Korg Krome Quick Start Guide

KROME’s modes” on page 7.

Text Cursor

Character Set Selects the type of character.

Character buttons

Press here and slide to left or right to scroll to the desired location.

Press here to scroll to the corresponding location.

k: Menu command button

* Menu

When this button is pressed, a list of menu commands will appear.

The menu commands that appear will differ depending on the selected page.

You can also select up to ten menu commands by holding down the ENTER button and pressing a numeric key 0–9.

The menu will close when you press the display in a location other than the menu, or when you press the EXIT button.

Menu command button

Menu button

Cursor buttons

Move the cursor to left or right.

Space button

Insert a space at the cursor location.

Delete button

Deletes the character to the left of the cursor.

Clear button

Delete all characters of the text.

Shift button

Switches between uppercase and lowercase characters.

Cancel button, OK button

If you are satisfied with the text that you input, press the OK button. If you wish to discard your input and exit the text edit box, press the Cancel button.

* OK and Cancel buttons

After performing other operations in the dialog box, you can execute the command by pressing the OK button.

To cancel without executing, press the Cancel button.

(The operation will occur when you press and release the button.) The dialog box will close.

The EXIT button corresponds to the Cancel button,

Done button, and Exit button.

* Done, Copy, and Insert buttons

There are buttons which perform function when they are pressed and released, such as Done, Copy, and

Insert (similar to the OK and Cancel buttons explained under

“* Dialog box,” above).

l: Stopwatch button

When you press the button on the upper right of the display, the time elapsed since power ‐ on will be displayed.

You can use the START/STOP button and

RESET button to measure elapsed time.

This is

Introduction to the KROME

convenient when you want to check the time during a live performance or rehearsal, or to determine the approximate playback time of a song.

• START/STOP: Starts or stops the stopwatch

• RESET: Returns the time to 000:00:00

Value slider / Wheel pad

When you hold down an edit cell, slider, or knob for a while and then release it, the wheel/value slider will appear.

To change the value, drag the wheel/slider pad.

SLIDER

m: Radio buttons

Press a radio button to select one value from two or more choices.

m: Radio buttons

WHEEL

* Edit pad

Numerical input pad / calculator

If you press an edit cell, slider, or knob twice in quick succession, a pad for inputting numbers or using a calculator will appear.

The various buttons have the following functions.

• OPERATION DIRECT/CALCULATE: Switches between numerical input pad and calculator.

• CE (clear entry): Clears the currently ‐ input number.

• Ent: Enters the number from the pad into the parameter, and closes the pad.

• RECALL: Copies the parameter value into the pad.

• Close: Closes the pad.

Numerical input pad Calculator

Note:

If you don’t want the edit pad to appear, clear the

“Enable Edit Pad” check box in the menu found in

Global P0: Basic Setup– System Preferences (see

page 111).

* EG, Velocity Split

You can change the values of a EG or velocity split object by dragging in the display.

Note:

Some parameters cannot use the calculator function.

Bank and number select pad

If you press twice in succession on Program Select,

Combination Select, or Timbre Select, the bank and number select pad will appear.

Bank and number select pad

* Realtime control popup

When you use a REALTIME CONTROLS knob, a popup will indicate the function that’s being controlled and its value.

A certain length of time after you stop using the knob, this popup will close automatically.

If you press the popup while it’s displayed, it will stay visible, allowing you to enter the value using a value controller such as the numeric keys.

Note:

If you don’t want the realtime control popup to appear, clear the “REALTIME CONTROL Pop ‐ Up” check box in the menu located in Global P0: Basic

Setup– System Preferences.

• BANK: Selects the program or combination bank.

• For other functions, see “Numerical input pad.”

Basic Information About the KROME’s modes

Basic Information

About the KROME’s modes

The KROME has numerous functions that let you play and edit programs or combinations, record and play back sequence data, and manage media.

These functions are grouped into “modes.” The KROME has five modes.

Program mode

Programs are the basic sounds of KROME.

In Program mode, you can:

• Select and play Programs.

• Use one arpeggiator in your performance.

• Play back Drum Track patterns while you perform using a Program.

• Edit Programs

You can use the realtime controls and the Tone

Adjust function to easily edit the program.

You can adjust the parameters and settings of the oscillators, filters, amps, EGs, LFOs, effects, arpeggi ‐ ator, drum track, etc.

You can use up to five insert effects, two master effects, and one total effect.

Plus, you can create drum programs using drum kits (as created in Global mode).

Combination mode

Combinations are sets of up to 16 programs that can be played simultaneously, letting you create sounds that are more complex than a single Program.

Combination mode, you can:

• Select and play Combinations.

• Use multiple timbres to play arpeggio patterns generated by two arpeggiators.

• Use one or more timbres to play back the patterns in the drum track.

• Use the KROME as a 16 ‐ track multitimbral tone generator.

• Edit Combinations

You can use the tone adjust function to easily edit the program of each timbre.

You can assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, arpeg ‐ giator, drum track.

Plus, you can use up to five insert effects, two mas ‐ ter effects, and one total effect.

Sequencer mode

Sequencer mode lets you record, playback, and edit

MIDI tracks.

You can:

• Use the sixteen ‐ track MIDI sequencer to record and play back songs.

Record a single MIDI track at a time, or record as many as all sixteen tracks simultaneously.

You can also record exclusive messages.

• Use multiple tracks to record and play back performances generated by two arpeggiators.

• Use one or more tracks to play back the patterns in the drum track.

• Edit songs.

• Use the KROME as a 16 ‐ part multi ‐ timbral sound module.

• GM/GM2 playback is also supported.

• Use the Tone Adjust function to easily edit the program of each track.

• Use up to five insert effects, two master effects, and one total effect.

• Record patterns and assign them to individual keys, using RPPR (Realtime Pattern Play/

Recording).

• Create a Cue List that will play back multiple songs in the order that you specify.

• Create user Drum Track patterns.

Global mode

Global mode lets you adjust overall settings for the entire KROME, and edit drum kits, arpeggio patterns.

In Global mode, you can:

• Adjust settings that affect the entire KROME, such as master tune and global MIDI channel.

• Create user scales.

• Create drum kits using drumsamples.

• Create user arpeggio patterns.

• Rename program, and combination categories.

• Set the function of the assignable pedals and assignable buttons.

• Transmit MIDI System Exclusive data dumps.

Media mode

You can save or load data using an SD card.

In Media mode, you can:

• Save and load Programs, Combinations, Songs, and

Global setup data.

• Format SD card, copy and rename files, etc.

• Perform file operations such as copying data to or from media.

• Export and import sequences to and from SMF

(Standard MIDI Files).

• Use the Data Filer function to save or load MIDI

System Exclusive data.

Introduction to the KROME

Relational diagram of the KROME’s modes

PCG

GLOBAL MODE

DRUM KIT

Drumsample 1

Drumsample 2

Drumsample 3

Drumsample 4

Key Assign

Drumsample 5

Drumsample 6

Drumsample 7

Drumsample 8

Preset Pattern: P0 - 4

User Pattern

PCG / SNG

PCG

PROGRAM

OSC 1

Multisample 1

Drum Kit

Multisample 2

Multisample 3

Multisample 5

Multisample 6

Multisample 7

Multisample 4 Multisample 8

PITCH1

OSC 2

Multisample 1

Drum Kit

Multisample 2

FILTER1

AMP1/

DRIVER1

Multisample 5

Multisample 6

Multisample 3 Multisample 7

Multisample 4

PITCH2

Multisample 8

FILTER2

AMP2/

DRIVER2

Insert / Master / Total Effect

IFX 1 MFX 1

MFX 2

TFX

IFX 5

Arpeggiator

DrumTrack

DRUMS PROGRAM

COMBINATION

TIMBRE 1 PROGRAM TIMBRE 9 PROGRAM

TIMBRE 2 PROGRAM

TIMBRE 3 PROGRAM

TIMBRE 10 PROGRAM

TIMBRE 11 PROGRAM

TIMBRE 4 PROGRAM

TIMBRE 5 PROGRAM

TIMBRE 6 PROGRAM

TIMBRE 12 PROGRAM

TIMBRE 13

PROGRAM

TIMBRE 14 PROGRAM

TIMBRE 7 PROGRAM

TIMBRE 8

PROGRAM

TIMBRE 15 PROGRAM

TIMBRE 16

PROGRAM

Insert / Master / Total Effect

IFX 1

MFX 1

MFX 2

TFX

IFX 5

Arpeggiator

Drum Track

SEQUENCER

MIDI TRACK 1...16

TRACK 1

TRACK 2

PROGRAM TRACK 9

PROGRAM TRACK 10

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

TRACK 8

PROGRAM

TRACK 11

PROGRAM

TRACK 12

TRACK 13

PROGRAM

TRACK 14

PROGRAM

TRACK 15

PROGRAM TRACK 16

PROGRAM

Insert / Master / Total Effect

IFX 1

MFX 1

MFX 2

TFX

IFX 5

Arpeggiator

Drum Track

DRUM KIT

Preset Drum Track Pattern

User Drum Track Pattern

Basic Information Basic operations

Basic operations

After you’ve turned on the KROME, here’s how to perform basic operations, such as selecting modes and pages.

Selecting modes

In order to use a particular function on the KROME, you must first select the appropriate mode.

• Press one of the front panel mode buttons to enter the corresponding mode.

COMBI button:

PROG button:

SEQ button:

GLOBAL button:

MEDIA button:

Combination mode

Program mode

Sequencer mode

Global mode

Media mode

• Alternatively, you can press the Mode button located in the upper left of the display, and select the desired mode from a menu (see

page 4).

For a summary of each mode, please see

“About the

Note:

The selected mode is shown in the upper left of the display, and also indicated by the lit status of one of the above mode buttons.

Note:

By pressing the GLOBAL or MEDIA button twice, you can select the previously ‐ selected mode

(Combination, Program, or Sequencer).

Selecting page group and tabs

Each mode has a large number of parameters, which are grouped into pages.

These pages are further subdivided by tabs; with up to twelve tabs per page.

• Make sure that the desired mode is selected.

For this explanation we’ll use Combination mode as an example.

Selecting a page group

Moving by selecting a page group

The Page Select screen shows a list of the page groups within each mode.

Select the desired page group from this list.

1. Press the PAGE button.

Alternatively, you can access the mode menu and press the mode button, and then press the right side of the menu (see

page 4).

The page select menu will appear.

The page where you were immediately before pressing the PAGE button is shown in a darker color for your reference.

2. Press the button for the page that you want to view.

P0: Play is the page you’ll normally use when performing on the KROME.

(The same is true in

Program mode.) Editing is done in other pages.

As an example here, try selecting “P4 Zone/Delay.” The

P4: Zone/Delay– Key Z T01–08 page will appear.

Note:

The page that appears will be showing the tab that you most recently selected.

Using the PAGE button plus the numeric keys 0–9 to access different pages

• Hold down the PAGE button and use the numeric keys 0–9 to specify the page number that you want to view.

The specified page number will appear.

The page that appears will be showing the tab that you most recently selected.

Note:

In pages consisting of multiple pages such as P5–

1, P5–2, P8–1, and P8–2, the first page (P5–1, or P8–1) will be selected.

Using the EXIT button to move between pages

If you’re in a page other than page 0 (e.g., Prog P0:

Play) of each mode, pressing this button will take you to page 0.

This button makes it easy to return to the main page of the current mode:

• Press it once to go to the previously ‐ selected tab on the main P0: Play page (Play/REC page in

Sequencer mode).

• Press it again to go to the first tab on the main P0:

Play page (such as the main Program Play page).

If you had previously selected a parameter on this page, that parameter will be selected.

• Press it a third time to select the main parameter on the P0: Play page, such as the Program name in

Program mode.

Introduction to the KROME

When a dialog box is open, this button cancels the settings made in the dialog box and closes the dialog box, just like pressing the Cancel button.

If a popup menu or menu is open, pressing EXIT closes the menu.

Selecting pages

• You can access tabbed pages by pressing the tabs shown in the bottom line of the display.

This example shows the Program T01–08 page through Mixer T01–08 page of Combi P0: Play.

Selecting a parameter and editing the value

1. Press the parameter that you want to edit.

2. If you select an edit cell, the display will be highlighted.

Edit the value.

• The way that the value will change depends on the type of parameter or object.

(See

“Objects in the display” on page 4.)

The value in the edit cell can be edited by using the value controllers (VALUE dial, INC/DEC buttons, numeric keys 0–9, – button, (.) button, ENTER but ‐ ton, etc.).

3. You can use knobs 1–4 to edit parameters that are assigned to the control surface.

Note:

You can use the COMPARE button to compare the sound you’re editing with the original unedited sound.

INC/DEC buttons

Use these when you wish to make small changes in the value.

VALUE dial

Use this dial to edit the selected parameter’s value.

This control is convenient when you want to scroll through a very long list of selections.

Numeric keys 0–9, ENTER button, – button,

(.) button

These buttons are convenient when you know the exact value that you want to enter.

Use the 0–9, –, and decimal (.) buttons to enter the value, and then press the ENTER button to confirm the entry.

The – button inverts the sign (+/–) of the parameter value; the decimal (.) button inserts a decimal, for entering fractional values.

Note:

When selecting “Program Select” (see

page 21),

you can select a GM bank by holding down the 0 button and pressing the (.), 1–9, or – buttons.

Functions that use the ENTER button in conjunction with another button

ENTER has a few special functions when it is pressed in combination with other buttons.

By holding down the ENTER button while you press a numeric key (0–9), you can select up to ten menu commands from within the current page.

While a dialog box is displayed, the ENTER button corresponds to the OK button.

(The EXIT button corresponds to the Cancel button.)

In Sequencer mode, you can hold down the ENTER button and press the LOCATE ( ) button to use the menu command

Set Location

Other

Specifying a program bank or combination bank

PROG BANK A, B, C, D, E, F/

COMBI BANK A, B, C, D buttons

Use these buttons to change banks when selecting

Programs or Combinations.

The LEDs in the buttons light up to show the current bank.

In Program mode, these buttons select the Program bank.

In Combination mode, these buttons have two functions:

• When you’re selecting Combinations, they choose the Combination bank.

• When you’re assigning a Program to a timbre within the Combination, they select the Program bank.

In Sequencer mode, when a track’s Program name is selected, these buttons change the Program bank.

Using the keyboard to enter a note number or velocity value

By playing a key while pressing a parameter that specifies a note number (such as G4 or C#2) or a velocity value, you can directly enter that note number or velocity value.

(This is not available in menu command dialog boxes.)

Tempo input

TEMPO knob, TAP button

You can set the tempo by turning the TEMPO knob or by repeatedly pressing the TAP button.

COMPARE button

You can use this button to return the settings of an edited program, combination, or song to their original state.

Refer to the following section.

Basic Information Basic operations

Compare function

Program, Combination mode

Use this when you wish to compare the edits you have made to a program or combination’s sound with the un ‐ edited original (i.e., the sound that is written into memory).

When editing a program or combination, press this button.

The LED will light up, and the last ‐ written settings for that program or combination number will be recalled.

When you press the COMPARE button once again, the LED will go dark and you will return to the settings that you were editing.

1. When editing a program or combination, press this button.

The LED will light up, and the last ‐ written settings for that program number or combination number will be recalled.

2. Press the COMPARE button once again.

Note:

The LED will go dark and you will return to the settings that you were editing.

If you edit the settings that are recalled by pressing the

COMPARE button (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the

COMPARE button again.

Sequencer mode

In Sequencer mode, you can use the COMPARE button to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing an edit on a track.

For example, this can be used effectively when realtime ‐ recording a MIDI track for a song.

1. Realtime ‐ record a MIDI track.

(Take 1)

2. Once again, realtime ‐ record on the same track.

(Take 2)

3. Press the COMPARE button.

The LED will light up, and take 1 will be recalled.

4. Press the COMPARE button once again.

The LED will go dark, and take 2 will be recalled.

5. If at step 3 you once again realtime ‐ record on the same track (take 3), the Compare function will now be referencing take 1.

6. If at step 4 you once again realtime ‐ record on the same track (take 3), the Compare function will be referencing take 2.

In this way, the Compare function lets you recall the previous recording or the previous state of event editing.

Note:

If you continue editing when the COMPARE button is lit, the button will go dark.

This now becomes the musical data that will be selected when the

COMPARE button is dark.

Global mode

The Compare function that brings back the settings prior to editing is not available in Global mode.

Selecting and executing menu commands

Menu command button

Menu button

The utility functions provide commands that are specific to each page, such as Write (save) or Copy.

The available utility functions will depend on the selected page.

For example, the utility functions in Program mode let you write (save) the settings, or let you perform convenient editing operations such as copying settings between oscillators or effects, or a Sync function that lets you edit two EGs together.

1. On the upper right side of the display, press the

button.

The menu command will appear.

2. Select a menu command by touching it with your finger.

A dialog box for the selected menu command will appear.

Check ‐ type commands will not display a dialog box; their status will be switched, and the list will close.

By holding down the ENTER button and pressing a numeric key 0–9 you can access the dialog box for the first ten utility functions without going through the menu.

• If you want to close the list without selecting a command, press the display somewhere other than the list, or press the EXIT button.

3. For a parameter in a dialog box, select it by pressing it with your finger, and use the VALUE controllers (e.g., VALUE dial or INC/DEC buttons) to enter its value.

When selecting a program or combination number in a dialog box, you can also use the BANK button to enter the bank as an alternative to using the VALUE controllers.

4. To execute, press the OK button or the ENTER button.

If you decide not to execute, press the Cancel or the

EXIT button.

The dialog box will close.

Introduction to the KROME

Writing/saving

After editing, you should write or save your changes as necessary.

For example if you’ve edited a program, your changes will be lost if you select another program or turn off the power.

The same applies to a combination.

Settings you edit in Global mode and songs will be remembered as long as the power is on, but your changes will be lost when you turn off the power, unless you write these changes into memory.

• You can write or save by pressing the WRITE button twice.

For more details on the Write operations, see the following pages.

• Programs

→ p.30

• Combinations

→ p.47

• Effect presets

→

PG p.67

• Global settings (pages 0–4)

→ p.116

• Drum

kits

→ p.116

• User arpeggio pattern

→ p.116

• User Drum Track patterns

→ p.103

Preset/user Drum Track patterns are saved in internal memory even when the power is turned off.

Patterns that you create in Sequencer mode can be converted into user Drum Track patterns and saved in internal memory.

• User template songs

→

PG p.164

Preset/user template

songs are saved in internal memory even when the power is turned off.

Track settings and effect settings of a song you create can be saved in internal memory by using the menu command

Save Template Song

• For details on writing to internal memory

→ p.115

Refer to the following pages for more information about saving.

• Saving a song

→ p.75

• Saving to media (Media– Save)

Note:

On the KROME, the action of writing to internal memory is called “Write,” and the action of saving to an SD card device is called “Save.”

Assigning a name (renaming)

You can edit the name of an edited program, combination, song, drum kit, or arpeggio pattern.

You can also change the names of the program and combination categories.

For details, please see

“Auto power ‐ off function” on page 16).

Shortcuts

Selecting a GM bank program

• Bank GM: Hold down the 0 numeric key and press

–.

• Banks g(1)–g(9): Hold down the 0 numeric key and press 1–9.

• Bank g(d): Hold down the numeric key 0 and press

(.).

Moving between pages within a mode

• By holding down the PAGE button and pressing a numeric key 0–9 you can jump to the corresponding page.

Access the menu commands in each page (up to ten items)

• By holding down the ENTER button and pressing a numeric key 0–9.

Input note number values or velocity values

• While holding down the edit cell in the display, press a note on the keyboard.

Alternatively, select the edit cell in the display, and then hold down the ENTER button and press a note on the keyboard.

Note:

You can also use a MIDI note ‐ on message instead of the keyboard.

Note:

While a dialog box is displayed, the ENTER button will perform the same function as the OK button.

This means that you can’t use this method to enter a note number or velocity value in a dialog box that contains an OK button.

Specifying the location in a song

In Sequencer mode, sets the current location as the

Location

(equivalent to the

Set Location

menu command)

• Hold down the ENTER button and press the

LOCATE ( ) button.

ENTER button

• While a dialog box is displayed, this button performs the same function as the OK button.

EXIT button

This button makes it easy to return to the main page of the current mode:

1. Press it once to go to the previously selected tab on the main P0 page.

2. Press the EXIT button.

You will move to the previously selected parameter of the P0 top page

(Prog: Main, Combi/Seq: Program T01–08).

3. Press the EXIT button.

You will move to the following parameter of the P0 top page.

Prog:

Program Select

Combi:

Combination Select

Seq:

Song Select

In any page of Program or Combination mode, pressing EXIT a maximum of two times will immediately allow you to use the numeric keys or

INC/DEC buttons to select programs or combinations.

In Sequencer mode, pressing EXIT a maximum of three times will allow you to select a song.

EXIT button (in dialog boxes)

When a dialog box is displayed, this has the same function as the Cancel, Done, or Exit button.

Initialize the KROME

• With the power off, press the power switch while holding down the ENTER button and numeric key

[0].

(While data is being loaded, the display will indicate “Now writing into internal Memory.”)

The result will be the same as when you’ve executed

Load Preload/Demo Data

All.

(See

page 125)

Basic Information Basic operations

Introduction to the KROME

Setup

Turning the power on/off

Connecting the AC adapter

1. Make sure that the KROME is powered ‐ off.

2. Connect the DC plug of the included AC adapter to the power supply jack on the KROME’s rear panel.

You must use only the included AC adapter.

Using any other AC adapter might cause malfunctions.

3. Connect the power cord to the AC adapter.

4. Plug the power cord into an AC outlet.

Be sure to use an AC outlet of the correct voltage for your adapter.

5. Use the KROME’s cable hook to fasten the cable so that the DC plug does not become accidentally disconnected.

AC adapter connections

1: Power supply jack

4: Cable hook

Power switch

If the auto power ‐ off function is enabled, the time until auto power ‐ off turns off the power will be shown when the system starts up.

If this dialog box does not appear, the auto power ‐ off function is disabled; the power will not turn off automatically

(see

When fastening the cable to the cable hook, take care not to bend this portion any more than necessary.

AC adapter

2: Plug into AC outlet.

3: Power cord for AC adapter

3. Turn on the power of the external equipment that’s connected to the KROME’s AUDIO OUTPUT L/

MONO and R jacks, such as powered monitor speakers.

4. Use the KROME’s VOLUME knob and the volume controls of your external equipment to adjust the volume to a suitable level.

Note:

The page that appears when you turn on the power will depend on the

Power ‐ On Mode

setting (see

page 110).

Turning the power on

1. Turn the KROME’s VOLUME knob all the way to the left so that the volume is down.

If external equipment such as powered monitor speakers are connected, lower their volume as well, and then turn off their power.

2. Press the power switch on the KROME’s rear panel to turn the power on.

The display will show the model name and software version.

(The illustration shows the screen that will appear with the factory settings.

This may change without notice.)

Turning the power off

When you turn off the power, unsaved data will be lost.

Be sure to save any important data such as edited sounds or global settings (see

page 12).

If the KROME’s auto power ‐ off function is enabled, its power will automatically turn off if there has been no user input for a certain length of time.

Unsaved data will be lost even if the power is turned off by the auto power ‐ off function.

1. Turn the KROME’s VOLUME knob all the way to the left so that the volume is lowered.

2. If external equipment such as powered monitor speakers are connected, lower their volume and then turn off their power.

Setup

3. Press the power switch on the KROME’s rear panel to turn the power off.

The KROME’s internal data may be damaged if the power is turned off while data is being written into internal memory, such as during a Save operation.

Never turn off the power while processing is being performed.

The following message is displayed while data is being written into internal memory.

“Now writing into internal memory”

If writing to internal memory could not be completed successfully, the KROME will automatically repair the internal memory by initializing it the next time you turn on the power.

This is not a malfunction.

If this occurs, the following message will appear in the display; press the OK button.

The internal memory has been corrupted, likely due to an interruption of power while the system was writing/saving data.

This has been repaired and the affected Bank has been initialized.

A small amount of electrical power is used even when the power is off (STANDBY).

If you won’t be using the KROME for an extended period, turn off the power and unplug the power cord from the

AC outlet.

Auto power-off function

The KROME supports an auto power ‐ off function that automatically turns off the power when the keyboard or front panel buttons

(*)

have not been used for a certain length of time.

* Usage of the VOLUME knob is not included.

Note:

With the factory settings, the time until automatic power ‐ off will be approximately four hours.

When the power turns off, the settings you had been editing will be lost.

Make sure that you save important settings before this occurs.

Changing the auto power-off setting

If you want to change the setting so that the power does not turn off automatically, proceed as follows to disable the auto power ‐ off function.

