be recognized. If Chord Scanning is set on LOWER, the chords will be recognized below the split point; if on UPPER
the ones above the split point will be recognized; if on FULL they will be recognized along the entire keyboard.
Chord recognition mode
Chord recognition mode
FINGERED1
FINGERED2
ONE FINGER
[FINGERED1, FINGERED2, ONE FINGER]
If Chord Scanning is set on LOWER, you only have to play one note below the split point to
obtain a major chord. If Chord Scanning is set on UPPER you need to play three or more notes
above the split point for the chord to be recognized. If Chord Scanning is FULL you need to
play three or more notes along the entire keyboard for a chord to be recognized.
Chord Scanning
Chord recognition
LOWER
One or more notes below the split point
UPPER
Three or more notes above the split point
FULL
Three or more notes along the entire keyboard
In order for a chord to be recognized, three or more notes must be played in the chord recognition area established by Chord Scanning setting.
Chord Scanning
Chord recognition
LOWER
Three or more notes below the split point
UPPER
Three or more notes above the split point
FULL
Three or more notes along the entire keyboard
If only one note is played (e.g. C3), this note will be recognized as the root of a major chord. If
along with the root, you play the first white key below the root (e.g. C3 and B2), a seventh
chord will be recognized. If, along with the root, the first black key is played below the root
(e.g. C3 and Bb2), a minor chord will be recognized.
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Reference • 11. Disk/Global mode
Page 12: Auto chord scanning/Damper polarity
In this page, you can program the Automatic-Chord Scanning and the Damper pedal polarity of the iS40.
Auto chord scanning
Damper polarity
Auto chord scanning
[ON, OFF]
If this parameter is set on ON, the Chord Scanning changes automatically when you select a Keyboard Mode.
Keyboard Mode
Automatically selected Chord Scanning
Full Upper
FULL
Split
LOWER
Manual Drum
--
Polarity (only the iS40)
[REVERSE (+), KORG (–)]
It is possible to connect a footswitch to the DAMPER connector of the iS40 to activate the Damper or Sustain
function and produce a similar effect of a right-most pedal on an acoustic piano. The pedals that are readily
available on the market, can have different polarities. If you own a Korg PS-2 pedal, you should program its
right jack as KORG (–) and the left jack as REVERSE (+).
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KORG(–)
For pedals with normally open polarity. Choose this option to connect the Korg DS-1 and PS-1
footswitches.
REVERSE(+)
For pedals with normally closed polarity. Choose this option to connect the Korg DS-2 footswitch.
Reference • 11. Disk/Global mode
Page 13: Main scale
Page 14: Sub scale
These pages allow you to select a Main Scale (or temperament), or Sub Scale for the instrument. It is possible
to switch from the Main Scale to the Sub Scale with a footswitch, the EC5 external controller, or via MIDI.
Scale type
Scale type
Root key
[EQUAL TEMP…USER SCALE]
The scales that you can select for the Main Scale and the Sub Scale are the same.
EQUAL TEMP.
Equal temperament. This scale is normally used nowadays, in traditional Western music. Consists of 12 absolutely identical semitones.
EQUAL TEMP. 2
The same as the previous setting, but with some irregularities in pitch, consenting a more realistic imitation of acoustic instruments.
PURE MAJOR
The major chords of the selected key will be perfectly tuned.
PURE MINOR
The minor chords of the selected key will be perfectly tuned.
ARABIC
Arabic scale, with quarter tones. The Key parameter should be set to C for “rast C/bayati D”,
to D for “rast D/bayati E”, to F for “rast F/bayati G”, to G for “rast G/bayati A”, to A# for
“rast B b/bayati C”.
PYTHAGOREAN
Pythagorean scale, based on ancient Greek theory. It is suitable for playing melodies.
WERCKMEISTER
Late baroque/classical scale.
KIRNBERGER
18th century harpsichord scale.
SLENDRO
Indonesian gamelan scale. The octave is divided into 5 notes (C, D, F, G, A). The remaining
notes will play equal temperament notes.
PELOG
Indonesian scale. The octave is divided into 7 notes (all the white keys, if the key parameter is
assigned to C tonic). The black keys will play equal temperament.
USER SCALE 1…4 One of the 4 scales that you create on “Page 15: User scale”.
Note: When a scale other than Equal Temperament or Equal Temperament 2 is selected, the TRANSPOSE buttons
may cause undesired chords to be recognized, depending on the scale selected and on the Transpose Position setting (see “Page 2: Master tuning/Transpose position”).
Key (Tonic)
[C…B]
This parameter selects the key for the scales where it is necessary to indicate the key as well.
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Reference • 11. Disk/Global mode
< Switching from the Main Scale to Sub Scale and vice versa >
You can switch between the Main Scale and the Sub Scale with a footswitch or an EC5 external controller.
Assign the SCALE CHANGE value to the “Page 8: Assignable pedal/switch” settings (for the footswitch) or
“Page 9: EC5 external controller (only the iS40)” (for the EC5).
You can select the scale MIDI, through the Control Change 04 message. Values 0–63 select the Main Scale, values 64–127 select the Sub Scale.
Page 15: User scale
You can create four personalized scales, that you can use by assigning the USER SCALE value to the “Page 13:
Main scale” setting. You can use the User Scale as a sub scale, assigning one of the USER SCALE values to the
“Page 14: Sub scale” setting.
Scale to be programmed
Note
Tuning
Scale
[1…4]
One of the four USER scales.
Note
[C…B]
The note you wish to modify. The modifications apply to this note on all the octaves.
Tuning
Tuning of the selected note, in 1 cent steps (1 cent=1/100 of a semitone).
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[–50…+50]
Reference • 11. Disk/Global mode
Page 16: MIDI data dump
The MIDI Data Dump is the sending of internal data of the iS40/iS50 to another MIDI device. In this page,
you can transmit and receive System Exclusive data.
Data type
To transmit System Exclusive data:
1. Select the type of data you wish to send and press ENTER/YES.
2. Write down the MIDI Global channel, which should be the same when you wish to newly receive the data
from the external device. (“Page 4: MIDI channel settings (1)”).
To receive System Exclusive data:
1. Program the MIDI Global channel on the channel where data has been sent. (“Page 4: MIDI channel settings
(1)”).
2. Set the System Exclusive message filter to “o”. (“Page 7: MIDI filter”).
3. Move to this page, and start transmitting from the external device.
Data type
[GLOBAL…KEYBOARD SET]
GLOBAL
All Global parameters, except for Local Control and Clock Source.
ARRANGEMENT
The 64 USER arrangements.
B.SEQUENCE
The 10 backing sequences.
PROGRAM
The 64 USER programs, the 2 USER Drum programs, the 2 USER drum kits.
STYLE
A group of 4 USER styles.
Data type
Size (in KB)
Transmission time (in seconds)
Program
15
5
Global
0.3
<1
Arrangement
12
4
Backing sequence
2,6-186
1-60
Style U11-U14
5-74
2-25
Style U15-U18
5-74
2-25
Style U21-U24
5-74
2-25
Style U25-U28
5-74
2-25
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Reference • 11. Disk/Global mode
Page 17: Joystick settings
Setting the joystick for pitch bend control.
Lower/Upper 2
Upper 1
UP1 (Upper1 track)
[PRG, DIS]
PRG
The joystick will activate the Upper1 track pitch bend, provided that the program setting does
not turn it off.
DIS
The joystick will be deactivated on Upper1 track.
UP2 (Upper2/Lower track)
[PRG, DIS]
PRG
The joystick will activate the Upper2/Lower track pitch bend, provide that the program setting
does not turn it off.
DIS
The Joystick will be deactivated for Upper2/Lower track.
Page 18: Write Global
In this page, you can save the Global settings in memory.
In addition to the split point, this command will save the parameters of the following pages:
136
“Page 2: Master tuning/Transpose position”
“Page 3: Global MIDI parameters”
“Page 4: MIDI channel settings (1)”
“Page 5: MIDI channel settings (2)”
“Page 6: MIDI channel settings (3)”
“Page 7: MIDI filter”
“Page 8: Assignable pedal/switch”
“Page 9: EC5 external controller (only the iS40)”
“Page 10: Lower memory/Velocity curve”
“Page 11: Chord recognition mode”
“Page 12: Auto chord scanning/Damper polarity”
“Page 13: Main scale”
“Page 14: Sub scale”
“Page 15: User scale”
“Page 17: Joystick settings”
“Page 19: Calibration”
Reference • 11. Disk/Global mode
To save Global settings:
1. Go to this page.
2. Press ENTER/YES twice to save the Global setting in memory. Otherwise, press EXIT/NO to cancel the operation.
Note: The Global setting will also be saved if you respond ENTER/YES to the “Parameter modified - Write?” message, which appears when you exit from the Disk/Global mode after having modified one or more parameters.
Page 19: Calibration
The joystick, aftertouch and pedal positions can drift slightly over the years with use, and produce different
values to the original ones. The calibration function allows you to bring these devices back to their full capacity. Select the device you wish to calibrate using the CURSOR buttons, and press ENTER/YES to access the
relative subpage.
Joystick (X)
Joystick (Y)
Aftertouch
Assignable pedal
Note: During re-calibration, move the joystick until it stops. If you receive repeated messages of “Invalid data”, it is
possible that there is some kind of malfunction. If this is the case, contact you nearest Korg Service Station, or your
local dealer.
16-1. Joystick (X) calibration
1. Move the joystick entirely to the left, as far as it will go.
2. Move the joystick entirely to the right, as far as it will go.
3. Release the joystick.
4. As soon as the joystick returns to the central position, press ENTER/YES.
5. If adjustment has been performed correctly, an “Are you sure?” message will appear in the display. Press
ENTER/YES again, in order to confirm. The message “Completed” will appear in the display.
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Reference • 11. Disk/Global mode
If adjustment hasn’t been performed correctly, an “Invalid Data” message will appear instead. Repeat the calibration procedure.
16-2. Joystick calibration (Y)
1. Move the joystick entirely forward, as far as it will go.
2. Move the joystick entirely back towards yourself, as far as it will go.
3. Release the joystick.
4. As soon as the joystick returns to the central position, press ENTER/YES.
5. If adjustment has been performed correctly, an “Are you sure?” message will appear in the display. Press
ENTER/YES again, in order to confirm. The message “Completed” will appear in the display.
If adjustment hasn’t been performed correctly, the message “Invalid Data” will appear instead. Repeat the calibration procedure.
16-3. Aftertouch calibration
The aftertouch effect of a button can lose calibration with use and is unable to reach maximum effect. If you
notice that a button is not reaching maximum intensity, calibrate the aftertouch of the button.
1. Press the button (and only that one) from which the aftertouch effect is reaching maximum intensity.
2. Release the button, and press ENTER/YES.
5. If adjustment has been performed correctly, an “Are you sure?” message will appear in the display. Press
ENTER/YES again in order to confirm. In the display the message “Completed” will appear.
If adjustment hasn’t been performed correctly, the message “Invalid Data” instead will appear. Repeat the calibration procedure.
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Reference • 11. Disk/Global mode
16-4. Assignable pedal/footswitch calibration
The depth of an effect, controlled by a pedal or a footswitch will depend on the model of the pedal or footswitch. If you change a pedal, the effect might not be able to reach maximum intensity, or shut off completely.
If this is the case you need to calibrate the pedal.
1. Connect the pedal or footswitch to the ASSIGNABLE PEDAL/SW connector.
2. In order to calibrate the pedal, press the pedal down as far as it will go, then raise it completely.
3. Press ENTER/YES.
4. If adjustment has been performed correctly, an “Are you sure?” message will appear in the display. Press
ENTER/YES again in order to confirm. The message “Completed” will appear in the display.
If adjustment hasn’t been performed correctly, the message “Invalid Data” will appear instead. Repeat the calibration procedure.
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Reference • 12. Program mode
12. Program mode
Functions of Program mode
The following table lists the functions of Program mode, showing the title and main contents of each display
page, and the manual page for reference.
Display page
Contents
Manual
page
1. Program play
Select program, transpose, octave, performance edit
☞P. 141
2. Oscillator basic/Oscillator 2 relative
Oscillator type setting, oscillator 2 relative
☞P. 143
3. Oscillator tone
Oscillator settings, pan, send *
☞P. 144
4. Pitch EG
Pitch EG settings
☞P. 146
5. VDF
Filter settings *
☞P. 148
6. VDF EG
Filter EG settings *
☞P. 149
7. VDF keyboard tracking
Filter EG keyboard tracking settings *
☞P. 151
8. VDF velocity sensitivity
Filter velocity sensitivity settings *
☞P. 153
9. VDA EG
Amp EG settings *
☞P. 155
10. VDA keyboard tracking
Amp EG keyboard tracking settings *
☞P. 157
11. VDA velocity sensitivity
Amp EG velocity sensitivity settings *
☞P. 159
12. Vibrato
Vibrato settings *
☞P. 161
13. Vibrato controller
Joystick, aftertouch settings *
☞P. 163
14. VDF MG
Filter modulation settings
☞P. 164
15. VDF MG controller/VDA level
Joystick, aftertouch settings
☞P. 166
16. Controllers
Programming of the joystick and aftertouch
☞P. 167
17. Effect select
Effect type, effect on/off
☞P. 168
18. Effect modulation
Modulation of the selected effects
☞P. 168
19. Effect placement
Effect placement, C/D pan, effect 1 and 2 L/R levels
☞P. 168
20. Effect 1 parameters
Effect 1 parameter settings
☞P. 168
21. Effect 2 parameters
Effect 2 parameter settings
☞P. 168
22. Rename program
Modify the program name
☞P. 168
23. Write program
Write a program into memory
☞P. 169
* If you set Oscillator Type to DOUBLE (double oscillator program) in “Page 2: Oscillator basic/Oscillator 2
relative”, these pages will display either the oscillator 1 or oscillator 2 parameters. Switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] and [2].
How to recover lost changes
If you accidentally select a different program without writing your edits, you can press the TEMPO button
(if you have not yet edited the selected program) to bring back the previous program. (Only the sound will be
brought back, and the program number will not change.)
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Reference • 12. Program mode
Page 1: Program play
In Page 1 of Program mode you can select the Program that will be played from the keyboard of the iS40/
iS50. You can also use the Performance Edit settings that are shown in this page to perform simple editing.
Press the PROGRAM button to enter Program mode, and the following display will appear.
Program
Transposition/Octave
Program
[A11…E88, F11…F88, Dr11…Dr28]
The internal memory of the iS40/iS50 contains seven banks of Programs, as follows.
Bank
Number of programs
Contents
A
64
GM programs 1–64 (ROM)
B
64
GM programs 65–128 (ROM)
C, D, E
64 × 3
iS40/iS50 preset programs (ROM)
F
64
User programs (RAM)
Dr
16
Drum programs (ROM: Dr11–26, RAM: Dr27–28)
Before selecting a program, you must select the track you want to assign the program to (unless it is already
selected). Select the program using the buttons in the PROGRAM section. Select a bank first (A, B, C, D, E, FUSER/DRUM), then a two-digit number, using the number buttons. If the program is in the same bank, you
only need to select the two-digit number.
In order to select a Drum program (Dr11–28), press the F(USER/DRUM) button repeatedly in the PROGRAM
section, until the abbreviation “Dr” appears, then select a two-digit number with the number buttons.
You can also select programs using an optional footswitch or an EC5 external controller pedal. For details
refer to Disk/Global mode “Page 8: Assignable pedal/switch” or “Page 9: EC5 external controller (only the
iS40)”.
When you select a program, a MIDI program change message will also be transmitted.
XPOSE (Transpose)
[–11…+11]
When you need to transpose (shift the pitch), use the TRANSPOSE buttons to set the Transpose setting of
each program. The pitch can be transposed in semitone steps over a range of 11 steps up or down.
Octave
[–2…+2]
Use the OCTAVE buttons to set the Octave of each program. With a setting of 0, the program will sound at its
standard pitch. The pitch can be shifted in steps of an octave, over a range of 2 octaves up or down.
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Reference • 12. Program mode
Performance Edit
By pressing one of the VOLUME buttons in Page 1, you can perform the Performance Edit operation corresponding to the button that was pressed. You can save the modified program in a F(USER) location, by pressing REC/WRITE to go to “Page 22: Write program”.
VOLUME
DRUMS
PERC
BASS
ACC1
ACC2
ACC3
LOW/UPP2
UPP1
PROGRAM
MUTE
Vibrato intensity
Makes the sound brighter or mellower
VIBRATO
INT.
VDF
CUTOFF
VDF EG
INT.
ATTACK
TIME
RELEASE
TIME
VDA
LEVEL
VELOCITY EFFECT
SENS. BALANCE
Effects intensity
Modifies the sound quality during time
Keyboard touch responsiveness
Changes the attack time
Makes the sound disappear faster or more
slowly, after a key has been released
Performance edit
Program volume
[–10…+10/–3…+3]
The Performance Edit function of the iS40/iS50 allows you to make adjustments to the most important program parameters, without having to bother with detailed editing. This is a convenient way of modifying program parameters during a rehearsal or live performance.
Program
Performance Edit parameters
When you press the upper or lower VOLUME button, the corresponding Performance Edit parameter will be
displayed (always with a value of +00), and you can press either button to modify the value.
Performance Edit settings are made with a value of –10–+10. This editing adjusts the effect of the corresponding program parameter. However, be aware that this setting does not change the value of the program parameter itself, but is only an adjustment that is relative to that setting. When you modify a Performance Edit
parameter, one or more parameters for each oscillator will be affected (except for Dry:Effect Balance).
If the original parameter value is already at its maximum or minimum value, changing the Performance Edit
value will have no effect.
Vibrato Intensity modifies the Vibrato Intensity parameter (☞P. 161), adjusting the vibrato .
OSC Octave adjusts the Octave parameter (☞P. 145) of both oscillators, modifying the octave of the program
that will sound. This allows 1 octave of change in one-octave steps.
VDF Cutoff modifies the VDF Cutoff parameter (☞P. 149) of both oscillators, modifying the tone of the program. Each step will change the parameter value 5 steps.
VDF EG Intensity modifies the VDF EG Intensity parameter (☞P. 149) of both oscillators, adjusting the way
in which the tone of the program changes over time. Each step will change the parameter value 3 steps.
Attack Time modifies the VDA Attack Time parameter (☞P. 156) of both oscillators, adjusting the attack
length of the program. Each step will change the parameter value 5 steps.
Release Time modifies the VDF and VDA Release Time parameters (☞P. 147) of both oscillators, adjusting
the release length of the program. Each step will change the parameter value 5 steps.
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Reference • 12. Program mode
VDA Level modifies the VDA Level parameter (☞P. 145) of both oscillators, adjusting the overall volume of
the entire program. Each step will change the parameter value 5 steps.
Velocity Sensitivity modifies the way in which changes in keyboard playing dynamics will affect the sound.
The EG Intensity parameter (☞P. 154) for VDF Velocity Sensitivity and the VDA Velocity Sensitivity parameter (☞P. 160) for VDA Velocity Sensitivity will be modified for both oscillators. Each step will change the
parameter value 5 steps.
DRY:FX Balance modifies the Balance parameter between effects 1 and 2, adjusting the balance between the
“dry” sound of the program (unprocessed by the effect) and the “wet” sound processed by the effect. Each
step will change the parameter value 5 steps.
Page 2: Oscillator basic/Oscillator 2 relative
Here you can select the basic oscillator type: i.e., whether the program will use one or two oscillators, or a
drum kit. You can also specify whether the sound of the program will be maintained even after a Note-off
message is received, and whether the program will sound monophonically or polyphonically.
Oscillator type
Hold
Assign
OSC2 transpose
OSC2 delay
OSC2 detune
Oscillator type
[SINGLE, DOUBLE, DRUMS]
This parameter determines the basic structure of the program.
SINGLE (single oscillator program) will cause the program to use only one oscillator. Maximum polyphony
will be 32 notes.
DOUBLE (double oscillator program) will cause the program to use two oscillators. This allows more complex sounds to be created, but the maximum polyphony will be limited to 16 notes.
DRUMS (drum program) will assign a drum kit (instead of a multisample) to the program. (For details refer
to the explanation for the Multisample/Drum Kit parameter which follows later.)
Assign
[MONO, POLY]
This specifies the number of simultaneous notes that the program will sound in response to Note messages
received on one MIDI channel.
MONO will cause the program to sound only one note at a time.
POLY will allow the program to play chords.
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Reference • 12. Program mode
Hold
[HOLD, NORM]
This specifies whether or not a note sounded by the program will stop when you release the iS40/iS50’s keyboard or when a Note-off message is received.
HOLD causes the sound to continue sounding even after the note is released. This is convenient when playing drum sounds. For other types of program you will usually set this parameter to NORM.
Even with a setting of NORM, the sound will continue playing forever if the VDA EG Sustain Level parameter (☞P. 157) is set to a value other than 0.
Iv (OSC2 Interval)
[–12…+12]
This parameter raises or lowers the OSC2 pitch relative to the OSC1 pitch, allowing a program to sound a
two-note parallel “chord” for each note. This can be adjusted in semitone steps over a maximum range of 1
octave.
Positive (+) values will raise the OSC2 pitch, and negative (–) values will lower the OSC2 pitch.
Det (OSC2 Detune)
[–50…+50]
This parameter detunes OSC1 and OSC2 in relation to each other, producing a richer sound.