Making the change in the dialog box immediately after start-up

If the auto power ‐ off function is enabled so that the power will turn off automatically, the dialog box will appear immediately after start ‐ up, indicating the time until automatic power ‐ off will occur.

1. While this message is displayed, press the Change

Setting button in the dialog box.

The following dialog box will appear.

2. Press the popup button to select the length of time after which the power will turn off.

If you don’t want the power to turn off automatically, choose the Disabled setting.

Changing the setting during operation

1. Press the GLOBAL button.

(Alternatively, press the mode button and choose GLOBAL.)

2. Press the EXIT button to access P0: Basic Setup.

3. Press the System Pref.

tab to access the System

Preferences page.

4. In “Auto Power ‐ Off,” specify the amount of time when you want the power to turn off.

If you don’t want the auto power ‐ off function to automatically turn off the power, choose the Disabled setting.

Auto power-off warning message

When the specified length of time has elapsed without any user input on the KROME, a message will appear, warning you that the auto power ‐ off function is about to turn off the power.

If you want to continue using the system, press the keyboard, a button, or the display.

The Auto power ‐ off function will be reset.

If the same specified length of time elapses with no user input, the same message will appear again.

Connections Turning the power off

Connections

Connections must be made with the power turned off.

Please be aware that careless usage may damage your speaker system or cause malfunctions.

Connections to computers

Computer

Pedal connections etc.

ASSIGNABLE PEDAL

ASSIGNABLE SWITCH

DAMPER

USB

MIDI OUT

MIDI IN

MIDI IN MIDI OUT

Connections to MIDI equipment

MIDI cable

MIDI keyboard

AUDIO OUTPUT

R L/MONO

AC adapter power supply connector

INPUT

Power cable

(Included) to an AC outlet

Connecting the AC adapter

Powered monitors, etc.

Analog audio output

Setup

Audio connections

The KROME does not contain built ‐ in speakers.

In order to hear the sound of your performance, you’ll need to connect audio equipment such as powered monitors, a mixer, a stereo set or headphones.

Connecting audio equipment

The KROME’s audio output is designed to produce a signal level that is higher than consumer audio equipment such as CD players.

For this reason, performing at high a volume may damage your speakers or equipment.

Please use caution when adjusting the volume.

1. Minimize the volume of all connected equipment, and turn off the power.

2. Connect the KROME’s OUTPUT L/MONO and R jacks to the input jacks of your powered monitor speakers or mixer.

Note:

If you connect only the L/MONO jack, the L and

R sound will be mixed for monaural output.

In order to take full advantage of the KROME’s capabilities, we recommend that you listen in stereo.

If you’re playing back through your stereo audio system or a cassette ‐ radio that has external input connectors, connect the KROME to the jacks that are marked LINE IN, AUX IN, or external input.

(You might need to obtain the appropriate adapter plug or conversion cable.)

Powered monitor speakers

Connecting a damper pedal, foot switch, or foot pedal

If you connect an optional damper pedal, foot switch, or foot pedal to the KROME, you’ll be able to control the KROME using your feet.

L/MONO

INPUT

PHONES

Headphones

Connecting headphones

Using headphones at high volume for an extended time may cause hearing damage.

Please avoid excessively high volume levels.

1. Connect the stereo mini ‐ plug of your headphones to the KROME’s Headphone jack.

2. Use the VOLUME knob to adjust the headphone volume.

The KROME’s Headphone jack will output the same signal as the OUTPUT L/MONO and R jacks.

The output from the OUTPUT jack is not turned off even if headphones are connected to the Headphone jack.

Connecting a damper pedal

When you press the damper pedal, the notes you’ve pressed will be sustained so that they will continue even after you take your hands off the keyboard.

This is also called a sustain pedal; it has the same function as the damper pedal of an acoustic piano.

If the optional Korg DS ‐ 1H damper is connected, you’ll be able to take advantage of the “half ‐ damper” effect, where the depth that you press the pedal will vary the damper amount.

If any other type of pedal is connected, it will function as a damper switch.

In Combination or Sequencer mode, you can also select settings so that the damper will apply to some sounds but not to other sounds.

1. Connect a Korg DS ‐ 1H damper pedal to the

ASSIGNABLE PEDAL/SW1/DAMPER jack.

2. Depending on which assignable jack you have connected the pedal to, set the controller type

(Type) to Damper, and set the Polarity as appropriate (see page 202 of the Parameter Guide).

Note:

The half ‐ damper sensitivity is adjusted to a standard value when the KROME is shipped from the factory.

If the half ‐ damper pedal you’re using does not respond appropriately, please adjust the sensitivity

(see page 217 of the Parameter Guide).

Connecting a foot switch

This lets you use a simple foot switch, such as the Korg

PS ‐ 1 or PS ‐ 3, as an assignable controller.

The foot switch can perform a wide variety of functions, such as:

• An assignable source for modulating sounds and effects

• Portamento on/off

• Program select up or down

• Sequencer start/stop or punch in/out

• Tap Tempo

Connections Connecting a damper pedal, foot switch, or foot pedal

• Arpeggiator on/off

• Switch the Drum Track on/off

• Use various KROME controls (realtime control knobs, joystick, SW1/SW2, etc.)

This button will always function in the same way regardless of the Program, Combination, or Song you’ve selected.

You can assign the function in the

Global mode.

Using a foot switch to select Programs

You can select programs by using a foot switch connected to the ASSIGNABLE SWITCH jack.

By assigning the appropriate function, you can increment or decrement the program number in steps of one.

This lets you change Programs without using your hands–great for quick Program changes in live performance situations.

There are two ways of doing this: by assigning the foot switch to Program Up/Down, or to Value Inc/Dec.

Each of these is suited to a particular application, as described below.

• Prog Up/Down: When performing in the normal P0 screen

• VALUE Inc/Dec: When performing while a list such as the Category/Program Select menu is open

Assigning the foot switch to Program Up/Down

Assigning the foot switch to Program Up or Program

Down lets you directly control Program changes from the foot switch.

For most situations, this is the more straightforward method.

To set this up:

1. Connect a foot switch to the rear ‐ panel

ASSIGNABLE SWITCH input.

Use an optional PS ‐ 1 pedal switch.

2. Access the Global P2: Controllers– Foot

Controllers page.

Proceed as follows.

Press the GLOBAL button to enter Global mode.

Press the PAGE button to access the GLOBAL Page

Select.

Press P2 Controllers, then press the Foot

Control tab in the display.

3. Set “Foot Switch Assign” to either Program Up or

Program Down.

If you choose Program Up, the next program number up will be selected each time you press the foot switch.

If you choose Program Down, the next program number down will be selected each time you press the foot switch.

4. Set the “Foot Switch Polarity” to match the polarity of the pedal you’ve connected.

If you’ve connected the optional PS ‐ 1 or PS ‐ 3 pedal, choose (–) KORG Standard.

Now, the foot switch will step through the Programs, one by one.

5. If you want to preserve this setting even when the power is turned off, be sure to Write the data.

(See

page 116)

6. Press the PROG button to enter Prog P0: Play, and press the foot switch to change the Program.

Note:

This setting applies to selecting Combinations, as well.

Note:

With the Program Up/Down method, you won’t be able to select programs while the Bank/Program

Select or Category/Program Select menus are open.

Use the “Assigning the foot switch to Value Inc/Dec” method described below.

Assigning the foot switch to Value Inc/Dec

This lets you use the Assignable Foot Switch to duplicate the functions of the front ‐ panel INC or DEC buttons.

This method is convenient if you want to open the

Bank/Program Select menu or the Category/Program

Select menu and switch programs while viewing the program or combination menu.

1. Follow steps 1–2 under

“Assigning the foot switch to Program Up/Down,” above.

2. At the top of the page, set the Foot Switch Assign parameter to Value Inc (or Value Dec).

3. Now, the foot switch will act just like you’re pressing the front ‐ panel INC or DEC buttons.

Note:

The foot switch will work like this for the entire

KROME–not just when the Bank/Program select menu or Category/Program Select menu is open.

Connecting a foot pedal

If you connect an optional EXP ‐ 2 foot controller or

XVP ‐ 10 expression/volume pedal to the ASSIGNABLE

PEDAL jack, you can use it to apply modulation to sounds or effects, or to adjust the overall volume.

This pedal will always function in the same way regardless of the Program, Combination, or Song you’ve selected.

You can assign the function in the

Global mode.

Like the Assignable Foot Switch, described above, the

Foot Pedal can be used for many different functions, including:

• Master Volume

• Channel Volume, Pan, or Expression

• Assignable sound modulation, as several different

AMS or Dmod sources

• Effects Send level control

• Use various KROME controls (realtime control knobs, Joystick, SW1/SW2, etc.)

1. Connect an optional XVP ‐ 10 or EXP ‐ 2 to the

ASSIGNABLE PEDAL jacks.

2. After turning the power on, use Global P2:

Controllers– Foot Controllers page “Foot Pedal

Assign” to assign the function controlled by the foot pedal.

(See

page 111,

and pages 202, 350 of the

Parameter Guide)

Setup

Connecting the KROME to a computer

USB connection

The KROME provides both MIDI and USB connectors as standard equipment.

By connecting the KROME to your computer via USB, you can use it as a controller and MIDI sound module for your DAW software with single cable convenience; and with out the need for a

MIDI interface.

By using the dedicated editor, you can edit some of the parameters of the KROME from your computer as though it were a software plug ‐ in.

Note:

The USB connector of the KROME is only able to transmit and receive MIDI data.

Before you connect the KROME to your computer via USB, you must install the KORG USB ‐ MIDI driver on your computer.

Connecting via the MIDI connectors

You can connect the KROME to your computer via

MIDI by using a commercially available MIDI interface.

Note:

For more about MIDI interfaces, refer to the owner’s manual of the MIDI interface you’re using.

Some USB ‐ MIDI interfaces may be unable to transmit or receive the KROME’s MIDI exclusive messages.

Connecting MIDI devices

By connecting the KROME’s MIDI connectors to an external MIDI device you can transfer sound settings and performance data such as note messages between your external MIDI device and the KROME.

About MIDI

MIDI

stands for Musical Instrument Digital Interface, and is a world ‐ wide standard for exchanging various types of musical data between electronic musical instruments and computers.

When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.

Controlling an external MIDI tone generator from KROME

If you want to use the KROME’s keyboard, chord trigger switches and other controllers, sequencer, and arpeggiator to play or control an external MIDI sound module, use a MIDI cable to connect the KROME’s

MIDI OUT connector to the MIDI IN connector of your external MIDI sound module.

MIDI OUT MIDI IN

KROME

MIDI keyboard

Controlling KROME’s tone generator from an external MIDI device

When you wish to play or control the KROME’s tone generator from an external MIDI keyboard or sequencer etc., use a MIDI cable to connect the MIDI

OUT connector of the external MIDI device to the

MIDI IN connector of KROME.

MIDI IN MIDI OUT

KROME

MIDI keyboard

Controlling two or more external MIDI tone generators from KROME

You can also use a MIDI patch bay to control multiple

MIDI devices.

KROME

MIDI OUT

MIDI IN

MIDI OUT

MIDI patch bay

MIDI OUT

MIDI IN

MIDI tone generator

MIDI keyboard

Playing and editing Programs

About the KROME’s Programs

Programs are the basic sounds of the KROME.

You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer ‐ based sequencers.

This section of the manual takes a quick look at playing

Programs, including tours of the front ‐ panel controllers and basic editing techniques.

Playing Programs

Selecting Programs

There are several different ways to select Programs.

Each one is convenient in a different way:

• Using “Program Select” and the VALUE controllers:

• Using the Bank/Program Select menu:

• Using the Category/Program Select menu:

• Find

• Using a foot switch:

page 19

• MIDI program change messages let you select

Programs remotely, from either a MIDI sequencer or an external MIDI controller

For details, please see below.

Selecting a program using “Program

Select” and the VALUE controllers

1. Press the PROG button.

(The LED will light up.)

(Refer to the illustration below for the buttons.)

Alternatively, you can use the mode button (see

“Selecting modes” on page 9).

The KROME will enter Program mode.

2. Access the Prog P0: Play– Main page.

2: PROG P0: Play

1: Mode name

(button)

3: Program Select

This is shown in the top line of the display.

Mode button Page number and name Tab name

Bank number

Program Select

(Program number and name)

Program Select popup button

Category Select popup button

(Category number and name)

If a different page is shown, press the EXIT button a few times to return to the Prog P0: Play– Main page.

3. Make sure that “Program Select” is selected.

If it’s not selected, press “Program Select” in the display or press the EXIT button to highlight the indication.

4. Select the program you want to play.

You can use the following methods to select a program.

• Use the INC or DEC buttons.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the program number, and press the ENTER button.

5. Press one of the PROG BANK A–F buttons to select a bank.

When you select a different Bank, the button’s LED will light up, and the selected bank will appear on the left side of the display.

4: INC/DEC buttons

4: Numeric keypads

ENTER button

1: ROG buttons

5: BANK A–F buttons

Velocity meter 4: VALUE dial

Playing and editing Programs

For example, to select bank B, press the PROG BANK B button.

The B button will light up, and the name Bank

B will appear on the left side of the display.

•

To select a GM bank

, you’ll use the numeric keys.

GM: Hold down 0 and press –.

g(1)–g(9): Hold down 0 and press the desired num ‐ ber 1–9.

For banks that do not have variation sounds, the basic GM sounds will be recalled.

(An

“*” will be appended to the beginning of the pro ‐ gram name.) g(d): Hold down 0 and press (.).

Auditioning the sound

Play the keyboard to audition the program you’ve selected.

The velocity meter shows the note ‐ on velocity.

• This shows the velocity value of note ‐ on events for the global MIDI channel, such as the keyboard,

MIDI IN, and arpeggiator.

(If multiple note ‐ on events are received simultaneously, the highest velocity value is shown.)

• Since this shows the note ‐ on velocity values, it will not be affected by the settings of the volume knob or by changes in the audio signal level.

Overview: Program Banks

As program banks, the KROME provides the six banks

A–F and the GM banks (GM–g(d)).

With the factory settings, the KROME has 640 preload programs in banks A–E.

Bank F contains only initialized programs.

Programs you’ve created should be stored in this bank.

With the exception of the GM–g(d) banks, you are free to save by overwriting these program memory areas.

You can also save these programs on an SD card.

Programs are organized into six banks as shown in the following table.

Program bank contents

Bank Prog. No.

A…E 000…127

GM g(1)… g(9) g(d)

000…127

001…128

Factory

Programs.

Initialized

Programs.

GM2 main programs.

GM2 variation programs.

Explanation

With the factory settings, these banks contain a wide variety of preloaded programs that use the internal multisamples, effects, and arpeggiator.

Use these to create a program from scratch.

GM2 drum programs.

These banks contain 256

GM programs and nine GM drum programs that are compatible with the GM2 sound map. The programs of these banks are readonly.

Bank GM contains the GM programs. GM lets you select 128 programs numbered from 001–128, and g(1)–g(d) lets you select nine drum programs.

You can’t write (save) data to these banks.

Selecting by Bank/Program Select menu

You can select Programs from a menu organized by

Program bank.

1. Press the Program Select popup button.

The Bank/Program Select menu appears.

Bank/Program Select menu

In this illustration, Bank A is selected.

The menu displays the Programs contained in that bank.

2. Press the tabs on the left side of the display to select banks.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the INC/DEC buttons to switch programs.

Play the keyboard or press the chord trigger buttons to hear the program you selected.

4. If you selected Bank GM, the Variation button is shown.

By repeatedly pressing this Variation button, you can successively step through the banks, allowing you to recall a GM2 sound set (see “To select a GM bank” on

page 22).

5. When you are satisfied with the selected Program, press the OK button to close the menu.

If instead you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the menu.

Playing Programs Selecting Programs

Find

Here’s how to search for a program by a portion of its name.

1. Access the Bank/Program Select menu or the

Category/Program Select menu, etc.

2. Press a tab to select the bank or category that you want to search.

Note:

The programs included in the selected tab will be the subject of the search.

3. On the lower left side, press the Find button to access the dialog box.

Selecting by Category/Program Select menu

You can select Programs from within a category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded

Programs are organized into 16 categories, each with several sub ‐ categories.

1. Press the Category Select popup button.

The Category/Program Select menu appears.

Category/Program Select menu

4. Press the “T” button to access the text dialog box.

Enter the alphanumeric characters that you want to find, and press the OK button.

For example if you want to find programs that take effective advantage of SW1 or SW2, enter “sw”.

5. If you select the “Ignore Case” check box, uppercase and lowercase characters will not be distinguished in the search.

6. Press the Find button to begin searching.

Search results are shown in “Found.”

If one or more items are found, the number of items and the first found program will be displayed.

Press the Prev.

button or Next button to find the previous or next program.

This will cycle through the found items within the tab.

You can play the keyboard to audition the program that was found.

If no items are found, the display will indicate

“nothing.”

7. If you are satisfied with the selected program, press the OK button to close the menu.

The selected program will be selected in the menu you selected in step 1.

If you are satisfied with the selected program, press the OK button to close the menu.

If you want to search for a different program, or if no items were found, press the Cancel button.

8. Press the tab that you want to select next, and search as described in steps 3–7.

If you press the Cancel button, this selection will be discarded, and you will return to the program that had been selected prior to opening the menu.

In the illustration above, the Keyboard category is selected.

The menu in the center column area shows the Programs which belong to that category.

2. Press the tabs to the left and right of the display to select a different category.

The name of the selected category will be displayed in full in the top right ‐ hand corner.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the INC/DEC buttons to switch programs.

Touch the scroll ribbon at the bottom of the screen to see all of the Programs in that category.

Play the keyboard or press a chord trigger button to hear the program you selected.

4. If you want to select from a sub ‐ category, press the

Jump to Sub button to access the Sub Category/

Prog Select menu.

Press the left tabs to select a sub ‐ category.

Note:

You can’t select tabs for a sub ‐ category that has no associated programs.

Select a program as described in step 3 above.

Press the OK button to confirm your selection, or press the Cancel button to discard it.

You will return to the main category.

5. When you are satisfied with the selected program, press the OK button to close the menu.

If instead you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu.

Playing and editing Programs

Program information

In the Prog P0: Play– Main page you can view the following information about the selected program.

OSC Picture:

This is a graphic that represents the program’s oscillator.

OSC Oct:

For a double oscillator or double drums, this indicates “Oct” (the basic pitch of the oscillator).

SW1, SW2:

This indicates the function that’s assigned to the SW1/SW2 buttons, and the on/off state of the buttons.

Realtime Controls – TONE CONTROLS/USER

CONTROLS/ARP CONTROLS:

This shows information about the functions of the

REALTIME CONTROLS knob that’s currently selected.

Use the SELECT button to choose the functions that will be controlled by the knobs.

For more information about these functions, please see

page 28.

(Low, Mid[Hz], Mid, High)

This shows the 3 ‐ band

EQ settings.

You can use the value controllers to edit the values.

Effect Controls– IFX, MFX, TFX:

This shows the effects that are assigned.

The KROME provides insert effects 1–5, master effects 1 and 2, and a total effect.

For the master effects, you can edit the return levels.

Velocity Meter:

This meter shows the note ‐ on velocity value.

The meter shows the note ‐ on velocity of the keyboard,

MIDI IN, and arpeggiator etc.

(If multiple note ‐ on messages are received simultaneously, the highest velocity value is shown.)

OSC

Picture

OSC Oct

SW1,

SW2

Realtime Controls

- Tone Controls

- User Controls

- Arp Controls

Effect Infomation

IFX 1-5

MFX 1, 2,

Send level

(On/Off )

TFX (On/Off )

Velocity Meter EQ

Using Controllers

In addition to using the keyboard, the KROME lets you control the sound by using the joystick, SW1 and SW2 buttons, knobs 1–4, damper pedal, and foot switch or foot pedal.

These controls let you modify the tone, pitch, volume, effects, etc.

in realtime as you play.

[SW1], [SW2]

(Lock function)

Joystick

Joystick

The joystick moves in four directions: left, right, up

(away from yourself), and down (towards yourself).

Each of the four directions can be used to control a different function, such as modulating Program or effects parameters.

These assignments can be different for every Program, but generally, they do the following:

Standard Joystick functions

Move the joystick…

Left

Right

Up (away from yourself )

Down (towards yourself )

Controller

Name

JS–X

JS+X

JS+Y

JS–Y

Normally controls…

Pitch bend down

Pitch bend up

Vibrato

Filter LFO (wah)

For details, please see

page 82.

Joystick Lock

This function lets you maintain the effect that had been applied prior to releasing your hand from the joystick.

You can use the SW1/SW2 buttons or a foot switch connected to the KROME to lock the current position so that the effect will continue even after the joystick returns to the center position.

For details, please see

“Locking the Joystick” on page 25.

SW1, SW2

You can use these buttons to control program parameters via AMS (Alternate Modulation), or effect parameters via Dmod (Dynamic Modulation).

They can also transpose the keyboard by octaves, turn portamento on/off, or to lock the position joystick.

Each button can work as either a

Toggle

Momentary

button.

Toggle

mode, the assigned function is switched between on and off each time the button is pressed.

Momentary

mode,

the assigned function is active on only as long as you hold down the button.

In Program mode, you can check the assignments of

SW1 and SW2 on the Prog P0: Play– Main page.

For details, please see

“Program information” on page 24.

Playing Programs Using Controllers

When you write a Program or Combination, the on/off status of the SW1 and SW2 buttons is saved.

For details, please see

page 82.

Locking the Joystick

1. Using the standard factory sounds, select Program

C027: Semi Distortion Guitar.

To select a program, make sure that you are in Program mode, and press the PROG BANK C button, numeric key 2, 7, and then the ENTER button.

2. While holding down a key, move the joystick in the –Y direction (toward yourself).

The tremolo effect will deepen.

3. While keeping the joystick in the –Y direction

(toward yourself), press the SW2 button.

(The SW2 button LED will light up.)

When you press the button, its LED will light up, and the modulation effect at this point will be maintained.

4. Release the joystick, and play the keyboard.

The modulation will stay the same as it was when SW2 was pressed.

Even if you move the joystick toward yourself, the sound will not change.

5. Press the SW2 button once again to release the

Lock function.

Keyboard

The KROME’s keyboard provides the following two types of control.

Velocity

Velocity is a measure of how hard you play a note on the keyboard.

This can be used to modulate many different aspects of the sound, such as volume, brightness, or the character of the attack.

Note Number

Sounds can be programmed to change in character based on the note being played.

As you play higher or lower on the keyboard, the note number can modulate the timbre ‐ such as becoming brighter as you play higher notes.

Envelopes may also become faster or slower; the volume may change; and so on.

Realtime control knobs

The realtime controls consist of four knobs and the

SELECT button.

These controls function as follows.

• You can apply modulation to sounds or edit them.

• You can control the arpeggiator.

1. Press the SELECT button to select the realtime control function between TONE, USER, or ARP.

TONE, USER:

Use the knobs to modify the sound or effects (see

page 28).

ARP:

Use the knobs to control the arpeggiator (see

“Connecting a damper pedal, foot switch, or foot pedal” on page 18.

You can freely switch between these functions without losing your current edits.

2. Use knobs 1–4 to control the selected functions.

When you turn one of these knobs, that knob’s function and value will appear in a popup.

(You can prevent this popup from appearing.

See

page 111.)

There will be a slight amount of play when turning the knob near its minimum or maximum positions.

TEMPO knob and TAP button

This adjusts the tempo for the KROME as a whole, including:

• Arpeggiator

• Drum Track

• Songs in Sequencer mode

• Tempo ‐ synced LFOs

• Tempo ‐ synced (“BPM”) delay effects

TEMPO LED

The LED will blink at quarter ‐ note intervals of the current tempo.

TEMPO knob

This knob adjusts the tempo.

It’s a convenient way to make continuous adjustments.

Note:

If the Global P1: MIDI– MIDI Basic page

MIDI

Clock

parameter is set to External MIDI, External USB, or if it is set to

Auto

and a clock is currently being received via MIDI, then neither the TEMPO knob nor the TAP button will have any effect.

TAP button

You can set the tempo of the Arpeggiator or Drum

Track function in Program, Combination, and

Sequencer modes by lightly pressing or tapping the

TAP button several times on the beat.

In Sequencer mode, you can control the song tempo in this way.

To enter the tempo, use your finger to gently tap the

TAP button.

The tempo will be entered when you press the button twice, but you should tap several times in order to increase the precision.

The average of the last sixteen taps will be specified as the tempo.

During playback, lightly press the TAP button several times at the desired tempo.

The tempo will follow your tapping in realtime.

This is a convenient way to match the tempo in realtime to the beat of a different source.

You can use tap tempo control whenever the

TEMPO knob can be used.

For example in

Sequencer mode, tap tempo control will not be available if you are playing a song where the

Tempo Mode

setting is set to Auto.

(See page 110 of the Parameter Guide)

Note:

You can also use a foot switch connected to the

ASSIGNABLE FOOT SWITCH jack to control the tap

Playing and editing Programs

tempo function (see

page 18,

and pages 202, 349 of the

Parameter Guide).

Damper pedal / Foot switch / Foot pedal

For details on using the damper pedal, foot switch, or pedal to control the sound, please see

Performing with the arpeggiator or drum track

Based on note data that it receives from the keyboard or from the MIDI IN connector, the arpeggiator can generate a wide range of phrases and patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns.

By setting SELECT to

ARP and using the knobs, you can vary the duration and strength of the arpeggiated notes.

For more about the arpeggiator, please see

The drum track uses a rich variety of drum patterns to play the KROME’s high ‐ quality drum programs.

You can select any program and play along with the drum patterns.

Of course you can also synchronize the arpeggiator and the drum track patterns and use them together.

For more about the drum track, please see

“Saving your edits” on page 30.)

Easy Program editing Adjusting the EQ

Easy Program editing

The fastest way to create the sound you need is to start from a preload program that’s close to what you have in mind, and edit that program.

Simple editing can be done within the various pages of

P0: Play where you perform.

You can adjust the EQ and volume level, and in the Tone Adjust page you can use the sliders and buttons to perform various useful edits.

You can also use the front panel realtime controls to intuitively adjust the cutoff, resonance, and release time.

If you want to do detailed editing, use the editing pages P1 and following.

Adjusting the EQ

You can adjust a mid ‐ sweepable three ‐ band EQ in the

Prog P0: Play– Main page.

Note:

This EQ will affect both oscillator 1 and oscillator

1. Access the Prog P0: Play– Main page.

2. On the display, select the EQ gain knob or the center frequency of the Mid sweep EQ that you want to edit.

3. Use the VALUE controllers (e.g., VALUE dial) to edit the value.

You can also edit the value by dragging left or right on a knob or edit cell in the display.

Adjusting the volume balance

A program’s sound consists of up to two “oscillators” which are played mainly from the keyboard, and one

“drum track” which automatically plays the rhythm section.

The volumes of the oscillators and the drum track can be adjusted in the Prog P0: Play ‐ Mixer & Drum Track page.

Note:

There’s also a “mute function” which individually silences these, and a “solo function” which mutes all sounds other than the specified one.

1. Access the Prog P0: Play– Mixer & Drum Track page.

OSC Play/Mute Drum Track Play/Mute Menu

Volume

2. Select a slider in the display, and use the VALUE dial etc.

to adjust the volume of oscillators 1 and 2 and the drum track.

For oscillators that use two drum kits, you can use the

OSC1 and OSC2 sliders to adjust the direct sound of the close ‐ miced drum kit and the ambient sound of the drum kit captured with more space.

Note:

With single ‐ oscillator programs, you won’t be able to control oscillator 2.

3. You can press the Play/Mute button in the display to toggle the Play/Mute status of oscillators 1 and 2 and the drum track.

4. You can press the Solo button in the display to toggle the Solo On/Off status of oscillators 1 and 2 and the drum track.

The function of the Solo button will switch each time you select “Exclusive Solo” in the menu (see page 64 of the Parameter Guide).

Playing and editing Programs

Using realtime controls to edit the sound or effects

You can use the realtime controls (the SELECT button and knobs 1–4) to modify the sound and control the arpeggiator.

1. Press the REALTIME CONTROLS SELECT button to switch the realtime control function between

TONE, USER, or ARP.

Each time you press the button, you’ll cycle through A,

B, and C modes, and the corresponding LED will light up.

Note:

If CC#70–79 are assigned to REALTIME

CONTROLS A mode and B mode, the sound that you edit using knobs 1–4 will be saved when you write the program.

Arpeggiator settings you adjust in C mode will also be saved.

2. Modify the sound by turning the knob that you want to control.

See below for details.

TONE controls

In TONE section you can turn knobs 1–4 to control or edit the following items.

Note:

When a knob is in the center position

(12 o’clock), the parameter will have the value specified by the program.

Knob 1: CUTOFF

This adjusts the filter’s cutoff frequency.

Adjusting the cutoff frequency will modify the brightness of the sound.

Level

Low

Cut off frequency

High

Frequency

Knob 2: RESONANCE

This adjusts the filter’s resonance level.

Adjusting the filter resonance level will boost the sound in the region of the frequency, giving a distinctive character to the sound.

Knob 3: EG INT

This adjusts the filter EG intensity (the depth of how the EG affects the filter).

Using the knob will change the amount of how the filter is affected by the EG.

Normally, turning the knob toward the left will make the filter EG shallower, and turning the knob toward the right will make it deeper.

Since the filter EG operates relative to the filter cutoff frequency, both knobs 1 and 3 will control the tonal change produced by the filter.

Level

Time

Knob 4: RELEASE

This adjusts the filter and amp EG release time, changing the time from note ‐ off until the sound is no longer heard.

Turning the knob will change the release time of the filter EG and the amp EG.

Normally, turning the knob toward the left will shorten the release time, and turning the knob toward the right will lengthen it.

note-on

Level

Attack Level

Break Level note-off

Release Level

Sustain Level

Decay Time

Attack Time

Sutart Level

Slope Time

Time

Release time

Example:

1. Select program “Category: KEYBOARD A066:

Dark R&B Piano.

This is an electric piano sound.

Let’s try modifying the sound a little.

2. Press the REALTIME CONTROLS SELECT button to select TONE (the LED will light ‐ up).

3. While you play, slowly turn knob 1 (filter frequency) about 3/4 toward the right.

The piano sound will become more like a synth sweep.

4. Next, turn knob 2 (filter resonance) about 3/4 toward the right as well.

5. Leave knob 2 in its position, and try turning knob

1 to the left and right.

Raising the resonance will change the sound as though you were playing through a wah pedal.

Easy Program editing Using Tone Adjust

USER controls

In the USER section you can turn knobs 1–4 to control various aspects of the sound such as volume, portamento time, pan, filter and amp EG, pitch LFO, and master effect send level.

In USER, the most useful functions are assigned individually for each preload program.

The table below shows the standard assignments of the

Realtime Controls knobs:

Knob

TONE1

TONE2

TONE3

MIDI CC

Normally controls…

Filter Cutoff Frequency

Filter Resonance

Filter EG Intensity

TONE4 72 EG Release Time

USER1, 2 Varies for each Program

USER3 Often Chorus Depth - but can vary per Program

USER4 Often Reverb Depth - but can vary per Program

For details, please see page 16 of the Parameter Guide.

ARP controls

In the ARP section you can control the arpeggiator in realtime.

For details on functionality, please see

page 86.

Saving the edits you made by moving the knobs

The realtime control knobs are an ideal way to modify the sound while you perform.

As needed, press the front panel WRITE button to Write the Program into memory and save the sound you’ve edited.

(See

However for Realtime Controls USER knobs 1–4, the edited settings can be saved only if you’ve assigned CC#70–79.

Internally, a single knob usually affects several different parameters.

When you write a Program, the edits are saved into the individual program parameters, and not to the knob itself.

After writing the Program, you’ll notice that the knobs have returned to their center positions–since the old

“edited” values are now the new “saved” values.

Assigning Realtime Controls USER functions to knobs 1–4

You can assign the functions that knobs 1–4 will perform when Realtime Controls USER is selected.

(See

page 41)

Using Tone Adjust

The Tone Adjust function lets you edit the parameters of the program.

The program parameters that are most effective for editing will be assigned to the controllers in the display.

1. Access the Prog P0: Play– Tone Adjust page.

This page shows and reflects data generated by the tone adjust function, letting you view the parameter assignments and their precise values.

2. To edit the sound, select a slider (1–8) or button (1–

8) in the display, and use the VALUE dial etc.

to use it.

(You can edit the value of a slider by dragging it in the display.)

Note:

You can assign the principal program parameters to the various controllers in the display.

For details, please see page 7 of the Parameter Guide.

For example:

1. Select Program A069, “Deluxe E.Piano.”

2. Access the P0: Play– Tone Adjust page.

3. Look at the assignments for sliders 5, 6, and 8 in the display.

Slider 5 is assigned to

F/A EG Attack Time

; slider 6 is assigned to

F/A EG Decay Time

; and slider 8 is assigned to

F/A EG Release Time

4. Raise each of the three sliders so that they are about 4/5 of the way to the top.

The display should show their values as between +60 and +70.

This means that you have edited the filter EG and amp EG attack, delay, and release to longer values.

5. Play a few notes.

Notice that the sound has changed from an electric piano into a soft pad.

Next, let’s add just a bit of filter modulation, to make the sound more rich.

6. Notice the assignment of slider 2 in the display.

Slider 2 is assigned to “[OSC1] Filter LFO1 Int A”

(OSC1 filter LFO1 intensity).

It will adjust the amount of filter modulation produced by LFO1.

7. Lower slider 2 slightly so that the display indicates about –6.

8. Play a few more notes.

The filter modulation has added some shimmer to the sound.

Now, maybe it could use a bit more edge…

9. Look at the assignments for switches 6 and 7 in the display.

These are programmed to raise the

Filter Cutoff

and

Filter Resonance

, respectively.

Switches are just on/off, but you can set a specific value for the

position; notice the +10 and +40 in the switch’s value boxes.

10. Press each of the two switch buttons.

The sound now has a more interesting character, due to the filters.

Since it’s brighter, we’ve also restored some of the electric piano character.

Pretty easy, huh?

Note: depending on the parameter, you may occasionally hear glitches in the sound as you move the control.

Playing and editing Programs

Changing parameter assignments

The factory Programs include default assignments of

Tone Adjust parameters to the sliders, and buttons in the display.

If you like, you can change any of the assignments.

To do so:

1. Access the Prog P0: Play– Tone Adjust page.

2. Press the popup button located to the left of the assigned parameter.

A popup window will appear, with a long menu of parameters.

You can tell various things about the selections, just from the way they appear in the menu:

Parameters which affect only OSC1 or OSC2 are prefixed with [OSC1] and [OSC2], respectively.

Parameters which affect both Oscillators, but which are specific to Programs, are prefixed with [OSC1&2].

The other group of parameters at the beginning of the list, are “Common.” That is, you can use them with most Programs.

Parameters can only be assigned to one Tone Adjust control at a time.

If a parameter is already assigned, it’s grayed out.

3. Select a parameter from the menu.

The parameter is now assigned to the control.

To close the list without making any changes, press a location in the display outside the popup window, or press the

EXIT button.

Comparing the unedited sound

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE button will recall the last saved version of the sound, as it was before you started editing.

For details, please see

“Compare function” on page 11.

Saving your edits

After you’ve edited a program, you must save it if you want to keep the changes you’ve made.

If you re ‐ select the program or turn off the power after editing, your edits will be lost.

1. Press the WRITE button.

The Write Program dialog box will appear.

If you want to modify the writing ‐ destination or name, you can do so (see

page 117).

2. Press the WRITE button once again to save (write) the program.

For details, please see

“Writing a Program or

Combination” on page 115.

You can also save programs on an SD card as PCG files.

For details, please see

“Saving to SD card (Media–

Save)” on page 118.

Detailed Editing with Programs Before you start editing

Detailed Editing with Programs

You can create original sounds by editing a preloaded program or by editing an initialized program.

The programs you create can be saved in banks A–F.

For details, please see

“Saving your edits” on page 30.

Before you start editing

OSC (oscillator) 1/2

The OSC (oscillator) generates the waveform that is the basis of the sound.

On the KROME, the oscillator consists of multiple sampled sounds such as a multisample or a drum kit (drumsamples).

The KROME provides two oscillators; OSC1 and

OSC2.

You can create more complex programs by combining these.

The OSC, which is the basis of the sound, can be controlled by modulating its pitch, filter, amp, EG, and

LFO to change the sound in a wide range of ways.

Note:

Pitch EG is shared by OSC1 and OSC2.

The three elements of sound: pitch, tone, and volume

Sound is made up of three basic elements: pitch, tone, and volume.

The KROME provides “pitch,” “filter,” and “amp

(amplifier)” sections that allow you to control these elements.

The “pitch” section modifies the pitch, the “filter” section modifies the tone, and the “amp” section modifies the volume.

You’ll edit “pitch” settings in P2: OSC/Pitch (P2 ‐ 3) and

OSC2 Pitch, “filter” settings in P3: Filter (P3 ‐ 1–3), and

“amp” settings in P4: Amp/EQ (P4 ‐ 1–2).

Effects

As effects, you can use five insert effects, two master effects, and one total effect.

The output of OSC 1/2 is sent to these effect processors.

By choosing the desired effect for each processor and editing its parameters, you can apply a wide range of effects such as modulation, distortion, and reverberation.

EG, LFO, AMS, and controllers

In addition to the three elements listed above, a sound can vary according to the passage of time, the pitch range in which it’s played, or by performance expressions.

Such aspects can be controlled by modulators and controllers such as the EG (envelope generator), LFO

(low frequency oscillator), and joystick.

These modulators and controllers apply change to the basic program.

Take a look at the illustration “Program structure”

Notice that the signal flow is in the order of Oscillator/

Pitch, Filter, Amp.

You can see how the EGs and LFOs affect each section.

As shown in the illustration, each program consists of sections such as OSC 1/2, effects, and the arpeggiator.

Arpeggiator

A program can use one arpeggiator.

You can select an arpeggio pattern, specify the range that the pattern will be developed within, and specify the range of notes or velocities that will trigger the arpeggiator.

Program structure

Program Basic/Controllers: P1

Common LFO: P5–10

OSC1 LFO1: P5–1 OSC1 LFO2: P5–2

OSC1 Setup: P2–1,

OSC1 Velocity: P2–2

OSC1 Pitch: P2–3

Filter1(A/B): P3–1

Filter Key Track: P3–2

Filter1 Mod: P3–3

Filter1 LFO Mod: P3–4

Filter1 EG: P3–10

Amp1/Driver1: P4–1

Amp1 Mod: P4–2

Amp1 EG: P4–3

Pitch EG : P2–10

OSC1 AMS Mix: P6–1/2

Common KeyTrack: P6–9/10

OSC 1

OSC 2

OSC / Pitch Filter Amplifier

3Band EQ

: P4–10

Routing: P8–1

OSC1, 2

Insert Effects

Master Effects

FX Control Bus

Insert

Effect

1…5: P8

Controllers: P1–3

Arpeggio: P7–1, 2

DrumTrk Pattern: P7–4, 5 Tone Adjust: P0–7

Master

Effect

1, 2: P9

Total

Effect

: P9

AUDIO OUTPUT

L/MONO, R

EQ Effects

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the KROME.

Playing and editing Programs

An overview of the edit pages

In order to do detailed editing, you’ll need to access the edit pages in the display.

The preceding section

“Easy Program editing” on page 27

explained how to use the Prog P0: Play page to do simple editing.

For more detailed editing, you’ll use the P1 and following edit pages.

Page

P0: Play

P1: Basic/

Controllers

P2: OSC/Pitch

P3: Filter

P4: Amp/EQ

P5: LFO

P6: AMS/Common

KeyTrack

Main content

Select and play programs. (see

page 21)

Oscillator and Drum track level

settings. (see page 27)

Simple drum track editing. (see

page 98)

Simple arpeggiator editing. (see

page 86)

Tone Adjust settings. (see page 29)

Basic program settings, such as

Oscillator mode. (see page 32)

SW1, 2, and knob settings. (see

page 41)

Oscillator selection and pitch settings.

(see page 33)

Filter 1, 2 (tone) settings. (see page 38)

Amp 1, 2 (volume) settings. (see

page 40)

Amp 1, 2 driver and pan settings.

3-band parametric EQ settings.

LFO settings. (see page 35)

AMS Mixer settings. (see page 36)

Common keyboard tracking settings.

P7: Arpeggiator/

Drum Track

P8: Routing/IFX

P9: MFX/TFX/LFO

Arpeggiator settings. (see page 88)

Drum track settings. (see page 100)

Oscillator output bus and master effect

send level settings. (see page 79)

Insert effect routing, selection, and

settings. (see page 79)

Master effect routing, selection, and

settings. (see page 80)

Total effect selection and settings. (see

page 80)

For details on how to access each mode and page, please see

“Basic operations” on page 9.

Basic oscillator settings

Here you can specify the type of program, select the basic waveform (multisample or drum kit), and specify whether it will play polyphonically or monophonically

(poly/mono).

Program type setting (single, double, drum kit)

Here you can specify the program type.

Broadly speaking the program type will be either “a program that uses a multisample” or “a program that uses a drum kit” (see

“Multisamples and Drum Kits” on page 33).

This choice is made by the Prog P1: Basic/Controllers–

Program Basic “Oscillator Mode” setting, which specifies which type the oscillators will use.

Up to two can be used simultaneously for each type.

• Multisample: Single, Double

• Drum kit: Drums, Double Drums

Single

(single program) uses one oscillator, and

Double

(double program) uses two oscillators.

Drums

(drum program) is similar to a single program, but uses a drum kit (created in Global mode) instead of a multisample.

Double Drums

(double drum program) uses two drum kits.

By using an ambience ‐ type kit as the second drum kit, you can give a wider sense of space to the sound.

Polyphony

Polyphony is the number of notes that can be played simultaneously, such as in a chord.

The polyphony depends on the program type.

Program type

Single

Double

Drums

Double Drums

Polyphony

120

Note:

• Double Programs and Double Drums use twice as many voices as Single Programs.

• Stereo Multisamples use twice as many voices as

Mono Multisamples.

• If using velocity crossfade switching, the multisample will use twice as many voices as usual.

Detailed Editing with Programs Basic oscillator settings

Oscillator image setting

You can specify the program oscillator image that’s shown in the P0: Play– Main page.

Adjust this setting in Prog P1: Basic/Controllers– Program Basic Oscillator

Mode “OSC Picture 1” and “2.”

1. Press the “OSC Picture 1” or “2” popup button (>) or the image icon shown at right; the dialog box will appear.

2. To select an image, press an image in the list in the lower part of the screen, or at the left or right in the upper part.

3. Press the OK button to confirm your choice.

Polyphonic/monophonic playing

The Voice Assign Mode selects whether the Program will play polyphonically (

Poly

) or monophonically

(

Mono

When this is set to

Poly

, you can play both chords and melody lines.

When this is set to

Mono

, only one note will sound even if you play a chord.

Normally you’ll set this to

Poly

, but

Mono

is useful when playing sounds such as synth basses, synth leads, and other solo instruments.

Try switching between Poly and Mono, and listen to the results.

Working with Multisamples

What is a multisample?

A sample is a digital recording of a particular instrument or waveform (or other natural or artificially processed sound) recorded at a specific pitch.

A multisample is a collection of similarly voiced samples, used to create the same type of sound ‐ piano, bass, guitar, strings, organ ‐ across the entire keyboard, as the basis of a program.

The oscillators of single and double programs use multisamples.

There are 583 multisamples available in this instrument.

You can assign up to four multisamples to each oscillator and switch between them by velocity.

Multisamples and Drum Kits

Multisamples and Drum Kits allow you to play samples in different ways.

• Multisamples lay out one or more samples across the keyboard.

If we use the example of a simple guitar multisample, one sample could be assigned for each string, so that the multisample would consist of six samples.

• As the name suggests, Drum Kits are optimized for playing drumsamples.

Velocity splits, crossfades, and layers

Each oscillator provides eight velocity zones.

This lets you switch between multisamples or drumsamples according to the velocity (speed) at which you play a key.

By specifying the threshold (boundary value) where each zone will respond, and the amount of crossfading

(the overlap between zones), you can specify how your keyboard playing dynamics will switch or layer the multisamples or drumsamples.

You can use this to make the following types of setups.

• Velocity splits, where multisamples (or drumsamples) are cleanly switched at the threshold

• Velocity crossfades, where multisamples (or drumsamples) are smoothly crossfaded over a specified range outside the threshold

• Velocity layers, where two multisamples (or drumsamples) are layered when you play a specified range outside the threshold

Note:

If “Oscillator Mode” is set to Drums or Double

Drums, the velocity settings pre ‐ specified for the drum kit will be used, and therefore will not be shown in the screen.

The velocity zone settings of a drum kit can be edited in Global P5: Drum Kit (see

page 105).

You can jump automatically to Global P5 by pressing the Jump to DrumKit Edit button shown on the screen.

Selecting Multisamples

Let’s create a simple velocity crossfade between two

Multisamples, using just OSC1.

1. Access the Prog P2: OSC/Pitch– OSC1 Setup page.

2. Set the Multisample On/Off for multisample1 and multisample2 to On.

Set the

Multisample On/Off

for multisample3 and multisample4 to Off.

Bank

Slider

Multisample

On/Off

By dragging the slider to the left, you can select each multisample and view its settings.

3. Select Stereo as the Multisample Bank for multisample1 and multisample2.

There are two main types of Multisample Banks:

Mono

, and

Stereo

Note that stereo Multisamples will require twice as many voices as mono Multisamples.

Multisamples are organized by category such as piano, guitar, bell, etc.

Playing and editing Programs

4. Press the Multisample popup button for multisample1.

Multisample popup button

This brings up a list of Multisamples, organized by category.

Use the tabs on the left of the display to browse through the different categories.

5. Select a Multisample by touching its name in the list.

You can also use Find to search for a

Multisample.

6. Press the OK button to confirm your selection.

7. Perform the same steps for multisample2, selecting a different Multisample than for multisample1.

Now that you’ve assigned Multisamples to multisample1 and multisample2, let’s set up the velocity ranges and crossfades.

Multisamples have now been assigned to multisample

1 and 2.

8. Specify the velocity range and crossfade range.

Press the Velocity tab to access the OSC1 Velocity page.

Set the multisample 2 “Threshold Velocity” to 001, and turn “Crossfade” Off.

9. Set the multisample 1 “Threshold Velocity” to 80.

You can also set “Threshold Velocity” by dragging the bottom edge of the line graph.

With these settings, Multisample2 will sound for notes played

with a velocity of 79 or less, and Multisample1 will sound for notes played with a velocity of 80 or greater.

The Velocity Split meter shows the oscillator’s eight multisamples and the velocity zones of each oscillator.

The meter on the left shows the note ‐ on velocity.

This lets you see which multisample and oscillator will sound for that specific velocity.

10. Set the multisample 1 “Crossfade” to 20, and its

“Curve” to Linear.

The state of this split is shown visually in the screen.

Assigning a drum kit

What is a drum kit?

Drum kits are created or edited in Global mode.

For each note of the keyboard, you can assign up to eight drum instrument samples, and use layering, crossfading, or velocity switching to switch between them.

Then, in Program mode, you can adjust filter and amp settings, and specify effects and routing to the audio output jacks.

(See

page 105)

To use a drum kit in a Program, set

Oscillator Mode

Drums or Double Drums, and choose one of the 48 user drum kits or the nine GM2 drum kits.

Selecting a drum kit

1. Access the Prog P1: Basic/Controllers– Program

Basic page.

2. Set “Oscillator Mode” to Drums or Double

Drums.

3. Select a drum kit in the Prog P2: OSC/Pitch– OSC1

Setup page.

4. Specify the basic pitch of the oscillator.

For a drum kit, set “Octave” to +0 [8 ʹ ].

The two multisamples will fade across the range from

80 to 100, with multisample 2 fading ‐ out while multisample 1 fades ‐ in.

This produces a smooth change without any sudden switch.

11. As necessary, use the Prog P2: OSC/Pitch– OSC1

Setup page to adjust the “Level” of the two multisamples.

Detailed Editing with Programs Creating time-varying changes (LFO and EG)

Creating time-varying changes (LFO and EG)

Using LFOs

You can use the cyclic change produced by the LFO

(Low Frequency Oscillator) to modulate numerous aspects of the sound.

Each Program has two LFOs: LFO1 and LFO2.

There is also a single Common LFO, shared by both Oscillators.

While LFO1 and LFO2 are separate for each voice, the

Common LFO is shared by all voices in the Program.

This makes it useful when you want all of the voices to have an identical LFO effect.

You can use these LFOs to modulate many different

Program parameters, including:

• Pitch (for vibrato)

• Filters (for wah effects)

• Volume (for tremolo)

• Pan (for auto ‐ panning)

The LFOs can modulate many other parameters, in addition to those listed above.

Using the basic LFO

1. Access the Prog P5: LFO– OSC1 LFO1 page.

Waveform

2. Select the Waveform parameter.

Use the INC and DEC buttons to scroll through the different waveforms, and look at their shapes in the graphic display.