Positive (+) values will cause the OSC2 pitch to rise and the OSC1 pitch to fall, and negative (–) values will
produce the opposite effect.
This setting indicates the pitch difference between OSC1 and OSC2 in one-cent steps, and as shown by the following table, raising the pitch of one oscillator will lower the pitch of the other.
Detune
OSC1 pitch
OSC2 pitch
+50
•
•
+0
•
•
–50
–25 cents
•
•
0 cents
•
•
+25 cents
+25 cents
•
•
0 cents
•
•
–25 cents
Dly (OSC2 Delay)
[00…99]
This parameter delays the onset of the OSC2 sound, so that OSC2 will begin to sound after OSC1.
With a setting of 0, OSC1 and OSC2 will sound simultaneously.
Page 3: Oscillator tone
In this page you can select the waveform used by the oscillator, and make other oscillator-related settings.
Most of these parameters can be set at any time regardless of the type of the selected program, but if in “Page
2. Oscillator basic/Oscillator 2 relative” you have set the Oscillator Type to Drum Program, the panpot
parameters will not be displayed at all.
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Reference • 12. Program mode
OSC1/OSC2
Octave
Multisample/Drum Kit
Pan
Pitch EG Intensity
Level
Send levels
OSC1/OSC2 (Oscillator 1/2)
If in “Page 2: Oscillator basic/Oscillator 2 relative” you have set the Oscillator Type to DOUBLE, this setting
specifies which of the two oscillators you will be editing. If Oscillator Type has been set to Drum, this will be
displayed as D.
You can also switch between Oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2].
Multisample/Drum Kit
If Oscillator Type was set either to SINGLE or DOUBLE, this selects the basic waveform that the oscillator will
use. The number and name of the multisample will be displayed. (Multisamples with an abbreviation of
“NT” will produce the same pitch regardless of the key that is played.)
The appendices to the user’s guide contains a list of the available multisamples for your reference.
If Oscillator Type is set to DRUM, this will show a Drum Kit name, and you can select a Drum Kit instead of a
multisample. Drum programs will use the drum sound assignments and pan settings of the selected drum kit.
The other settings are the same as for a single oscillator program.
L (Level)
[00…99]
This sets the overall volume that is output by the VDA of the selected oscillator.
High settings of this parameter may cause the sound to distort when chords are played. In this case, lower the
setting.
You can make the oscillator output level be affected by the force (velocity) of your keyboard playing. You can
also use the VDA EG to make the volume of individual notes change over time. For details refer to “Page 9:
VDA EG”.
Octave
[4', 8', 16', 32']
This sets the basic pitch of the selected oscillator in octave units. The standard pitch of all multisamples is 8'.
Since each multisample has an upper limit to the pitch that it can produce, setting this parameter to 4' and in
addition using the OCTAVE and TRANSPOSE buttons to raise the keyboard pitch may, for some sounds,
result in no sound when you play upper ranges of the keyboard.
When editing a drum program, be sure to set this parameter to 8'. Other settings will cause the keyboard
assignments of the drum kit to be skewed upward or downward.
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Reference • 12. Program mode
P (Pitch EG intensity)
[–99…+99]
This specifies the effect that the Pitch EG will have on the pitch of the selected oscillator.
Positive (+) settings will cause a greater pitch change as the value is increased.
Negative (–) settings will invert the direction of the pitch change.
With a setting of 0, the Pitch EG will not affect the selected oscillator, and the pitch will not change at all.
Pitch EG settings are made in “Page 4: Pitch EG”.
Pan
[OFF, L15…L01, CNT, R01…R15]
This sets the stereo location of the selected oscillator. This will adjust the level of the oscillator signals that are
sent from channels A and B to the effect section.
CNT will place the sound produced by the oscillator in the center.
L settings will place the sound toward the right, and R settings toward the left. As this value is increased the
sound will move further away from the center.
OFF will turn off the oscillator output to channels A and B.
This parameter will not be displayed for a Drum program. The pan settings of each drum kit will be used.
C=/D= (Send levels)
[0…9]
These parameters set the send levels that are sent from channels C and D to the effect section.
Page 4: Pitch EG
The parameters of this page determine the shape of the Pitch EG (envelope generator). The Pitch EG determines how the pitch of the program changes over time in relation to its standard pitch.
Start level
Release time
Release level
Attack
time
Attack
level
Level velocity sensitivity
Decay
time
Pitch EG velocity sensitivity
For a double oscillator program, both oscillators use the same Pitch EG. However you can separately adjust
the sensitivity of each oscillator to the pitch EG.
Be aware that the total pitch change (produced by the pitch EG, pitch bend level, and the Vibrato) is limited to
3 octaves. In addition, some multisamples are limited to a narrower range of pitch change depending on the
conditions.
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Reference • 12. Program mode
Pitch rises (+)
Attack Level pitch
Note-on
Note-off
Standard pitch
Time
Start Level
pitch
Release Level pitch
Attack
Time
Decay
Time
Release Time
Pitch falls (–)
S (Start level)
[–99…+99]
Sets the pitch at which the program begins to sound.
Positive (+) settings will raise the pitch above standard pitch, and negative (–) settings will lower the pitch
below standard pitch. When the Pitch EG Intensity parameter is either +99 or –99, a setting of +99 or –99 for
this parameter will produce a rise/fall of approximately 1 octave.
With a setting of 0, the program will start sounding at the standard pitch.
AT (Attack time)
[00…99]
Sets the time over which the pitch will change from the Start Level (S) to the Attack Level (A).
With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the
slowest.
A (Attack level)
[–99…+99]
Sets the pitch at which the program will arrive after the Attack Time has elapsed.
Set it in the same way as the Start Level parameter.
D (Decay time)
[00…99]
Sets the time over which the pitch will change from the Attack Level (A) to the standard pitch.
Set it in the same way as the Attack Time parameter.
RT (Release time)
[00…99]
This sets the time over which the pitch will change from the standard pitch to the Release Level (R) after the
key is released.
Set it in the same way as the Attack Time parameter.
R (Release level)
[–99…+99]
This sets the pitch at which the program will arrive after the Release Time has elapsed.
Set it in the same way as the Start Level parameter.
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Reference • 12. Program mode
L (Level velocity sensitivity)
[–99…+99]
This specifies the depth to which the Pitch EG levels will be affected by note velocity (keyboard dynamics).
With a setting of 0, the Pitch EG levels will not be affected by velocity.
Pitch EG level sensitivity
Pitch EG settings
Softly played note
Strongly played note
T (Time velocity sensitivity)
[–99…+99]
This specifies how the Pitch EG times will be affected by note velocity.
Higher settings of this parameter will cause the pitch change to become faster.
With a setting of 0, the Pitch EG times will not be affected by velocity.
Pitch EG level sensitivity
Pitch EG settings
Softly played note
Strongly played note
Page 5: VDF
Here you can change filter settings to adjust the tone.
VDF1/VDF2
148
VDF EG
Intensity
VDF cutoff
Color
Reference • 12. Program mode
Amplitude
Cutoff frequency
Color
0 (dark tone)
Frequency
99 (bright tone)
VDF1/VDF2
When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be
edited.
You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2].
CO (VDF cutoff frequency)
[00…99]
This specifies the frequency at which the VDF filter will begin to apply.
Lower values will produce a darker and more muted tone.
EG (VDF EG intensity)
[00…99]
This specifies the effect that the VDF EG will have on the tone of the oscillator.
Higher values will cause the tone to change more greatly.
With a setting of 0, the VDF EG will not be used, and the tone will not change over time.
VDF EG settings are made in “Page 6: VDF EG”.
CL (Color)
[00…99]
This parameter adds character to the sound.
Higher values will boost the frequency components in the region of the cutoff frequency, causing filter movements produced by the VDF EG or VDF modulation to be more noticeable.
Page 6: VDF EG
Here you can specify the shape of the VDF EG (envelope generator) that will determine how the VDF cutoff
frequency will change over time.
In “Page 5: VDF”, the EG Intensity parameter allows you to adjust the depth of the effect produced by the
oscillator EG. Also, the “Page 7: VDF keyboard tracking”, parameter settings allow the EG to be automatically
adjusted according to the keyboard position or key velocity.
Switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2].
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Reference • 12. Program mode
Attack time
Attack
level
Slope time
Decay
time
Release time
Break
point
Release level
Sustain level
Note-off
Overall EG level set by
EG Intensity parameter
Attack Level
Sustain Level
Note-on
Release Level
Break Point
Value specified by VDF
Cutoff Frequency parameter
Time
Attack
Time
Decay
Time
Slope
Time
Release
Time
AT (Attack time)
[00…99]
This sets the time over which the cutoff frequency will change from the normal VDF setting to the Attack
Level (A).
With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the
slowest.
A (Attack level)
[–99…+99]
Sets the level at which the cutoff frequency will arrive after the Attack Time has elapsed.
With positive (+) settings the Attack Level will be higher than the normal cutoff frequency, and with negative
(–) settings it will be lower.
DT (Decay time)
[00…99]
Sets the time over which the VDF cutoff frequency will change from the Attack Level (A) to the Break Point
(B).
Set it in the same way as the Attack Time parameter.
B (Break point)
[–99…+99]
Sets the level at which the VDF cutoff frequency will arrive after the Decay Time (DT) has elapsed.
Set it in the same way as the Attack Level parameter.
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Reference • 12. Program mode
ST (Slope time)
[00…99]
Sets the time over which the VDF cutoff frequency will change from the Break Point (B) to the Sustain Level
(S).
Set it in the same way as the Attack Start Time parameter.
S (Sustain level)
[–99…+99]
Sets the level at which the VDF cutoff frequency will arrive after the Slope Time (ST) has elapsed.
Set it in the same way as the Attack Level parameter.
RT (Release time)
[00…99]
Sets the time over which the VDF cutoff frequency will change from the Sustain Level (S) to the normal cutoff
frequency after you release the key.
Set it in the same way as the Attack Time parameter.
R (Release level)
[–99…+99]
Sets the level at which the VDF cutoff frequency will arrive after the Release Time (RT) has elapsed.
Set it in the same way as the Attack Level parameter.
Page 7: VDF keyboard tracking
VDF keyboard tracking is a function that adjusts the cutoff frequency according to the keyboard location of
the note that is played. On many real-world instruments, higher notes have a brighter tone, and this can be
simulated using VDF keyboard tracking.
The effect of the tracking function is determined by the Keyboard Track Amount, Pivot Key, and Mode
parameters.
Keyboard tracking can be used to modify VDF EG times, so that the four EG time parameters will be shortened or lengthened depending on the location of the keyboard that you play.
VDF1/VDF2
Time amount
Attack time
Amount
Decay time
Pivot key
Mode
Release time
Slope time
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Reference • 12. Program mode
VDF1/VDF2
When a double oscillator program is selected, this selects the oscillator whose filter parameters will be edited.
You can also use the VARIATION [1] or [2] buttons to switch between oscillators 1 and 2.
KbAmt (Keyboard track amount)
[–99…+99]
Specifies how greatly keyboard tracking will affect the cutoff frequency. The way in which this will function is
determined by the Mode parameter, explained below.
Positive (+) settings will cause the tone to become brighter as you play above the Pivot Key. Conversely, the
tone will become darker as you play below the specified key.
Negative (–) will have exactly the opposite effect.
With a setting of –50, the cutoff frequency of the note specified by the Key parameter will be used as the standard cutoff frequency for all notes, meaning that the cutoff frequency will remain the same for all areas of the
keyboard.
With a setting of 0, the cutoff frequency will change in direct correspondence to the pitch. This will produce
the same effect as when the following Mode parameter is turned OFF.
Pivot key
[C-1…G9]
Sets the note which will be used as the center for the keyboard tracking function. The function of this key is
determined by the setting of the Mode parameter, below.
Mode
[OF, LO, HI, AL]
This determines the range which will be affected by the keyboard tracking function.
OF (OFF) will cause keyboard tracking to be exactly proportional to the keyboard pitch, just as when Keyboard Track Amount is set to 0.
LO (LOW) will cause keyboard tracking to apply to the range below the Pivot note.
HI (HIGH) will cause keyboard tracking to apply to the range above the Pivot note.
AL (ALL) will cause keyboard tracking to adjust the cutoff frequency of all notes, relative to the Pivot note.
Changes in cutoff frequency produced by Keyboard Track Amount (Amt) and Pivot Key settings for each Mode
Cutoff frequency
Cutoff frequency
Cutoff frequency
Cutoff frequency
Amt >0
Amt =0
Amt =0
Amt >0
Amt =0
Amt <–50
Amt = –50
Amt = –50
Amt >0
C–1
Pivot Key
G9
Mode: OFF
C–1
Pivot Key
G9
Mode: LOW
C–1
Pivot Key
G9
Mode: HIGH
T (Time Amount)
Specifies how deeply keyboard tracking will affect the VDF EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
152
Amt = –50
Amt <–50
Amt <–50
C–1 Pivot Key
G9
Mode: ALL
[00…99]
Reference • 12. Program mode
This parameter only specifies the amount of the effect that the keyboard tracking function has on EG speed.
Whether keyboard tracking will length or shorten the various EG times is determined by the following four
parameters.
A (Attack time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Attack Time.
A setting of “+” will cause keyboard tracking to shorten the attack time.
A setting of “–” will cause keyboard tracking to lengthen the attack time.
With a setting of 0, the attack time will not be affected.
D (Decay time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Decay Time.
This setting functions in the same way as the Attack Time parameter.
S (Slope time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Slope Time.
This setting functions in the same way as the Attack Time parameter.
R (Release time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Release Time.
This setting functions in the same way as the Attack Time parameter.
Note-on
Note-off
VDF EG Time parameter
settings (positive (+) settings
for all parameters)
Note-on
Note-off
Notes played in a low
keyboard range
Note-on
Note-off
Notes played in a high
keyboard range
Page 8: VDF velocity sensitivity
On the iS40/iS50, the VDF EG can be affected by your keyboard playing dynamics or by the velocity values of
MIDI Note messages received from an external MIDI device. Instruments such as a piano, on which strongly
played notes are brighter, can be easily simulated using this capability. Even when the VDA does not change,
using velocity to modify the filter can produce a variety of interesting effects.
You can also use keyboard dynamics to modify the speed of the VDF EG. Note velocity can shorten or length
each of the four EG segments.
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Reference • 12. Program mode
VDF1/VDF2
EG intensity
Time amount
Color
Decay time
Release time
Slope time
Attack time
VDF1/VDF2
When a double oscillator program is selected, this specifies the oscillator whose filter parameters will be
edited.
You can also switch between oscillators 1 and 2 by pressing the VARIATION buttons [1] or [2].
EG (EG intensity)
[–99…+99]
Specifies the effect that keyboard dynamics will have on the VDF EG.
Positive (+) settings will cause EG depth to decrease for softly-played notes, causing cutoff frequency to
change less.
Negative (–) settings will cause EG depth to decrease for strongly-played notes.
With a setting of 0, the depth will be as specified by the “Page 5: VDF” EG Intensity parameter.
VDF EG velocity sensitivity (for positive (+) settings)
Note-off
Note-off
Note-on
Note-on
VDF EG settings
Softly played note
Note-off
Note-on
Strongly played note
CL (Color)
[–99…+99]
Specifies the effect that keyboard dynamics will have on the Resonance.
Positive (+) settings will cause Resonance to increase for strongly-played notes, and to decrease for softlyplayed notes.
Negative (–) settings will have the exact opposite result.
With a setting of 0, the Resonance of all notes will be as specified by the “Page 5: VDF” Color parameter.
T (Time amount)
Specifies the amount of the effect that velocity will have on VDF EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
154
[00…99]
Reference • 12. Program mode
This parameter only specifies the amount of the effect that velocity has on EG speed. Whether velocity will
length or shorten the various EG times is determined by the following four parameters.
A (Attack time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Attack Time.
A setting of “+” will cause the attack time to be shortened for strongly played notes.
A setting of “–” will cause the attack time to be lengthened for strongly played notes.
With a setting of 0, the attack time will not be affected by velocity.
D (Decay time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Decay Time.
This setting functions in the same way as the Attack Time parameter.
S (Slope time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Slope Time.
This setting functions in the same way as the Attack Time parameter.
R (Release time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Release Time.
This setting functions in the same way as the Attack Time parameter.
Change over time
Note-on
Note-off
VDF EG Time parameter
settings (positive (+) settings
for all parameters)
Note-on
Note-off
Notes played softly
Note-on
Note-off
Notes played strongly
Page 9: VDA EG
The settings in this page set the shape of the VDA EG (envelope generator), specifying how the VDA level of
the oscillators will change over time.
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Reference • 12. Program mode
Attack
time
VDA1/VDA2
Break point
Decay
time
Attack
level
Sustain time
Release time
Slope time
The parameters in “Page 10: VDA keyboard tracking” allow you to specify how keyboard position or playing
dynamics will automatically modify the EG.
Note-off
Sustain
Level
Attack Level
Note-on
Volume
Break
Point
Time
Attack
Time
Decay
Time
Slope
Time
Release
Time
VDA1/VDA2
When a double oscillator program is selected, this specifies the oscillator whose VDA parameters are being
edited.
You can also use the VARIATION buttons [1] or [2] to switch between oscillators 1 and 2.
AT (Attack time)
[00…99]
This sets the time over which the VDA volume will change from 0 to the Attack Level (A).
With a setting of 0 the movement will take place instantly, and with a setting of 99 the movement will be the
slowest.
A (Attack level)
[+00…+99]
Sets the volume level at which the VDA will arrive after the Attack Time (AT) has elapsed.
As this setting is increased, the Attack Level will be louder, and with a setting of +0 the volume will be 0,
delaying the timing at which the sound will begin to be heard.
DT (Decay time)
[00…99]
Sets the time over which the VDA volume will change from the Attack Level (A) to the Break Point (B).
Set it in the same way as the Attack Time parameter.
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Reference • 12. Program mode
B (Break point)
[+00…+99]
Sets the volume level at which the VDA will arrive after the Decay Time (DT) has elapsed.
Set it in the same way as the Attack Level parameter.
ST (Slope time)
[00…99]
Sets the time over which the VDA volume will change from the Break Point Level (B) to the Sustain Level (S).
Set it in the same way as the Attack Time parameter.
S (Sustain level)
[+00…+99]
Sets the volume level at which the VDA will arrive after the Slope Time (ST) has elapsed.
Set it in the same way as the Attack Level parameter.
RT (Release time)
[00…99]
Sets the time over which the VDA volume will change from the Sustain Level (S) to a volume of 0 after you
release the key.
Set it in the same way as the Attack Time parameter.
Page 10: VDA keyboard tracking
VDA keyboard tracking is a function that adjusts the oscillator volume according to the keyboard location of
the note that is played. On many real-world instruments such as wind instruments, higher notes have a
louder volume, and this can be simulated using VDA keyboard tracking.
The effect of the tracking function is determined by the Keyboard Track Amount, Pivot Key, and Mode
parameters.
Keyboard tracking can be used to modify VDA EG times, so that the four EG time parameters will be shortened or lengthened depending on the location of the keyboard that you play.
VDA1/VDA2
Amount
Time amount
Attack time
Pivot key
Decay time
Mode
Release time
Slope time
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Reference • 12. Program mode
VDA1/VDA2
When a double oscillator program is selected, this selects the oscillator whose amplifier parameters will be
edited.
You can also use the Variation [1] or [2] buttons to switch between oscillators 1 and 2.
KbAmt (Keyboard track amount)
[–99…+99]
Specifies how greatly keyboard tracking will affect the volume. The way in which this will function is determined by the Mode parameter, explained below.
With a setting of 0, all notes will have the same volume. (This is the same effect as when the following Mode
parameter is turned OFF.)
Pivot key
[C-1…G9]
Sets the note which will be used as the center for the keyboard tracking function. The function of this key is
determined by the setting of the Mode parameter, below.
Mode
[OF, LO, HI, AL]
This determines the range which will be affected by the keyboard tracking function.
OF (OFF) will cause keyboard tracking to be turned off, so that notes in any range of the keyboard will have
the same volume.
LO (LOW) will cause keyboard tracking to apply to the range below the Pivot note.
HI (HIGH) will cause keyboard tracking to apply to the range above the Pivot note.
AL (ALL) will cause keyboard tracking to adjust the volume level of all notes, relative to the Pivot note.
Changes in VDA level produced by Keyboard Track Amount (Amt) and Pivot Key settings for each Mode
Level
Level
Amt = –99
Level
VDA
Level
Amt = 0
VDA Level
Pivot Key
G9
Mode: OFF
Amt = –99
Amt = +99
Amt = +99
Amt
= –99
Amt = 0
VDA Level
Amt = +99
C–1
Level
Amt = +99
C–1
Pivot Key
Amt = –99
G9
Mode: LOW
C–1
Pivot Key
G9
Mode: HIGH
T (Time Amount)
C–1
Pivot Key
VDA Level
G9
Mode: ALL
[00…99]
Specifies how deeply keyboard tracking will affect the VDA EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
This parameter only specifies the amount of the effect that the keyboard tracking function has on EG speed.
Whether keyboard tracking will lengthen or shorten the various EG times is determined by the following four
parameters.
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Reference • 12. Program mode
A (Attack time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Attack Time.
A setting of “+” will cause keyboard tracking to shorten the attack time.
A setting of “–” will cause keyboard tracking to lengthen the attack time.
With a setting of 0, the attack time will not be affected.
D (Decay time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Decay Time.