There are a number of waveforms to choose from.

Each are suited to different applications:

Triangle

and

Sine

are the classic LFO shapes for vibrato, tremolo, panning, and filter wah effects.

Square

is useful for gated on and off filter and amp effects, and can create trills when modulating pitch.

The

Guitar

waveform is designed especially for guitar vibrato; it bends only upwards from the base value.

Saw

and

Exponential Saw Down

are good for rhythmic filter and amp effects.

Random 1 (S/H)

creates the classic sample ‐ and ‐ hold effect, which is great for modulating a resonant filter.

3. After looking at the different waveforms, select

Triangle.

4. Select the Shape parameter, and use the VALUE dial to move through its different settings, from

–99 to +99.

Notice how the shape of the waveform becomes more curved, and how –99 emphasizes the lower part of the shape, and +99 emphasizes the upper part.

5. Select the Phase parameter, and use the VALUE dial to sweep through its range of values.

Notice how the waveform shifts from side to side.

Among other things, this lets you offset the LFOs from one another in time, which can create interesting organic effects.

6. Use the Freq (Frequency) parameter to set the speed of the LFO.

7. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.

For more information on LFOs, please see page 42 of the Parameter Guide.

All of these parameters control the way that the LFO works.

In order for the LFO to actually affect the sound, you can use the dedicated LFO routings on the

Filter, Pitch, and Amp pages, or use the LFOs as AMS sources for a wide variety of parameters.

Using EGs (Envelope Generators)

An envelope creates a modulation signal by moving from one level to another over a specified time, and then moving to another level over another period of time, and so on.

The Program includes three EGs, for Pitch, Filter, and

Amp.

These produce time ‐ varying changes in pitch, tone, and volume respectively.

They can also be used to modulate a number of other program parameters via

AMS.

note-on

Attack Level note-off

Break Level

Level

Sustain Level

Release

Level

Time

Release Time

Decay Time

Attack Time

Sutart Level

Slope Time

Note:

The parameters that can be modulated by an EG and the range of values will differ depending on the

EGs provided for each section.

Playing and editing Programs

Diverse modulation settings

(AMS and AMS mixer)

Using AMS

AMS (Alternate Modulation Source) lets you modulate program parameters using controllers, EG, or LFO as the modulation source.

Extremely creative types of modulation are possible; for example, you can use a single controller to simultaneously modulate multiple parameters, or you can use an EG to modulate an

LFO’s frequency and then use that LFO to modulate a filter.

AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in KROME, including:

• Controllers of the KROME itself, such as the joystick, SW 1/2, and the realtime knobs

• Incoming MIDI controllers

• Modulators such as the Filter, Pitch, and Amp EGs, the LFOs, or the AMS Mixers

Intensity

is a parameter that sets the degree (speed, depth, amount etc.) of how AMS will control the modulation.

A number of frequently ‐ used modulation routings, such as using the joystick to vary the pitch, are provided as additional, dedicated routings, separate from AMS.

Note that not all AMS sources may be available for some modulation destinations.

For details on alternate modulation and AMS, please see below.

• “Alternate Modulation Sources (AMS)” on page 339 of the Parameter Guide

• “Creating Vibrato” on page 37

• “Pitch EG” on page 37

• “Filter EG” on page 39

• “LFO modulation” on page 39

• “AMS (Pan)” on page 36 of the Parameter Guide

• “LFO1/2” on page 40

Using the AMS Mixers

The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.

For example, this lets you use an LFO to modulate a filter’s resonance while also modulating it by an EG.

Although resonance has only one AMS input, using the AMS mixer makes this possible.

You could also do things such as using the filter EG to control the amount of LFO1.

The wide variety of other possibilities include using the joystick to control the amount of pitch EG, allowing the joystick to apply bend only to notes played while you hold down the foot switch, or changing the response of a realtime controller.

The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs.

An AMS mixer’s output signal can be used to modulate a variety of parameters.

This also means that the original, unmodified inputs to the AMS Mixers are still available as well.

For instance, if you use LFO 1 as an input to an AMS Mixer, you can use the processed version of the LFO to control one

AMS destination, and the original version to control another.

Finally, you can cascade the two AMS Mixers together, by using AMS Mixer 1 as an input to AMS Mixer 2.

For details, please see “6–1: OSC1 AMS Mix1” on page 46 of the Parameter Guide.

Tips for using AMS

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator, filter, or amplifier needs to be controlled.

Next, select a source (

AMS

) and set the

Intensity

If you proceed logically in this way, you will achieve the desired effect.

For example in a guitar sound program where you want to use the joystick to control the feedback, you would make assignments so that the joystick controls the filter frequency and resonance.

Controller Setup page

For each program, the function of Realtime Control knobs 1 ‐ B–4 ‐ B and the SW1 and SW2 buttons can be assigned in the Prog P1: Basic/Controllers– Controllers

Setup page.

For details, please see

“Setting the functions of SW1 and SW2” on page 41,

and

“Setting the functions of

Realtime Controls USER knobs 1–4” on page 42.

Detailed Editing with Programs Controlling Pitch

Controlling Pitch

Pitch bend

Pitch bend smoothly changes the pitch upward or downward, similar to how a guitarist can “bend” strings.

On the KROME, you will normally use the joystick to control pitch bend in realtime.

The

JS (+X)

and

JS(–X)

settings specify the amount of pitch change (in semitones) that will occur when MIDI pitch bend messages are received or when the joystick is moved to left or right.

A setting of

+12

allows the pitch to be controlled a maximum of one octave upward; a setting of

–12

allows the pitch to be controlled a maximum of one octave downward.

Note:

You can also control pitch bend using a controller other than the joystick, or via MIDI.

Ribbon (#16)

specifies the amount of pitch change (in semitone units) that will occur when MIDI control change message #16 is received.

With a setting of +12, a value of 127 will raise the pitch one octave, and a value of 0 will lower the pitch one octave.

Portamento

Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.

The

Time

parameter controls how long it will take the pitch to change.

As this value is increased, the pitch will change over a longer time.

With a value of

000

, there will be no portamento.

You can turn Portamento on and off via SW1 or SW2, by assigning them to

Porta.SW

CC#65.

Creating Vibrato

You can use an LFO to create vibrato.

LFO1 Int.

LFO2 Int.

sets the depth of how the selected LFO will affect the pitch.

With a setting of

+12.00

, vibrato will produce a maximum of ±1 octave of pitch change.

JS+Y Int

specifies the amount of vibrato that the LFO will produce when the joystick is pushed away from you.

Intensity

(AMS Intensity) specifies the depth of vibrato that will be applied by the LFO when modulated by the selected AMS (Alternate Modulation

Source).

For example, if the panel switch assignment for

SW1

is set to SW1 Mod.

(CC#80) (Prog 1–7a), and you set

LFO1 AMS

to SW1: CC#80 and specify an appropriate value for

Intensity

, vibrato will be applied when you turn SW1 on or when MIDI control change

#80 is received.

Pitch EG

When the

Intensity

value is set to

+12.00

, the pitch EG specified in the Pitch EG page will produce a maximum of ±1 octave of pitch change.

To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack.

Playing and editing Programs

Using Filters

The filters allow you to diminish or emphasize specified frequency areas of the sound.

The tone of the sound will depend significantly on the filter settings.

The basic filter settings, including the routing, type, cutoff frequency, and resonance, are set on the P3–1:

Filter page.

Filter Routing

Each oscillator has two filters, Filter A and Filter B.

The

Filter Routing

parameter controls whether one or both of the filters are used, and if both are used, it controls how they are connected to each other.

The

Single

routing uses only Filter A as a single 2 ‐ pole,

12dB/octave filter (6dB for Band Pass and Band Reject).

The

Serial

routing uses both Filter A and Filter B.

The oscillator first goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel

also uses both Filter A and Filter B.

The oscillator feeds both filters directly (and allow independent settings for each), and the outputs of the two filters are then summed together.

The

24dB(4Pole)

routing merges both filters to create a single 4 ‐ pole, 24dB/octave filter (12dB for Band Pass and Band Reject).

In comparison to Single, this option produces a sharper roll ‐ off of frequencies beyond the cutoff frequency, as well as a slightly more delicate resonance.

Many classic analog synths used this type of filter.

Serial and Parallel Routing

Low Pass:

This cuts out the parts of the sound that are

higher

than the cutoff frequency.

Low Pass is the most common type of filter, and is used to make bright timbres sound darker.

High Pass:

This cuts out the parts of the sound that are

lower

than the cutoff frequency.

You can use this to make timbres sound thinner or more buzzy.

Band Pass:

This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency.

Since this filter cuts out both high and low frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample.

With low resonance settings, you can use the Band

Pass filter to create telephone or vintage phonograph sounds.

With higher resonance settings, it can create buzzy or nasal timbres.

Band Reject:

This filter type–also called a notch filter– cuts only the parts of the sound directly around the cutoff frequency.

Try modulating the cutoff with an

LFO to create phaser ‐ like effects.

Filter Types and Cutoff Frequency

Oscillator Filter A (Low Pass) Filter B (High Pass)

Low Pass

Oscillator

Filter A (Low Pass)

Filter B (High Pass)

High Pass

Filter Types

This selects the parts of the sound that will be affected by the filter, as described below.

With the Serial and

Parallel routings, you can independently set the types for Filter A and Filter B.

The filters will produce very different results depending on the selected filter type.

Band Pass

Band Reject

Cutoff Frequency

Detailed Editing with Programs Using Filters

Resonance

Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below.

When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.

At medium settings, the resonance will alter the timbre of the filter, making it sound more nasal, or more extreme.

At very high settings, the resonance can be heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, please see “Key Follow” on page 29 of the Parameter Guide.

LFO modulation

You can modulate the filter via LFO1, LFO2, and the

Common LFO.

Among other applications, LFO modulation of the filter can produce the classic “auto ‐ wah” effect.

The Filter1/2– LFO Mod.

page lets you set up the following parameters separately for each LFO:

Low resonance

Modulating the filters

High resonance

You can modulate the filter cutoff frequency using the

Filter EG, the LFOs, keyboard tracking, and other built ‐ in and MIDI controllers.

This is a great way to add a rich variety of tonal change to the sound.

Filter EG

The Filter EG is a multi ‐ stage envelope, which you can use to modulate the filter as well as other Program parameters.

The EG itself is set up on the EG tab; the way that it affects the filters is controlled by the parameters described below, on the Filter1/2–

Modulation page:

The

Intensity

to A

and

Intensity

to B

settings control the basic amount of EG modulation for filter frequencies A and B, respectively, before other modulation.

The

Velocity

to A

and

Velocity

to B

settings let you use velocity to control the amount of EG modulation.

The

AMS

setting selects an AMS modulation source to scale the amount of the Filter EG applied to Filters A and B.

The two filters share a single AMS source, with separate intensity

Into A

to B

settings.

Intensity

to A

and

Intensity

to B

specify how much the LFO changes the tone.

JS ‐ Y Intensity

to A

and

JS ‐ Y Intensity

to B

specify the depth of the wah effect produced by the LFO when the joystick is moved toward yourself, or when CC#2 is received.

The

AMS

setting selects an AMS modulation source to scale the amount of the LFO applied to Filters A and B.

The two filters share a single AMS source, with separate intensity settings.

For example if

AMS

is set to SW1: CC#80, turning SW1 on will apply an auto ‐ wah effect (see

page 37).

Keyboard Track

Most acoustic instruments get brighter as you play higher pitches.

At its most basic application, keyboard tracking re ‐ creates this effect by increasing the cutoff frequency of a lowpass filter as you play higher on the keyboard.

Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.

The KROME keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard.

For instance, you can:

• Make the filter cutoff frequency increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves.

• Make the cutoff frequency increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split ‐ like effects.

How Key Track works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard.

For details, please see “How it works: Keys and

Ramps” on page 28 of the Parameter Guide.

Playing and editing Programs

Using the Amp section

The Amp section includes controls for volume, pan, and the driver circuit.

You can control the volume using the Amp EG, LFO 1/

2, Key Track, and velocity, along with other AMS sources.

Each Oscillator has its own Amp section: Amp1 for

OSC1, and Amp2 for OSC2.

Background - what does “Amp” mean?

Different sounds have characteristic shapes to their volume levels.

For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually.

The volume of an organ note, on the other hand, remains constant as long as you continue pressing the key.

The volume of a note on a violin or wind instrument can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).

Volume Piano

Volume decays gradually

Volume Organ

Volume remains constant until note is released

Pan

Time Time

Pan

The main

Pan

parameter controls the stereo position after the signal has passed through the oscillator, filter, and amp.

Normally you’ll set this to

C064

, so that the sound is centered equally between the left and right speakers.

To create a stereo effect when

Oscillator Mode

is set to

Double

, set the Amp1/Driver 1 page

Pan

to L001, and the Amp2/Driver2 page

Pan

R127.

This will make

OSC1 go to the left speaker, and OSC2 go to the right speaker.

With a setting of

Random

, the pan will change randomly each time you play a note on KROME, producing an interesting effect.

Pan - Use DKit Setting

Use DKit Setting

applies when

Oscillator Mode

is set to

Drums

Double Drums

If this is

checked

, the Program can use a different pan position for each drum sound, as specified by the

Drum Kit.

If this is

unchecked

, all drum sounds will use the Program’s pan position.

The factory presets and GM drum kits use individual pan positions for the different drums, so normally it’s best to leave this checked.

Amp modulation

The basic volume level is set by the

Amp Level

parameter.

You can then alter this using the modulation sources below:

Keyboard Track

This lets you vary the volume relative to the note you play.

For details, please see

“Keyboard Track” on page 39.

Amp Modulation

Velocity Intensity

is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the

Amp Modulation parameter adjusts the depth of this control.

Normally you will set Amp Modulation to positive

(+) values

As this setting is increased, there will be greater volume difference between softly played and strongly played notes.

LFO1/2

Specifies how the LFO’s will produce cyclic changes in volume (tremolo effect).

The volume will be affected by the LFO(s) where you set an

LFO1 Intensity

LFO2 Intensity

value.

Intensity

(AMS Intensity) adjusts the depth of how the tremolo effect produced by the LFO will be affected when you assign an

AMS

(LFO1 AMS, LFO2 AMS).

For example, if you set

AMS

JS ‐ Y: CC #02

, tremolo will be applied when you push the KROME’s joystick down (toward yourself), or when CC#02 is received.

Detailed Editing with Programs Making controller assignments

Amp EG

The Amp EG lets you control how the volume changes over the course of a note.

Every instrument has its own characteristic volume envelope.

This is part of what gives each instrument its identifiable character.

Conversely, by changing the volume contour–for instance, applying a string ‐ like Amp EG curve to an organ multisample– you can produce interesting and unusual sounds.

Piano

Organ

Strings

Drive

The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion.

Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

The two main parameters,

Drive

and

Low Boost

, work together to create the overall effect.

Drive

controls the amount of edge and bite in the timbre.

Low settings will produce mild saturation, and higher settings create more obvious distortion.

Often, it’s useful to increase the

Low Boost

along with the

Drive

Note:

even when the

Drive

amount is set to 0, the

Drive

circuit still affects the timbre.

If your goal is a completely pristine sound, use the

Bypass

control instead.

Low Boost

is a special low ‐ frequency EQ which controls the body character of the sound.

The specific

EQ frequencies affected will change with the

Drive

setting.

Higher amounts increase the bass boost, and will also intensify the effect of the

Drive

parameter.

Making controller assignments

Setting the functions of SW1 and SW2

SW1 and SW2 are the two buttons above the joystick.

These on/off buttons can perform a number of different functions, such as modulating sounds or effects, or locking the modulation values of the joystick.

Also, each one may work either as a toggle, or as a momentary switch.

Toggle

mode, each press alternates between on and off; in

Momentary

mode, the switch only changes for as long as you hold it down.

Each Program, Combination, and Song stores its own settings for what the buttons will do, and whether each button is on or off (based on their current states when the data is saved).

You can set up Panel Switch Assign on the Controllers

Setup page.

Mode

Programs

Combinations

Songs

Page

Prog P1: Basic/Controllers

Combi P1: Controllers

Seq P1: Controllers

Note:

The on/off status of the SW1 and SW2 buttons will be preserved when you write the program or combination.

Note:

You can use SW1/2 as alternate modulation or effect dynamic modulation sources to control program parameters or effect parameters.

To do so, you will normally assign SW1 Mod.(CC#80) and SW2 Mod.(CC#81).

For an example of assigning the SW1 button as an effect dynamic modulation source for a program, and using it to control an effect, see

page 82.

For a complete list of the possible assignments, see page 348 of the Parameter Guide.

Note:

If you want to keep these settings after the power is turned off, you must save them (see

page 116).

Playing and editing Programs

Setting the functions of Realtime

Controls USER knobs 1–4

When the Realtime controls is set to USER, the four knobs on the right function as Realtime knobs 1–4.

These can perform a number of different functions, such as modulating sounds or effects, adjusting effects send levels, and so on.

Each Program, Combination, and Song stores its own settings for what the knobs will do.

When using the sliders for AMS or Dmod, it’s important to understand that creating an assignment is a two ‐ step process.

First, you assign the knob to send a

MIDI controller, such as Knob Mod.1

(CC#17).

Second, you assign that MIDI controller to modulate one or more Program or effects parameters.

For the first part of the above, use the mode’s

Controllers Setup page (See

“Setting the functions of

SW1 and SW2,” above).

The default assignments for knobs 1–4 are Knob Mod.1

(CC#17), Knob Mod.2

(CC#19), Knob Mod.3

(CC#20), and Knob Mod.4

(CC#21), respectively.

Here’s an example of how to set up knob 1 to control a

Program’s filter and amp EG attack time:

1. Press the MODE

PROG button to enter Program mode.

2. Access the P1: Basic/Controllers– Controllers

Setup page.

Press the PAGE button to access Page Select, and choose “P1 Basic/Controllers.” Press the Controllers tab.

3. Press the Realtime Controls Knob Assign “Knob

1–B” popup button, and choose F/A Attack

(CC#73).

4. Press the CONTROL ASSIGN REALTIME

CONTROL button to select USER.

(The LED

USER will light up.)

5. Use knob 1 to control the EG attack for the filter and amp.

For details, please see page 348 of the Parameter

Guide.

Note:

If you wish to keep these settings after the power is turned off, you must save the Program,

Combination, or Song (see

page 116).

Arpeggiator settings

According to the note data received from the keyboard or from the MIDI IN connector, the arpeggiator will automatically generate a wide range of phrases or patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns.

When the realtime controls ARP is selected, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see

Drum Track settings

You can use the KROME’s rich variety of drum patterns to accompany you with high ‐ quality drum programs while you perform using a program.

Playing along with Drum Track patterns is often a useful way to come up with new phrases.

For more about the Drum Track function, please see

“Using Effects” on page 77.

Effects

For details, please see

Automatically importing a

Program into Sequence mode

You can use the Auto Song Setup feature, which automatically copies the settings of the program or combination and puts the KROME in record ‐ standby mode when you simply press the REC (

●

) button.

(

Then you can press the SEQUENCER START/STOP

) button to begin recording.

For details, please see

“Auto Song Setup function” on page 59.

Playing and editing Combinations

About the KROME’s combination s

Combinations let you split and layer up to 16 Programs at once.

A Combination is made up of 16 Timbres (Note that you don’t have to use all 16 Timbres).

Each Timbre is assigned a Program, along with parameters for key range and velocity zones, mixer settings, MIDI channel and controller filtering, and so on.

As with Programs, each Combination has five insert effects, two master effects, and one total effect for shaping and transforming the sounds of the individual

Timbres.

This section of the manual takes a quick look at playing

Combinations, including a tour of the front ‐ panel controllers and basic editing techniques.

Playing combinations

Selecting Combinations

There are several different ways to select

Combinations.

Each one is convenient in a different way:

• Using “Combination Select” and the VALUE controllers:

• Using the Bank/Combination Select menu:

• Using the Category/Program Select menu:

• Find

• Using a foot switch:

page 19

• Sending MIDI program change messages to select

Programs remotely:

For details, please see below.

Selecting a program using

“Combination Select” and the VALUE controllers

1. Press the COMBI button.

(The LED will light up.)

(Refer to the illustration below for the buttons.)

Alternatively, you can use the mode button (see

“Selecting modes” on page 9).

The KROME will enter Combination mode.

2. Access the Combi P0: Play– Program T01–08 page.

This is shown in the top line of the display.

Mode button Mode, page number and name

Tab name

Bank number

Combination Select

(Combination number and name)

Combination Select popup button

Category Select popup button

(Category number and name)

If a different page is shown, press the EXIT button several times to move to the Combi P0: Play– Program

T01–08 page.

3. Make sure that “Combination Select” is selected.

If it is not, press “Combination Select” in the display to highlight it.

4. Select the combination you want to play.

You can use the following methods to select a combination.

2: COMBI P0: Play

1: Mode name

(button)

3: Combination Select

4: INC/DEC buttons

4: Numeric keypads

ENTER button

1: COMBI button

5: BANK SELECT

A–F buttons

4: VALUE dial

Playing and editing Combinations

• Use the INC or DEC buttons.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the combination number, and press the ENTER button.

5. Press a COMBI BANK A–D button to switch banks.

When you select a different Bank, the button’s LED will light up, and the selected bank will appear on the left side of the display.

For example, to select bank B, press the COMBI BANK

B button.

The B button will light up, and the name

Bank B will appear in the left side of the display.

Auditioning the sound

Play the KROME’s keyboard to hear the combination you’ve selected.

Key zone preview allows you to check the timbre’s layer and split settings, as well as how the arpeggiator is used.

• The keyboard area indicates the last (single) note ‐ on that was received on the global MIDI channel.

• The key zone area shows the timbres that will sound at the key position, differentiated by several colors according to the settings of each timbre.

Green:

Timbres that are sounded on the global MIDI channel, such as by the keyboard.

Yellow:

Timbres that will sound only when the arpeggiator is on (see

page 90).

Orange:

Timbres that will sound only when the drum track is on.

Blue:

Timbres whose timbre channel is set to something other than the global channel.

These will not be sounded by the KROME’s keyboard, arpeggiator, or drum track, but will sound in response to MIDI note ‐ on messages from an external device.

Purple:

These timbres are used to play an external sound module.

They do not sound on the KROME.

None:

Timbres whose timbre status is off.

These will not sound.

The velocity meter shows the note ‐ on velocity value.

• Note ‐ on velocities from the keyboard, MIDI IN, arpeggiator, and drum track are shown for each timbre/channel.

(If multiple note ‐ on events occur simultaneously, the highest velocity value will be shown.)

• Since this shows the note ‐ on velocity values, it is not affected by the setting of the Volume slider nor by changes in the audio signal level.

Also, the meter will respond even if key zone settings or velocity zone settings are such that the note is not sounded.

Timbres whose Play/Mute and Solo settings allows them to play are shown in a dark color, and timbres that are muted are shown in a light color.

Velocity meter

Overview: Combination Banks

With the factory settings, the KROME contains 384 preloaded combinations that are GM2 compatible.

In addition to these, there are 128 combinations to store sounds that you create, or store optional sound libraries.

Combinations are organized into four banks as shown in the following table.

Combination bank contents

Bank

A, B, C

Combi. No.

000...127

Explanation

Factory Combinations

Initialized Combinations

Selecting by Bank/Combination

Select menu

You can select Combinations from a list organized by

Combination bank.

• Press the Combination Select popup button to access the menu and make your selection.

The selection method is the same as in

“Selecting by

Bank/Program Select menu” on page 22;

Refer to that page for details.

Bank/Combination Select menu

Playing combinations Using controllers to modify the sound

Selecting by Category/Combination

Select menu

You can select Combinations arranged by category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded

Combinations are organized into 16 categories, each with several sub ‐ categories.

• Press the Category Select popup button to access the menu and make your selection.

The selection method is the same as in

“Selecting by

Category/Program Select menu” on page 23;

refer to that page for details.

Category/Combination Select menu

Find

You can search for a combination by a portion of its name.

The procedure is the same as explained in

“Find” on page 23.

Please see that explanation for details.

Using controllers to modify the sound

The KROME provides a variety of controllers that you can use to vary the sound, such as the joystick, the

SW1, SW2 buttons, and the control surface knobs.

It also provides chord trigger buttons.

For details, please see the corresponding explanation for Programs:

“Using Controllers” on page 24.

Performing with the arpeggiator or drum track

Based on note data it receives from the keyboard or from the MIDI IN connector, the arpeggiator can generate a wide range of phrases and patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns.

When the realtime controls ARP is selected, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see

The Drum Track function uses a rich variety of drum patterns to play the KROME’s high ‐ quality drum programs.

You can perform along with the drum patterns, or synchronize Drum Track patterns with the phrases generated by arpeggiator.

For more about the Drum Track function, please see

“Realtime control knobs” on page 25.

Playing and editing Combinations

Easy Combination editing

You can edit any of the Combinations shipped with

KROME.

You can create your own combinations by editing a preloaded combination, or by starting from an initialized combination.

A combination has sixteen timbres; you can assign a program to each timbre and specify its volume and pan, the key range in which the program will sound, and how its sound will be routed to the effects.

You can create simple setups such as detuned sounds, split, or layers, or highly complex orchestra ‐ like setups.

Even without moving to the various pages for detailed editing, you can make dramatic changes just from within the Combi P0: Play page.

You can also edit using the control surface’s knobs on the front panel.

Adjusting the mix

Adjusting the volume of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

This page shows the volume, pan, and Program assignments for all 8 Timbres.

Changing the program of each timbre

Changing the Programs assigned to timbres (1–16) is a quick way to dramatically alter the sound of the

Combination.

1. Access the Combi P0: Play– Program T01–08/T09–

16 page.

In this page you can view the program assigned to each timbre 1–16, and the play/mute and solo status of each.

Selected

Timbre Info

Timbre No.

Category/Timbre

Program Select

Bank/Timbre

Program Select

Play/Mute

Solo On/Off

2. Use any of the following methods to select a

Program for each timbre.

• Choose

Program Select

, use numeric keys 0–9 to input the program number, and press the ENTER button.

• Choose

Program Select

and turn the VALUE dial or use the INC/DEC buttons.

• If the

Program Select

parameter is selected, the

PROG BANK A–F buttons will switch program banks.

(If Timbre Program Select is selected, the

BANK button LED of the program bank selected for that timbre will light up.)

• From the Bank/Program Select menu you can view and select programs by bank.

• From the Category/Program Select menu you can view and select programs by category.

• You can transmit MIDI program changes from a connected external MIDI device.

(See page 359 of the Parameter Guide)

Note:

To select the timbre program via MIDI program change the timbre’s status must be set to “INT.”

2. In the display, press the timbre 1 volume slider and slide it up or down to adjust the volume.

You can also highlight the numerical area of the slider and use the VALUE dial or the numeric keys to adjust the value.

If you check

Hold Balance

, moving any one of the volume sliders (volume values) will cause the volume of the other timbres to change as well, maintaining the relative volume balance between timbres 1–16.

This is a convenient way to adjust the overall volume.

Adjusting the panning of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

2. Press the timbre 1 pan knob, and slide it left/right to adjust the panning.

You can also highlight the numerical area of the knob and use the VALUE dial or the numeric keys to adjust the value.

Timbre pan interacts with the pan stored in the

Program.

A setting of

C064

reproduces the Program’s oscillator pan settings.

Adjusting the Timbre Pan will move the sound to left or right while preserving the pan relationship between the oscillators.

A setting of

L001

is far left, and

R127

is far right.

Detailed Editing with Combinations Simple editing using the knobs

Simple editing using the knobs

You can use the Control Surface to perform a variety of edits.

For example, you can use the control surface to adjust the Filter cutoff or resonance.

You can also use it to vary the depth of an effect, or to change the way in which the arpeggiator generates a phrase.

For details, please see

Saving a Combination you’ve edited

After you’ve edited a combination, you must save it if you want to keep the changes you’ve made.

If you re ‐ select the combination or turn off the power before saving, your edits will be lost.

1. Press the WRITE button.

The Write Combination dialog box will appear.

If you want to change the writing destination or the name, make the appropriate changes (see

page 117).

2. Press the WRITE button once again to save (write) the data.

For details, please see

“Writing a Program or

Combination” on page 115.

You can also save combinations on an SD card as PCG files.

For details, please see

“Saving to SD card (Media–

Save)” on page 118.

Detailed Editing with Combinations

You can edit the preloaded combinations (Banks A–C) that the KROME is shipped with, or start with an initialized Combination to create your own original sounds.

You can use the factory Programs to create new

Combinations, or use your own custom Programs.

Note:

If you’re in the process of editing a Program in

Program mode, and you use that Program in a

Combination, you’ll hear the edited version in

Combination mode as well.

Combination structure and corresponding pages

About the edit pages

In the Combi P0: Play page you can select and play combinations.

Here you can also use the control surface’s knobs and the tone ‐ adjust function for quick editing, or to edit the settings of the arpeggiator or drum track.

In the other pages you can edit the sound in greater detail.

For details on each mode and how to access each page, please see

“Basic operations” on page 9.

Routing: P8-1, 2

Controllers: P1–1

Arpeggio: P7–1, 2, 3, 4, 5

DrumTrack: P7–7 Tone Adjust: P0–7

Timbre1

Program

Parameters

3Band EQ

Timbre2

Program

Parameters

3Band EQ

Timbre3

Program

Parameters

3Band EQ

Timbre4

Program

Parameters

3Band EQ

Timbre

Insert Effects

Master Effects

FX Control Bus

Insert

Effects

1…5: P8

Master

Effects

1, 2: P9

Total

Effects:

AUDIO OUTPUT

L/MONO, R

Timbre16

Program

Parameters

3Band EQ

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the KROME.

Playing and editing Combinations

A suggested approach for editing

First, select a Program for each Timbre, on the P0:

Play– Program T01–08 or T09–16 page.

(Note that you don’t have to use all 16 Timbres)

Next, create any desired keyboard or velocity splits, layers, or crossfades between the different Timbres.

You can do this on the P4: Zone/Delay– Keyboard

Zones page.

After this, adjust the volumes of the Timbres (back on the Program Select/Mixer tab), and set up any other

Timbre parameters as desired.

To add finishing touches to the sound, set up the Insert,

Master, and Total Effect as desired (on the P8: Routing/

IFX and P9: MFX/TFX/LFO pages, respectively.) These effects can be different from those associated with the individual Programs in Program mode, if desired.

In addition, you can make arpeggiator and drum track settings (on the P7: ART/DT page) and controller settings (on the P1: Controllers page) to create the finished Combination.

Soloing timbres

You can use the Control Surface’s Solo function to hear the sound of each timbre by itself.

For details, please see “Solo On/Off” on page 72 of the

Parameter Guide.

Restoring edited settings

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE button will recall the saved version of the sound, as it was before you started editing.

For details, please see

“Compare function” on page 11.

Layers, Splits, and Velocity

Switches

Within a Combination, you can use note range and velocity level to define the “zone” in which a specific timbre will play.

The Programs assigned to each Timbre can be played in three ways: as part of a

layer

, a

split

, or a

velocity switch

A Combination can be set to use any one of these methods or to use two or more of these methods simultaneously.

Layer

Layers cause two or more Programs to play simultaneously when a note is played.

Program A

Program B

Layer:

Two or more programs sound simultaneously.

Split

Splits cause different Programs to respond on different areas of the keyboard.

Program A Program B

Split:

Different programs will sound in different areas of the keyboard.

Velocity Switch

Velocity Switches cause different Programs to respond depending on the velocity (how hard you play the notes).

Program B

Program A

Strong

Soft

Keyboard playing dynamics

Velocity Switch:

Keyboard playing dynamics

(velocity) switches between different programs.

On the KROME, you can use a different Program for each of up to sixteen Timbres, and combine two or more of the above methods to create even more complex setups.

Program B

Program A

Program D

Program C

Strong

Soft

Keyboard playing dynamics

Example:

B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.

As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume diminishes gradually.

This lets you change a split into a keyboard crossfade, or a velocity switch into a velocity crossfade.

Program A

Program B

Keyboard X-Fade (keyboard crossfade):

As you play from low notes to high notes, the volume of A will fade out, and the volume of B will fade in.

Detailed Editing with Combinations Layers, Splits, and Velocity Switches

Creating Key Splits and Layers

Splits and Layers

Let’s create a Combination that combines both splits and layers, like the diagram below:

Timbre 1

Timbre 2

Timbre 3

Brass

Strings

Piano

C–1 B3 C4 G9

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a strings sound for Timbre 3.

3. Access the P3: Timbre Parameters– MIDI T01–08 page.

4. For Timbres 1–3, set Status to INT and MIDI

Channel to Gch (the Global Channel).

Creating Velocity Switches

Next, let’s create a simple velocity switched

Combination, like the diagram below:

Timbre 1

Timbre 2

Brass

Strings

127

Velocity switch

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a brass sound for Timbre 1, and a strings sound for Timbre 2.

3. Access the P3: Timbre Parameters– MIDI T01–08 page.

4. For Timbres 1 and 2, set Status to INT and MIDI

Channel to Gch (the Global Channel).

5. Access the P4: Zone/Delay– Vel Z T01–08 page.

6. Set Timbre 1’s Top Velocity to 127, and its Bottom

Velocity to 64.

You can also enter a velocity value by selecting the parameter and then playing a note with the desired velocity on the keyboard while holding down the

ENTER button.

5. Access the P4: Zone/Delay– Key Z T01–08 page.

6. Set Timbre 1’s Top Key to G9, and its Bottom Key to C4.

You can also enter a note value by selecting the parameter and then playing the desired note on the keyboard while holding down the ENTER button.

7. Set Timbres 2 and 3 to a Top Key of B3, and a

Bottom Key of C–1.

Key Zone Slope

In addition to “hard” splits, where the sound changes abruptly, you can use the Slope parameters to gradually fade a sound in or out over a range of keys.

In the example above, you could set the Bottom Key of timbre 1 to G3, and set the Top Key of timbre 2 to G4, so that these two timbres overlap.

Next, if you set the

Bottom Slope

of timbre 1 to 12, and set the

Top Slope

of timbre 2 to 12, the sound will change gradually instead of changing suddenly.

7. Set Timbre 2 to a Top Velocity of 63, and a Bottom

Velocity of 1.

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch.

In the case of the example above, you could set the velocity zones of the two Timbres so that they partially overlap.

Then, set the Top Slope and Bottom Slope so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.

Playing and editing Combinations

MIDI settings

Timbre Parameters MIDI page

Status

This controls the status of MIDI and the internal tone generator for each Timbre.

Normally, if you’re playing an internal Program, this should be set to

INT

If the status is set to

Off

EXT

, or

EX2

, that Timbre’s internal sounds will not be played.

Off

simply disables the Timbre entirely.

The

EXT

and

EX2

settings allow the Timbre to control an external MIDI device.

MIDI filter settings

For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmitted and received.

The

checked

items will be transmitted and received.

The MIDI filters don’t turn the functions themselves on or off.

Instead, the filter just controls whether or not that MIDI message will be transmitted and received.

For details, please see “Status” on page 81 of the

Parameter Guide.

Bank Select (when status=EX2)

When the

Status

is set to

EX2

, these parameters allow you to transmit MIDI Bank Select messages to external

MIDI devices.

MIDI Channel

Timbres that you wish to play from the KROME’s keyboard must be set to the global MIDI channel.

Your playing on the keyboard is transmitted on the global

MIDI channel, and will trigger any timbre that matches this channel.

Normally you will set this to Gch.

When this is set to

Gch

, the MIDI channel of the timbre will always match the global MIDI channel, even if you

change the global MIDI channel.

On some preloaded Combinations, Timbres used by the arpeggiator may have their MIDI Channels set to something other than Gch.

These will be timbres that play only when the arpeggiator is on, which is a very useful technique for creating

“Apreggiator based” Combinations.

For details, please see

“Arpeggiator settings in

Combination and Sequencer modes” on page 89.

In particular, note the relationships between arpeggiator A/B assignments and MIDI Channel.

For example, if portamento is on, portamento will be applied to the internal KROME sound even if Enable

Portamento SW is unchecked.

As another example, let’s say that you’ve selected a bass Program for Timbre 1, and a piano Program for

Timbre 2, with the goal of creating a bass/piano split.

You could choose the following settings so that pressing the damper pedal affects only Timbre 2’s piano sound:

1. Access the P5–1: MIDI Filter <1> T01–08 page.

2. Un ‐ check the Enable Damper box for Timbre 1.

3. Check the Enable Damper box for Timbre 2.

Detailed Editing with Combinations Altering Programs to fit within a Combination

Altering Programs to fit within a Combination

You can make various changes to Programs within the context of a particular Combination to make them fit better with other Programs, or to create particular sonic effects.

These changes do not affect the original

Programs, or how those Programs sound in other

Combinations (see page 81 of the Parameter Guide).

Timbre Parameters: OSC

Timbre Parameters: Pitch

Force OSC Mode

If you wish to force a polyphonic program to sound monophonically, set this either to

(Mono) or

LGT

(Legato).

Conversely, set this to

Poly

if you wish to force a monophonic program to play polyphonically.

Normally this should be set to

PRG

, so that the sound will play as set by the original Program.

For details, please see “Force OSC Mode” on page 82 of the Parameter Guide.

OSC Select

If the timbre is using a Program where the

Oscillator

Mode

Double

Double Drums

, and you want only

OSC1 or OSC2 (not both) to sound, set this to

OSC1

(only OSC1 will sound) or

OSC2

(only OSC2 will sound).

Normally, this should be set to

BTH

(Both).

Portamento

If the Program uses portamento, but you’d like to disable this for the current Combination, set this parameter to

Off

Conversely, if you want to force the portamento to be on, or just to change the portamento time, set this to a value of

001–127.

The portamento will change to use the newly specified time.

Normally, this should be set to

PRG

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

• In a layer ‐ type combination, you can set two or more timbres to the same program, and create a richer sound by using

Transpose

to shift their pitch apart by an octave or by using

Detune

to create a slight difference in pitch between the two.

• In split ‐ type combinations, you can use

Transpose

to shift the pitch (in semitone units) of the programs specified for each key zone.

Note:

If you wish to change the playback pitch of a drum program, use

Detune

If you change the

Transpose

setting, the relationship between the notes and drum sounds will change.

Use Program’s Scale, Scale

This specifies the scale for each timbre.

If you

check

Use Program’s Scale

, the scale specified by the program will be used.

Timbres where this parameter is

not checked

will use the

Scale

setting.

Playing and editing Combinations

Delay

You can set some Timbres so that they don’t sound immediately at note ‐ on.

This can create cool effects, and more dramatic layers.

You can specify the delay for each Timbre either in milliseconds (ms), or in rhythmic values which sync to the system tempo.

If you set the Delay to

Key Off

, the Timbre will sound when the note is released.

Arpeggiator settings

If the

SELECT button is set to ARP, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see

Drum Track settings

While you perform using a combination, you can use the KROME’s rich variety of drum patterns to play high ‐ quality drum programs.

Playing along with Drum Track patterns is often a useful way to come up with new phrases.

For more about the Drum Track function, please see

“Using Effects” on page 77.

Editing Programs with Tone Adjust

Using Tone Adjust, you can create detailed edits to

Programs within the context of the Combination.

These edits will not affect the original Program, or any other Combinations which use the Program.

To edit a

Program with Tone Adjust:

Select a timbre in the

Timbre

field of the P0: Play– Tone

Adjust page.

Then select the parameter that you want to adjust, and use the VALUE controllers to edit the sound.

Effects

For details, please see

Automatically importing a

Combination into Sequencer mode

The Auto Song Setup feature automatically applies the settings of the current Combination to a song.

For details, please see

“Auto Song Setup function” on page 59.

Creating songs (Sequencer mode)

Overview

About the KROME’s Sequencer

The sequencer brings together the KROME’s numerous functions such as its arpeggiator, RPPR, high ‐ performance effects, and controllers, allowing you to take advantage of these in a wide range of situations.

This sequencer is a 16 ‐ track MIDI sequencer that can store up to 128 songs and 210,000 MIDI events.

You can use it to record and play back notes for the internal sound generator as well as for external MIDI sound modules.

When you turn off the power, the settings created in Sequencer mode, the song data, any user pattern data, and Cue List that you recorded will not be backed up.

If you wish to keep this data, you must save it on an SD card before turning off the power, or perform a MIDI data dump to save the data on an external data filer etc.

If you wish to write the programs, track parameters, effects, and arpeggiator settings etc.

selected for a song as a template song, use the menu command

Save Template Song

Immediately after the power is turned on, KROME will not contain any song data, so if you wish to play a song on the sequencer, you must first load data from SD card, or receive a MIDI data dump from a MIDI filer.

For details, please see

page 118,

and page 219 of the Parameter Guide.

Sequencer mode structure

Sequencer mode is structured as follows.

Songs

A song consists of tracks 1–16, a master track, song parameters such as the song name, arpeggiator, Drum

Track function, effect and RPPR parameters, and 100 user patterns.

A maximum of 128 such songs can be created on

KROME.

Tracks 1–16 consist of setup parameters (such as each track’s program, pan, and volume) located at the start of the song, and the musical data itself.

The master track consists of tempo and time signature data (see

“Setup parameters & Musical data” on page 106 of the

Parameter Guide).

Song recording and editing

Song recording is performed on tracks.

You can record tracks in either of two ways; realtime recording or step recording.

For realtime recording you can choose one of six recording modes.

You can edit tracks by using Event Edit operations to modify the recorded data or insert new data, and by using Track Edit functions such as Create Control Data, which generates and inserts pitch bend, aftertouch, or control change data.

Patterns

There are two types of patterns: preset patterns and user patterns.

Preset patterns:

Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.

User patterns:

Each song can have up to 100 patterns.

When using a pattern in a different song, use the

Utility menu commands

Copy Pattern

Copy From

Song

etc.

to copy the pattern.

The pattern length can be specified in units of a measure.

Each pattern consists of musical data for one track.

It is not possible to create patterns that contain multiple tracks.

You can use these patterns by placing them in a track

(

Put to Track

menu command) or by copying them

(

Copy to Track

menu command).

You can also use patterns with the RPPR function of a song (see

page 71).

Creating songs (Sequencer mode)

Recording and editing a pattern

You can record a pattern in either of two ways: realtime recording or step recording.

However, unlike realtime ‐ recording to a track, you can select only one recording type (loop recording) when realtime ‐ recording to a pattern.

You can edit the pattern to correct mistakes in the recorded data, or use event editing to insert new data.

You can use the

Get From Track

menu command to obtain a desired region of performance data from a track and use it as pattern data.

Conversely, you can use the

Put to Track

Copy to Track

menu commands to place or copy a pattern’s performance data into a track.

How Sequencer patterns are related to Drum

Track patterns

The patterns of the Drum Track function you use with a Program or Combination are related to Sequencer mode patterns as follows.

Preset patterns are a common library that can also be used by the Drum Track function.

User patterns cannot be directly used by the Drum

Track function, but they can be converted to user Drum

Track patterns and used with a Program or

Combination.

If you convert a user pattern, it will be stored in internal memory, and this data will not disappear even when you turn off the power.

Cue List

The cue list allows you to playback multiple songs in succession.

The KROME lets you create twenty cue lists.

Each cue list lets you connect up to 99 songs and specify the number of times that each song will repeat.

The menu command

Convert to Song

lets you convert the songs in a cue list into a single song.

For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

Transport control

These controls let you play back, record, fast ‐ forward, or rewind the sequencer.

Front panel buttons

You can use the front panel SEQUENCER buttons to control recording and playback on the sequencer.

PAUSE

REW

PAUSE ( ) button

This button pauses the playback of the song.

When paused, the button’s LED will light up.

Press PAUSE

( ) once again to resume playback, and the LED will turn off.

REW ( ) button

When the Song is playing or paused, this button will rewind the song.

When you press and hold this button, its LED will light up, and the playback will rewind.

(Rewind is disabled during recording, and while the

Song is stopped.)

Note:

You can use the

FF/REW Speed

menu command to specify the fast ‐ forward and rewind speed.

FF ( ) button

When the Song is playing or paused, this button will fast ‐ forward the song.

When you press and hold this button, the button will light up, and the playback will fast ‐ forward.

(Fast ‐ forward is disabled during recording, and while the Song is stopped.)

LOCATE ( ) button

By pressing the LOCATE ( ) button you can move to a specified locate point.

By default, you’ll move to

001:01.000.

To change the locate point that’s assigned to the

LOCATE ( ) button, use the menu command

Set

Location

Alternatively, you can set the locate point during playback by holding down the ENTER button and pressing the LOCATE ( ) button.

START/STOP ( ) button

This starts or stops recording and playback in

Sequencer mode.

REC ( ) button

Pressing this button will enter record ‐ ready mode.

Once you’re in record ‐ ready mode (shown by the button’s lit LED), you can begin recording by pressing the SEQUENCER START/STOP ( ) button.

For details, please see

“Recording MIDI in real time” on page 60.

Buttons in the display (the transport bar)

The transport buttons in the bottom line of the display can also be used to control sequencer recording and playback in the same way as the front panel

SEQUENCER buttons.

The transport buttons will appear when you press the

“<” button on the lower right side of the display and drag it toward the left.

To close them, press the “>” button and drag it toward the right.

<, > popup

SET

LOCATE

LOCATE REC START/

STOP

PAUSE REW FF

LOCATE REC START/

STOP

Playing Songs Playback

Playing Songs

Playback

In order to play back song data in the sequencer, you must first record, load or dump song data into the

KROME.

Let’s start by loading and playing the demo song data.

For details, please see “Listening to the demo songs” on page 21 of the Quick Start Guide.

1. Press the SEQ button or MODE button to enter

Sequencer mode.

The P0: Play/REC– Program T01–08 or T09–16 page will appear.

If this is not displayed, press the EXIT button about three times.

2. Use “Song Select” to select the song you want to play back.

You can press the Song Select popup button and choose from a list.

If you select an empty list, a new song will be created.

You can also select a song by using the INC/DEC button or VALUE dial.

However if there is no song, you can’t make a selection using the VALUE controllers.

Meter Tempo

Location

Song Select

Popup

Song Position Bar

Track Select

Recording

Preparations for recording

Before you begin recording, make sure that the memory protect setting in Global mode is turned off.

For details, please see

“Protecting the memory” on page 110.

Creating a Song

Before we can begin this example, we need to select an empty song where we can record.

1. Press the SEQ button or MODE button to enter

Sequencer mode.

2. Choose “Song Select” (e.g., in the P0: Play/REC–

Program T01–08 page).

You can press the Song Select popup button, and choose from a list.

Meter

REC Resolution

Tempo

Mode

Location

Song Select

Popup

Track Select

Recording MIDI in real time

When you’ve finished with

“Preparations for recording,”

you can start recording.

This is a method of recording what you’re playing on the keyboard and your controller usage, in real time.

This method of recording is normally used one track at a time, and is called single track recording.

As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks.

This is the method you will use when using the Drum Track function, the RPPR function, and the arpeggiator to record multiple tracks of musical data at once, or when you play back existing sequence data on an external sequencer and record it onto

KROME’s sequencer in real time.

Recording setup

In P0: Play/REC– Preferences page

Recording Setup

, select the realtime recording method you want to use.

Overwrite

By default, this recording method is selected.

This will record your performance by overwriting any previously recorded data.

All data following the measure where you start recording will be erased.

Normally you will use this method to record, and then modify the results by using other types of real ‐ time recording or MIDI event editing.

1. Use Track Select to choose the track that you want to record.

2. Set the Recording Setup to Overwrite.

3. In “Location,” specify the location where you wish to begin recording.

Location

5. When you finish playing, press the START/STOP

( ) button.

Recording will end, and the location will return to the point where you begin recording.

If you press the PAUSE ( ) button instead of the

START/STOP ( ) button, recording will pause.

When you press the PAUSE ( ) button once again, recording will resume where you left off before pausing.

When you are finished, press the START/

STOP ( ) button to stop recording.

The following recording setup parameters are also available.

Overdub

Select this method if you wish to record additional performance data by overdubbing it without erasing the previously ‐ recorded data.

Manual punch-in

Select this method when you wish to use the

SEQUENCER REC (

●

) button or a foot switch to re ‐ record selected portions of a previously ‐ recorded track.

Auto punch-in

Select this method when you wish to automatically re ‐ record selected portions of a previously ‐ recorded track.

Then, recording will occur only over the specified area

(

Auto Punch In Start Measure

–

Auto Punch In End

Measure

), rewriting it with the newly recorded data.

Loop All Tracks

Select this method when you wish to repeatedly record over a specified area of a track, while continuing to add data.

This is suitable for creating drum patterns, etc.

For details, please see

“An example of realtime recording” on page 61.

Multi (multitrack recording)

Use MIDI multi ‐ track recording if you want to simultaneously record multiple tracks of different channels, such as when recording the output of the drum track, arpeggiator or RPPR functions, or when recording from an external multi ‐ track sequencer.

4. Press the SEQUENCER REC (

●

) button, and then press the START/STOP ( ) button.

If the

Metronome Setup

is still set to the default settings, the metronome will sound for a two ‐ measure pre ‐ count, and then recording will begin.