This setting functions in the same way as the Attack Time parameter.
S (Slope time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Slope Time.
This setting functions in the same way as the Attack Time parameter.
R (Release time)
[–, 0, +]
Specifies the direction of the change that keyboard tracking will cause for Release Time.
This setting functions in the same way as the Attack Time parameter.
Note-on
Note-off
VDA EG Time parameter settings
Note-on
Note-off
Notes played below the pivot key
Note-on
Note-off
Notes played above the pivot key
Page 11: VDF velocity sensitivity
On the iS40/iS50, the VDA EG can be affected by your keyboard playing dynamics or by the velocity values
of MIDI Note messages received from an external MIDI device. Settings can be made so that strongly played
notes will have a more greatly emphasized attack or decay.
The five parameters in the lower line also allow playing dynamics to modify the speed of the VDA EG. Note
velocity can shorten or length each of the four EG segments.
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Reference • 12. Program mode
VDF1/VDF2
Velocity amount
Time amount
Decay time
Attack time
Release time
Slope time
VDA1/VDA2
When a double oscillator program is selected, this specifies the oscillator whose amplifier parameters will be
edited.
You can also switch between oscillators 1 and 2 by pressing the VARIATION [1] or [2] buttons.
Amount
[–99…+99]
Specifies the effect that keyboard dynamics will have on the VDA EG.
Positive (+) settings will cause EG depth to decrease for softly-played notes, causing the volume level to
change less.
Negative (–) settings will cause EG depth to decrease for strongly-played notes.
With a setting of 0, the depth will be as specified by the Attack Time, Decay Time, Slope Time, and Release
time parameters.
VDA EG velocity sensitivity (for positive (+) settings)
Note-on
Note-off
VDA EG level settings
Note-on
Note-off
Note-on
Note-off
Softly played note
Strongly played note
T (Time amount)
[00…99]
Specifies the amount of the effect that velocity will have on VDA EG speed.
Higher values will produce a greater change.
With a setting of 0, EG speed will not be affected.
This parameter only specifies the amount of the effect that velocity has on EG speed. Whether velocity will
length or shorten the various EG times is determined by the following four parameters.
A (Attack time)
Specifies the direction of the change that velocity will cause for Attack Time.
A setting of “+” will cause the attack time to be shortened for strongly played notes.
A setting of “–” will cause the attack time to be lengthened for strongly played notes.
160
[–, 0, +]
Reference • 12. Program mode
With a setting of 0, the attack time will not be affected by velocity.
D (Decay time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Decay Time.
This setting functions in the same way as the Attack Time parameter.
S (Slope time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Slope Time.
This setting functions in the same way as the Attack Time parameter.
R (Release time)
[–, 0, +]
Specifies the direction of the change that velocity will cause for Release Time.
This setting functions in the same way as the Attack Time parameter.
Note-on
Note-off
Note-on
VDA EG Time parameter settings
Note-off
Notes played softly
Note-on
Note-off
Notes played strongly
Page 12: Vibrato
This page contains settings which control pitch modulation. This function simulates the vibrato effects that
can be produced on many acoustic instruments.
For double oscillator programs, the pitch of each oscillator can be modulated independently.
Vib.1/Vib.2
Delay
Fade in
Waveform
Key sync
Intensity
Frequency
Keyboard tracking
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Reference • 12. Program mode
Vib.1/Vib.2 (Vibrato 1/Vibrato 2)
When a double oscillator program is selected, this specifies the oscillator whose Vibrato parameter will be
edited.
You can also use the VARIATION buttons [1] and [2] to switch between oscillators 1 and 2.
Waveform
[TRI…RANDM]
Selects the waveform that will be used to modulate the pitch of the oscillator. The following waveforms are
available.
TRI - triangle wave
SQUAR - square wave
SAWUP - sawtooth wave (upward)
RANDM - random
SAWDN - sawtooth wave (downward)
I (Intensity)
[00…99]
This sets the depth of automatic pitch modulation.
With a setting of 99, the selected waveform will modulate the pitch over a range of 1–2 octaves.
With a setting of 0, modulation will not be applied.
F (Frequency)
[00…99]
This sets the speed of pitch modulation.
Higher values will produce faster modulation.
Lower values
Higher values
D (Delay)
[00…99]
This parameter delays the onset of automatic pitch modulation.
Higher values will produce a greater delay.
With a setting of 0, modulation will begin to apply as soon as the note begins.
FI (Fade-in)
[00…99]
This parameter allows the automatic pitch modulation to be faded-in, so that it will begin with a small
amount of modulation and gradually increase to the full depth that is specified by the Intensity parameter.
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Reference • 12. Program mode
Higher values will produce a longer fade-in.
With a setting of 0, there will be no fade-in, and modulation will begin immediately at the depth specified by
the Intensity parameter.
Note-on
Pitch
Modulation intensity
Time
Delay Fade-in
S (Key sync)
[ON, OFF]
This parameter specifies whether or not the Vibrato will be reset each time you play a note.
With a setting of ON, the modulation waveform will be reset each time you play a note.
With a setting of OFF, the modulation waveform of the first-played note will continue at the standard frequency, and will not be affected by subsequently-played notes. We suggest that you set this OFF when playing chords, so that modulation will apply to each note in unison even if you arpeggiate the chord.
KT (Keyboard tracking)
[–99…+99]
This parameter adjusts the speed of pitch modulation according to the keyboard location that you play.
Positive (+) settings will cause modulation to become faster as you play above middle C, and slower as you
play below middle C.
Negative (–) settings will have the opposite effect.
Page 13: Vibrato controller
Vib.1/Vib.2
Joystick intensity
Aftertouch intensity
JS+Af->Freq
Vib1/Vib2 (Vibrato1/Vibrato2)
When a double oscillator program is selected, this specifies the oscillator whose Vibrato parameters will be
edited.
You can also use the VARIATION buttons [1] or [2] to switch between oscillators 1 and 2.
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Reference • 12. Program mode
JS (Joystick up)
[00…99]
This specifies the maximum depth of the modulation that will occur when the joystick is moved away from
you.
This is similar to the “Page 12: Vibrato” Intensity parameter, but in this case, the specified modulation will not
be applied until you move the joystick.
Af (Aftertouch) (only the iS40)
[00…99]
This specifies the maximum depth of the modulation that will occur when aftertouch is applied.
This is similar to the “Page 12: Vibrato” Intensity parameter, but in this case, the specified modulation will not
be applied until you apply aftertouch.
JS+ Af → Freq (Frequency control by joystick + aftertouch)
[0…9]
This parameter allows the modulation to be speeded up by moving the joystick away from you or by applying aftertouch.
Higher settings will allow modulation to be speeded up more.
With a setting of 0, the joystick or aftertouch will not affect the modulation frequency.
Page 14: VDF MG
These parameters let you use the selected waveform to control the filter cutoff frequency. Unlike pitch, VDF is
modulated by a single MG even for double oscillator programs.
Waveform
Delay
164
Key sync
Intensity
oscillator
frequency
Reference • 12. Program mode
Waveform
[TRI…RANDM]
Selects the waveform that will be used to modulate the pitch of the oscillator. The following waveforms are
available.
TRI - triangle wave
SQUAR - square wave
SAWUP - sawtooth wave (upward)
RANDM - random
SAWDN - sawtooth wave (downward)
I (Intensity)
[00…99]
This sets the depth of automatic VDF modulation.
With a setting of 0, modulation will not be applied.
Lower values
Higher values
F (Frequency)
[00…99]
This sets the speed at which the cutoff frequency will be modulated.
Higher values will produce faster modulation.
Lower values
Higher values
D (Delay)
[00…99]
This parameter delays the onset of automatic VDF modulation.
Higher values will produce a greater delay.
With a setting of 0, modulation will begin to apply as soon as the note begins.
S (Key sync)
[ON, OFF]
This parameter specifies whether or not the VDF MG will be reset each time you play a note.
With a setting of ON, the modulation waveform will be reset each time you play a note.
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Reference • 12. Program mode
With a setting of OFF, the modulation waveform of the first-played note will continue at the standard frequency, and will not be affected by subsequently-played notes. We suggest that you set this OFF when playing chords, so that modulation will apply to each note in unison even if you arpeggiate the chord.
Oscillator
[OFF, OSC1, OSC2, BOTH]
This specifies the oscillator(s) to which VDF modulation will apply. You may modulate the cutoff frequency of
OSC1 or OSC2 or both.
If this is turned OFF, VDF MG will also be off.
Page 15: VDF MG controller/VDA level
Joystick down
Aftertouch
Level with Aftertouch applied
VDFMG (VDF MG controller)
• JS (Joystick down)
[00…99]
Specifies the maximum depth of modulation that will be applied when you move the joystick away from you.
This is similar to the “Page 14: VDF MG” Intensity parameter, but in this case, the specified modulation will
not be applied until you move the joystick.
• Af (Aftertouch) (only iS40)
[00…99]
This specifies the maximum depth of the modulation that will occur when aftertouch is applied.
This is similar to the “Page 14: VDF MG” Intensity parameter, but in this case, the specified modulation will
not be applied until you apply aftertouch.
VDA Level
• Af (Aftertouch) (only iS40)
[–99…+99]
This specifies the volume change that will be controlled by aftertouch.
Positive (+) settings will cause the sound to become louder as you press down on the keyboard, and higher
settings will allow a greater change in volume.
Negative (–) settings will cause the sound to become softer as you press down on the keyboard.
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Reference • 12. Program mode
Page 16: Controllers
The settings here determine how the joystick and aftertouch will affect the pitch, filter cutoff frequency, and
volume of the program. These parameters will directly control the pitch, cutoff frequency, and volume. Unlike
the joystick and aftertouch parameters explained in the Vibrato and VDF MG sections, they do not control the
amount or speed of modulation.
Joystick L/R
Joystick L/R
Aftertouch
Aftertouch
P.Bend (Pitch bend)
• JS (Joystick L/R)
[–12…+12]
This specifies the amount of pitch change that will occur when you move the joystick to left or right, in chromatic steps.
A setting of 12 will allow a pitch bend effect of 1 octave.
Positive (+) settings will cause the pitch to rise when the joystick is moved toward the right, and fall when the
joystick is moved toward the left.
Negative (–) settings will produce the opposite effect.
Depending on the sound or the keyboard location that you play, the pitch may not change in a full ±1 octave
range.
• Af (Aftertouch) (only iS40)
[–12…+12]
This specifies the amount of pitch change that will occur when you apply aftertouch, in chromatic steps.
A setting of 12 will allow a pitch bend effect of 1 octave.
Positive (+) settings will cause the pitch to rise when aftertouch is applied.
Negative (–) settings will cause the pitch to fall when aftertouch is applied.
Cutoff
• JS (Joystick L/R)
[–99…+99]
This specifies the maximum amount of cutoff frequency change that will occur when you move the joystick to
left or right.
Positive (+) settings will cause the tone to become brighter when the joystick is moved toward the right, and
darker when the joystick is moved toward the left.
Negative (–) settings will produce the opposite effect.
• Af (Aftertouch) (only iS40)
[–99…+99]
This specifies the maximum amount of cutoff frequency change that will occur when you apply aftertouch.
Positive (+) settings will cause the tone to become brighter when aftertouch is applied.
Negative (–) settings will cause the tone to become darker when aftertouch is applied.
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Reference • 12. Program mode
Page 17: Effect select
The instrument has two incorporated digital effect processors. In this page, you can choose which effects you
wish to assign to the program and turn them on or off. For more details, see “Effects” chapter.
Page 18: Effect modulation
In this page you can connect the effects to controls, which allow you to dynamically modulate their intensity.
For more details, see “Effects” chapter.
Page 19: Effect placement
In this page you can choose the effect setup of the program, and program pan and levels for channels C and
D. For more details, see “Effects” chapter.
Page 20: Effect 1 settings
Page 31: Effect 2 settings
These pages contain the effect parameters selected on “Page 17: Effect select”, that will be used for the
selected program. The parameters contained in these pages will depend on the effects you have selected. For
more information on programming effects, see “Effects” chapter.
Page 24: Rename program
Here you can modify the title of the program that is being edited.
A title of up to 10 characters can be assigned to the program.
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Reference • 12. Program mode
Selected
program
The following characters can be used.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789?!.,:;'`"+-=#&@$
¥%(){}[]<>*/_|^˘¯
Use the CURSOR buttons to move the cursor to the location of the character you wish to modify, and use the
TEMPO/VALUE buttons to modify the character.
Pressing the INS button will copy the character at the cursor, allowing a character to be inserted at that location. Pressing the DEL button will delete the character at the cursor location.
Page 22: Write program
This function saves (writes) the edited program into internal memory (F11–88, Dr27–28). You can also access
this page by pressing the REC/WRITE button from a different page.
1 Use the TEMPO/VALUE buttons to display the program number of the desired writing destination (the
memory location into which the data will be written).
You can also use the PROGRAM BANK buttons and PROGRAM NUMBER buttons to input the program
number.
When saving a normal program, select F11–88. When saving a drum program, select Dr27 or Dr28. (The
selected program will be displayed.)
2 If you wish to save the current program into the specified destination, press the ENTER/YES button.
Warning: When you execute the Write Program operation, the data in the writing destination will be lost, and
cannot be recovered.
169
Reference • 13. Effects
13. Effects
iS40/iS50 includes two DSP (Digital Signal Processors), or effect generators. This chapter explains the effect
types that can be used in the various modes of the iS40/iS50. The iS40/iS50 provides 47 different types of
effect, beginning with those essential for any type of music (reverb, chorus, etc.) and including effects such as
exciter and enhancer. In addition, you can use a foot pedal to switch effects on/off while you play.
Effect type
The iS40/iS50 has 47 different effects, and these can be classified into the following 25 Types.
Effect number
170
Effect type
0
No Effect
1–9
Reverb
10–12
Early Reflection
13–14
Stereo Delay
15
Dual Delay
16–18
Multitap Delay
19–20
Chorus
21–22
Quadrature Chorus
23
Harmonic Chorus
24
Symphonic Ensemble
25–27
Flanger
28
Exciter
29
Enhancer
30–31
Distortion
32–33
Phaser
34
Rotary Speaker
35–36
Tremolo
37
Parametric Equalizer
38–39
Chorused/Flanged Delay
40–41
Delay & Reverb
42
Delay & Chorus
43
Delay & Flanger
44–45
Delay & Distortion
46
Delay & Phaser
47
Delay & Rotary Speaker
Reference • 13. Effects
“Effect select” pages
Mode
Page
Arrangement Play
“Page 7: Effect select”
Backing Sequence
“Page 11: Effect select”
Song Play
“Page 4: Effect select”
Song Edit
“Page 8: Effect select”
Program
“Page 17: Effect select”
In these pages, you can choose which effects you wish to assign to an arrangement, backing sequence, song or
program, and turn them on or off.
Type of effect 1
Type of effect 2
Type of effect
Effect on/off
[00: No effect…47: Delay/Rotary]
You can assign a different effect to each processor. For more information on the types of effect, read forward
in this chapter.
ON/OFF
[OFF, ON]
This switches the effect on or off. The effects can also be switched on or off by a footswitch a pedal or an EC5.
External controller. For more information see “Page 8: Assignable pedal/switch” and “Page 9: EC5 external
controller (only the iS40)” in the Disk/Global mode.
“Effect modulation” pages
Mode
Page
Arrangement Play
“Page 8: Effect modulation”
Backing Sequence
“Page 12: Effect modulation”
Song Play
“Page 5: Effect modulation”
Song Edit
“Page 5: Effect modulation”
Program
“Page 18: Effect modulation”
In these page you can connect the effects to controls, which allow you to dynamically modulate their intensity.
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Reference • 13. Effects
Effect 1 modulation
Effect 1 intensity
Effect 2 modulation
Effect 2 intensity
Mod (Modulation)
[NONE, JS UP, JS DOWN, AFTT, PEDAL, VDA EG]
The control that is assigned to the effect.
NONE
No control assigned.
JS UP
Joystick moves upwards.
JS DOWN
Joystick moves downwards.
AFTT
Aftertouch.
PEDAL
Damper pedal.
VDA EG
Amplitude envelope.
“Effect placement” pages
Mode
Page
Arrangement Play
“Page 9: Effect placement”
Backing Sequence
“Page 13: Effect placement”
Song Play
“Page 6: Effect placement”
Song Edit
“Page 6: Effect placement”
Program
“Page 19: Effect placement”
In this page you can choose the effect setup of the arrangement, backing sequence, song or program, and program pan and levels for channels C and D. Pan and sending of arrangement tracks are programmed on the
“Track settings” page.
Placement
C Pan
D Pan
Effect 1-left level
Effect 1-right level
172
Effect 2-left level
Effect 2-right level
Reference • 13. Effects
Placement
(SERIAL, PARALLEL 1, PARALLEL 2, PARALLEL 3)
The Placement determines where the internal audio channels (A, B, C, and D) will be connected to the effects.
The usual placement is Parallel 3.
Warning: A different placement to Parallel 3 can increase the signal output level, and generate distortion.
The SERIAL setting will assign effects 1 and 2 to channels A and B. Since the signal from channels C and D
will only be mixed in after effect 1 (as specified by channel C pan and channel D pan), only effect 2 will be
assigned to channels C and D.
The PARALLEL 1 setting will assign effect 1 to channels A and B, and effect 2 to channels C and D. After effect
2, the pan of channels C and D will be set. Finally, the signals from the two effects will be mixed.
The PARALLEL 2 setting will assign effect 2 to channels C and D 2. After effect 2, the pan of channels C and D
will be set. The signal will be mixed with channels A and B and sent through effect 1.
The PARALLEL 3 setting will assign effect 1 (reverb) to channel C and effect 2 (modulating) to channel D. The
L/R (left/right) level of each effect will be set separately, Then the signal of the two effects will be mixed with
channels A and B. This setting allows you mix the effected signal of channels C and D (wet) with the direct
signal of channels A and B (dry).
C (C Pan)
[OFF, R, 99:01…01:99, L]
Panning (stereo positioning) of the signal from channel C. This will only appear if SERIAL, PARALLEL 1 or
PARALLEL 2 settings are selected.
L
Left signal.
R
Right signal.
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Reference • 13. Effects
OFF
Channel C signal off.
D (D Pan)
[OFF, R, 99:01…01:99, L]
Panning (stereo positioning) of the signal from channel D. This will only appear if SERIAL, PARALLEL 1 or
PARALLEL 2 settings are selected.
L
Left signal.
R
Right signal.
OFF
Channel D signal off.
1L/1R (Effect 1 Left/Right level)
[0…9]
This only appears if PARALLEL 3 setting is selected.
0
Effect 1 (reverb) off.
1-9
Effect 1 level (reverb). The signal will be mixed with channels A and B (not effected).
2L/2R (Effect 2 Left/Right level)
[0…9]
This will only appear if PARALLEL 3 setting is selected.
0
Effect 2 level(modulating) off.
1-9
Effect 2 level 2 (modulating). The signal will be mixed with channels A and B (not effected).
“Effect 1 parameters” pages
“Effect 2 parameters” pages
Mode
Page
Arrangement Play
“Page 10: Effect 1 settings”, “Page 11: Effect 2 settings”
Backing Sequence
“Page 14: Effect 1 settings”, “Page 15: Effect 2 settings”
Song Play
“Page 7: Effect 1 settings”, “Page 8: Effect 2 settings”
Song Edit
“Page 11: Effect 1 settings”, “Page 12: Effect 2 settings”
Program
“Page 20: Effect 1 settings”, “Page 31: Effect 2 settings”
These pages contain the effect parameters selected on the “Effect select” page. The parameters contained in
these pages will depend on the effects you have selected. For more information on programming effects, see
forward in this chapter.
174
Reference • 13. Effects
Dynamic modulation
If an optional Korg XVP-10 or EXP-2 pedal controller is connected to the ASSIGN PDL/SW jack, and you set
the Disk/Global mode “Page 8: Assignable pedal/switch” to EFFECT CONTROL, a foot pedal can be used to
control the effects in various ways. The aspect of the effect that can be controlled will depend on the effect; for
example it might be the balance between the original sound and processed sound, the speed of modulation,
or the frequency that is being emphasized.
However for some effect settings, dynamic modulation may not have a noticeable result.
In the LCD, parameters which can be controlled using dynamic modulation while you play are indicated by a
“→” symbol (except for 34: Rotary Speaker and 47: Delay & Rotary Speaker). In this manual, such parameters
are marked by a
symbol.
Shelving equalizer
Many of the iS40/iS50’s built-in effects have a two-band shelving-type equalizer that can boost or cut the low
and high frequency ranges, and the equalizer will continue functioning even if the switch parameter is used
to turn the effect on/off. However the Stereo Delay (13, 14), Stereo Chorus (19, 20), Exciter (28), and Tremolo
(35, 36 effects) are exceptions.
If you wish to listen to the un-equalized sound while editing a program, you will have to set the effect selection to 00:No Effect to turn off both effect processors.
Settings for each effect
Explanations for each of the 25 effect types are given below.
00: No Effect
When 00: No Effect is selected, effects will not be applied to the sound. Select this if you want the sound to be
dry, with no effects.
As an alternative to selecting No Effect, you can also turn off the effects by using an optional foot switch.
However the foot switch is designed for realtime control while you play, while selecting No Effect is used
when no effects are to be applied to the sound at all.
01…09: Reverb
Reverb adds reverberance to the sound, creating a more natural impression. This is the most frequently used
effect.