Play the keyboard and move controllers such as the joystick to record your performance.

Recording Step recording

An example of realtime recording

In this example, we’ll assign a drum program to track

01 and create the following one ‐ measure drum phrase.

Hi hat: F#3

Snare: E3

Bass drum: C3

1. Create a new song, and specify a drum program for track 01.

Use

Track Select

to select track 01, and verify that you hear a drum program.

(See

page 57)

2. Access the P0: Play/REC– Preferences page.

Recording Setup, specify “Loop All Tracks” and set it to M001 ‐ M001 (see page 117 of the Parameter

Guide).

With this setting, measure 1 will be recorded repeatedly.

The newly recorded data will be added at each pass.

3. Set “REC Resolution” to .

(See

page 58)

4. Press the SEQUENCER REC (

●

) button,

and then the START/STOP ( ) button.

The metronome will sound a two ‐ measure count ‐ down, and then recording will begin.

5. As shown in the musical example printed above, start by playing the C3 note of the keyboard to record the bass drum for one measure.

6. Next, play the E3 note of the keyboard to record the snare for one measure, and then the F#3 note to record the hi ‐ hat.

7. Press the START/STOP ( recording.

) button to stop

8. Play back the result, and listen to the drum performance that you recorded.

Press the START/STOP ( ) button.

When you’ve finished listening, press the START/STOP ( ) button once again to stop playback.

9. If you’re not satisfied with the result, press the

COMPARE button to return to the state prior to recording, and then re ‐ record from step 4.

Note:

When you’re finished recording, change the

Recording Setup back to the normally ‐ used

Overwrite

(P0: Play/REC– Preferences page).

In addition, access the P0: Play/REC– Play Loop T01–

08 page, check

Track Play Loop

for track 01, and set the

Loop Start Measure

and

Loop End Measure

to 001.

When you play back, track 01 will repeatedly play the first measure.

Step recording

Step recording is the recording method where you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note.

You can use the Rest button and Tie button of the dialog box to input rests and ties.

Step recording is useful when you want to create mechanically precise beats, or when you need to record a phrase that would be difficult to play by hand

“in real time,” or when you find it difficult to play extremely complicated or rapid passages.

An example of step recording

In this example, we’ll assign a bass program to track 02 and step ‐ record the following two ‐ measure bass phrase.

Eb3

Note

Step

Time:

Select

Tie

Key, Button

C3 key

G3 key

Rest button

C4 key

Rest button

C4 key

D3 key

Eb3 key

E3 key

F3 key

Rest button

C3 key

Rest button

F2 key

Tie button

F2 key

Rest button

A2 key

A3 key

Rest button

Step

Time:

. 3 -

Measure/

Beat Tick

001 / 01.000

001 / 01.360

001 / 02.000

001 / 02.240

001 / 02.360

001 / 03.120

001 / 03.240

001 / 04.000

001 / 04.240

002 / 01.000

002 / 01.120

002 / 01.360

002 / 02.000

002 / 02.240

002 / 03.000

002 / 03.240

002 / 03.360

002 / 04.000

002 / 04.240

002 / 04.360

1. Specify a bass program for track 02.

Use Track

Select to select track 02, and verify that you hear a bass program.

2. Access the P6: Track Edit– Track Edit page.

Creating songs (Sequencer mode)

3. Set “From

With this setting, step recording will begin from measure 1.

4. Press

“Step

dialog

the

Measure”

Recording.”

box

menu

will

to button,

appear.

001.

and press menu command

5. In “Step Time,” use “Select” to specify the basic timing value.

Input the first C3 note as .

(dotted eighth note).

Use the popup button to the left to select .

You can choose a note value ranging from a whole note

( ) to a 32nd note ( ).

Input a dotted note by selecting “.” with the popup buttons at right.

You can specify “3” to input a triplet.

If you want to use the unmodified length of the note that’s selected at the left, choose “–”.

“Note Duration” indicates the length that the note itself will sound.

Smaller values will produce a staccato note, and larger values will produce a legato note.

For this example, leave this setting unchanged.

“Note Velocity” is the velocity (playing strength), and larger values will produce a louder volume.

Set this to

Key.

If you select Key for this parameter, the velocity of how you actually play the keyboard will be input.

6. On the keyboard, press and then release the first

C3 note that you want to input.

The data you input will appear in the display as numerical values.

On the upper right side, Measure

001 Beat Tick 01.000

will change to Measure 001 Beat

Tick 01.360.

The next note you input will be placed at this location.

7. As described in steps 5 and 6, input the notes and rests that follow the first C3 note.

In addition to the methods described in steps 5 and 6, you can also use the following input methods.

• To input a rest, press the Rest button.

This will input a rest of the selected

Step Time

value.

• To enter a tie, so that two or more notes of the same pitch will be played as a single unbroken note, press the Tie button.

When you press the Tie button, the previously ‐ input note will be extended by the

Step Time

length.

• To delete a note or rest that you input, press the

Step Back button.

The previously ‐ input note will be deleted.

• To input a chord, simultaneously press the notes of the desired chord.

Even if you do not press them simultaneously, notes that are pressed before you fully remove your hand from all keys on the keyboard will be input at the same location.

• To audition a note without actually inputting it, press the PAUSE ( ) button.

Now when you play a note on the keyboard, it will sound, but the note will not be actually input.

In this state, playing a key will produce a sound, but will not input a note.

Press the PAUSE ( ) button once again to cancel the record ‐ pause state, and resume inputting notes.

8. When you are finished recording, press the Done button.

Press the SEQUENCER to play back.

START/STOP ( ) button

Access the P0: Play/REC– Play Loop T01–08 page, check

Track Play Loop

for track 02, set

Loop Start

Measure

to 001, and

Loop End Measure

to 002.

track

02 will play measures 1–2 repeatedly.

9. If you’re not satisfied with the result, press the

COMPARE button to return to the state prior to recording, and then re ‐ record from step 4.

When you begin step recording, all data in the track that follows the measure where you began recording will be erased.

You need to be aware of this if you begin step recording from a measure mid ‐ way through the song.

If you want to copy data into a measure that already contains data, perform step recording in an empty track, and use the

Move Measure

Copy Measure

menu commands.

(See page 179 of the Parameter Guide)

If you want to edit or add to the recorded data, you can use the

Event Edit

Piano Roll

function.

(See pages 169, 171 of the Parameter Guide)

Recording Recording multiple tracks from an external sequencer

Recording multiple tracks from an external sequencer

The playback from an external MIDI sequencer connected to the KROME can be recorded simultaneously using multi ‐ recording.

1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the

KROME.

If it is not connected, turn off the power, make the connection, and then turn the power on.

2. In the Global P1: MIDI– MIDI Basic page, set

MIDI Clock to External MIDI.

With this setting, the KROME will synchronize to MIDI clock messages from your external sequencer.

Make sure that

Receive Ext.

Realtime Commands

is checked.

3. Create a new song in Sequencer mode, and in the

P0: Play/REC– Preferences page, check the Multi

REC check box.

Set Recording Setup to Overwrite.

5. In the P3: Track Parameters– MIDI T01–08 and

T09–16 page, use MIDI Channel to specify the

MIDI channel of each track.

Set the MIDI channel of each KROME track to match the MIDI channel of each external sequencer track.

Data from each channel will be recorded on the corresponding KROME track.

Make sure that

Status

is set to INT or BTH.

6. Press the LOCATE ( ) button to set the location to 001:01.000.

7. Press the SEQUENCER REC (

●

) button to enter record ‐ standby mode.

8. Start your external sequencer.

The KROME’s sequencer will automatically begin recording when it receives the MIDI Start message transmitted by your external sequencer.

9. When playback has ended, stop your external sequencer.

The KROME’s sequencer will automatically stop recording when it receives the MIDI Stop message transmitted by the external sequencer.

You can also stop recording by pressing the START/STOP ( button on the KROME.

)

After this, you can play back the newly recorded sequence:

10. In the Global P1: MIDI– MIDI Basic page, set

MIDI Clock to Internal.

Set

Tempo Mode

to Auto in the Seq P0: Play/REC–

Program T01–08 page.

Press the START/STOP ( ) button to play back.

Note:

If the correct sounds are not selected when you start playing back, you may be able to solve the problem by using the menu command

Event Edit

(P6:

Track Edit) to re ‐ specify the Program Change data.

4. Press Play/Rec/Mute to select “REC” for the tracks you want to record.

For the tracks you don’t want to record, select Play or

Mute.

Creating songs (Sequencer mode)

Recording System Exclusive events

Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be recorded in real time on any track.

During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.

Note:

You can use the menu command

Put Effect

Setting to Track

to insert an exclusive event containing the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback.

GM, XG, and GS exclusive messages can be recorded on a track, but the KROME’s tone generator will not respond to these messages.

Recording internal parameter changes

You can use SysEx for automation of internal KROME effects and Program parameters.

Here we’ll explain how to record internal parameter changes.

As an example, we’ll explain how parameter changes recorded on a different track can be used to modify the parameters of the insert effect (IFX1) applied to the program of track 1.

Note:

In order to record system exclusive messages, make sure that the Global P1: MIDI– MIDI Routing setting

Enable Exclusive

is checked.

Go to Global mode and verify that this is checked.

2. Select Track 09 in “Track Select,” and record parameter changes as desired.

Note:

For this example, select an empty track.

If you want to record onto a MIDI track that already contains data, set the P0: Play/REC– Preferences page

Recording Setup

“Overdub,” as described on page 60.

• Select Track 09 in

Track Select

Then press the

SEQUENCER REC (

●

) button and then the START/

STOP ( ) button, and begin recording.

• At the appropriate time while recording, adjust the parameter(s) that you want to realtime ‐ record.

In the P8: Routing/IFX ‐ Insert FX Setup page, select another effect for IFX1, and modify the effect parameter values.

1. Select the desired program for MIDI track 1, and route it to IFX1.

Then record a phrase of about sixteen measures.

• In the P0: Play/REC– Program T01–08 page, use

“Program Select” to select the desired program for

MIDI Track 01.

• In the P8: Routing/IFX– Routing T01–08 page, route the MIDI Track 01

Bus (IFX/Output) Select

to IFX1.

Then in the P8: Routing/IFX– Insert FX Setup page, select the desired effect for IFX1.

• Select MIDI Track 01 in

Track Select

Then press the SEQUENCER REC (

●

) button and then the

START/STOP ( ) button, and record a phrase of about sixteen measures.

Note:

In addition to effect parameter changes, you can also record parameters such as sound parameters.

For details on the parameters that can be recorded, please see page 191 of the Parameter Guide.

3. Stop recording.

Note:

Exclusive messages are always recorded on the current track selected by

Track Select

In this example, they are recorded on MIDI track 9.

Note:

In the MIDI event edit page you can view the recorded exclusive events and their location.

Exclusive events are displayed as “EXCL”.

To view these events, go to the P6: Track Edit– Track

Edit page, and select the menu command

MIDI Event

Edit

Then in the Set Event Filters dialog box, check

Exclusive and press the OK button.

Exclusive events cannot be changed to a different type of event.

Nor can other events be changed into exclusive events.

4. If you go to the page (e.g., P8: Routing/IFX) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Recording Recording patterns

Exclusive messages that will be recorded during realtime recording

The following exclusive messages will be recorded.

(See page 191 of the Parameter Guide)

• Exclusive messages received from an external MIDI device.

• Parameter changes in Sequencer mode.

• Master Volume universal system exclusive messages assigned to a foot pedal or knob.

Using realtime controls to record changes in a MIDI track’s pan, EQ, volume, and tone adjust

By controlling the pan, EQ, volume, and tone adjust parameters during realtime recording, you can record these changes so that they will be reflected during playback.

Use multi ‐ track recording if you want to modify the settings of multiple tracks simultaneously.

Note:

Controlling these parameters will transmit control change or system exclusive messages.

In order for this data to be recorded, the Global P1: MIDI– MIDI

Routing

Enable Control Change

and

Enable Exclusive

settings must be checked.

Go to Global mode and verify that these items are checked.

Note:

Use

Param.

MIDI Out

in Global P1: MIDI Basic page to specify whether control change messages or system exclusive messages will be transmitted when you edit the Pan (CC#10), Volume (CC#7), or Send 1/2 level (CC#93 and CC#91) parameters.

In this case, the Global P1: MIDI– MIDI Routing settings

Enable Control Change

and

Enable Exclusive

must be checked respectively.

Recording patterns

Recording and editing patterns

You can record patterns in either of two ways; realtime recording or step recording.

However, pattern realtime recording differs from song realtime recording in that you can use only Loop type recording.

You can edit patterns by using Event Edit operations to modify the recorded data or insert new data.

You can also use the

Get From Track

menu command to convert a desired region of performance data from a

MIDI track into a pattern.

Conversely, you can use the

Put to Track

Copy to Track

menu commands to place or copy the performance data from a pattern into a MIDI track.

In addition, you can use the “Convert to Drum Track

Pattern” page menu command to convert a user pattern to a drum track pattern.

(See

“Converting to a

Drum Track pattern” on page 103)

Recording patterns in real time

When realtime ‐ recording a pattern, a pattern of the specified number of measures will play back repeatedly, allowing you to continue adding musical data to it.

1. Create a new song, and as described in

“Preparations for recording” on page 57,

set the track to the program that will be used by the pattern.

2. Access the P10: Pattern/RPPR– Pattern Edit page.

Pattern Select

REC Resolution

Remove Data

Track

Select

3. Use Track Select to choose the track that you will use to record the pattern.

The pattern will play back with the program and other settings of the selected track.

4. Set “Pattern (Pattern Bank)” to User, and set

“Pattern Select” to U00.

User patterns U00–U99 can be created for each song.

5. Select the menu command “Pattern Parameter”.

Creating songs (Sequencer mode)

A dialog box will appear.

6. Set the number of measures in the pattern to a

“Length” of 04 (four measures), and set “Meter” to a time signature of 4/4.

Press the OK button.

7. As necessary, set “REC Resolution” to apply realtime quantization.

8. Begin realtime recording.

You can record in the same way as you did when recording tracks with Loop All Tracks.

(See

“Loop All

Tracks” on page 60)

Press the SEQUENCER REC (

●

) button, and then press the START/STOP ( ) button.

After the pre ‐ count, pattern recording will begin.

Play the keyboard and use the joystick and other controllers to record your performance.

When you reach the end of the pattern, the sequencer will return to the beginning of the pattern and continue recording.

If you continue recording, the newly recorded data will be added to the previously ‐ recorded data.

9. If you want to delete specific data while you continue pattern recording, you can press the REC

(

●

) button or check the “Remove Data” check box.

For details refer to step 6 of

“Loop All Tracks” on page 60.

10. Press the START/STOP ( recording.

) button to stop

If you made a mistake or decide to re ‐ record, press the

START/STOP ( ) button to stop recording, and press the COMPARE button.

Then begin the pattern recording procedure again as in step 8.

Other way to record

Using the Drum Track function and the arpeggiator to record on multiple tracks simultaneously

You can use multi ‐ recording to simultaneously record a multi ‐ track performance using the Drum Track function and arpeggiator.

For details, please see

“Recording MIDI in real time” on page 60.

Using the RPPR function to record on multiple tracks simultaneously

You can use multi ‐ recording to simultaneously record a multi ‐ track performance using the RPPR function.

For details, please see

“Creating an RPPR pattern” on page 71.

Song editing Song

Song editing

You can apply a variety of editing procedures to a song.

The available types of editing procedures are listed below.

Song

Load (Save) Template Song:

Loads a song template into the song (or saves a song as a template) (see

page 58).

Copy From Combination/Copy From Program:

Copies the settings of the specified combination/program to the settings of the song that’s currently selected.

Copy From Song:

This command copies all of the setting data and musical data from the specified song to the song that’s currently selected.

Rename song:

Renames the selected song.

You can enter up to 24 characters.

Delete Song:

This command deletes the currently selected song.

FF/REW Speed:

This allows you to set the speed at which fast ‐ forward or rewind will occur when you press the FF ( ) button or REW ( ) button.

GM Initialize:

This command transmits a GM System

On message to the Sequencer mode, resetting all MIDI tracks to the GM settings.

Set Song Length:

This command changes the length of the specified song.

When it is executed, the length of the master track will change, and the number of measures played will change.

MIDI tracks

Tracks

Step Recording:

This allows you to specify the length and velocity of each note numerically, and to input

MIDI data, the pitches, from the keyboard.

You can use the Rest button and Tie button to enter a rest or tie.

Event Edit:

Here you can edit individual events of

MIDI data.

Piano Roll:

Allows you to edit notes, velocities, and control changes in the piano roll screen.

By selecting and dragging events in the screen, you can edit their pitch or timing, or delete or add events.

Erase Track:

This command erases the data from the specified track.

It is not possible to erase the master track by itself.

Copy Track:

This command copies musical data from the copy source track to the specified track.

Bounce Track:

This command combines the musical data of the bounce source and bounce destination tracks, and places the combined data in the bounce destination.

All musical data in the bounce source will be erased.

Erase Measure:

This command erases the specified type(s) of musical data from the specified range of measures.

The Erase Measure command can also be used to remove only a specific type of data.

Unlike the

Delete Measure command, executing the Erase

Measure command does not cause the subsequent measures of musical data to be moved forward.

Delete Measure:

This command deletes the specified measures.

When the Delete Measure command is executed, the musical data following the deleted measures will be moved towards the beginning of the sequence.

Insert Measure:

This command inserts the specified number of measures into the specified track.

When you execute the Insert Measure command, the musical data following the insert location will be moved backward.

Repeat Measure:

This command repeatedly inserts the specified measures for the specified number of times.

When you execute the Repeat Measure command, the measures will be inserted following the measure specified by

To End of Measure

, and musical data following the inserted data will be moved backward.

Copy Measure:

This command copies the measures of musical data specified as the “From” source to the beginning of the measure specified as the “To” location.

When you execute the Copy Measure command, the existing track data at the copy destination will be rewritten.

Move Measure:

This command moves the specified measures of performance data to another measure.

When you execute the Move Measure command, the performance data following the move ‐ source measures will move forward by the corresponding number of measures, and the performance data following the move ‐ destination will move backward (i.e., later in the song) by the same number of measures.

Create Control Data:

This command creates control change, aftertouch, pitch bend, or tempo data in the specified region of a MIDI track or the master track.

Erase Control Data:

This command erases data such as control changes, aftertouch, pitch bend, or tempo in the specified range.

Quantize:

This command corrects the timing of MIDI data of the type you specify (note data, control change, aftertouch, pitch bend, program change, etc.) in the track.You

can also adjust for swing.

Shift/Erase Note:

This command shifts (moves) or erases the specified note numbers in a specified MIDI track and range of measures.

Modify Velocity:

This command modifies the velocity values of notes in the specified area so that they will change over time according to a selected curve.

Create Exclusive Data:

This command creates universal system exclusive messages or KROME parameter change messages in the specified region of a

MIDI track.

Erase Exclusive Data:

This command erases (deletes) universal system exclusive messages or KROME parameter change messages from the specified region.

To delete all types of system exclusive message other than those listed above, set the Erase Measure command’s “Kind” field to Exclusive, and execute the command.

Creating songs (Sequencer mode)

Pattern

Step Recording (Loop Type):

Here you can perform step recording into a pattern.

Event Edit:

Here you can edit individual events of the musical data in a pattern.

Piano Roll:

You can edit notes, velocities, and control changes in the piano roll screen.

Pattern Parameter:

This command specifies the number of measures and the time signature of the selected pattern.

Erase Pattern:

This command erases the data from the selected pattern.

Copy Pattern:

This command copies the settings and musical data of the selected pattern to another pattern.

Bounce Pattern:

This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination.

Get From

Track:

This command takes musical data from a MIDI track and loads it into the specified pattern.

Put To Track:

This command places a pattern into a

MIDI track.

Copy To Track:

This command copies the specified area of musical data from the specified pattern to a

MIDI track as musical data.

Convert to Drum Track Pattern:

This command converts a user pattern into a user drum track pattern, which can then be used with the Drum Track in any mode.

Load Drum Track Pattern:

This command loads a user

Drum Track pattern into a user pattern.

Erase Drum Track Pattern:

This erases the specified

Drum Track pattern.

Track view edit

Here we’ll explain track view editing.

You can visually specify regions of measures in the display, and then move, copy, or erase them.

For each track, event data such as notes, velocities, and control changes are displayed (see the illustration below).

Your editing will apply to the highlighted measures.

The range is shown in FROM MEASURE and To END of MEASURE in the upper line.

You can move, copy, or erase data in units of measures.

Note:

You can’t specify a region of measures unless a tool is selected in the toolbox.

Examples of using the tools

Example)

Moving the events of measures 1–2 to measures 5–6

1. Press the tool.

2. Drag over measures 1–2 to specify the edit region.

3. Press the tool.

4. Press measure 5 (the move ‐ destination measure).

Alternatively, drag the edit region to measure 5.

4 3

(

Track View area select

The bar at left indicates the four tracks shown in the track view area (in this example, tracks 1–4).

Scroll button

Setup

Track name indication

Control message name indication

( Track View Setup)

Press this button to open the Track View Setup dialog box.

Track View Setup)

Displays note events in a one-octave range

( Track View Setup)

Location bar

Note events

Selected region

Velocity indication

( Track View Setup)

Indicate the selected region.

Linked with the identicallynamed parameter of the

Track Edit page.

Scroll button

Pattern

Scroll button

Track view area

Tool box

Specify the starting measure.

Specify the ending measure.

Move the events of the selected measure(s).

Copy the events of the selected measure(s).

Erase the events of the selected measure(s).

Jump to the piano roll.

Displays the values for the control message name indicated in the left of the screen

( Track View Setup)

Song editing Track view edit

5. In this example, an event exists in the move ‐ destination measure, so the Drag Move dialog box will appear.

Overwrite will overwrite the source data over the destination data (replacing the destination data with the source data).

Merge will combine the source and destination data.

Press the OK button to execute the move.

If there are no events in the move ‐ destination measures, this dialog box will not appear; the move will occur immediately.

4. While continuing to press, drag to the move ‐ destination track, and release.

If you choose Overwrite

The destination is overwritten by the source data

If the move ‐ destination measures contain events, the

Drag Move dialog box will appear.

Overwrite will overwrite the source data over the destination data (replacing the destination data with the source data).

Merge will combine the source and destination data.

Press the OK button to execute the move.

If there are no events in the move ‐ destination measures, this dialog box will not appear; the move will occur immediately.

If you choose Merge

The two sets of data are combined

Example)

Copying the events of measures 1–2 to measures 3–4

1. Press the tool.

2. Drag over measures 1–2 to specify the edit region.

Example)

Moving the data of an entire track

1. Return the location to the beginning.

2. Press the tool.

3. Press the left side of measure 1 in the track you want to move.

3. Press the tool.

4. Press measure 3 (the copy ‐ destination measure).

Alternatively, drag the edit region to measure 3.

4 3

Creating songs (Sequencer mode)

The copy will be executed.

5. If desired, you can press another copy ‐ destination to copy the data repeatedly.

Example) Copying the data of an entire track

You can copy the data of an entire track to another track.

Refer to

“Example) Moving the data of an entire track.”

In step 2, choose the tool.

Piano Roll Editing

Piano Roll editing lets you enter, edit, or delete event data such as notes, velocities, and control changes.

1. In the Seq P6: Track Edit ‐ Track View page, specify the track and measure that you want to edit.

2. Select the tool in the Track View page or select

“Piano Roll” from the menu commands to access the Piano Roll window.

(See illustration below)

3. Make sure that the events you want to edit are displayed in the note view area at the upper part of the window or in the control view area at the lower part of the window.

• Press the note view area selector, and use the value controllers.

• Select the tool, and drag.

• Enter “Meas” or “#” in the event list.

• Use the view control zoom buttons to zoom ‐ in/out.

• Switch the view area height selector.

4. Use the tool box to select a tool, and edit the data.

Note:

If you want to undo an edit, press the Undo button.

5. To play back the events, press the Play button.

A dialog box will open, and the song will start playing.

This allows you to check the results of your editing.

6. You can change settings such as the note resolution.

Press the Setup button, and adjust the settings in the Piano Roll Setup dialog box.

7. When you’re finished editing, press the Done button.

Note events The selected note event

Note view area

Note view area select

Select what will be shown in the control view area. (In this example, velocity values are shown.)

Control view area

Event list

Toolbox:

Select or move a note.

Change the length of notes.

Enter notes.

Delete notes.

Move the note view area that is displayed.

View area height select

Switch the note event display

Scroll (view control)

Zoom

The Piano Roll Setup dialog box will appear when you press the Setup button

(->see Piano Roll Setup).

Undo cancels the preceding edit. Redo returns to the state prior to Undo.

Plays back the song. The Piano Roll

Edit Play dialog box will appear when you press this button

( Piano Roll Edit Play).

Ends piano roll editing

Creating an RPPR pattern Creating RPPR data

Creating an RPPR pattern

RPPR stands for Realtime Pattern Play/Recording, and is a function that lets you assign pattern data to each key, and then play back that pattern simply by pressing the key where it is assigned.

You can realtime ‐ record this performance.

Creating RPPR data

1. Create a new song, and choose a drum program for track 1.

2. Access the P10: Pattern/RPPR– RPPR Setup page.

In this page, the RPPR function is automatically turned on.

3. Select the key where the pattern will be assigned.

4. Select C#2.

You can also change this setting by holding down the

KEY edit cell and playing a note on the keyboard.

Note:

C2 and lower keys are used to stop playback, and cannot be assigned patterns.

5. Check “Assign” for C#2.

6. Set “Pattern Bank” to Preset, and set “Pattern

Select” to P001.

7. Set “Track” to Track01.

The selected pattern will be played according to the settings (program, etc.) of the track you select here.

8. Assign patterns to other keys.

For “KEY,” press the INC button to select D2.

9. Press the Revert button.

The

Assign

Pattern Bank

Pattern Select

, and

Track

settings will be given the previously (steps 5–7) specified values.

10. Choose “Pattern Select,” and press the INC button to select P002.

By using

Revert

in this way, you can work efficiently when assigning contiguous (or nearby) pattern numbers or tracks.

• As described above, assign several other patterns such as P003 and higher.

11. Press the C#2 key.

The assigned pattern will play.

12. Take your finger off the C#2 key, and press the D2 key.

The pattern will change, and playback will begin.

At this time, the pattern operation will depend on the

Sync

and

Mode

setting.

13. Set KEY to C#2, and set Sync to Measure.

Make the same setting for D2.

Now press the notes consecutively.

Notice that the patterns function in a different way.

With the

Measure

setting, patterns will be handled in one ‐ measure units.

The second and subsequent patterns will start in sync with the end of pattern that was previously played.

If you change the

Mode

setting to

Once

, the entire pattern will playback to the end even if you release your finger from the keyboard immediately.

• To stop playback, either press the same key once again, or press the C2 or lower key.

For details on

Sync

Mode

, and

Shift

, please see page 158 of the Parameter Guide.

• The assigned keys are also shown in the keyboard graphic in the display.

• Keys where no patterns are assigned can be played normally.

Use

Track Select

to select the track you want to play.

For example you could assign backing patterns for drums or bass to keys C#2–B2 and use these keys to control the pattern playback, while using the keys C3 and above to play a solo performance in realtime.

It’s a good idea to keep your RPPR assignments within a specific range of keys.

Creating songs (Sequencer mode)

RPPR playback

Let’s use the RPPR pattern that you created to perform in the P0: Play/REC– Program T01–08 page.

1. Access the P0: Play/REC– Program T01–08 page.

RPPR On

2. Check the “RPPR” check box.

The RPPR function will be turned on.

Set the RPPR on/ off for each song.

3. Play the keyboard, and patterns will begin playing according to the RPPR settings.

If you want to play RPPR phrases from an external

MIDI device, you can control them on the MIDI channel of the track that’s selected in

Track Select

• Pattern playback for keys where the

Sync

setting is

Beat or Measure will synchronize to the pattern playback of the very first key played.

• If you are playing the pattern in synchronization

(when

Sync

is Beat, Measure, or SEQ), the pattern will start accurately if you play the note slightly earlier than the timing of the beat or measure.

Even if you play the note slightly later than the beat or measure (but no later than a 32nd note), it will be considered to have started at the beat or measure, and the beginning of the pattern will be compressed so that the remainder of the playback will be correct.

4. To turn off the RPPR function, uncheck the RPPR check box.

Play RPPR while a song plays back

RPPR can be played in synchronization with the playback of a song.

Pattern playback for a key with a

Sync

setting of SEQ will synchronize to the playback of the song.

Start the song playback, and then press the key.

The pattern playback will start in synchronization with the measures of the song.

Synchronization will be lost if you use the REW

( ) or FF ( ) buttons while a song is playing.

Note:

If you want RPPR pattern playback to begin at the moment that song playback begins, it is a good idea to insert an empty measure containing no musical data before the song playback begins.

Note:

If the song is stopped, the pattern will synchronize to the timing of the arpeggiator.

Realtime-recording an RPPR performance

You can record the realtime performance generated by

RPPR.

Recording an RPPR performance

The RPPR playback can be recorded as performance data on the track(s) assigned to each pattern.

This means that you’ll use either single track recording or multi ‐ track recording, as appropriate for the track settings or performance style of the RPPR you’re playing.

On the other hand, even if RPPR uses only one track, use multi ‐ track recording if you will be recording another track at the same time.

You should also select multi ‐ track recording if you specified the RPPR data using multiple tracks rather than just a single track, and want to simultaneously record the performance of multiple tracks.

Here’s how you can record an RPPR performance and a keyboard performance at the same time.

Before you continue, use the P0: Play/REC– Program T01–08 page to assign a drum program to MIDI track 1, and a bass program to MIDI track 2.

1. Assign several keys starting with C#2 to preset patterns.

Check the C#2

Assign

setting, and set

Pattern Bank

Preset and

Pattern Select

to the desired preset pattern.

For

Track

, select MIDI track 1 (Track 01) to which you assigned a drum program.

2. For each RPPR pattern, set Sync to SEQ.

With a setting of SEQ, RPPR patterns triggered while the sequencer is playing or recording will start in synchronization with the measures of the sequencer.

(See page 158 of the Parameter Guide.)

3. Access the P0: Play/REC– Program T01–08 page.

4. Check the “RPPR” check box, and set Track Select to MIDI Track 02.

If the RPPR check box is selected, the RPPR function will be turned on even in pages and tabs other than

RPPR Setup, allowing you to perform with the RPPR function by pressing a key to which an RPPR is assigned.

Note:

In the note range C#2 and above, keys to which no pattern has been assigned can be played to sound the program of the MIDI track selected by

Track

Select

Creating an RPPR pattern Realtime-recording an RPPR performance

5. Since you want the tracks you play via RPPR and the track you play from the keyboard to be recorded at the same time, check the Multi REC check box.

Note:

Recording Setup

is set to

Loop All Tracks

, it will not be possible to select Multi REC.

Set the

Recording Setup

to Overwrite (see

page 60).

6. Press the SEQUENCER REC (

●

) button to enter record ‐ ready mode.

7. For the tracks you will be recording (MIDI Track 1,

2), press Play/Rec/Mute to make them indicate

REC.

Make sure that the tracks you’re not recording are indicated as Play or Mute.

8. Press the LOCATE ( ) button to set the location to 001:01.000.

9. Press the START/STOP ( ) button, and then press a key that plays an RPPR pattern.

Then press the key where the RPPR pattern playback is assigned.

If the key where the RPPR is assigned is pressed during the pre ‐ count before recording, RPPR pattern playback will start the moment that recording begins after the pre ‐ count.

Record the RPPR pattern playback and keyboard performance.

When recording the playback of patterns triggered by RPPR, the timing of the recorded events may be slightly skewed.

If this occurs, try setting

REC

Resolution

to a setting other than Hi.

10. When you are finished performing, press the

START/STOP ( ) button.

Recording will end, and the sequencer will return to the location where recording began.

If you made a mistake during your performance or would like to re ‐ record, you can use the Compare function (press the COMPARE button) to re ‐ record as many times as you wish.

11. If you want to record other tracks, un ‐ check the

Multi REC (See step 5) or “RPPR” (See step 4) check boxes as necessary.

Creating songs (Sequencer mode)

Creating and playing a Cue List

A cue list allows you to play multiple songs in succession.

You can create the individual sections of a song, such as the intro, melody A, melody B, chorus, and ending, and then use a Cue List to assemble these sections into a song by specifying the desired order and the number of repetitions for each section.

You can then edit the cue list to efficiently try out different structures for your song.

You can also use this as a jukebox function that will play back completed songs in the order you specify.

Cue List

Step

Song

S000: Intro

S001: A

S002: B

S003: Chorus

S001: A

S002: B

S003: Chorus

S004: Ending

Repeat

Intro

Chorus

Intro

Chorus

A(Solo) Chorus Chorus Chorus Ending Ending

3. Set the last step to End.

If you set this to Continue to Step01, the cue list will play back repeatedly.

4. In “Repeat,” specify the number of times that the song for that step will be repeated.

For this example, set Step 02 S001: VERSE to 02.

5. Specify whether effect settings will also be switched when the song at each step is played back.

If you want effect settings to change, check the “Load FX?” check box.

For this example, check the “Load FX?” check box for

Step 01, which loads the effects.

6. To play back at the tempo that was specified for each song, set “Tempo Mode” to Auto.

If this is set to Manu (Manual), playback will use the tempo specified by “ =”.

Creating a cue list

Each unit in a cue list is called a “step,” and each step contains a song number and the number of repeats.

For example, suppose you’ve created the songs S000:

INTRO, S001: VERSE, and S002: CHORUS.

Let’s use a cue list to connect these songs together.

1. Access the Seq P11: Cue List page.

With the default settings, song S000 will be selected for

“Step” 01, and End will be selected for “Step” 02.

7. When you press the SEQUENCER START/STOP

( ) buttonh, playback will begin from the step that is specified as the “Current Step.”

2. Add a song to the Step area.

Select the “Song” for Step 02, and press the Insert button.

A song will be added to step 02.

Press the popup button, and then choose S001: VERSE from the list.

In the same way, select the Step 03 “Song,” and press the Insert button to add a song to Step 03.

Set this to

S002: CHORUS.

When you press the Cut button, the selected step will be deleted and temporarily saved.

When you press the

Insert button, the song that was cut will be insert at the selected step.

If you press the Copy button, the selected step will be copied.

If you press the Insert button, the copied step will be inserted.

Song Position Bar

•

Step

: The arrow will indicate the step that’s currently playing.

indicates the currently selected

“Step.” The Song Position Bar located below the song name shows the progression of the song within the step.

While stopped, you can specify the

Current Step

and the display will change accordingly.

•

****: Indicates the starting measure of that step.

•

Meter

: Indicates the currently ‐ playing time signature.

This cannot be changed.

• The name of a cue list can be specified by the

Rename Cue List

menu command.

• When you play the keyboard, the program of the track selected by

Track Select

will sound.

If a different program is selected for each song, the

Saving your song Converting a cue list to a song

program that’s specified for the song that’s currently playing will play.

Converting a cue list to a song

The

Convert to Song

menu command lets you convert a cue list to a single song.

For details, please see “Convert to Song (Convert Cue

List to Song)” on page 189 of the Parameter Guide.

Saving your song

In order to ensure that the data you create is reproduced faithfully, we recommend that you save your data by using

Save All

so that the programs will also be saved.

However if you have not changed the program numbers or sounds used in your song, saving only the song ‐ related data (.SNG) will minimize the size of the data.

When you turn off the power, the Sequencer mode settings, the recorded songs, and the user pattern data will be lost.

1. Insert an SD card in the SD card slot.

With the card label facing upward, insert the connector end of the card into the SD card slot and press it in until you hear a click.

Make sure that the card is oriented correctly when you insert it.

Forcing it in the wrong direction may damage the slot or the card, and the data may be lost.

2. Press the WRITE button.

The Save Songs and Cue Lists Data dialog box will appear.

If you want to change the name, adjust the appropriate settings (see

page 117).

3. Press the WRITE button once again to save (write) the data.

If data of the same name already exists, as message will ask whether you want to overwrite the existing data.

If you want to overwrite the existing data, press the OK button.

If the save ‐ destination directory is something other than a DOS directory (e.g., if you’re in a directory shown by opening a .PCG

or .SNG

file), a message such as “File/path not found” will appear, and you won’t be able to save the data.

If this occurs, move to Media mode, select the appropriate save ‐ destination (i.e., a DOS directory), and then execute “Save All” or “Save

SEQ.”

Saving a template song

If you want the programs, track parameters, effect settings, and arpeggiator settings etc.

used by a song to be saved as a Template song, use the

Save Template

Song

menu command to save these settings.

Creating songs (Sequencer mode)

Using Effects

An overview of the KROME’s effects

You can choose from 193 different types of high ‐ quality digital effects.

The KROME provides five insert effects, two master effects, and one total effect, together with a mixer section that controls the routing of these effects.

All of these are stereo in/out.

Specific parameters of these effects can also be controlled in real time from the KROME’s controllers or via MIDI messages using Dynamic Modulation

(Dmod), by MIDI/Tempo Sync, or by using a common

LFO to apply synchronized changes to multiple modulation effects.

Total Effect

The total effect (TFX) is stereo ‐ in/stereo ‐ out.

The Dry

(unprocessed) side of the

Wet/Dry

parameter sends the stereo input sound directly to the stereo output.

The way that the Wet (processed) side is output depends on the type of effect, as follows.

Mono In - Mono Out +

Effect

Effect I/O

Wet Mono In - Stereo Out

Stereo In - Stereo Out

Effect

Note:

The Parameter Guide includes block diagrams for each individual effect, which include the effect’s input/output structure.

(See page 251 of the Parameter

Guide)

Insert Effects

Insert Effects (IFX 1–5) are stereo ‐ in/stereo ‐ out.

If you select Dry (unprocessed) for the

Wet/Dry

parameter, the stereo input signal will be output in stereo without being processed by the effect.

If you select Wet (effect applied), the processed signal will be output in one of the following ways:

Wet

Mono In - Mono Out

Mono In - Stereo Out

Stereo In - Stereo Out

Effect

Master Effects

Master Effects MFX1 and MFX2 are stereo ‐ in/stereo ‐ out.

Send1

and

Send2

determine the send level to the

Master Effects.

With Master effects, only the Wet (processed) signal will be output.

The output signals from the Master

Effects are routed to the L/R bus with the output level specified by

Return1

and

Return2

These output signals are mixed with the output signals from the bus specified by

Bus (IFX/Output) Select

(P8– Routing page in each mode) L/R, or with the output signals from the bus specified by

Bus (IFX/Output) Select

(P8–

Insert FX Setup page in each mode) L/R, then routed to the total effect.

Selecting “000: No Effect” will mute the output.

The processed signal will be output in one of the following ways, according to the type of effects.

Wet

Mono In - Mono Out

Mono In - Stereo Out

Stereo In - Stereo Out

Effect

Using Effects

Effects in each mode

Program mode

For programs, you can use insert effects to process the final sound in the same way that you use the Filter,

Driver, Amplifier, and EQ (equalizer) to process the sound from the oscillators (OSC 1 & 2).

Next, the master effects are used to create overall ambience such as reverb, and you use the total effect to make final adjustments.

You can apply an effect in the same way to the output of a drum track program.

All of these settings can be made independently for each program.

Combination and Sequencer modes

In Combination and Sequencer modes, you can use the track EQ and insert effects to process the sound of each timbre/track program.

Then you can use the master effects to create overall ambience, and use the total effect to make final adjustments.

In Combination mode, you can adjust these settings for each combination, and in Sequencer mode you can adjust them for each song.

In Sequencer mode, you can switch between effects or modify the effect parameters and record these changes, so that effects will switch automatically or effect parameters will be modified automatically as the song plays back.

Program mode

Oscillator1

Oscillator2

Filter1

Filter2

Drum Track

Driver1

Driver2

Amplifier1

Amplifier2

Send

Master Effect 1, 2

Insert Effect 1–5

Return

Total Effect

OUTPUT

L/MONO, R

Combination and Sequencer modes

Timbre 1 /MIDI Track 1

Timbre 16 /MIDI Track 16

Send

Master Effect 1, 2

Insert Effect 1–5

Return

Total Effect

OUTPUT

L/MONO, R

Routing effect settings Program Effects settings

Routing effect settings

The insert effects, master effects, and total effect have the same structure in all modes, but the routing settings will determine how the oscillators of a program or the timbres of a combination or track of a song will be sent to each insert effect, master effect or total effect.

In the pages that follow, we will explain how you can adjust routing settings and effect settings in each mode.

Insert effects

5. Access the Prog P8: Routing/IFX– Insert FX Setup page.

Program Effects settings

Routing

1. Access the Prog P8: Routing/IFX– Routing page.

2. Use Bus (IFX/Output) Select to specify the bus where the oscillator output will be sent.

If you want the oscillator output to be input to insert effect 1, choose IFX1.

L/R:

The output will not be sent to the total effect.

After bypassing the total effect, the sound will be sent to

AUDIO OUTPUT L/MONO and R.

IFX1–5:

The output will be sent to insert effect IFX 1–5.

Off:

Choose this if you want the signal to be connected in series to the master effects at the send levels specified by

Send 1 (to MFX1)

and

Send 2 (to MFX2)

3. OSC MFX Send specifies the send level from each oscillator to the master effects.

This can be set only when

Bus (IFX/Output) Select

is either L/R or Off.

Bus (IFX/Output) Select

is set to IFX1–5, the send level to the master effects is set by

Send1

and

Send2

(Insert FX Setup page) after the signal passes through the insert effects.

4. FX Control Bus sends the output of oscillator 1 and

2 to the FX Control bus.

Use this if you want the audio input to the effect to be controlled by a different sound.

You can use the two FX Control buses to control effects freely.

For details, please see “FX Control Buses” on page 238 of the Parameter Guide.

6. Choose the effect type that you want to use for each insert effect IFX1–5.

When you press the popup button, all effects will be displayed, organized into ten categories.

Use the pages located to the left and right to select a category, and choose an effect from the desired category on the display.

You can use the

Copy Insert Effect

menu command to copy effect settings from another program etc.

Also, you can use

Swap Insert Effect

to exchange (for example) IFX1 and IFX5.

7. Press the On/Off button to turn on the insert effect.

Each time you press this button, the insert effect will toggle on/off.

When Off, the result will be the same as when 000: No Effect is selected; the sound will be output without being processed by the insert effect.

8. Make Chain settings.

If the

Chain

check box is checked, the insert effect will be connected in series.

Since the output of the oscillator is being sent to IFX1 in step 2, adjusting settings as shown in the diagram above step 6, would connect all five insertion effects IFX1



IFX2



IFX3 in series, so that these effects would be inserted into the output of the oscillator.

9. Adjust settings for Pan: #8

Bus (Bus Select), Send

1, Send 2 and FX Ctrl for the sound after it has passed through the insert effects.

If you’ve specified a chain, the settings that follow the last IFX in the chain will be valid (except for

FX Ctrl

Pan: #8:

Sets the pan of the IFX output.

Bus (Bus Select):

Specifies the output destination.

Normally you will set this to L/R.

Send 1, Send 2:

Sets the send levels to the master effects.

For this example, set this to 127.

FX Control Bus:

The FX Control Buses lets you create effects “sidechains.” Sidechains let you control an effect with one audio signal (the sidechain), while the effect processes a completely different audio signal.

This is convenient for use with vocoders, compressors and limiters, gates, etc.

For details, please see “FX

Control Buses” on page 238 of the Parameter Guide.

Using Effects

10. Access the P8: Routing/IFX– Insert FX Setup page, and edit the parameters of the insert effect you selected.

Press the IFX 1–5 tabs and edit the parameters.

Effect Parameters

Effect On/Off

P (Effect Preset)

Master effects

11. The input levels to the master effects are set by the Send 1, 2 levels (step 3 or 9).

If Send 1, 2 are zero, the master effects will not apply.

Send 1 corresponds to MFX1, and Send 2 corresponds to

MFX2.

12. Access the Prog P9: MFX/TFX/LFO– Routing page.

Wet/Dry

Effect 1 On/Off:

Turns the insert effect on/off.

This is linked with the on/off setting on the Insert FX Setup page.

P (Effect Preset):

Selects an effect preset.

The KROME’s internal memory contains “effect presets” which are parameter settings for each effect from 001: Stereo

Compressor through 193: Early Reflections.

Effect parameters you edit are saved as part of each program, but effect presets allow you to save and recall your favorite parameter settings for each effect.

If you’ve come up with an effect setting you like, use the menu command

Write FX Preset

to save it as a preset so that you can easily recall it in a different program or mode.

For details on the parameters of each effect, see page 251 and following in the Parameter Guide.

Double-size effects

Double ‐ size effects (172: St.Mltband

Limiter – 193:

Early Reflections) use twice as much space as other effects.

You can use double ‐ size effects for insert effects IFX1–

IFX4 and master effect MFX1.

However, because it takes up two units of effects power, the next ‐ numbered effect will be unavailable.

For example, if you’ve selected a double ‐ size effect for IFX1, you won’t be able to use IFX2.

If you’ve selected a double ‐ size effect for

MFX1, you won’t be able to use MFX2.

An example of when a double ‐ size effect is selected for IFX1 and IFX4

13. In MFX1 and MFX2, select the type of each master effect.

The procedure is the same as when selecting an insert effect (see step 6).

Note:

You can only select a double ‐ size effect for

MFX1.

For details, please see

“Double ‐ size effects,” above.

14. Press the On/Off button to turn on the master effect.

Each time you press this button, the master effect will toggle on/off.

When Off, the output of the master effect will be muted.

15. Use Return 1 and Return 2 to adjust the output levels of the master effects.

Note:

For each effect, the Wet value of the

Wet/Dry

parameter is the output level of the effect.

The return value is multiplied with this (“Return” = 127 will be x1.0) to determine the actual output level of the master effect.

16. Select the MFX1 and MFX2 pages, and set the parameters for each selected effect.

For details on the

“Program Effects settings”

step 10.

Total Effect

17. If you use Bus (IFX/Output) Select to choose L/R as the oscillator output, or if you set the post ‐ IFX

Bus to L/R, the signal will be input to the total effect.

The output from the master effect is input to the total effect via the Return 1 and Return 2 settings of the Prog

P9: MFX/TFX/LFO– Routing page.

After being processed through the total effect, the signal is output from the AUDIO OUTPUT L/MONO and R outputs.

18. Access the Prog P9: MFX/TFX/LFO– Routing page.

19. Choose the desired total effect for TFX.

The procedure is the same as when selecting an insert effect.

(See step 6)

You can’t use a double ‐ size effect as the total effect.

For details, please see

“Double ‐ size effects,” above.

Routing effect settings Using effects in Combinations and Songs

20. Press the On/Off button to turn the total effect on.

The total effect will toggle on/off each time you press the button.

If this is Off, the result will be the same as if

000: No Effect is selected.

The input sound will be output without being processed by the total effect.

21. Access the TFX page, and edit the parameters of each effect to adjust the final sound as desired.

For details on the

“Program Effects settings”,

see step

10.

4. Press the FX Control 1–8 tabs to access the FX

Control T01–08 pages.

Bus (IFX/Output) Select

is the same as in the Routing

T01–08 page.

You can set it from either page.

FX Control Bus

sends the output of the timbre to an FX

Control bus.

Use this when you want the audio input to an effect to be controlled by another sound.

There are two FX Control buses, which gives you a great deal of freedom for controlling effects freely.

For details, please see “FX Control Buses” on page 238 of the

Parameter Guide.

Insert effects

5. Access the Combi P8: Routing/IFX– Insert FX

Setup page.

Using effects in Combinations and Songs

In Combination, and Sequencer modes, you can specify the routing of each timbre/track to the insert effects, master effects and total effect.

These settings are adjusted in the same way in each of these modes.

We will be using the example of Combination mode in our explanation here.

Routing

1. Access the Combi P8: Routing/IFX– Routing T01–

08 page.

2. Use “Bus (IFX/Output) Select” to specify the bus where each timbre will be output.

Choose IFX1 if you want to send the output of a timbre to insert effect 1.

The routing, insert effects, and chain settings are shown graphically on the upper part of the page.

In this example, T01 (timbre 1) uses IFX1 and 2.

T02 uses

IFX2, T03 uses IFX3 and 4, T02 and T05 use IFX4, and

T06 and T07 use IFX5.

3. Use Send1 and Send2 to specify the send level of each timbre to the master effects.

This can be set only if

Bus (IFX/Output) Select

is set to

L/R or Off.

Note:

The actual send level is determined by multiplying this by the

Send 1

Send 2

settings for oscillators 1 and 2 within the program selected by the timbre.

If the program parameter

Send 1

Send 2

is set to 0, the resulting level will still be 0 even if you raise this send level.

Bus (IFX/Output) Select

is set to IFX1–5, the send levels to the master effects are set by

Send1

and

Send2

(Insert FX Setup page) following the insert effects.

6. Select an insert effect in IFX1–5 and edit the settings.

7. Access the IFX1–5 pages to edit the individual effect parameters.

These settings can be adjusted in the same way.