The iS40/iS50 provides nine types of reverb effect.
01: Hall simulates the acoustics of a small concert hall, such as might be used by a string quartet or acoustic
jazz band.
02: Ensemble Hall is a slightly larger hall, suitable for orchestral or brass ensembles.
175
Reference • 13. Effects
03: Concert Hall has greater emphasis on the early reflections, and is suitable for full orchestras.
04: Room reproduces the feeling of a standard room.
05: Large Room simulates a larger room with greater density, and is similar to gated reverb.
06: Live Stage has a sound similar to what you might hear in a gymnasium, and re-creates the atmosphere of
a rock concert.
07: Wet Plate and 08: Dry Plate simulate plate reverbs, devices which are often used to add emphasis to
vocals or solo instruments. Wet Plate is heavy, and Dry Plate is light.
09: Spring Reverb simulates a spring reverb device of the type often used in guitar amplifiers.
For each of these, the sound passes through a two-band shelving equalizer located before the reverb effect.
Some of these reverb effects produce a rapid series of initial delays which are known as Early Reflections. The
“wash” of reverberation will follow this, and gradually die away.
Dry
Left
Mix
Dry Signal
EQ
Pre Delay
E.R Level
Reverb
Right
Dry Signal
Mix
Rev Time
Pre Delay
Reverb time
Depends on the effect
Set the time over which the reverberation decays
P
Pre delay
0…200 ms
Set the delay from the direct sound until when the early reflections
begin. Higher values will cause the reverberation to be more distinct,
like an echo.
E
Early reflection level
Depends on the effect
Set the volume of the early reflection components of the reverberation. As this value is increased, the early reflections will be emphasized more greatly, allowing them to be heard clearly.
High damp
0%…99%
Set the degree to which the high frequencies will be attenuated.
Higher settings will cause the high frequencies to decay more rapidly.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B01…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the reverb sound will be heard.
☞P. 175.
HD
10…12: Early Reflections
These effects simulate just the early reflection component of natural reverberation.
Early reflections play an important role in determining the characteristics of an acoustic environment. They
can be used to add solidity to the sound, to create echo-like delays, or to add interesting touches to the sound.
10: Early Ref 1 allows you to boost the low frequency components or produce effects similar to gated reverb.
This effect is ideal for drum sounds.
11: Early Ref 2 causes the early reflections to decay more gradually.
12: Early Ref 3 produces reflections which increase instead of decreasing. When applied to a sound with a
strong attack, this produces a reverse-tape effect.
176
Reference • 13. Effects
Each of these three early reflection effects includes a two-band shelving equalizer.
Dry
Left
Mix
Dry Signal
EQ
Pre Delay
Early Ref
Right
Dry Signal
Mix
E.R Time
Pre Delay
T
Early reflection time
100…800 ms
Set the time over which the early reflections will disappear. As this
time is set to a longer value, the early reflections will become more
pronounced.
P
Pre delay
0…200 ms
Set the delay from the direct sound until when the early reflections
begin. Higher values will cause the reflections to be more obvious,
producing a clearer echo sound.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the early reflection sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
13, 14: Stereo Delay
This effect produces a stereo delay (echo pattern). Since it is a stereo effect, you can set different delay times
for left and right to pan the echoes in interesting ways. The Hi Damp parameter attenuates the high frequencies, making the delay repeats sound more natural.
13: Stereo Delay applies feedback independently for the left and right channels.
14: Cross Delay sends the delay feedback from the left to the right, and from the right to the left channel,
making the sound bounce between the left and right channels.
These two effects route the left and right channels through a two-band shelving equalizer before applying the
delay.
Left
Mix
EQ
Mix
EQ
Feedback
Feedback
Delay L
Delay L
Delay R
Delay R
Feedback
Right
Left
Mix
EQ
Stereo Delay
Feedback
Right
Mix
EQ
Cross Delay
L
Delay time L
0…500 ms
Set the length of the left channel delay.
R
Delay time R
0…500 ms
Set the length of the right channel delay.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed signal
that will be returned to the input of the delay. Higher settings will produce a greater number of delay repeats, and it will take longer for the
echoes to die away. Negative settings will invert the phase of the
feedback, causing the echoes to have a harder tone quality, and less
of a hollow feeling.
HD
High damp
0%…99%
Set the degree to which the high frequencies will be attenuated.
Higher settings will cause the high frequencies to decay more rapidly.
177
Reference • 13. Effects
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the delayed sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
15: Dual Delay
15: Dual Delay applies an independent mono delay to the left and right input signals.
Left
Mix
Feedback
Delay L
Delay R
Right
Feedback
Mix
Delay time L
0…500 ms
Set the delay length of the left channel.
L
Feedback L
–99%…+99%
Set the amount of feedback for the left channel; i.e., the amount of
the delayed signal that will be returned to the input of the delay.
Higher settings will produce a greater number of delay repeats, and
it will take longer for the echoes to die away. Negative settings will
invert the phase of the feedback, causing the echoes to have a
harder tone quality, and less of a hollow feeling.
HD
High damp L
0%…99%
Set the degree to which the high frequencies of the left channel will
be attenuated. Higher settings will cause the high frequencies to
decay more rapidly.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX) for the left channel. With a setting of DRY,
the effect will be turned off. With a setting of FX, only the echo will
be heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
Delay time R
0…500 ms
Set the delay length of the right channel.
R
Feedback R
–99%…+99%
Set the amount of feedback for the right channel. The contents are
the same as for the Feedback L parameter.
HD
High damp R
0%…99%
Set the degree to which the high frequencies of the right channel will
be attenuated. Higher settings will cause the high frequencies to
decay more rapidly.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX) for the right channel. The contents are the
same as for the DRY:FX parameter explained above.
☞P. 175.
16…18: Multitap Delay
Multitap delay passes the input signals through two independent delays. The multi-echo effect that this produces will create a pair of echoes for each note that is played.
16: Multitap Dly1 is the standard multitap delay.
17: Multitap Dly2 cross-pans the signals, causing the echoed left and right channel signals to change places.
18: Multitap Dly3 exchanges the feedback between channels, causing each pair of echoes to switch between
left and right.
178
Reference • 13. Effects
Left
Mix
EQ
Delay A
Delay B
EQ
Delay B
Delay A
Right
Mix
Multitap Delay 3
Each of these three effects provides a two-band shelving equalizer for the left and right channels.
Left
Mix
Left
Mix
Delay B
EQ
Delay B
EQ
Delay A
Delay A
Delay A
EQ
Delay A
EQ
Delay B
Right
Mix
Delay B
Right
Mix
Multitap Delay 1
Multitap Delay 2
Of the two delays, feedback is applied only to one (delay B). This means that the timing of the second and
subsequent echoes produced by both delays will be determined by the Delay B parameter, as shown in the
following diagrams.
When delay time A is greater than delay time B
When delay time A is less than delay time B
Level
Level
Dry
Dry
Time
A
B
A
B
Time
A
A
B
B
A
B
A
B
A
Delay time A
0…500 ms
Set the length of Delay A.
B
Delay time B
0…500 ms
Set the length of Delay B.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the Delay B signal
that will be returned to the input of the delay. Higher settings will produce a greater number of delay repeats, and it will take longer for the
echoes to die away. Negative settings will invert the phase of the
feedback, causing the echoes to have a harder tone quality, and less
of a hollow feeling.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoes will be heard. Other
settings set the proportion of the direct sound and effect sound.
☞P. 175.
179
Reference • 13. Effects
19, 20: Chorus
The chorus effects use an LFO (low frequency oscillator) to modulate the delay time, adding depth to the
sound. This delay produces a slight variance in pitch, and when it is combined with the original signal, an
effect as though multiple instruments were playing in unison is produced.
As with reverb, this effect is indispensable for music production using electronic musical instruments. It is
especially widely used on synth pads such as strings and vocal chorus, and applying a chorus effect to such
sounds will add a character of enveloping spaciousness. However much you may like this, it is still not a
good idea to apply chorus to all of your sounds. Although chorus does add spaciousness to the sound, it can
also turn sound into un-expressive mush. It is up to you, the musician, to use chorus appropriately for the
type of music that you wish to create.
19: Chorus 1 modulates the left and right channel delays in opposite phase, causing the stereo image to sway
from side to side.
20: Chorus 2 modulates both channels with the same phase.
For either effect, the left and right channel signals are sent through a two-band shelving equalizer before the
chorus effect is applied.
Left
Mix
EQ
Left
Mix
EQ
Chorus
Chorus
Mod
Mod
Chorus
Right
Chorus
Mix
EQ
Chorus 1
Right
Mix
EQ
Chorus 2
T
Delay time
0…200 ms
Set the basic delay length. Both channels use the same delay time.
S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that modulates the delay. For a standard
chorus effect, use a low frequency (approximately 1 Hz).
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no chorus effect.
LFO waveform
SIN, TRI
Select the waveform with which the LFO will modulate the delay
time. You can select either sine wave (SIN) or triangle wave (TRI).
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the chorus sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
21, 22: Quadrature Chorus
The Quadrature Chorus effect is similar to the previously-described Stereo Chorus. The difference is that the
modulation applied by the LFO to the left and right channels is 90 degrees out of phase.
21: Quad Chorus is the standard type, and processes the left and right channels independently.
22: XOver Chorus mixes the chorused signal of each channel with the output of the other channel, producing
a cross-over effect.
180
Reference • 13. Effects
For either effect, the left and right channel signals are sent through a two-band shelving equalizer before the
chorus effect is applied.
Left
Left
Mix
Mix
EQ
EQ
Chorus L
Chorus L
Mod
Mod
Chorus R
Chorus R
Right
EQ
Right
Mix
EQ
Quad Chorus
L
Delay time L
R
Mix
XOver Chorus
0…250 ms
Set the basic delay length for the left channel.
Delay time R
0…250 ms
Set the basic delay length for the right channel.
→S
Modulation speed
1…99
Set the speed of the LFO that modulates the delay. Higher values
will produce faster modulation.
☞P. 175.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no chorus effect.
LFO shape
T+10…T–10,
S–10…S+10
Select the waveform with which the LFO will modulate the delay
time. You can select either sine wave (S) or triangle wave (T). The
numeric value selects the character of the waveform. Increasingly
positive (+) values will cause the peak of the waveform to become
broader, and increasingly negative (–) values will cause the peak of
the waveform to become sharper.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
Dry:Effect balance
DRY, 99:1…1:99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the chorus sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
23: Harmonic Chorus
23: Harmonic Cho. is a type of quadrature chorus in which a filter is used to divide the input signal into low
and high frequency ranges, and two chorus systems are applied only to the high frequency range. It is effective on low frequency range sounds such as bass.
Left
Mix
LF
Split
HF
Chorus A
Chorus B
Mod
Chorus A
HF
Right
Split
LF
Chorus B
Mix
A
Delay time A
0…500 ms
Set the basic delay length for chorus unit A.
B
Delay time B
0…500 ms
Set the basic delay length for chorus unit B.
→S
Modulation speed
1…99
Set the speed of the LFO that modulates the delay. Higher values
will produce faster modulation.
☞P. 175.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no chorus effect.
181
Reference • 13. Effects
SP
Filter split point
0…18
Specify the frequency at which the filter will divide the input signal
into high and low frequency ranges. Higher settings will raise the
split point frequency. The chorus effect will apply only to the portion
above this frequency. The table below shows the correspondence
between this parameter value and the actual frequency.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the chorus sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
Value
Frequency
Value
Frequency
0
160 Hz
10
1.60 kHz
1
200 Hz
11
2.00 kHz
2
250 Hz
12
2.50 kHz
3
320 Hz
13
3.20 kHz
4
400 Hz
14
4.00 kHz
5
500 Hz
15
5.00 kHz
6
640 Hz
16
6.40 kHz
7
800 Hz
17
8.00 kHz
8
1.00 kHz
18
10.0 kHz
9
1.25 kHz
24: Symphonic Ensemble
The Symphonic Ensemble effect is essentially identical to the chorus type effects discussed earlier, but is especially effective when used on large-scale ensembles such as orchestral strings.
24: Symphonic Ens. mixes the left and right channel signals before applying the ensemble effect. The signal
processed by the effect will be output equally from both channels.
A two-band shelving equalizer is applied to the sound of the left and right channels before the ensemble
effect is applied.
Left
Mix
EQ
Right
182
Symphonic
Ensemble
Mix
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no ensemble effect.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the ensemble sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞Pagina 175 in questo manuale.
Reference • 13. Effects
This Symphonic Ensemble effect cannot be used simultaneously with any one of the following modulation
effects.
Effect types
Effect types
19–20
Chorus
35–36
Tremolo
21–22
Quadrature Chorus
38–39
Chorused/Flanged Delay
23
24
Harmonic Chorus
42
Delay & Chorus
Symphonic Ensemble
43
Delay & Flanger
25–27
Flanger
46
Delay & Phaser
32–33
Phaser
47
Delay & Rotary Speaker
34
Rotary Speaker
25…27: Flanger
Flanging operates on basically the same principle as chorus-type effects, but adds a feedback loop to the delay
output. It produces a chorus-like effect, but can also create a feeling of pitch even on non-pitched sounds. In
particular when used on sounds with a rich overtone structure, such as cymbals, flanging can produce very
intense effects.
25: Flanger 1 applies modulation to both channels using the same phase.
26: Flanger 2 modulates the two channels in opposite phase, causing the stereo image to move back and forth.
27: XOver Flanger modulates the two channels in opposite phase, and swaps the feedback signal.
For each of these three flangers, a two-band shelving equalizer is applied to the signals of the right and left
channels before the flanging effect is applied.
Left
Left
Mix
Mix
EQ
EQ
Flanger
Flanger
MOD
MOD
Flanger
Flanger
EQ
EQ
Right
Right
Mix
Mix
Flanger 1
Flanger 2
Left
Mix
EQ
Flanger
MOD
Flanger
EQ
Right
Mix
XOver Flanger
T
Delay time
0…200 ms
Set the basic delay length. Both channels use the same delay time.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no flanger effect.
→S
Modulation speed
1…99
Set the speed of the LFO that modulates the delay. For a standard
flanger effect, set a low frequency (approximately 1 Hz).
☞P. 175.
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the signal that will be
returned to the input of the flanger. As this value is increased, the
resonance produced by the flanger effect will be increased. Negative
values will invert the phase of the feedback, lowering the pitch of the
effect sound by 1 octave.
F
183
Reference • 13. Effects
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the flanger effect sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
28: Exciter
An exciter adds harmonics (overtones) to emphasize a specific frequency region, adding sparkle and definition to the sound. It is most effective when applied to solo instruments such as electric guitar or lead synth,
and will push the sound into the foreground.
For example if when playing in an ensemble (whether using the iS40/iS50 by itself, or in a band with other
instruments) you have ever felt that the iS40/iS50 sound you were playing tended to be smothered by the
other sounds or by instruments other people were playing (unlikely, since the iS40/iS50 is a powerful-sounding instrument with plenty of presence!), you might try using this Exciter effect.
28: Exciter processes the signals of the left and right channels independently.
A two-band shelving equalizer is provided for each channel.
Left
Mix
EQ
Exciter
Exciter
Right
EQ
D
Mix
Harmonic density
–99…+99
Specify the density of the harmonics. As this value is increased, the
exciter effect will be deeper. Negative settings will attenuate the harmonics, producing a thinner sound.
Hot spot
1…10
Specify the center frequency that will be emphasized by the exciter
effect. Harmonics will be added around this frequency. Higher settings will raise the frequency at which the emphasis occurs.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the exciter effect sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
HS
29: Enhancer
The enhancer effect emphasizes the sound by adding harmonics that increase the clarity of the sound and
give it greater definition. A short phase-inverted delay is applied to each channel, giving the sound greater
spaciousness.
29: Enhancer processes the left and right channel signals separately.
184
Reference • 13. Effects
The signals are sent through a two-band shelving equalizer before the exciter effect and delay effect are
applied.
Left
Mix
EQ
Right
D
Enhancer
EQ
Delay
–
Delay
–
Enhancer
Mix
Harmonic density
1…99
Specify the density of the harmonics that will be added to the signal.
As this value is increased, the exciter effect will be deeper.
HS
Hot spot
1…20
Specify the center frequency that will be emphasized by the exciter
portion of the effect. Harmonics will be added around this frequency.
Higher settings will raise the frequency at which the emphasis
occurs.
SW
Stereo width
0…99
Set the proportion at which the delayed signal of each channel is
added to the output of the other channel. Higher settings will widen
the stereo image of the delay effect.
T
Delay time
1…99
Set the basic delay length. Both channels use the same delay time.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the exciter effect sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
30, 31: Distortion
Distortion effects were originally designed for guitar, and simulate the distortion which occurs in the signal
when the input signal gain exceeds the input capacity. Distortion adds depth to individual notes, and is effective on solos. If chords are played with this effect in use, the sound will be muddy, but if you’re after a true
“rock” atmosphere, it may be just what you want.
This effect passes the left and right channels through a two-band shelving equalizer before applying distortion to create a slight “wah” effect.
30: Distortion produces a hard and solid distortion of the type often used in hard rock or heavy metal. It is
particularly effective on solo instruments.
31: Overdrive simulates the warm distortion that occurs on a tube amplifier. Applying it to a guitar or organ
sound will produce a bluesy sound.
Left
Mix
EQ
Mix
Distortion
→ HS
Mix
EQ
Distortion
Right
D
Left
Overdrive
Right
Mix
Overdrive
Drive
1…111
Set the depth of the distortion effect. Higher settings will raise the
distortion level.
Hot spot
0…99
Set the center frequency at which the wah filter will be applied. As
this value is raised, the wah frequency will rise.
☞P. 175.
185
Reference • 13. Effects
R
Resonance
0…99
Set the amount of resonance that is applied by the wah filter. Higher
settings will produce a deeper wah effect.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
DL
Distortion level
0…99
Set the output level of the distorted sound. Higher settings will produce more distortion. With a setting of 0 there will be no distortion
effect.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the distortion effect sound will
be heard. Other settings set the proportion of the direct sound and
effect sound.
32, 33: Phaser
While chorus and flanger effects modulate the delay time, the phaser effect modulates the phase of the input
signal itself, producing a more distinct modulation effect. Phasers (also known more accurately as phase
shifters) are especially effective on electric piano and electric guitar sounds.
32: Phaser 1 applies opposite-phase modulation to the signals of the left and right channels, causing the stereo
image to move from side to side.
33: Phaser 2 applies same-phase modulation to the left and right channels.
Left
Mix
Left
Mix
Phaser
Phaser
Mod
Mod
Phaser
Phaser
Right
Mix
Phaser 1
Right
Mix
Phaser 2
HS
Hot spot
0…99
Set the center frequency at which the phase shift effect will be
applied. Higher settings will raise the frequency that is shifted.
→S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that modulates the delay. Higher settings
will produce faster modulation.
☞P. 175.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the phase shift. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no phaser effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of delayed signal that
will be returned to the input of the phaser. As this value is increased,
the resonance produced by the phaser effect will be increased. Negative values will invert the phase of the feedback and increase the
resonance.
LFO waveform
SIN, TRI
Select the waveform that the LFO will use to modulate the phase of
the signal. You can select either sine wave (SIN) or triangle wave
(TRI).
Dry:Effect balance
DRY, 99:1…1:99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the phaser effect sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
34: Rotary Speaker
This effect simulates the sound of the rotary speakers that are popularly used with electric organs. Rotary
speakers contain a motor which rotates the high frequency speaker horn at either a high or a low speed. The
186
Reference • 13. Effects
rotary speaker effect can be used in a variety of ways, but is generally used by changing the rotary speaker’s
rotational speed from slow to fast at points in the music where the musician wishes to build up or add excitement. This creates an effect of movement as if the sound were being shaken.
34: Rotary Speaker mixes the input signals from the left and right channels, and then creates the rotary effect
using a completely independent LFO (low frequency oscillator). The signal of neither channel will be equalized.
Left
Mix
Rotary Speaker
Right
Mix
VIB
Vibrato depth
0…15
Set the depth of the vibrato effect. (This corresponds to the diameter
of the rotating speaker horn.) Higher values will produce a more definite vibrato effect.
AC
Acceleration
1…15
When dynamic modulation is used to switch the rotational speed,
this parameter sets the time required to accelerate from low speed
to high speed (or to decelerate from high to low speed). Higher settings will result in faster acceleration or deceleration.
S
Slow speed
1…99
Set the rotational speed for when the LFO is switched to the slow
speed. Higher settings will produce faster rotation.
F
Fast speed
1…99
Set the rotational speed for when the LFO is switched to the fast
speed. Higher settings will produce faster rotation.
Dry:Effect balance
DRY, 99:1…1:99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the rotary speaker effect sound
will be heard. Other settings set the proportion of the direct sound
and effect sound.
You can use dynamic modulation to switch between slow and fast while you play. Use a switch-type controller for this purpose. I.e., even if a continuous controller is moved rapidly, this will not cause the rotational
speed to follow the motion, and will not affect the way in which the low and high speeds switch. The rotational speed is not affected by the speed at which the controller is moved, but will change to the new speed at
☞P. 175.
the rate specified by the AC (acceleration) parameter.
35, 36: Tremolo
Tremolo is an effect that uses an LFO (low frequency oscillator) to modulate the output volume. It is particularly effective on slow melody lines or when playing spacious chords, but is not very suitable when playing
rapid phrases.
35: Auto Pan applies opposite-phase modulation to the volume of the left and right channels, causing an
effect as though the sound were being panned between left and right.
36: Tremolo applies same-phase modulation, producing a standard tremolo effect.
187
Reference • 13. Effects
For both effects, the sound passes through a two-band shelving equalizer before the tremolo effect is applied.
Left
Left
Mix
EQ
Tremolo
Auto Pan
Mod
Mod
Tremolo
Auto Pan
Right
Right
Mix
EQ
Mix
EQ
Auto Pan
W
Mix
EQ
Tremolo
LFO waveform
SIN, TRI
Select the waveform that the LFO will use to modulate the input level
of the signal. You can select either sine wave (SIN) or triangle wave
(TRI).
LFO width
–99…+99
Adjust the LFO waveform. Increasingly positive settings will cause
the peak of the waveform to become broader, and negative settings
will cause the peak of the waveform to become narrower and
sharper.
Signal level
Modulation waveform
LFO width =–99
LFO width =0
LFO width =+99
S
Modulation speed
0.03…30 Hz
Set the speed of the LFO that modulates the input level. Higher settings will produce faster modulation.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the amplitude. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no tremolo effect.
L
Equalizer low
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region below 1 kHz.
H
Equalizer high
–12 dB…+12 dB
Set the amount of boost or cut that the shelving type equalizer will
apply to the region above 1 kHz.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the tremolo effect sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
☞P. 175.
37: Parametric Equalizer
37: Parametric Equalizer allows you to modify the tone by adjusting the boost or cut in three frequency
bands. This is a useful way to add punch to drums or bass.
For the low, center, and high frequency bands, you can specify the cutoff (center) frequency and the gain.
Left
Mix
3-Band EQ
3-Band EQ
Right
188
Mix
LF
Low frequency
0…29
Set the cutoff frequency of the low frequency filter. Higher settings
will raise the cutoff frequency.
G
Low gain
–12 dB…+12 dB
Set the amount of boost or cut that will be applied to the region
below the cutoff frequency specified by the LF parameter.
Reference • 13. Effects
→M
Middle frequency
0…99
Set the center frequency of the mid-range filter. Higher settings will
raise the middle frequency.
☞Pagina 175 in questo manuale.
G
Middle gain
–12 dB…+12 dB
Set the amount of boost or cut that will be applied to the region centered at the frequency specified by the M parameter.
W
Middle width
0…99
Set the width of the band affected by the mid-range filter. Higher settings will cause the range being cut or boosted by the filter to be narrower.
HF
High frequency
0…29
Set the cutoff frequency of the high frequency filter. Higher settings
will raise the cutoff frequency.
G
High gain
–12 dB…+12 dB
Set the amount of boost or cut that will be applied to the region
above the cutoff frequency specified by the HF parameter.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the equalized sound will be
heard. Other settings set the proportion of the direct sound and
effect sound.
38, 39: Chorused or Flanged Delay
These are dual effects which connect two effects in series. I.e., the sound of the left and right channels is processed first by a mono-in stereo-out chorus or flanger, and then by a stereo delay. This is especially effective
when used on solo instruments.
38: Chorus-Delay connects chorus and delay in series.
39: Flanger-Delay connects flanger and delay. Both the chorus and flanger use quadrature modulation; i.e.,
modulation is applied at a 90 degree phase difference to the left and right channels.
eft
Mix
Chorus
Left
Mix
Delay
Mod
Flanger
Delay
Flanger
Delay
Mod
Chorus
ight
Delay
Mix
Chorus-Delay
Right
Mix
Flanger-Delay
T
Delay time
0…50 ms
Set the basic delay length for the chorus and flanger effects. Both
channels use the same delay time.
F
Feedback
–99%…+99%
Set the amount of feedback that will be returned to the input of the
flanger. As this value is increased, the resonance produced by the
flanger effect will be increased. Negative values will invert the phase
of the feedback, lowering the pitch of the effect sound by 1 octave.
S
Modulation speed
1…99
Set the speed of the LFO that modulates the delay of the chorus or
flanger. Higher settings will cause faster modulation.
M
Modulation depth
0…99
Set the depth at which the LFO will modulate the delay time. Higher
settings will cause the modulation effect to be more pronounced.
With a setting of 0 there will be no chorus effect or flanger effect.
T
Delay time
0…450 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback that will be returned to the input of the
delay. As this value is increased, the number of delay repeats will
increase, and it will take longer for the echoes to disappear. Negative values will invert the phase of the feedback, causing the tone of
the echo to be harder, and less hollow-sounding.
→
Dry:Effect balance
DRY, 99:1…1:99, FX
For both the chorus or flanger effect and the delay effect, set the balance between the direct sound (DRY) and the sound processed by
the effect (FX). With a setting of DRY, the effect will be turned off.
With a setting of FX, only the echoed sound processed by the chorus or flanger effect will be heard. Other settings set the proportion
of the direct sound and effect sound.
☞P. 175.
189
Reference • 13. Effects
40, 41: Delay & Reverb
These are dual effects which connect a mono delay and a mono reverb.
40: Delay/Hall combines a delay and a hall reverb.
41: Delay/Room combines a delay and a room reverb.
You can use dynamic modulation to control the DRY:FX balance parameters of both the delay and reverb
while you play.
Left
Mix
Feedback
Delay
Pre Dly
Right
Rev
Mix
T
Delay time
0…500 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
HD
High damp
0%…99%
Set the degree to which the high frequency range of the delayed
sound will be attenuated. Higher settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
Reverb time
Depends on the effect
Set the time over which the reverberation will decay. Hall-type reverb
allows a setting from 0.2–9.9 seconds, and room-type reverb allows
a setting from 0.2–4.9 seconds.
Pre delay
0…150 ms
This parameter sets the delay from the direct sound until when the
early reflections of the reverb are heard. Higher settings will cause
the reverberation to be distinct, producing an echo-like sound.
HD
High damp
0%…99%
Set the degree to which the high frequency range of the reverberation will be attenuated. Higher settings will cause more rapid attenuation.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the reverberation will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
P
42: Delay & Chorus
This effect combines a mono delay and mono chorus in parallel.
42: Delay/Chorus is an effect which connects a mono delay and a mono chorus in parallel.
190
Reference • 13. Effects
You can use dynamic modulation to control the DRY:FX parameters of both the delay and chorus effects while
you play.
Left
Mix
Feedback
Delay
Mod
Chorus
Right
Mix
T
Delay time
0…500 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
HD
High damp
0%…99%
Set the degree to which the high frequency range of the delayed
sound will be attenuated. Higher settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
Modulation speed
0.03…30 Hz
Set the speed of the LFO that modulates the delay of the chorus
effect. For a standard chorus effect, set a low frequency (approximately 1 Hz).
Modulation depth
0…99
Set the modulation depth of the chorus. Higher settings will cause
the modulation effect to be more pronounced. With a setting of 0
there will be no chorus effect.
LFO waveform
SIN, TRI
Select the waveform that the LFO will use to modulate the delay
time. You can select either sine wave (SIN) or triangle wave (TRI).
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the chorus sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
M
→
43: Delay & Flanger
This effect combines a mono delay and mono flanger in parallel.
43: Delay/Flanger is an effect that connects a mono delay and mono flanger in parallel.
You can use dynamic modulation to control the DRY:FX parameters of both the delay and flanger effects
while you play.
Left
Mix
Feedback
Delay
Mod
Right
T
Delay time
0…500 ms
Flanger
Feedback
Mix
Set the basic delay length for the delay effect.
191
Reference • 13. Effects
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
HD
High damp
0%…99%
Set the degree to which the high frequency range of the delayed
sound will be attenuated. Higher settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
Modulation speed
0.03…30 Hz
Set the speed of the LFO that modulates the delay of the flanger
effect. For a standard flanger effect, set a low frequency (approximately 0.18 Hz).
M
Modulation depth
0…99
Set the modulation depth of the flanger. Higher settings will cause
the modulation effect to be more pronounced. With a setting of 0
there will be no modulation effect.
F
Feedback
–99%…+99%
Set the amount of feedback that will be returned to the input of the
flanger. As this value is increased, the resonance produced by the
flanger effect will be increased. Negative values will invert the phase
of the feedback, lowering the pitch of the effect sound by 1 octave.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the chorus sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
44, 45: Delay & Distortion
This effect combines a mono delay and mono distortion or overdrive in parallel. For example, this can be used
to apply delay to a lead synth in one channel, and distortion to a guitar in the other channel.
44: Delay/Dist combines delay and distortion.
45: Delay/Overdrv combines delay and overdrive. Both distortion and overdrive include a wah effect.
Left
Mix
Mix
Feedback
Feedback
Delay
Delay
Distortion
Overdrive
Right
Mix
Delay/Distortion
Right
Mix
Delay/Overdrive
T
Delay time
0…500 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
Drive
1…111
Set the depth of the distortion effect. Higher settings will raise the
distortion level.
D
192
Left
Reference • 13. Effects
HS
Hot spot
1…99
Set the center frequency at which the wah filter will be applied. As
this value is raised, the wah frequency will rise.
R
Resonance
0…99
Set the amount of resonance that is applied by the wah filter. Higher
settings will produce a deeper wah effect.
DL
Distortion level
1…99
Set the output level of the distorted sound. Higher settings will produce more distortion. With a setting of 1 there will be no distortion
effect.
46: Delay & Phaser
This effect combines a mono delay and mono phase shifter in parallel.
46: Delay/Phaser is an effect that connects a mono delay and mono phaser in parallel.
You can use dynamic modulation to control the DRY:FX parameters of both the delay and phaser effects while
you play.
Left
Mix
Feedback
Delay
Mod
Right
Phaser
Feedback
Mix
T
Delay time
0…500 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
HD
High damp
0%…99%
Set the degree to which the high frequency range of the delayed
sound will be attenuated. Higher settings will cause more rapid
attenuation.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
Modulation speed
0.3…30 Hz
Set the speed of the LFO that modulates the phase of the input signal. Higher settings will produce faster modulation.
M
Modulation depth
0…99
Set the depth at which the phase will be modulated. Higher settings
will cause the modulation effect to be more pronounced. With a setting of 0 there will be no phaser effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed signal
that will be returned to the input of the phaser. As this value is
increased, the resonance produced by the phaser effect will be
increased. Negative values will invert the phase of the feedback and
increase the resonance of the effect.
→
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the phaser sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
☞P. 175.
47: Delay & Rotary Speaker
This effect combines a mono delay with a mono rotary speaker in parallel.
193
Reference • 13. Effects
47: Delay/Rotary provides a mono rotary speaker that produces a heavier tremolo than the stereo rotary
speaker (34: Rotary Speaker) effect.
Left
Mix
Feedback
Delay
Rotary
Speaker
Right
Mix
T
Delay time
0…500 ms
Set the basic delay length for the delay effect.
F
Feedback
–99%…+99%
Set the amount of feedback; i.e., the amount of the delayed sound
that will be returned to the input of the delay. As this value is
increased, the number of delay repeats will increase, and it will take
longer for the echoes to disappear. Negative values will invert the
phase of the feedback, causing the tone of the echo to be harder,
and less hollow-sounding.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the echoed sound will be heard.
Other settings set the proportion of the direct sound and effect
sound.
AC
Acceleration
1…15
When dynamic modulation is used to switch the rotational speed,
this parameter sets the time required to accelerate from low speed
to high speed (or to decelerate from high to low speed). Higher settings will result in faster acceleration or deceleration.
S
Slow speed
1…99
Set the rotational speed for when the LFO is switched to the slow
speed. Higher settings will produce faster rotation.
F
Fast speed
1…99
Set the rotational speed for when the LFO is switched to the fast
speed. Higher settings will produce faster rotation.
Dry:Effect balance
DRY, B1…B99, FX
Set the balance between the direct sound (DRY) and the sound processed by the effect (FX). With a setting of DRY, the effect will be
turned off. With a setting of FX, only the rotary speaker effect sound
will be heard. Other settings set the proportion of the direct sound
and effect sound.
You can use dynamic modulation to switch between slow and fast while you play. Use a switch-type controller for this purpose. I.e., even if a continuous controller is moved rapidly, this will not cause the rotational
speed to follow the motion, and will not affect the way in which the low and high speeds switch. The rotational speed is not affected by the speed at which the controller is moved, but will change to the new speed at
☞P. 175.
the rate specified by the AC (acceleration) parameter.
194
Reference • 14. Appendices
14. Appendices
Messages
In the various page displays of Arrangement Play mode and Backing Sequence mode display settings and
parameters, and also when you modify settings such as volume, mute, and transpose, the iS40/iS50 will
sometimes display “popup” screens that appear only for a few seconds.
In addition to these, you may occasionally see messages that provide warnings, ask for confirmation, or indicate that processing is taking place.
If a warning message is displayed, correct the settings for the measure or filename etc. as necessary, and execute the operation once again.
If a confirmation message is displayed, be aware that executing the operation may cause some or all data to be
lost from the iS40/iS50’s internal memory or from a floppy disk.
Then, either save the important data to disk or make a backup copy of the file before continuing the procedure.
If one of these warning or confirmation messages appears, you should also check to make sure that the type of
operation itself that you are attempting to execute is actually the desired operation. (For example, make sure
that while intending to execute Rename Arrangement you are not actually selecting the Write Arrangement
page.)
????????.??? exists.
The filename ????????.??? that you specified as the name of a new file is
already used by a different file on the same disk. Is it OK to replace
(overwrite) the old file with the new file? If this is done, the contents of
the old file will be lost from the disk.
Already formatted. Continue?
This message notifies you that the disk you are attempting to format is
already formatted, and asks whether the operation should be continued. Make sure that you have inserted the correct disk.
Are you sure?
This message is asking whether the operation should be executed. To
execute press the ENTER/YES button. To cancel without executing
press the EXIT/NO button.
Can’t find file
During an operation such as load, delete or rename, did you exchange
disks after specifying a file?
The currently inserted floppy disk does not contain the required file.
Thus, the operation that you are attempting cannot be executed.
Make sure that the correct disk is inserted.
Can’t play all track. Continue?
The iS40/iS50 does not have enough memory to play all the tracks of
the musical data that you specified. If you playback now, some of the
tracks will not be heard.
Can’t read disk.
The currently inserted floppy disk is a format which the iS40/iS50 cannot use, and the operation that you are currently attempting cannot be
executed.
Make sure that the correct disk is inserted. This message may also
appear if the current or voltage of your AC power is unstable.
195
Reference • 14. Appendices
Can’t replace dir.
The filename that you specified is already being used by a directory on
that disk. Thus, the operation that you are attempting cannot be executed.
Specify a different filename, and try the operation again.
Can’t replace system.
The filename that you specified is already being used by a system file on
that disk. Thus, the operation that you are attempting cannot be executed.
Specify a different filename, and try the operation again.
Completed.
Processing has been completed. You may continue operation as desired.
Corrupt SMF.
The specified Standard MIDI File contains damaged data. Thus, this
data cannot be played back on the iS40/iS50.
Corrupt file.
The data in the specified file has been damaged. Thus, the operation
that you are attempting cannot be executed.
Make sure that you have selected the correct file.
If you have a backup copy of that file, load the backup file.
Directory full.
No more directories can be created in the currently inserted floppy disk.
Thus, the operation that you are attempting cannot be executed.
Either delete unneeded files from the disk, or insert a different disk in
which additional files can be created, and try the operation again.
Disk full.
No more data can be written into the currently inserted floppy disk.
Thus, the operation that you are attempting cannot be executed.
Either delete unneeded files from the disk, or insert a different disk that
has remaining space, and try the operation again.
Disk has ??? file(s). Continue?
The disk that you are attempting to format already contains ??? files.
This message asks you whether you still wish to format the disk. If you
execute formatting, the files currently existing on disk will all be lost.
Make sure that you have inserted the correct disk.
Disk protected.
The write protect tab of the disk is in the open (protect) position. Thus,
the operation that you are attempting cannot be executed.
First make sure that the correct disk is inserted. Then, if you are sure
that you don’t mind for the data on the disk to be rewritten, slide the tab
closed and perform the operation once again.
Empty SONG/B.SEQ
The specified backing sequence does not yet contain data. Thus, the
operation that you are attempting cannot be executed.
Empty file.
The selected file does not contain data. Thus, the operation that you are
attempting cannot be executed.
If disk operations are performed incorrectly, it is possible that such an
empty file can be created on disk.
If you find such a file, use the Disk/Global page “Utility” (☞P. 120) function Delete File (DEL) to delete that file.
196
Empty measure.
This measure contains no data. Thus, the operation that you are attempting is invalid. Make sure that you have selected the correct measure.
Empty track.
This track does not contain data. Thus, the operation that you are
attempting cannot be executed. Make sure that you have selected the
correct track.
Reference • 14. Appendices
File protected.
The selected file has an attribute of read-only. Thus, the operation that
you are attempting cannot be executed.
First make sure that you have selected the correct file. The attribute of a
file on disk cannot be changed by the iS40/iS50, but you can use a personal computer to do so if you need to. If you are sure that it is OK to
change the attribute of the file, insert the disk into the disk drive of a
personal computer, modify the attribute of that file, insert the disk back
into the iS40/iS50’s disk drive, and perform the operation once again.
For details on file attributes and how to change them, refer to the
owner’s manual for your personal computer or the manual for your
computer’s operating system.
Keyboard Track Empty.
Since the keyboard track contains no data, the operation that you are
attempting cannot be executed. Either record data, or load data into the
track before attempting the operation.
Measure not exists. Continue?
Have you specified the wrong measure? The measure number that you
specified does not exist in the data.
Measure overlaps.
With the settings that you specified, the measures that you wish to copy
overlap with the copy destination.
It is not possible to make settings so that the copy destination is located
within the copy source.
Check the position and length of the copy source measures and the
number of copies, and the location of the copy destination.
Measure won’t fit.
If measures are copied or inserted as you specified, this track will
exceed 999 measures.
The iS40/iS50 cannot create more than 999 measures in a track. Check
the length of the measures that you wish to copy or insert, the number
of copies, and the length of the insert destination track.
Missing Arrangement.
There is no arrangement file in the currently inserted disk.
Missing B.Sequence.
There is no backing sequence file in the currently inserted disk.
Missing some files.
Some of the files are missing from the currently inserted disk.
No disk in drive.
A floppy disk is not inserted in the disk drive. Correctly insert a disk
into the drive, and try the operation again.
Not SMF.
The specified file is not a Standard MIDI File. Thus, this data cannot be
played back on the iS40/iS50. Make sure that you have not specified the
wrong file.
Not enough memory.
The iS40/iS50 does not have enough memory for work area. Thus, the
operation that you are attempting cannot be executed. In order to allocate memory space, you will need to perform one of the operations
described below. However if any of the data in memory is important
and must not be lost, use the Disk/Global page “Save” or Song Edit
“Page 13: Save” operation to save the data to floppy disk.
If this message appears when you are in Song Edit mode, Backing
Sequence mode, or in Disk/Global mode when you are using LOAD
ALL or LOAD ONE to load backing sequence data, you will need to
delete backing sequence data or song edit data. If this message appears
when you are using the Disk/Global mode operation LOAD ONE to
load style data, you will need to delete style data from the user bank.
197
Reference • 14. Appendices
Okay to erase B.Seq & Song
Edit
The iS40/iS50 does not have enough memory to playback the SMF format 1 data that you specified.
In order to allocate sufficient memory space, is it OK to erase the
backing sequence data or the song editing data from internal memory?
If internal memory contains data that you do not wish to lose, use the
Disk/Global “Save” page backing sequence save operation or the Song
Edit mode “Page 13: Save” operation to save that data to disk.
SMF format 2.
The specified file is a Standard MIDI File in Format 2. Thus, this data
cannot be played back by the iS40/iS50. Make sure that the correct file
has been selected.
Source is empty.
If this appears during a Copy Measure operation ...
Are you attempting to copy a measure that contains no data to another
measure? It is not possible to copy a measure which contains no data to
another measure. Re-specify the correct measure.
Alternatively, it is possible that the track itself contains no data at all.
Make sure that you have selected the correct track.
If this appears during a Bounce Track operation ...
Are you attempting to bounce a track containing no data to another
track? It is not possible to bounce a track containing no data to another
track. Re-specify the correct track.
Check once again that you have selected the correct track.
Wait a moment ...
Now loading ...
Now saving ...
Now formatting ...
198
These message indicate that a disk-related operation is in progress. Please wait until the operation is completed.
Reference • 14. Appendices
Troubleshooting
General problems
Problem
Action
Is the power cable plugged into an appropriate outlet?
Power does not turn on
Is the power switch turned on?
If the power still does not turn on, contact your Korg dealer or a Korg service center.
If you are using a sound system, check the connections of your amp and
mixer etc.
No sound
If you are using a sound system, check that the power of your amp and
mixer is turned on, and that connections are correct.
Is the MASTER VOLUME slider of the iS40/iS50 raised?
Is Local Control turned off? Turn it on.
Have the User bank (bank F) programs or the drum programs Dr27 or
Dr28 been partially modified? Load the appropriate data.
Wrong sounds are heard when playing an arrangement,
style, backing sequence, or song etc.
Has one of the two user drum kits been partially modified? Load the
appropriate data.
Has the arrangement data been partially modified? Load the appropriate
data.
Arrangement or backing sequence does not play the correct song
Does the arrangement or backing sequence use one of the user styles?
If so, have you loaded a different style from disk? Load the appropriate
data.
Sound does not stop
Make sure that the damper switch polarity parameter is set correctly.
Selected arrangement or backing sequence does not playback
Make sure that the MIDI Clock Source is set to INT. If you are using an
external clock source, you must set the MIDI Clock Source parameter to
EXT, and set the external device to transmit MIDI Clock messages.
Cannot record in Backing Sequence mode
Make sure that the MIDI Clock Source is set to INT. If you are using an
external clock source, you must set the MIDI Clock Source parameter to
EXT, and set the external device to transmit MIDI Clock messages.
Make sure that all MIDI cables are connected correctly.
Does not respond to transmitted MIDI data
Make sure that the iS40/iS50 is receiving MIDI messages on the same
channel as they are being transmitted.
Make settings so that the iS40/iS50 does not filter out the incoming MIDI
messages.
Some drum sounds are not played
Check the panpot and effect send level settings.
Specified drum sound does not play when you play the keyboard
Make sure that the Transpose function is set to +00.
199
Reference • 14. Appendices
Floppy disk related problems
Problem
Action
Are you using a 3.5 inch 2DD or 2HD floppy disk? You must use one of
these types.
Cannot format a floppy disk
Is the disk inserted correctly?
Is the write protect tab of the disk in the protect position?
Is the disk inserted correctly?
Cannot save data to a floppy disk
Is the write protect tab of the disk in the protect position?
Is the disk inserted correctly?
Cannot load data from a floppy disk
Does the disk contain data?
200
Reference • 14. Appendices
List of detected chords
Each of the chords pictured below are shown in root position with a root note of C. In order for the iS40/iS50
to correctly recognize major 6th and minor 6th chords, they must be played in root position as pictured. This
is because these chords consist of the same notes as the minor 7th and minor 7th flatted 5th of the relative
minor key. (For example, the notes C, E, G, and A could be either C6 or Am7.)
Major
3-note
T
2-note
T
T
T
2-note
T
T
T
1-note
T
T
T
Major 6th
2-note
4-note
T
T
Major 7th
4-note
3-note
2-note
T
T
T
T
Sus 2
Sus 4
3-note
2-note
3-note
3-note
2-note
T
T
Dominant 7th
4-note
T
T
T
T
T
T
T
T
T
T
T
T
Dominant 7th Sus 4
4-note
3-note
T
T
T
T
= constituent notes of the chord
T = can be used as tension
201
Reference • 14. Appendices
Minor
Minor 6th
3-note
2-note
T
T
4-note
T
T
Minor 7th
Minor-Major 7th
4-note
T
T
3-note
T
T
Diminished
3-note
4-note
T
T
T
Diminished Major 7th
3-note
4-note
T
T
T
T
Minor 7th 5
4-note
T
T
Augmented
T
Augmented 7th
4-note
3-note
T
T
T
4-note
T
T
Major 7th 5
4-note
T
Augmented Major 7th
Major 7th Sus 4
4-note
T
T
T
T
Dominant 7th 5
4-note
T
T
T
T
= constituent notes of the chord
202
T
T
T = can be used as tension
T
Reference • 14. Appendices
MIDI Implementation chart
Function
Basic Channel
Transmitted
Default
1 – 16
1–16
Changed
1 – 16
1–16
Default
Mode
Note
Number:
Velocity
Aftertouch
Recognized
Remarks
Memorized
3
Messages
X
Altered
******************
X
25–107
0–127
True Voice
******************
0–127
Note On
O 9n, V=1 – 127
O 9n, V=1 – 127
Note Off
X
X
Polyphonic (Key)
iS40: O; iS50: X
O
Monophonic (Channel)
iS40: O; iS50: X
O
*A
*C
Pitch Bend
When sequencer data is sent: 0 – 127
When sequencer data is sent: 2 – 126
Sequencer data only
*A
O
O
0, 32
O
O
Bank Select (MSB, LSB)
*P
1, 2
O
O
Modulation (pitch, cutoff)
*C
4, 64
O
O
Pedal (scale, damper)
*C
6, 38
O
O
Data Entry (MSB, LSB)
*E
7, 11
O
O
Volume, Expression
*C
Control
10, 91, 93
O
O
A:B panpot, send C, D
*C
Change
12, 13
O
O
Effect controller 1, 2
*C
72, 73, 74
O
O
EG time (Release, Attack), Brightness
*C
92 ,94
O
O
Effects 1, 2 on/off
*C
Program
Change
96, 97
O
O
Data Inc, Dec
*E
100, 101
X
O
RPN (LSB, MSB)
*2
120, 121
X
O
All sound off, Reset all Cntrls
0 – 101
O
O
(Sequencer data)
O 0 – 127
O 0 – 127
Variable Range
System Exclusive
System
Common
System
Real Time
Aux
Messages
Notes
******************
*P
0 – 127
O
O
*3 *E
Song Position
O
O
*1
Song Select
O0
O0
*1
Tune
X
X
Clock
O
O
*1
Command
O
O
*1
Local On/Off
X
O
All Notes Off
X
O (123 – 127)
Active Sense
O
O
Reset
X
X
*C, *P, *A, *E: Sent and received when MIDI Filter (Controller, Program Change, Aftertouch, System Exclusive) is set
to ENA in Global mode.
*1: When clock is set to internal, sent but not received. When set to external, received but not sent.
*2: LSB, MSB = 00,00: pitch bend range, =01,00: fine tune, =02,00: course tune
*3: Includes Inquiry, GM Mode On, Master Balance, and Master Volume messages.
Mode 1:OMNI ON, POLY
Mode 3:OMNI OFF, POLY
Mode 2:OMNI ON, MONO
Mode 4:OMNI OFF, MONO
O: Yes
X: No
203
Reference • Appendices
Styles
8 Beat
16 Beat
Ballroom
Dance 1
8 beat 1
16 beat 1
Slow Pop
Party Polka
8 Beat 2
16 Beat 2
Slow Rock 1
Disco Party
8 Beat 3
16 beat 3
Slow Rock 2
Motown
8 Beat 4
16 Beat 4
Flipper 6/8
Love Disco
8 Beat Analog
16Beat pop
Flipper 4/4
Disco ‘70
8 Beat Rock
16BeatAnalog
Twist
80's Dance
8 Bt. Shuffle
16 Beat Funk
Hully Gully
House
8 R&B
16 Beat Rock
Surf Rock
Techno
Dance 2
Latin 1
Latin 2
Latin Dance
Progress.
Bossa 1
Tango
Mambo
Underground
Bossa 2
Habanera
Salsa
Jungle
Bossa 3
Paso Doble
Merengue
Garage
Samba 1
Cumbia
Meneito
Rap
Samba 2
Bajon
Macarena
Hip Hop
Beguine
Calypso
Tikytikità
Dancing Tribe
Last Rhumba
Reggae
Lambada
Down Beat
Cha Cha Cha
Dance Reggae
Disco Samba
Traditional 1
Traditional 2
Jazz
Jazz & Funk
I. Waltz
Wien Waltz
40's Big Band
Swing Ballad
Mazurka
Slow Waltz 1
Big Band
Medium Swing
Polka
Slow Waltz 2
Fast Big Band
Be bop
German Waltz
Fox Trot 1
Latin Big Band
Acid Jazz
Laendler
Fox Trot 2
Broadway
Latin Jazz
GermanPolka
Big Band Fox
Hollywood
New Jazz
WaltzMusette
Quick step
Jazz Waltz
Party Funk
French March
Charleston
5/4 Swing
Groove
Rhythm and Blues
Rock
World Music 1
World Music 2
R&B
Light Rock
Country
9/8 Roman
6/8 Blues
Pop Rock
Country beat
Ciftetelli
Gospel
Open Rock
Country Bld.
Mariachi
Blues Shuffle
Heavy Rock
Dixieland
Raspa
Pub Shuffle
Rock Ballad
March
Baroque
Hip Blues
Half Time
Tarantella
Minuet
R&B Funk
Rock & Roll
Sevillana
Bolero
Rhythm&Funk
Rock Hip Hop
Gipsy
New Age
204
Reference • Appendices
User 1
User 1
User 2
User 2
Arrangements
You can select the arrangements via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and
Program Change (shown in table as PC) messages through the ARNG channel. The Bank Select MSB is always = 00.
BS
PC
#
BS
PC
8 Beat
000
000
A11
8 Beat
001
A12
002
BS
PC
16 Beat
000
008
A21
16 Beat
Guitar Ballad
009
A22
A13
L.A. R&B
010
003
A14
Sweet Beat
004
A15
005
#
BS
A31
Pop 6/8
Windy Beat
017
A32
A23
Home Beat
018
011
A24
Color Beat
Analog Night
012
A25
A16
8 Beat Rock
013
006
A17
Shuffle Shade
007
A18
Rhythm&Beat
032
A51
Progressive
033
A52
034
000
#
Dance 1
024
A41
Party Polka
Back to 60's
025
A42
NonstopParty
A33
Rock 6/8
026
A43
Motown
019
A34
Flipper 6/8
027
A44
Love disco
Miami Beat
020
A35
Flipper 4/4
028
A45
Disco '70
A26
Analogyst
021
A36
Twist
029
A46
80's Dance
014
A27
Thin Funk
022
A37
Hully Gully
030
A47
House
015
A28
Easy Rock
023
A38
Beach Surfer
031
A48
Techno
Latin 1
000
PC
Ballroom
016
Dance 2
000
#
040
A61
Basic Bossa
Underground
041
A62
A53
Jungle
042
035
A54
Garage
036
A55
037
000
Latin 2
000
048
A71
Tango
Bossa nueva
049
A72
A63
Miss Bossa
050
043
A64
Samba
Euro Rap
044
A65
A56
Hip Hop
045
038
A57
Dancing Tribe
039
A58
Down Beat
Latin Dance
000
056
A81
Mambo
Habanera
057
A82
Salsa
A73
Paso Doble
058
A83
Merengue
051
A74
Cumbia
059
A84
Meneito
Sambalegre
052
A75
By on
060
A85
Macarena
A66
Beguine
053
A76
Calypso
061
A86
Tikitikità
046
A67
Last Rhumba
054
A77
Reggae
062
A87
Lambada
047
A68
Cha Cha Cha
055
A78
DanceReggae
063
A88
Discosamba
205
Reference • Appendices
BS
PC
#
BS
PC
Traditional 1
000
064
B11
Waltz
065
B12
066
000
072
B21
Wiener Waltz
Mazurka
073
B22
B13
Polka
074
067
B14
German Waltz
068
B15
069
206
#
BS
Big Band 40's
Slow Waltz 1
081
B32
B23
Slow Waltz 2
082
075
B24
Operetta
Laendler
076
B25
B16
German Polka
077
070
B17
W. Musette
071
B18
French March
096
B51
R&B
097
B52
098
000
Ballad
Big Band
089
B42
MediumSwing
B33
Fast Big Band
090
B43
Be Bop
083
B34
Latin BigBand
091
B44
Acid Jazz
Fox Trot
084
B35
Broadway
092
B45
Latin Jazz
B26
Club Fox
085
B36
Hollywood
093
B46
Still Life
078
B27
Quick step
086
B37
Jazz Waltz
094
B47
Party Funk
079
B28
Charleston
087
B38
5/4 Swing
095
B48
Groove
B61
Light Rock
6/8 Blues
105
B62
B53
Gospel
106
099
B54
Blues Shuffle
100
B55
101
B71
Country
Pop Rock
113
B72
B63
Open Rock
114
107
B64
Heavy Rock
Pop Shuffle
108
B65
B56
Uncle Funk
109
102
B57
Get Funked
103
B58
Electric Funk
001
000
World Music 2
120
B81
9/8 Roman
Country Beat
121
B82
Ciftetelli
B73
Country Ballad
122
B83
Mariachi
115
B74
Dixieland
123
B84
Raspa
Rock Ballad
116
B75
OnTheBridge
124
B85
Venezia
B66
Half Time
117
B76
Tarantella
125
B86
Minuetto
110
B67
Rock & Roll
118
B77
Sevillana
126
B87
Bolero
111
B68
Rock Hip Hop
119
B78
Gipsy
127
B88
New Age
User 2
001
000
World Music 1
112
U11
Jazz & Funk
B41
104
000
#
088
Rock
000
PC
Jazz
B31
008
U21
U12
009
002
U13
003
000
User 3
016
U31
U41
U22
017
U32
025
U42
010
U23
018
U33
026
U43
U14
011
U24
019
U34
027
U44
004
U15
012
U25
020
U35
028
U45
005
U16
013
U26
021
U36
029
U46
006
U17
014
U27
022
U37
030
U47
007
U18
015
U28
023
U38
031
U48
032
U51
033
001
User 4
024
User 5
001
PC
080
User 1
001
BS
Traditional 2
Rhythm & Blues
000
#
User 6
001
040
U61
U52
041
034
U53
035
001
User 7
001
048
U71
U62
049
042
U63
U54
043
036
U55
037
User 8
001
056
U81
U72
057
U82
050
U73
058
U83
U64
051
U74
059
U84
044
U65
052
U75
060
U85
U56
045
U66
053
U76
061
U86
038
U57
046
U67
054
U77
062
U87
039
U58
047
U68
055
U78
063
U88
Reference • Appendices
Programs
You can select the programs via MIDI, sending Bank Select MSB, Bank Select LSB (shown in table as BS) and Program Change (shown in table as PC) messages, through the MIDI channel you wish to change the program to. The
Bank Select MSB is always = 00.
BS
PC
#
BS
Piano
000
PC
000
A11
Piano 1
001
A12
002
000
008
A21
Celesta
PC
Piano 2
009
A22
A13
Piano 3
010
003
A14
Honky-tonk
004
A15
005
#
BS
A31
Organ 1
Glockenspiel
017
A32
A23
Music Box
018
011
A24
Vibraphone
E. Piano 1
012
A25
A16
E. Piano 2
013
006
A17
Harpsichord
007
A18
Clavinet
000
A51
Acoustic Bs.
033
A52
034
000
Nylon gtr
Organ 2
025
A42
Steel Gtr.
A33
Organ 3
026
A43
Jazz Gtr.
019
A34
ChurchOrgan
027
A44
Clean Gtr.
Marimba
020
A35
Reed Organ
028
A45
Muted Gtr.
A26
Xylophone
021
A36
Musette
029
A46
Overdrive
014
A27
Tubular Bell
022
A37
Harmonica
030
A47
Dist. Gtr.
015
A28
Santur
023
A38
Bandoneon
031
A48
GT.Harm.
A61
Violin
Fingered Bs.
041
A62
A53
Picked Bs.1
042
035
A54
Fretless Bs.
036
A55
037
A71
Strings
Viola
049
A72
A63
Cello
050
043
A64
Contrabass
Slap Bass 1
044
A65
A56
Slap Bass 2
045
038
A57
SynthBass 1
039
A58
SynthBass 2
000
065
B12
066
000
Brass
056
A81
Trumpet
Slow Strings
057
A82
Trombone
A73
SynStrings 1
058
A83
Tuba
051
A74
SynStrings 2
059
A84
MuteTrumpet
Tremolo Str.
052
A75
Choir Aahs
060
A85
French Horns
A66
PizzicatoStr.
053
A76
Voice Oohs
061
A86
Brass
046
A67
Harp
054
A77
SynVox
062
A87
Syn.Brass1
047
A68
Timpani
055
A78
OrchestraHit
063
A88
Syn.Brass2
Pipe
Soprano Sax
000
Esensemble
048
B11
Guitar
A41
040
064
#
024
Strings
032
PC
Organ
016
Reed
000
BS
Chromatic percussion
Bass
000
#
000
Synth lead
072
B21
Piccolo
Alto Sax
073
B22
B13
Tenor Sax
074
067
B14
Baritone Sax
068
B15
069
000
080
B31
SquareWave
Flute
081
B32
B23
Recorder
082
075
B24
Pan Flute
Oboe 1
076
B25
B16
English Horn
077
070
B17
Basson
071
B18
Clarinet
Synth pad
000
088
B41
Fantasia
Saw Wave
089
B42
Warm Pad
B33
Syn.Calliope
090
B43
PolySynth
083
B34
Chiffer Lead
091
B44
Space Voice
Bottle Blow
084
B35
Charang
092
B45
BowedGlass
B26
Shaku 1
085
B36
Solo Vox
093
B46
Metal Pad
078
B27
Whistle 1
086
B37
5Th Wave
094
B47
Halo Pad
079
B28
Ocarina 1
087
B38
Bass & Lead
095
B48
Sweep Pad
207
Reference • Appendices
BS
PC
#
BS
PC
Synth SFX
000
096
B51
Ice Rain
097
B52
098
000
104
B61
Sitar
Soundtrack
105
B62
B53
Crystal
106
099
B54
Atmosphere
100
B55
101
208
#
BS
Tinkle Bell
Banjo
113
B72
B63
Shamisen
114
107
B64
Koto
Brightness
108
B65
B56
Goblin
109
102
B57
Echo Drops
103
B58
Star Theme
000
C11
90’s Piano
001
C12
002
001
Gt.FretNoise
Agogo
121
B82
Breath Noise
B73
Steel Drums
122
B83
Seashore
115
B74
Woodblock
123
B84
Bird
Kalimba
116
B75
Taiko
124
B85
Telephone 1
B66
Bagpipe
117
B76
Melo. Tom
125
B86
Helicopter
110
B67
Fiddle
118
B77
Synth Drum
126
B87
Applause
111
B68
Shanai
119
B78
ReverseCym.
127
B88
Gun Shot
C21
SynCelesta
Rock Piano
009
C22
C13
New Piano
010
003
C14
M1 Piano
004
C15
005
C31
Gospel Org.
Sistro
017
C32
C23
Orgel
018
011
C24
SynVibes
Whirly
012
C25
C16
DW-8000 EP
013
006
C17
HarpsiFunk
007
C18
Clavmation
001
033
C52
034
001
C41
L&R Ac.Gtr.
ClickOrgan
025
C42
12 Strings
C33
Rotary Org.
026
C43
PedalSteel
019
C34
EuroPipe
027
C44
L&R El. Gtr.
Balaphone
020
C35
SmallPipe
028
C45
Clean Funk
C26
Gamelan
021
C36
Fr.Musette
029
C46
DistoMutes
014
C27
ChurchBell
022
C37
Akordeon
030
C47
Solo Dist.
015
C28
Celtic Plug
023
C38
Cassotto
031
C48
PowerChord
040
C61
The Strings
Bass/ Harm.
041
C62
C53
Picked Bs.2
042
035
C54
Fat Fretty
036
C55
037
038
C71
Marcato
ChambViola
049
C72
C63
Cello Ens.
050
043
C64
ChamDBass
SuperRound
044
C65
C56
DynaSlap
045
C57
Dance Bass
046
001
AltoBreath
001
D12
002
001
Brass
056
C81
FlugelHorn
Exp. Str.
057
C82
Dynabone
C73
AnalogPad
058
C83
OB. Tuba
051
C74
AnaStrings
059
C84
Mute Ens.
Octave Str.
052
C75
Doolally
060
C85
Horns Ens.
C66
OctavePizz.
053
C76
AirVoxDbl
061
C86
Brass Band
C67
My dream
054
C77
Glassglide
062
C87
Syn.Brass3
Pipe
D11
001
Esensemble
048
000
Guitar
024
Strings
Upright
000
Organ
016
C51
Effects
B81
008
032
#
120
Chromatic percussion
000
PC
Percussion
B71
Reed
001
PC
112
Bass
001
BS
Ethnic
Piano
001
#
001
Synth lead
008
D21
Synth Fife
Folk Sax
009
D22
D13
SoftTenor
010
003
D14
PerkySaxes
004
D15
005
001
016
D31
Soft Solo
BreathFlute
017
D32
D23
Traverso
018
011
D24
Kawala
Oboe 2
012
D25
D16
Woodwinds
013
006
D17
Small^Orch
007
D18
Clarn. Ens.
Synth pad
001
024
D41
Thick Pad
Big Lead
025
D42
Soft Pad
D33
PurePanLd.
026
D43
Farluce
019
D34
Rubby
027
D44
Heaven
BottleBlow
020
D35
Dist.Lead
028
D45
Glass Pad
D26
Shaku 2
021
D36
Vox Lead
029
D46
Panner Pad
014
D27
Whistle 2
022
D37
Big Fives
030
D47
Polar Pad
015
D28
Ocarina 2
023
D38
Big & Raw
031
D48
Celestial
Reference • Appendices
BS
PC
#
BS
PC
Synth SFX
001
032
D51
Caribean
033
D52
034
001
040
D61
Tambra
Rave
041
D62
D53
BellPad
042
035
D54
AmbientPad
036
D55
037
#
BS
WindChimes
Bouzouki
049
D72
D63
Oud
050
043
D64
Kanoon
ElastikPad
044
D65
D56
Bell Choir
045
038
D57
Big Panner
039
D58
Odyssey
001
E11
Piano&Strgs
001
E12
002
002
Heart Beat
Cowbell
057
D82
Laughing
D73
Claves
058
D83
Wind
051
D74
Castanets
059
D84
Gallop
Ukulele
052
D75
Tsuzumi
060
D85
Telephone 2
D66
Jaw Harp
053
D76
Oil Drum
061
D86
Train
046
D67
MandoTrem.
054
D77
Rev. Tom
062
D87
Stadium!!
047
D68
Hichiriki
055
D78
Rev Snare
063
D88
Explosion
Tone Wheel
PianoPad
009
E22
E13
Midi Piano
010
003
E14
Fresh Air
004
E15
005
002
4
016
E31
R&R Guitar
70' Organ
017
E32
E23
Theatre Org.
018
011
E24
Jimmy Org.
Mark II bis
012
E25
E16
Hard Tines
013
006
E17
FunkyRoads
007
E18
PianoVibes
024
E41
FingerDark
Dobro
025
E42
Dyno Bass
E33
ElectricAc.
026
E43
Bass/Mute
019
E34
Mr.Clean
027
E44
Stick Bass
DblBrass
020
E35
Hackbrett
028
E45
Deep House
E26
SlowSunset
021
E36
Gtr.Strings
029
E46
Dr.Octave
014
E27
Ultra Rez
022
E37
StereoDist.
030
E47
Rap Bass
015
E28
DanceReMix
023
E38
Gtr/Bass
031
E48
Zap bass
6
Velo Flute
033
E52
034
002
E61
i3 Strings
Flute/Muted
041
E62
E53
Trump Ens.
042
035
E54
Lyle Stack
036
E55
037
E71
LiteVoices
N-Strings
049
E72
E63
Ravel Pad
050
043
E64
Dark Pad
Folk Clar.
044
E65
E56
SectWinds
045
038
E57
FallAngels
039
E58
Lylesircs
001
002
8
048
F11
056
E81
Jet Star
DigitalAir
057
E82
Space Wing
E73
Air Vox
058
E83
Ambience
051
E74
Ambi.Voice
059
E84
Glide Fx
Yoshi Pad
052
E75
Airways
060
E85
SteamCloud
E66
Swell Pad
053
E76
Stab Pad
061
E86
WhiteNoise
046
E67
Light Pizz
054
E77
Poppin'Pad
062
E87
Fragments
047
E68
DblStrings
055
E78
MonoLead
063
E88
Brass Fall
User 2
003
002
7
040
000
001
3
E21
E51
Effects
D81
008
032
#
056
2
000
PC
Percussion
D71
User 1
003
PC
048
5
002
BS
Ethnic
1
002
#
008
F21
F12
009
002
F13
003
002
User 3
003
016
F31
F22
017
010
F23
F14
011
004
F15
005
User 4
003
024
F41
F32
025
F42
018
F33
026
F43
F24
019
F34
027
F44
012
F25
020
F35
028
F45
F16
013
F26
021
F36
029
F46
006
F17
014
F27
022
F37
030
F47
007
F18
015
F28
023
F38
031
F48
209
Reference • Appendices
BS
PC
#
BS
PC
User 5
003
032
F51
033
#
BS
PC
User 6
040
F61
F52
041
034
F53
035
BS
F71
056
F81
F62
049
F72
057
F82
042
F63
050
F73
058
F83
F54
043
F64
051
F74
059
F84
036
F55
044
F65
052
F75
060
F85
037
F56
045
F66
053
F76
061
F86
038
F57
046
F67
054
F77
062
F87
039
F58
047
F68
055
F78
063
F88
PC
#
003
210
#
User 8
BS
PC
003
#
Drum 1
004
PC
User 7
048
BS
003
#
000, 002007, 074-127
Dr11
GM Kit 1
001
Dr12
008-015
Drum 2
004
040-047
Dr21
Brush Kit
GM Kit 2
048-055
Dr22
Orchestra Kit
Dr13
Room Kit
064, 067-071
Dr23
Percussion Kit
016-023
Dr14
Power Kit
065
Dr24
Latin Perc. Kit
024
Dr15
Electronic Kit
066
Dr25
Arabian Kit
025
Dr16
Analog Kit
057-063
Dr26
SFX Kit
028-031
Dr17
Dance Kit
072
Dr27
(User 1)
032-039
Dr18
Jazz Kit
073
Dr28
(User 2)
Reference • Appendices
Multisamples
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
0
A.Piano 1
88
Mute Gtr 1
87
E.Guitar 3
261
Viola
348
VS 58
435
MuteTriang
1
A.Piano 1w
89
FunkyGtr1
175
House Bass
262
Cello
349
VS 71
436
OpenTriang
2
A.Piano1LP
90
Mute Guitar1
176
House Bass
263
Cello LP
350
VS 72
437
Agogo
3
A.Piano 2
91
FunkyGtr 1
177
Bass Slide
264
CBs.&Cello
351
VS 88
438
Cow Bell
4
A.Piano 2w
92
FunkyGtr1V
178
StringSlap
265
Pizzicato
352
VS 89
439
Timbale
5
A.Piano 3 *
93
FunkyGtr1V
179
Kalimba
266
Voice
353
13-35
440
WoodBlock1
6
A.Piano 3w *
94
E.Gtr Harm
180
Music Box
267
Choir
354
DWGSOrg1
441
WoodBlock2
7
M1 Piano
95
E.GtrHramV
181
MusicBoxLP
268
Soft Choir
355
DWGSOrg2
442
WoodBlock3
8
M1 Piano w
96
Dist.Gtr 1
182
Log Drum
269
Air Vox
356
DWGS E.P.1
443
Claves
9
Grand EP
97
DistGtr1LP
183
Marimba
270
Doo Voice
357
ClarinetLP
444
Syn Claves
10
E.Piano 1
98
Dist.Gtr1V
184
Marimba w
271
DooVoiceLP
358
DWGSOrg1
445
Castanet
11
E.Piano 1w
99
Dist.Gtr 2
185
Xylophone
272
DooVoiceLP
359
Saw
446
CastanetNT
12
E.Piano1LP
100
Over Drive
186
Vibe
273
Choir
360
Square
447
Castanet V
13
E.Piano 2
101
OverDrv LP
187
Vibe w
274
MouthHarp1
361
Ramp
448
FingerSnap
14
E.Piano 2w
102
OverDrv F4
188
Celesta
275
Syn Vox
362
Pulse 25%
449
FingSnapNT
15
E.Piano2LP
103
MtDistGtr1
189
Glocken 1
276
Syn Vox LP
363
Pulse 8%
450
Snap
16
DWGS E.P. 1
104
MtDstGtr1V
190
Glocken 2
277
White Pad
364
Pulse 4%
451
Snap NT
17
Soft EP LP
105
Dist.Gtr 2
191
BrightBell
278
Ether Bell
365
Syn Sine
452
Vibraslap
18
Hard EP
106
DstGtrHarm
192
B.Bell LP
279
E.Bell LP
366
Sine
453
Guiro
19
Hard EP w
107
PowerChrd1
193
Metal Bell
280
Ghostly
367
Orch Hit
454
Guiro LP
20
Hard EP LP
108
PowerChd1V
194
M.Bell LP
281
Mega Pad
368
ImpactHitL
455
Hand Clap
21
Stage EP 1
109
OverDvChrd
195
Gamelan
282
Synth Pad
369
ImpactHitR
456
HandClapNT
22
StageEP 1w
110
Power Gtr
196
Tubular
283
Synth PadA
370
Rave Hit L
457
Gun Shot 1
23
Hard EP
111
PowerGtr V
197
ChurchBell
284
Spectrum 1
371
Rave Hit R
458
GlassBreak
24
Stage EP 1
112
PowerChrd1
198
FingCymbal
285
WaveSweep
372
Philly Hit
459
Metal Hit
25
Hard EP
113
Gt Scratch
199
FingCymbNT
286
WavSweepA
373
PowerSnare
460
HandDrill
26
Hard EP
114
Gtr Slide
200
Gong
287
WavSweepB
374
Syn Snare
461
HandDrilNT
27
PianoPad 2
115
GtCutNois1
201
Gong LP
288
MouthHarp1
375
SnareRl/Ht
462
Zap 1
28
Clav
116
GtCutNois2
202
Split Drum
289
MouthHrp1A
376
Stick Hit
463
Zap 2
29
Clav w
117
Chic 1
203
Split Bell
290
MouthHarp2
377
Side Stick
464
Fret Zap 1
30
Clav LP
118
Chic 2
204
Flute
291
MouthHrp2A
378
SideStikNT
465
Fret Zap 2
31
Harpsicord
119
Sitar 1
205
Tin Flute
292
MouthHarps
379
TimbleSide
466
Scratch Hi
32
Harpsicd w
120
Sitar 2
206
TinFluteLP
293
ChromRes
380
TimblSidNT
467
ScratcHiNT
33
HarpsicdLP
121
Sitar 2 LP
207
Pan Flute
294
Applause
381
Indust
468
Scratch Lo
34
PercOrgan1
122
Tambura
208
PanFluteLP
295
Stadium
382
Taiko Hit
469
ScratcLoNT
35
PercOrg1LP
123
Tambura LP
209
White Pad
296
BrushNoise
383
Syn Rim
470
ScratchDbl
211
Reference • Appendices
#
Multisample
#
#
Multisample
#
Multisample
#
36
PercOrgan2
124
Santur
210
Shakuhachi
297
BruNoiseNT
384
Syn Rim NT
471
ScratDblNT
37
PercOrg2LP
125
Bouzouki
211
ShakhachiV
298
WhiteNoise
385
Click
472
Scratch a
38
Organ 1
126
BouzoukiLP
212
ShakhachLP
299
WhiteNoiNT
386
Crash Cym
473
Scratches
39
Organ 1 LP
127
Kanoun
213
Bottle
300
Jetstar
387
CrashCymLP
474
Rev.Kick
40
Organ 2
128
Mandolin
214
Recorder
301
Jetstar LP
388
CrashLP NT
475
Rev.ConBD
41
Organ 2 LP
129
Banjo
215
Ocarina
302
JetstrLPNT
389
China Cym
476
Rev Snare1
42
Organ 3
130
Shamisen
216
Oboe
303
BrushSwirl
390
ChinaCymLP
477
Rev.Snare2
43
Organ 4
131
Koto
217
EnglishHrn
304
MarcTree 1
391
Splash Cym
478
Rev.Snare3
44
Organ 6
132
Uood
218
Eng.HornLP
305
MrcTree1NT
392
Orch Crash
479
Rev.Cymbal
45
Organ 6 LP
133
Harp
219
BasoonOboe
306
MarcTree1V
393
Orch Perc
480
Rev.Tom 1
46
VoxOrgan 1
134
Ukulele
220
BsnOboeLP
307
MrcTre1VNT
394
Tite HH
481
Rev.Tom 2
47
VoxOrgan 2
135
MandlinTrm
221
Clarinet
308
MarcTree 2
395
Tite HH NT
482
Growl 1
48
VoxOrgan 3
136
A.Bass 1
222
ClarinetLP
309
MrcTree2NT
396
Open HH
483
Growl 1 NT
49
RotaryOrg1
137
A.Bass1 LP
223
Bari.Sax
310
MarcTree2V
397
CloseSynHH
484
Rain
50
Rotary1 LP
138
A.Bass 2
224
Bari.SaxLP
311
MrcTre2VNT
398
OpenSyn HH
485
Thunder
51
RotaryOrg2
139
A.Bass2 LP
225
Tenor Sax
312
Tri Roll
399
Bell Ride
486
Wind
52
Super BX-3
140
E.Bass 1
226
T.Sax LP
313
TriRoll NT
400
Ping Ride
487
Seashore
53
SuperBX3LP
141
E.Bass1 LP
227
Alto Sax
314
Tri Roll V
401
Orch B.Drm
488
Seashore V
54
Dist.Organ
142
E.Bass 2
228
A.Sax LP
315
TriRollVNT
402
Tom 1
489
Stream
55
Dist.OrgLP
143
E.Bass2 LP
229
SopranoSax
316
Cast Roll
403
Tom 2 Hi
490
Bubble
56
PipeOrgan2
144
E.Bass 1
230
S.Sax LP
317
CastRollNT
404
Tom 2 Lo
491
Bird 1
57
PipeOrg2LP
145
PickBass 1
231
Bag Pipe
318
Lore
405
ProccesTom
492
Bird 2
58
PipeOrgan3
146
PicBass1LP
232
Tuba
319
Lore NT
406
OilDrum
493
Kitty
59
PipeOrg3LP
147
PickBass 2
233
Tuba LP
320
Crickets 2
407
Syn Tom 1
494
Dog
60
Cheese Org
148
PickBass 3
234
Horn
321
Crickts2NT
408
Syn Tom 2
495
Growl 2
61
Musette
149
Fretless
235
FlugelHorn
322
MalletLoop
409
SolidHit
496
Gallop
62
Musette V
150
FretlessLP
236
Trombone 1
323
MalletLpNT
410
Steel Drum
497
Laughing V
63
Bandneon
151
SlapBass 1
237
Trombone 2
324
Sporing
411
SteelDrmLP
498
Scream
64
BandneonLP
152
SlapBass 2
238
Trombone 1
325
Rattle
412
Timapni
499
Punch
65
Accordion
153
SlpBass2LP
239
Trumpet
326
Kava
413
Timpani LP
500
Hart Beat
66
AcordionLP
154
SlapBass 3
240
Trumpet LP
327
Fever 1
414
Taiko
501
Footstep 1
67
Harmonica1
155
SlapBass 1
241
Mute TP 1
328
Fever 2
415
Tsuzumi
502
Footstep 2
68
Harmonica1
156
SlapBass 1
242
MuteTP1 LP
329
Scratchar
416
Low Bongo
503
Telephone1
69
G.Guitar 1
157
SlapBass 1
243
Mute TP 1
330
Zappers 1
417
Slap Bongo
504
Telephone2
70
G.Gtr 1 LP
158
SynthBass1
244
Brass 1
331
Zappers 2
418
Open Conga
505
Door Creak
71
G.Guitar 2
159
SynBass1LP
245
Brass 1 LP
332
Bugs
419
Slap Conga
506
Door Slam
72
F.Guitar 1
160
SynthBass2
246
Brass 2
333
Surfy
420
Palm Conga
507
Car Engine
73
F.Gtr 1 LP
161
SynBass2LP
247
Brass 2 LP
334
SleighBell
421
Mute Conga
508
CarEnginLP
212
Multisample
#
Multisample
Multisample
Reference • Appendices
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
#
Multisample
74
F.Guitar1V
162
SynthBass3
248
Brass 2
335
Sagatty
422
Baya
509
Car Stop
75
F.Guitar 2
163
RezBass 1
249
Brass 2 LP
336
Sagatty NT
423
Tabla 1
510
Car Pass
76
F.Guitar 2
164
RezBass 2
250
Brass Fall
337
Idling
424
Tabla 2
511
Car Crash
77
ResoGuitar
165
RezBass 3
251
StringEns.
338
EthnicBeat
425
Djembe
512
Siren
78
A.Gtr Harm
166
RezBass3LP
252
StrEns. V1
339
Tap-A
426
Maracas
513
Train
79
E.Guitar 1
167
MiniBass
253
StrEns. V2
340
Tap-B
427
SynMaracas
514
Helicopter
80
E.Guiter1V
168
Mini 1a
254
StrEns. V3
341
Tap-C
428
SynMarcsNT
515
Gun Shot 2
81
E.Guitar 2
169
SynthBass3
255
AnaStrings
342
Mini 1 a
429
Cabasa
516
MachineGun
82
E.Guitar 3
170
Saw
256
AnaStr. V1
343
vs88
430
Cabasa NT
517
Laser Gun
83
E.Guitar 4
171
MiniBass
257
AnaStr. V2
344
Mini 1a
431
Sagat
518
Explosion
84
E.Guitar 4
172
House Bass
258
AnaStr. V3
345
VS 102
432
Sagat NT
85
E.Guitar 2
173
FM Bass 1
259
PWM
346
VS 48
433
Tambourine
86
E.Guitar 3
174
FMBass1 LP
260
Violin
347
VS 52
434
JingleBell
*
Only iS40. In iS50, it is replaced by the previous multisample in the list. Note that, when loading a program
based on this multisample, the program can sound different from the original.
LOOPS BY JUPITER SYSTEMS
213
Reference • Appendices
Drum kits
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
214
Inst
Excl
Note
Dr11 - GM Kit 1
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
18
58
20
57
40
50
8
1
34
94
12
78
56
55
0
2
78
43
269
40
123
93
123
97
123
94
123
121
81
121
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
GatedSnare
Dry Kick 2
Rock Kick
Snare 2
Open HH 1
Gated Kick
Side Stick
RollSnare2
RollSnare1
Fat Kick
Ambi.Kick
Side Stick
DrySnare 1
Syn Claps
FullRoomSD
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Lo
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
Inst
Excl
Dr 12 - GM Kit 2
------------------1
----7
7
--------------1
--1
--1
------------------------------------------------2
2
4
4
---
18
58
20
57
40
53
8
2
48
93
5
79
56
55
14
0
78
43
269
49
123
93
123
97
123
94
121
121
81
121
117
83
115
206
85
235
81
263
114
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
-Dry Kick 2
Ambi.Kick
AmbiSnare2
Close HH
PillowKick
-RollSnare2
RollSnare1
ProcesKick
Fat Kick
Side Stick
DrySnare 1
Syn Claps
Rock Snare
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
Inst
Excl
Dr13 - Room Kit
------------------1
----7
7
--------------1
--1
--1
------------------------------------------------2
2
4
4
---
19
47
20
57
39
46
0
12
40
94
10
404
48
51
1
2
78
50
269
39
120
93
120
97
120
94
120
120
81
120
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
Syn Kick 2
AmbiSnare1
Syn Kick 3
SynSnare 1
LightSnare
TightSnare
Fat Kick
Gated Kick
FullRoomSD
Open HH 1
Real Kick
Metronome2
AmbiSnare2
PowerSnare
Rock Kick
Ambi.Kick
Side Stick
GatedSnare
Syn Claps
LightSnare
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Lo
Crash Cym
Tom 1 Lo
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
Inst
Excl
Dr14 - Power Kit
------------------1
----------------------1
--1
--1
------------------------------------------------2
2
4
4
---
16
58
20
57
37
33
1
13
40
94
0
404
48
40
2
12
78
51
268
50
128
93
128
97
128
94
128
128
81
128
117
83
115
206
85
235
81
263
117
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
PicloSnare
Snare 1
Rock Kick
-FullRoomSD
Open HH 1
Fat Kick
Metronome2
AmbiSnare2
FullRoomSD
Ambi.Kick
Gated Kick
Side Stick
PowerSnare
Hand Claps
GatedSnare
ProcessTom
Close HH
ProcessTom
Pedal HH 1
ProcessTom
Open HH 1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
------------------1
----------------------1
--1
--1
------------------------------------------------2
2
4
4
---
Reference • Appendices
Key
76
77
78
79
80
81
82
83
84
85
86
87
Inst
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
253
253
185
186
224
225
190
221
222
258
169
122
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Inst
Note
Dr15 - Electronic Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
16
58
20
57
49
130
18
12
51
104
0
298
50
51
2
21
80
58
269
47
131
93
131
97
131
94
131
131
81
131
117
313
115
206
85
235
81
263
117
147
146
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
Rock Snare
OilDrum
Syn Kick 1
Gated Kick
PowerSnare
ClosSynHH1
Fat Kick
Zap 1
GatedSnare
PowerSnare
Ambi.Kick
Syn Kick 4
Syn Rim
SynSnare 2
Syn Claps
AmbiSnare1
Syn Tom 1
Close HH
Syn Tom 1
Pedal HH 1
Syn Tom 1
Open HH 1
Syn Tom 1
Syn Tom 1
Crash Cym
Syn Tom 1
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Excl
Inst
----3
3
5
5
--------6
6
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Excl
Inst
----3
3
5
5
--------6
6
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
Dr16 - Analog Kit
------------------1
----------------------1
--1
--1
-------------------------------
401
47
10
50
37
49
0
16
48
93
2
298
40
33
18
20
80
57
269
58
132
104
132
104
132
106
132
132
106
132
117
83
115
206
85
237
81
263
117
147
146
Explosion
AmbiSnare1
Real Kick
GatedSnare
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Excl
Inst
----3
3
5
5
--------6
6
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
Dr17 - Dance Kit
------------------1
----------------------1
--1
--1
-------------------------------
33
33
20
57
33
48
2
49
358
299
7
298
397
134
18
16
404
40
269
47
128
93
128
104
128
106
128
128
81
128
117
313
115
206
85
237
81
263
117
147
146
Snare 1
Snare 1
Syn Kick 3
SynSnare 1
Snare 1
AmbiSnare2
Ambi.Kick
Rock Snare
WhiteNoise
Zap 2
Dry Kick 1
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Dance Kick
Metronome2
FullRoomSD
Syn Claps
AmbiSnare1
ProcessTom
Close HH
ProcessTom
ClosSynHH1
ProcessTom
OpenSynHH1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Excl
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
----3
3
5
5
--------6
6
Excl
Dr18 - Jazz Kit
------------------1
----------------------1
--1
--1
-------------------------------
18
57
20
57
39
48
2
5
40
94
7
404
43
40
2
8
78
39
268
34
120
93
120
97
120
94
120
119
81
119
117
83
115
206
85
235
81
263
117
147
146
Syn Kick 1
SynSnare 1
Syn Kick 3
SynSnare 1
LightSnare
AmbiSnare2
Ambi.Kick
PillowKick
FullRoomSD
Open HH 1
Dry Kick 1
Metronome2
DrySnare 1
FullRoomSD
Ambi.Kick
Dry Kick 2
Side Stick
LightSnare
Hand Claps
Snare 2
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
------------------1
----------------------1
--1
--1
-------------------------------
215
Reference • Appendices
Key
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
Inst
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
216
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Inst
Note
Dr21 - Brush Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
120
120
120
120
119
43
32
4
260
94
7
78
74
74
5
8
78
357
73
75
135
93
135
97
135
94
135
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Hi
DrySnare 1
Orch B.Drm
Punch Kick
FingrSnap1
Open HH 1
Dry Kick 1
Side Stick
Brush Tap
Brush Tap
PillowKick
Dry Kick 2
Side Stick
BrushNoise
Brush Slap
BrushSwish
Brush Tom
Close HH
Brush Tom
Pedal HH 1
Brush Tom
Open HH 1
Brush Tom
Excl
Inst
------------------2
2
4
4
------3
3
5
5
--------6
6
132
132
133
239
240
227
227
190
196
266
267
264
265
256
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
Dr22 - Orchestra Kit
Dr23 - Percussion Kit
Dr24 - Lati Perc. Kit
------------------1
----------------------1
--1
--1
---
OFF
OFF
OFF
56
55
260
93
98
94
114
77
262
403
347
10
32
78
43
258
43
137
137
137
137
137
137
137
OFF
OFF
OFF
226
344
154
146
147
146
206
227
366
227
148
254
255
253
233
252
257
170
187
169
191
170
190
173
OFF
224
225
226
344
237
257
258
260
262
278
279
154
154
154
32
32
227
227
160
163
162
161
196
160
224
225
SynTom2 Hi
SynTom2 Hi
SynTom2 Lo
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
RollSnare2
RollSnare1
FingrSnap1
Close HH
-Open HH 1
Ride Edge
Stick Hit
Snap
Metronome1
Tubular 3
Real Kick
Orch B.Drm
Side Stick
DrySnare 1
Castanet1V
DrySnare 1
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Excl
Inst
------------------2
2
4
4
------3
3
5
5
--------6
6
162
160
160
239
240
227
227
190
196
266
267
264
265
256
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
7
7
--1
1
1
-------------------------------------
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
Flexatone
FingCymbal
Tsuzumi
Lo Bongo
Hi Bongo
Lo Bongo
Tambourine
Agogo 1
Wind
Agogo 1
Slap Bongo
WoodBlockL
Claves
WoodBlockM
BongBellOp
WoodBlockH
Castanet 1
Baya 2
Shaker 1
Baya 1
Maracas 1
Baya 2
Cabasa
Tabla 3
Excl
Inst
------------------2
2
4
4
------3
3
5
5
--------6
6
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
Excl
Inst
----------------------------------------------1
Excl
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
------------------2
2
4
4
------3
3
5
5
--------6
6
Excl
OFF
MuteTriang
OpenTriang
Flexatone
FingCymbal
SynCowbell
Castanet 1
Castanet1V
FingrSnap1
Snap
MetalHitHi
MetalHitLo
Tsuzumi
Tsuzumi
Tsuzumi
Orch B.Drm
Orch B.Drm
Agogo 1
Agogo 1
Open Conga
Mute Conga
Palm Conga
Slap Conga
SynMaracas
Open Conga
MuteTriang
OpenTriang
7
7
------6
----------------1
1
----------------2
2
Reference • Appendices
Key
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
Inst
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
135
81
135
117
83
114
206
85
235
81
263
116
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Brush Tom
Crash Cym
Brush Tom
Ride Cym 2
China Cym
Ride Edge
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 1
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
----------------------------------------------2
2
4
4
------3
3
5
5
--------6
6
137
137
137
137
137
137
206
85
235
81
263
87
147
146
161
160
160
239
240
227
227
190
196
266
267
264
265
255
253
253
185
186
224
225
190
221
222
258
169
122
383
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Orch Cym
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Applause 1
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
----------------------------------------------2
2
4
4
------3
3
5
5
--------6
6
1
172
263
171
224
32
225
264
221
265
222
223
191
268
269
301
300
302
266
267
161
163
160
160
185
186
241
238
239
240
256
237
260
138
139
299
55
56
87
87
179
288
288
288
288
288
288
288
288
288
288
288
288
288
288
288
288
288
288
Tabla 2
Viblaslap
Tabla 1
MuteTriang
Orch B.Drm
OpenTriang
Guiro S
JingleBell
Guiro L
MarcTree 1
MarcTree 2
Maracas 1
Hand Claps
Syn Claps
Scratch Lo
Scratch Hi
ScratchDbl
Whistle S
Whistle L
Slap Conga
Mute Conga
Open Conga
Open Conga
Mute Cuica
Open Cuica
Timbal1Pil
Timbal1HiR
Timbal1HiO
Timbal1LoO
Syn Claves
SynCowbell
FingrSnap1
Taiko Hi
Taiko Lo
Zap 2
RollSnare1
RollSnare2
Orch Cym
Orch Cym
Udu
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Excl
Inst
1
--1
3
--3
2
--2
----------------4
4
--------------------------------5
5
6
6
---------------------------------------
163
162
161
206
160
146
146
147
240
148
240
206
241
239
241
239
238
238
212
212
212
214
233
254
253
234
191
232
190
189
235
187
187
188
251
249
250
250
249
179
180
191
191
185
265
264
264
186
255
266
267
203
204
205
221
222
223
360
Excl
Mute Conga
Palm Conga
Slap Conga
Tambourine
Open Conga
Lo Bongo
Lo Bongo
Hi Bongo
Timbal1LoO
Slap Bongo
Timbal1LoO
Tambourine
Timbal1Pil
Timbal1HiO
Timbal1Pil
Timbal1HiO
Timbal1HiR
Timbal1HiR
Rek Dom 2
Rek Dom 2
Rek Dom 2
Rek Slap
BongBellOp
WoodBlockL
WoodBlockM
BongBellMt
Maracas 1
Manbo Bell
Cabasa
Shaker 3
Cowbell 1
Shaker 1
Shaker 1
Shaker 2
Tambourim3
Tambourim1
Tambourim2
Tambourim2
Tambourim1
Udu
DjembeOpen
Maracas 1
Maracas 1
Mute Cuica
Guiro L
Guiro S
Guiro S
Open Cuica
Claves
Whistle S
Whistle L
Sagat Open
Sagat HfOp
SagatClose
JingleBell
MarcTree 1
MarcTree 2
Tri Roll
----------------------------------------------------------------------------------------3
3
3
----4
4
5
5
5
------2
217
Reference • Appendices
Key
106
107
Inst
A#7
G8
Key
#
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
218
OFF
OFF
Excl
OFF
OFF
Inst
Note
Dr25 - Arabian Kit
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
404
347
235
235
55
260
299
91
280
280
77
162
404
403
2
10
78
33
268
33
120
91
120
91
120
94
119
119
81
119
117
182
184
206
183
235
183
190
142
145
146
144
147
143
174
178
175
176
177
148
172
Metronome2
Tubular 3
Cowbell 1
Cowbell 1
RollSnare1
FingrSnap1
Zap 2
Tite HH 1
Gt Scratch
Gt Scratch
Stick Hit
Palm Conga
Metronome2
Metronome1
Ambi.Kick
Real Kick
Side Stick
Snare 1
Hand Claps
Snare 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Open HH 1
Tom 1 Hi
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
Darabuka O
Darabuka M
Tambourine
Darabuka R
Cowbell 1
Darabuka R
Cabasa
Douf Dom
Douf Tak 2
Lo Bongo
Douf Tak 1
Hi Bongo
Douf Rim
Tabla Dom
Tabla Roll
Tabla Tak
Tabla Flam
Tabla Rim
Slap Bongo
Tabla 2
Inst
OFF
OFF
Excl
Inst
------------------------------------------1
--1
--1
----2
--3
----------------------------4
4
---------
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
304
305
282
283
285
284
286
280
298
358
300
301
77
382
404
403
281
282
282
287
287
377
378
379
380
381
381
383
387
388
303
223
389
390
391
392
394
395
359
396
400
Excl
OFF
OFF
288
288
Excl
Dr26 - SFX Kit
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Scratch b
Scratch c
GtCutNois1
GtCutNois2
Chic 2
Chic 1
Bass Slide
Gt Scratch
Zap 1
WhiteNoise
Scratch Hi
Scratch Lo
Stick Hit
Footstep 2
Metronome2
Metronome1
Gtr Slide
GtCutNois1
GtCutNois1
StringSlap
StringSlap
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 1
Applause 1
Door Creak
Door Slam
Scratch a
MarcTree 2
Car Engine
Car Stop
Car Pass
Car Crash
Siren
Train
Jetstar
Helicopter
Laser Gun
Inst
Orch Hit
Orch Hit
Inst
Dr27 - User 1
1
1
----------------2
2
-----------------------------------------------------------
Excl
Inst
-----
361
403
Excl
Inst
Excl
Cast Roll
Metronome1
Dr28 - User 2
6
---
Excl
Reference • Appendices
Key
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
Inst
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
G8
212
213
211
215
215
214
206
212
206
213
215
214
203
204
205
221
180
180
182
203
204
205
221
10
361
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Rek Dom 2
Rek Tak
Rek Dom 1
Rek Rim
Rek Rim
Rek Slap
Tambourine
Rek Dom 2
Tambourine
Rek Tak
Rek Rim
Rek Slap
Sagat Open
Sagat HfOp
SagatClose
JingleBell
DjembeOpen
DjembeOpen
Darabuka O
Sagat Open
Sagat HfOp
SagatClose
JingleBell
Real Kick
Cast Roll
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Inst
----------------2
2
----5
5
5
--6
6
6
7
7
7
-------
398
399
400
401
374
376
371
364
365
366
367
369
370
373
372
375
356
385
386
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Excl
Gun Shot 2
MachineGun
Laser Gun
Explosion
Dog
Gallop
Bird 1
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird 2
Growl 2
Stadium
Telephone1
Telephone2
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
Inst
Excl
Inst
Excl
------------3
-------------------------
219
Reference • Appendices
Drum samples
#
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
220
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
#
Instr
Fat Kick
Rock Kick
Ambi.Kick
Crisp Kick
Punch Kick
PillowKick
-Dry Kick 1
Dry Kick 2
-Real Kick
-Gated Kick
-ProcesKick
Metal Kick
Dance Kick
-Syn Kick 1
Syn Kick 2
Syn Kick 3
Syn Kick 4
----------Orch B.Drm
Snare 1
Snare 2
Snare 3
Snare 4
PicloSnare
Soft Snare
LightSnare
FullRmSD
--DrySnare 1
--TightSnare
AmbSnar1
AmbSnar2
Rock Snare
GatdSnare
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
PoweSnare
---RollSnare1
RollSnare2
SynSnare 1
SynSnare 2
--------------Brush Slap
Brush Tap
BrshSwish
BrushSwirl
Stick Hit
Side Stick
-Syn Rim
Crash Cym
Crash LP
China Cym
China LP
SplashCym
Splash LP
Orch Cym
OrchCmLP
--Tite HH 1
-Close HH
Open HH 1
--Pedal HH 1
-----
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
--ClsSynHH1
-OpSynHH1
-------Ride Edge
Ride Cup
Ride Cym 1
Ride Cym 2
-Tom 1 Hi
Tom 1 Lo
Tom 2 Hi
Tom 2 Hi V
Tom 2 Lo
Tom 2 Lo V
---ProcesTom
-OilDrum
Syn Tom 1
SynTom2Hi
SynTom2L
SolidHit
Brush Tom
BrshTom V
Timpani
Taiko Hi
Taiko Lo
--Douf Dom
Douf Rim
Douf Tak 1
Douf Tak 2
Lo Bongo
Hi Bongo
Slap Bongo
-----
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
-Tsuzumi
-----OpnConga
Slap Conga
PalmConga
MuteConga
-----Baya 1
Baya 2
Tabla 1
Tabla 2
Tabla 3
Tabla Dom
Tabla Tak
Tabla Flam
Tabla Rim
Tabla Roll
Udu
DjembeOp
-DarabukaO
Darabuka R
DarabukaM
Mute Cuica
Open Cuica
Shaker 1
Shaker 2
Shaker 3
Cabasa
Maracas 1
----SynMaracs
------SagatOpen
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
Sagat HfOp
SagatClose
Tambourine
----Rek Dom 1
Rek Dom 2
Rek Tak
Rek Slap
Rek Rim
-----JingleBell
MarcTree 1
MarcTree 2
MuteTriang
OpenTriang
Flexatone
Agogo 1
----Manbo Bell
BongBellO
BongBellMt
Cowbell 1
-SynCowbell
Timbal1HiR
Timbal1HiO
Timbal1LO
Timbal1Pil
-------Tambrim1
Tambrim2
Tambrim3
WoodBlkH
WoodBlkM
WoodBlkL
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300
301
302
303
304
305
306
Claves
Syn Claves
Castanet 1
Castanet1V
-FingrSnap1
-Snap
Viblaslap
Guiro S
Guiro L
Whistle S
Whistle L
Hand Claps
Syn Claps
--------MetalHitHi
MetalHitLo
Gt Scratch
Gtr Slide
GtCutNois1
GtCutNois2
Chic 1
Chic 2
Bass Slide
StringSlap
Orch Hit
ImpactHitL
ImpactHitR
Rave Hit L
Rave Hit R
Philly Hit
BrassFall1
BrassFall2
BrassFall3
BrassFall4
Zap 1
Zap 2
Scratch Hi
Scratch Lo
ScratchDbl
Scratch a
Scratch b
Scratch c
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
Growl 1
Monkey 2
Rev.Kick
Rev.ConBD
Rev.Snare1
Rev.Snare2
Rev.Snare3
RevCymbal
Rev.Tom 1
Rev.Tom 2
Kalimba 1
Kalimba 2
MusicBox 1
MusicBox 2
Log Drum 1
Log Drum 2
Log Drum 3
Log Drum 4
Log Drum 5
Marimba 1
Marimba 2
Marimba 3
Marimba 4
Xylofon 1
Xylofon 2
Xylofon 3
Vibe 1
Vibe 2
Vibe 3
Vibe 4
Celeste
Glocken 1
Glocken 2
Glocken 3
BrightBell
Metal Bell
Gamelan 1
Gamelan 2
FingCym
Tubular 1
Tubular 2
Tubular 3
ChurchBell
Gong Hi
Gong Lo
MouthHrp1
MthHrp1A
MouthHrp2
MthHrp2A
Spectrum 1
Stadium
358
359
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
BrushNoise
WhiteNoise
Jetstar
Tri Roll
Cast Roll
Lore
MalletLoop
Rain
Thunder
Wind
Seashore
Seashore V
Stream
Bubble
Bird 1
Bird 2
Kitty
Dog
Growl 2
Gallop
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 2
Applause 1
Applause 2
Telephone1
Telephone2
Door Creak
Door Slam
Car Engine
Car Stop
Car Pass
Car Crash
GlassBreak
Siren
Train
Helicopter
Gun Shot 1
Gun Shot 2
MachinGun
Laser Gun
Explosion
HandDrill
Metron1
Metron2
testwave
Reference • Appendices
Specifications
Features
Keyboard
iS40
iS50
61 notes with velocity and aftertouch
AI2
Generation system
Tone generator
Waveform memory
Effects
Programs
14MB PCM ROM
320 programs (including GM programs) + 14 drum kits + 64 user programs + 2 user drum kits
128 styles + 16 user styles
128 arrangements + 64 user arrangements
15
--
Midi file player format 0 and 1 (16 tracks), GM compatible
Backing sequence
Control inputs
10, stored in RAM (40,000 events)
Damper Pedal, Assignable Pedal/Switch,
EC5
Audio outputs
Audio inputs
MIDI
Assignable Pedal /Switch
Left/Mono, Right
Left/Mono, Right
--
In, Out, Thru + PC interface (PC TO HOST)
IBM PC and Macintosh compatible
In, Out
Floppy Disk
3.5 inch 2DD/2HD (IBM PC 1.44 MB)
Display
Main Amplifier
12MB PCM ROM
2 stereo digital multi-effect systems, 47 effects - Edit effects
Arrangements
Song
Synthesis System
32 voices, 32 oscillators
Styles
Keyboard set
61 notes with velocity
Backlit custom LCD
2 x 14watt
2 x 8 watt
Speakers
4 speakers (in Bass Reflex Box)
2 speakers (dual concentric speakers in
Bass Reflex Box)
Controls
Joystick, Dial
Joystick
Yes
--
Aftertouch
Dimensions (W x D x H)
Weight
1110 x 386 x 142 mm (43.7 x 15.1 x 5.6inch) without music rest
12,9 kg (28.4 lbs)
11,5 kg (25.3 lbs)
221
Index
Index
A
C
accompaniment
starting 4
stopping 4
AG-001 42
AG-002 42
amplitude envelope tracking, see VDA tracking
amplitude envelope, see VDA EG
Arabic scale 9
arrangement
fade in/out 25
fill 24
intro/ending 24
MIDI channels 123–125
name 63
playing with 23
saving in USER locations 64
selecting 4, 25, 56
selecting via MIDI 125
synchro start/stop 23–24
tempo 25
variations 24
arrangement tracks 58
ASSIGNABLE PEDAL/SW 127
attack 142
auto chord scanning 132
chord recognition 55, 67
chord recognition mode 68, 131
chord scanning 55, 67
chords 55, 67, 131
B
backing sequence
chaining 89
chord track 29
control track 30
convert to SMF 91
copy backing sequence 75
copy measures 79
delete backing sequence 33, 75
delete measures 76
erase data 78
extra tracks 31
insert measures 76
name 90
playback 66
recording 7, 28–32, 67–69
saving on disk 32
selecting 66
solo track 30
step-by-step recording 70–74
Bank Select 40, 92
baud rate 42
222
D
damper
in Arrangement Play mode 59
demo 20
disk
data types 112
format 8
load 8, 115
save 119
write protection 113
DOC files 93, 99
E
effect sends, see effects
effects 170–194
in Arrangement Play mode 62
in Backing Sequence mode 87, 88
in Program mode 168
in Song Edit mode 102, 109
in Song Play mode 95, 97
ensemble 7, 60
equal temperament 9, 133
event edit 102
expander 38
EXT 123
extra tracks 31, 68
F
fade in/out 25
fill 24, 60
filter envelope, see VDF EG
filter modulation, see VDF MG
filter tracking, see VDF tracking
filter, see VDF
format, see disk, format
full keyboard, see keyboard, full
G
General MIDI 39, 41
Global
load from disk 118
save to disk 120
save to memory 136
GM, see General MIDI
Index
H
HOST BR 42, 123
I
intro/ending 4, 24
program 140–169
song edit 98–110
song play 92–97
mute 5
O
joystick 136
JukeBox, see SMF, play all using the JukeBox
octave, see transpose, in octaves
overdub 100
overwrite 100
K
P
J
keyboard
blocking the sounds 26
changing the sounds 26
full, not divided 6, 27
layer 6
manual drum 6
split 6
Keyboard Set 27
load from disk 119
save to disk 120
selecting via MIDI 125
write to memory 64
Korg MIDI Driver 44–50
L
local control off 40, 122
local off, see local control off
lower memory 130
M
Macintosh
connect to iS40 42
how to read SMFs 51
master keyboard 41
MIDI
channel of the CHRD1 track 124
channel of the CHRD2 track 125
channel of the Lower/Upper2 track 124
channel of the Upper1 track 124
channels 39, 95, 123–125
channels of the accompaniment tracks 125
controllers 39
data dump 135
global channel 124
interface 38
MIDI clock 123
MIDI OUT 59
MIDI THRU 39
MIDI file, see SMF
mode
arrangement play 54–64
backing sequence 65–91
disk/global 111–139
pan, see effects
PC IBM
connect to iS40 42
PC TO HOST 42, 59
pedals 127
performance edit 142
Pitch EG 146
program
editing 36
name 168
recovering lost changes 140
saving to memory 169
selecting 5
selecting in Arrangement Play mode 56, 59
selecting in Backing Sequence mode 86
selecting in Song Edit mode 102
selecting in Song Play mode 95
Program Change 40
punch in/out 100
R
release 142, 143
S
scale 133
user 134
selecting a track 5
single touch 56
SMF
adding parts 35
changing the sound of a track 33
deleting parts 34
editing 33–35, 98–110
erasing from the memory 106
overview 41
play all 7, 21–22, 93
play all using the JukeBox 22
play all using the Jukebox 93
play one 7, 21, 93
save on disk 35
SMF Converter 91
song edit 33–35
song, see SMF
223
Index
sound, see program
Standard MIDI File, see SMF
step recording, see backing sequence, step-by-step recording
style
selecting 57
synchro start/stop 23–24
system exclusive 127
arrangements 64
programs 169
scales 134
styles 57
V
tempo 4, 25, 55
tempo lock 56, 57
tracks
of the backing sequence 70
of the song 95
selecting 5, 56
transpose
general (master tuning) 121
in octaves 6
in semitones 6, 27
in Song Play mode 96
variation 4, 24
VDA EG 155
VDA tracking 157
VDF 148
VDF cutoff 142
VDF EG 142, 149
VDF MG 164
VDF tracking 151
velocity curve 130
velocity input 123
velocity sensitivity
of the VDA 143, 159
of the VDF 143, 153
vibrato 142, 161
volume 5
U
W
user
wrap around 59
T
224
Address
KORG ITALY Spa
Via Cagiata, 85
I-60027 Osimo (An)
Italy
Web servers
www.korg.it
www.korg.net
www.korg.com
PART CODE: MAN0001020 ENG
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