(See

page 79.)

You can use MIDI to control dynamic modulation

(Dmod) for each effect, the post ‐ IFX pan (CC#8), and Send 1 and Send 2 levels.

An asterisk “*” is shown at the right of Ch01–Ch16 for the channel number of tracks routed to IFX.

If you’ve routed multiple tracks that have different

MIDI channel settings, this specifies the channel on which they will be controlled.

Master effects and Total effect

These settings can be adjusted in the same way as on

page 80.

You can control these effects via MIDI on the “Ctrl

Ch.” The specified MIDI channel will control dynamic modulation (Dmod) for the Master and

Total Effect.

Using Effects

Dynamic modulation, Common FX LFO

Dynamic modulation (Dmod)

Dynamic modulation (Dmod) lets you use MIDI messages or the KROME’s controllers to modulate specific effect parameters in real ‐ time.

Dynamic modulation to control an effect parameter in realtime

As an example, let’s set up dynamic modulation to control an effect parameter in realtime.

1. As described in the procedure for

“Program

Effects settings” on page 79,

set IFX1 to 078: L/C/R

BPM Delay.

Verify that you’re hearing a delay effect.

2. Access the Prog P8: Routing/IFX– IFX1 page.

Now, we can set the Dmod to change the delay level via the Joystick

3. Set Input Level D ‐ mod to +100.

4. Set Source to JS+Y: #01.

The delay sound will disappear.

The input level to the effect can be controlled by the joystick.

As you move the joystick away from yourself, the delay sound will gradually increase.

When you move the joystick away from yourself and press the SW1 button, the feedback level will increase, and the delay sound will continue for a longer time.

The

Amt

setting specifies the feedback level that will be in effect when the SW1 button is pressed.

Amt

is set to –10, pressing the SW1 button will reduce the feedback level to 0.

Finally, we can use the MIDI/Tempo Sync function to synchronize the delay time to the arpeggiator tempo.

6. Set BPM to MIDI.

7. For L, C, and R, set the Delay Base Note and Times as desired.

For this example, set

Delay Base Note

to and

Times

to x1 so that the effect will be easily understandable.

The delay time will repeat at an interval of a 8th note.

In addition, we can use Dmod to change the feedback level via SW1

5. In the P1: Basic/Controllers– Controllers Setup page, set the SW1 function to SW1 Mod.CC#80, and the Mode to Toggle.

Choose P8: Routing/IFX– IFX1 page.

Set the Feedback

Src to SW1: #80, and set Amt to +30.

8. Rotate the TEMPO knob, and the delay time will change.

When you (push the joystick away from yourself and) press the SW1 button, the feedback level will rise, and the delays will become longer.

9. When you turn on the ARP button, arpeggiator will begin playing.

Select any desired arpeggiator.

When you rotate the

TEMPO knob, the delay time will change in synchronization with the changing tempo of the arpeggiator.

Depending on the specific delay effect, you may hear some unexpected noise if you change the tempo while the delay is sounding.

This is because the delay sound becomes discontinuous, and is not a malfunction.

For some effects, you can synchronize the LFO frequency to the tempo.

Set the effect parameters

MIDI Sync

to On, and

BPM

to MIDI.

For details, please see page 236 of the Parameter Guide.

Common FX LFO

Two Common FX LFOs are available for modulation effects, such as choruses, filters, phasers, etc.

Normally, the phase of the LFOs of multiple modulation ‐ type effects will not be synchronized even if you set them to the identical Frequency, since the LFOs are being generated independently.

However, if you select Common 1 or Common 2 for the

LFO Type

parameter of a modulation ‐ type effect, the effect will use the one of the common LFOs instead of its own individual LFO.

This allows you to use a single

Common FX LFO to control two or more modulation ‐ type effects such as flanger, phaser, or auto ‐ pan with the same phase.

Since you can make independent settings for LFO waveform and phase offset for each effect, you are free to create complex combinations of effects.

Common FX LFO

LFO Type = Common1

Stereo Flanger

Common FX LFO1

Frequency[Hz]

Reset

Waveform = Triangle

Phase Offset = 0 [deg]

Generate original LFO waveform

Stereo Phaser

Waveform = Sine

Phase Offset = 0 [deg]

Stereo Auto Pan

Waveform = Sine

Phase Offset = +90 [deg]

Dynamic modulation, Common FX LFO Common FX LFO

Using Effects

Arpeggiator function

Using the arpeggiator while you play

The arpeggiator is a function that automatically generates arpeggios (patterns of individual notes derived from a chord).

Most arpeggiators produce an arpeggio when you play a chord on the keyboard.

Arpeggiator on/off

• Each time you press the ARP button, the arpeggiator will be switched on/off.

When the arpeggiator is turned on (the LED will light up) and the selected arpeggio pattern will begin when you play the keyboard.

The chord you played on the keyboard is sounded as an arpeggio (broken chord)

The KROME’s arpeggiator is also polyphonic, and can produce a variety of chordal transformations or phrases based on the pitch or timing of the notes you play on the keyboard.

These functions let you use the arpeggiator to play a wide range of patterns including drum or bass phrases, and guitar or keyboard backing riffs.

It is also effective to use the arpeggiator as part of the sound ‐ design process when creating subtly ‐ moving pads, synth ‐ sounds, or sound effects.

The KROME’s Dual Arpeggiator feature lets you use two simultaneous arpeggio patterns in Combination mode, and Sequencer mode.

You can take advantage of this in many ways, including a separate arpeggio pattern for a drum program, and another applied to a bass program, or using a keyboard split or velocity to switch between two arpeggio patterns.

The KROME provides five preset arpeggio patterns: the standard

DOWN

ALT1

ALT2

, and

RANDOM

You can also create and store 1,028 of your own user patterns.

The factory settings contain a wide variety of arpeggio patterns stored in these user locations (see page 211 of the Parameter Guide).

Using the arpeggiator in

Program mode

1. Press the PROG button to enter Program mode, and select a program.

For details, please see

“Selecting Programs” on page 21.

2. Press ARP button (the LED will light) to turn on the arpeggiator.

Arpeggios will begin sounding when you play the keyboard.

3. As described in the following sections

“Using knobs 1–4 to control the arpeggiator”

and

“Selecting an arpeggio pattern and specifying its function,”

move the controllers or modify the parameters to change the way that the arpeggios are played.

Note:

The on/off status is saved when you write each program.

In Combination and Song modes, the arpeggios may not start when you press the ARP button ‐ depending on the saved settings.

You may need to play a keyboard (see

page 90).

Adjusting the arpeggiator tempo

• Rotate the TEMPO knob or TAP button to adjust the tempo.

The “ =” display in the upper right of the LCD will change.

The tempo can be adjusted over a range of 40.00–300.00

bpm.

The LED will blink in time with the specified tempo.

As an alternative to using the TEMPO knob or TAP button, you can also set the tempo by selecting “ =” in the display, using the numeric keys 0–9 to enter the tempo, and pressing the ENTER button.

You can also set the tempo by using the VALUE controllers.

The LED will blink in synchronization with the tempo you specify.

Note:

The tempo setting is also saved when you write a program.

Note:

The arpeggio playback speed is affected by the

Reso

setting (Prog P0: Play– Arpeggiator page), or

Resolution

(P7: ARP/DT– ARP Setup page).

If the Global P1: MIDI– MIDI Basic page

MIDI

Clock

parameter is set to External MIDI, External

USB, or set to Auto and MIDI Clock messages are being received, the display will indicate “ =” EXT, meaning that the KROME is synchronized to an external MIDI device.

In this case, you won’t be able to change the tempo by using the KROME.

Arpeggiator function

Using knobs 1–4 to control the arpeggiator

• You can control the arpeggiator by pressing the

SELECT button to select ARP and then turning knobs 1–4.

Adjusting the duration of the arpeggiated notes

• Turn knob 1 to adjust the duration of the arpeggiated notes.

Rotating the knob toward the left will shorten the duration of the notes, and rotating it toward the right will lengthen the duration of the notes.

At the center position (12 o’clock), the note length will be as specified by the program parameter:

Gate

(Prog

P7: ARP/DT– ARP Setup page).

Note:

The knob setting is saved when you write each program.

Note:

It is effective to use the SELECT button to select

TONE, and then adjust knob 4 (RELEASE).

Changing the dynamics of the arpeggiated notes

• Turn knob 2 to adjust the dynamics of the arpeggiated notes.

Turning the knob toward the left will make the notes softer, and turning it toward the right will make the notes stronger.

When the knob is in the center position (12 o’clock), the value of the pro ‐ gram parameter

Velocity

(Prog P7: ARP/DT– Arp

Setup page) will be used.

Note:

The state of the knob is saved when you write the program.

Note:

It is effective to use the SELECT button to select

TONE, and then adjust knobs 1 (CUTOFF), 2

(RESONANCE), and 3 (EG INT).

Adding a shuffle feel to the arpeggio pattern

• If you turn knob 3, the timing of the arpeggiated notes on even ‐ numbered beats will be shifted forward or backward.

Turning the knob toward the left will speed up the timing of the even ‐ numbered beats.

When the knob is in the center position (12 o’clock), the timing will be as specified by the program parameter

Swing

(Global P6: Arpeggio Pattern ‐ Setup page).

Changing the number of steps in the arpeggio pattern

• By turning knob 4 (STEP), you can change the number of steps in the arpeggio pattern.

Turning the knob toward the left will shorten the pattern length (“Length”) by half.

Turning the knob toward the right will shorten the interval of the arpeggiated notes (“Resolution”) by half.

When the knob is in the center position (12 o’clock), the pat ‐ tern will be as specified by the parameters

Length

and

Resolution

(Global P6: Arpeggio Pattern–

Setup page).

If the arpeggio pattern selected by “Pat (Pattern

Select)” is one of the preset arpeggio patterns P0–

P4, turning the knobs will not produce any change.

These adjustments are available only if a user arpeggio pattern U0000 (INT)–U1027 (USER) is selected.

Note:

The state of the knobs is saved when you write the program.

Note:

Depending on the program that’s selected, using knob 4 may not produce any effect.

Selecting an arpeggio pattern and specifying its function

In the Prog P0: Play– Arpeggiator page you can select an arpeggio pattern and specify how the arpeggiator will function.

• In Prog P0: Play, press the ARP tab to access the

Prog P0: Play– Arpeggiator page.

Selecting an arpeggio pattern

An arpeggio pattern can be selected from preset arpeggio patterns P0–P4 and user arpeggio patterns

U0000(INT)–U1027(USER).

The factory settings

U0000(INT)–U0899(INT), U0900(USER)–U1027(USER) contain a wide variety of preloaded user arpeggio patterns.

• Choose

Pattern

, and use the VALUE dial, INC/DEC buttons, and popup menu to select an arpeggio pattern.

User arpeggio patterns can also be selected by using the numeric keys 0–9 to input the pattern number and then pressing the ENTER button.

P0: UP

P1: DOWN

DOWN

P2: ALT1

ALT1

P3: ALT2

ALT2

Using the arpeggiator while you play Using the arpeggiator in Program mode

Sounding an arpeggio in the order of the pitches in the chord you played

You can select whether the notes of the arpeggio will be sounded in the order of the pitches in the chord you played (regardless of the order in which you actually played the notes), or in the order in which you played the notes.

• Press the “Sort” check box in the display to make this setting.

Checked

: the arpeggio will play each note in the order of its pitch, regardless of the order in which you actually played the notes.

Unchecked

: the arpeggio will trigger each note in the order in which you actually played the notes.

Sort

OFF, UP

Sort

ON, UP

P4: RANDOM

RANDOM

Changing the note value of the arpeggiated notes

The

Resolution

parameter lets you set the note value of the arpeggiated notes, over a range from

– .

• Press

Resolution

, and use the VALUE dial, INC/

DEC buttons, or popup menu to select the desired arpeggio note value.

Selecting the octave range where the arpeggio is sounded

Use the “Octave” radio buttons to specify the range of octaves where the arpeggio will play.

• Press an “Octave” radio button to make your selection.

Octave: 4

1 3 2 4

Setting the arpeggio to continue playing even after you have taken your hand off the keyboard

You can select whether the arpeggio will continue playing when you take your hand off the keyboard, or whether the arpeggio will stop.

• Press the “Latch” check box to make this setting.

Checked:

The arpeggio will continue playing even after you remove your hand from the keyboard.

Unchecked:

The arpeggio will stop playing when you remove your hand from the keyboard.

Synchronizing the arpeggiator to your keyboard timing

You can specify whether the arpeggio will begin at the moment you play the keyboard, or whether it will always play in synchronization to the MIDI clock tempo.

• Press the “Key Sync.” check box to make this setting.

Checked:

The arpeggio pattern will start from the beginning when you press a key.

This setting is suit ‐ able when you want the arpeggio to start from the beginning of the measure as you are playing in real ‐ time.

Unchecked:

The arpeggiator will synchronize to the

MIDI clock timing.

Sounding both the arpeggio notes and the notes you play

• Press the “Keyboard” check box to adjust this setting.

Checked:

The notes you play on the keyboard and the notes played by the arpeggiator will both be heard.

Arpeggiator function

Unchecked:

Only the arpeggiated notes will sound.

Changing the duration of the arpeggiated notes

The P7: ARP/DT– ARP Setup

Gate

parameter specifies the duration of the arpeggiated notes.

With a setting of

000–100(%), the duration will always be the specified gate time.

Step is available if you’ve selected

U0000(INT)–U1027(USER) as the

Pattern

; the gate value specified for each step will be used.

You can also control this by using the arpeggio control

(ARP) GATE knob (see

“Selecting Combinations” on page 43).

Specifying the arpeggio pattern’s velocity and other settings

In P7: ARP/DT– ARP Setup, the

Velocity

parameter specifies the velocity of the arpeggiated notes.

If you choose a value in the range of 001–127, that velocity value will always be used.

If you choose Key, the velocity value of how you played the key will be used.

Step is available if “Pattern” is set to U0000(INT)–

U1027(USER); this causes the velocity value specified for each step to be used.

“Swing” offsets the timing of arpeggiated notes that are even ‐ numbered (counting from the beginning).

“Velocity” and “Swing” can be controlled by knobs 2 and 3 respectively when SELECT is set to ARP.

Specifying the zone where the arpeggiator will function

In P7: ARP/DT– ARP Scan Zone you can specify the range of notes (keys) and velocities where the arpeggiator will function.

Using the arpeggiator in

Combination mode

In Combination mode the KROME provides dual arpeggiators, allowing you to run two arpeggio patterns simultaneously.

1. In Combination mode, select a combination (see

As you select various combinations, you’ll notice that the ARP button LED will light up for some combinations (see

“Linking the arpeggiator to programs or combinations” on page 91).

When you play the keyboard, the arpeggiator will start.

Even for other combinations, you can turn the arpeggiator on by pressing the ARP button (the LED will light up).

2. Listen to how the arpeggio can be modified as described in the

“Using knobs 1–4 to control the arpeggiator”

(above) and

“Selecting an arpeggio pattern and specifying its function”

sections

(below).

The ARP button, TEMPO knob, TAP button, and control surface ARP will apply to both arpeggiators A and B.

Their state is saved when the combination is written.

Selecting an arpeggio pattern and adjusting settings

In the Combi P0: Play– Arpeggiator page you can select an arpeggio pattern and specify how the arpeggiator will function.

• In Combi P0: Play, press the ARP A tab or the ARP

B tab to select the Combi P0: Play– Arpeggiator A or B page.

Arpeggiator Run Timbre Assign

Select the arpeggiator(s) that will run

Use the

Arpeggiator Run

check boxes to specify the arpeggiator(s) that you want to have running.

The arpeggiator(s) that are checked here will run when the

ARP button is on.

However, the arpeggiator will only play a timbre if the table next to the check boxes assigns arpeggiator A or B to a timbre: T 1–16.

You change these settings in Combi P7: ARP/DT– ARP

Setup T01–08, T09–16 page

Arpeggiator Assign

(see

page 90).

Using the arpeggiator while you play Arpeggiator settings in Combination and Sequencer modes

Arpeggiator-A, Arpeggiator-B

For each arpeggiator A and B, you can adjust settings for

Pattern (Select)

Resolution

Octave

Sort

Latch

Key Sync

, and

Keyboard

(see

Checking the structure of a user arpeggio pattern

Let’s see how the combination “A005: Boom Pow Pad”

(category: LeadSplits) is constructed.

• Select combination “A005: Boom Pow Pad”

(category: LeadSplits), and look at the Arpeggio

Play A page and Arpeggio Play B page.

• The drum programs of timbres 1–4 use the same arpeggiator A pattern, but since the notes sounded by each timbre are divided by key zone, each will play only a portion of the arpeggiator pattern.

Go to the P0: Play–Program T01–08 page and try muting each timbre 1–4 to hear the result.

You can add variety by using different combinations of timbres.

• In “Timbre Assign” you’ll see that arpeggiator A is assigned to timbres 1–5, and arpeggiator B is assigned to timbres 6 and 7.

When you play the keyboard, the drum programs of timbres 1–4 will be sounded by the arpeggio pattern of arpeggiator A.

(Timbre 5 is a dummy program used to play timbres 1–4.

See

page 91.)

Arpeggiator B will sound the programs of timbres 6 and 7.

• If you uncheck

Arpeggiator Run A

Arpeggiator

Run B

, it will stop.

If you check it once again and play the keyboard, that arpeggiator will begin running.

• When you access the Combi P7: ARP/DT– ARP

Scan Zone page, you’ll see that the B “Top Key” and “Bottom Key” parameters are set so that arpeggiator B will run only for the notes B3 and below.

Arpeggiator A is set to run for any key.

Arpeggiator settings in

Combination and Sequencer modes

In Combination and Sequencer modes, you can use use two arpeggio patterns simultaneously, thanks to the

KROME’s dual arpeggiator functionality.

The settings in each of these modes are adjusted in a similar way.

The following example shows how to adjust settings in

Combination mode.

The dual arpeggiator functionality lets you do the following things.

• Assign an arpeggiator for each timbre.

Choose from

Off

, (arpeggiator)

, or (arpeggiator)

☞ step 5

• Independently specify whether

and

will function.

☞ step 6

• Select an arpeggio pattern and set parameters independently for

and

☞ step 7

• Make Scan Zone page settings so that you can use keyboard range or playing velocity to switch between normal playing and arpeggiated playing, or to switch between arpeggiators

and

☞ step 8

• Make settings for timbres that will be silent when the arpeggiator is Off, and will sound only when the arpeggiator is On.

☞ step 10

Arpeggiator function

Arpeggiator settings

1. Select Combi P0: Play– Program T01–08 page.

Select programs for the timbres that you wish to use.

For this example, select any desired program for timbres 1–4.

2. Select Combi P3: Timbre Parameters, MIDI T01–08 page.

For the timbres that you will be using, set

Status

INT

, and set

MIDI Channel

Gch

or to the global

MIDI channel (set in Global P1: MIDI Basic

MIDI

Channel

For this example, set timbres 1–4 to a

Status

INT

, and timbres 5–8 to a

Status

Off

Set the

MIDI

Channel

of timbres 1–4 to

Gch

3. Select Combi P7: ARP/DT– ARP Setup T01–08 page.

4. Set “ (Temp)” to specify the tempo.

This is the same as for a program.

However, the tempo is shared by both arpeggiators

and

5. Make “Arpeggiator Assign” settings.

Assign arpeggiator A or B to the desired timbres.

Each timbre will be played by the arpeggiator that has been assigned to it.

6. Make “Arpeggiator Run” settings.

Check the arpeggiator(s) that you want to run.

The arpeggiator(s) checked here will run when the ARP button is turned on.

With the settings shown in the display for steps 2 and

3, turning the ARP button on will cause arpeggiator A to run for timbres 1 and 2, and arpeggiator B to run for timbre 3.

When the ARP button is turned off, timbres

1–4 will sound as a layer.

If all timbres

Assign

status are set to

Off

, or if

Arpeggiator Run

unchecked

, the arpeggiator will not function.

7. On the Arpeggiator A and Arpeggiator B pages, set the parameters for arpeggiators A and B.

The parameters for A and B are the same as for a program (see

“Selecting Combinations” on page 43.

8. In the Scan Zone A/B page, specify the range in which arpeggiators A and B will function.

The parameters for A and B are the same as for a program.

You can use keyboard ranges or velocity ranges to use one or both of the arpeggiators, or to switch between arpeggiators A and B.

By using the Combi P4: Zone/

Delay– Key Zone T01–08 – T09–16 page, and Vel Zone

T01–08 – T09–16 page to set keyboard and velocity ranges in conjunction with each other, you can create even more variations.

9. If you wish to save the edited combination settings in internal memory, turn off memory protect in Global mode, and write the combination

(see

page 115

and

page 117).

10. The “Status,” “MIDI Channel” and “Assign” settings shown in the display of steps 2 and 3 can be made so that certain timbres will sound only when the arpeggiator is On, and will be silent when the arpeggiator is Off.

Combination A001: Bossa Rose (SW1/2)

(Category: Keyboard)

Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example.

When you play a specific region of the keyboard, this combines settings that cause the arpeggiator to play an arpeggio using different sounds than what ʹ s being played by the keyboard, with other settings that cause the arpeggiator sounds to remain completely unplayed when the arpeggiator is off.

Before you play, make sure that the global MIDI channel (Global P1: MIDI Basic

MIDI Channel

) is set to

Select combination A001: Bossa Rose (SW1/2), turn the

ARP button on, and play.

• Arpeggiator A is assigned to timbre 2 and 16.

When you play the keyboard, the bass riff arpeggio pattern will sound the timbre 2 program.

• The A

Bottom Key

and

Top Key

(Combi P7: ARP/

DT– ARP Scan Zone page) are set so that arpeggiator A will function only for notes B3 and lower.

• Arpeggiator A is also assigned to timbre 16, but this is so that the timbre 2 program will sound only when the arpeggiator is on.

Notice the timbre settings for timbre 2 and 16.

Timbre

Status

INT

Off

MIDI Channel

Gch

Assign

• If the arpeggiator is off, playing the keyboard will sound the timbre(s) that are set to Gch or to the global MIDI channel (in this case, 01).

Since the

MIDI Channel

of timbre 2 is set to 02, it will not sound.

Timbre 16 is set to Gch, but since “Status” is

Off it will not sound.

Using the arpeggiator while you play Linking the arpeggiator to programs or combinations

• Notes from any MIDI channel that is assigned to a timbre will trigger the arpeggiator.

In this case, these will be

MIDI Channel

02 and Gch (global

MIDI channel).

When the arpeggiator is on, playing the keyboard will trigger arpeggiator A, which is assigned to timbre 16 (Gch).

Timbre 2 will be sounded by arpeggiator A.

Since the

Status

of timbre 16 is Off, it will not sound.

• Since the

Status

of timbre 16 is Off, it will not sound, regardless of whether the arpeggiator is on or off.

It is a dummy timbre that causes timbre 2 to sound only when the arpeggiator is on.

Combination A005: Boom Pow Pad

(Category: Synth)

Before you play, make sure that the global MIDI channel (Global P1: MIDI Basic

MIDI Channel

) is set to

Select combination A005: Boom Pow Pad, turn the ARP button on, and play.

• Arpeggiator A is assigned to timbres 1–5, and arpeggiator B is assigned to timbres 6 and 7.

When you press any note of the entire keyboard, the drum programs of timbres 1–4 will be sounded by the arpeggio pattern of arpeggiator A.

When you play the B3 or a lower note on the keyboard, the synth programs of timbres 6 and 7 will be sounded by the backing arpeggio pattern.

• The arpeggiator A parameters “Bottom Key” and

“Top Key” (Combi P7: ARP/DT– ARP Scan Zone page) are set so that arpeggiator A will run for the entire keyboard.

• The B

Bottom Key

and

Top Key

(Combi P7: ARP/

DT– ARP Scan Zone page) are set so that arpeggiators B will function only for the note B3 and below.

• Arpeggiator A is assigned to timbre 5 as well, but this setting is so that the timbre 1 to 4 program will sound only when the arpeggiator is on.

Refer to the preceding section “Combination Bossa Rose (SW1/

2).”

Linking the arpeggiator to programs or combinations

You can specify whether the arpeggiator settings written to a program or combination will be recalled when you switch programs or combinations, or whether the current arpeggiator settings will be maintained.

With the factory settings, the former is selected.

Use the latter when you want to keep the same arpeggio pattern running, and change only the program sound.

This setting is made in “Load ARP when changing”

(Global P0: Basic Setup, Basic page).

(See

page 110)

Creating a user arpeggio pattern

About user arpeggio patterns

The patterns that can be selected on the KROME’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns.

Preset arpeggio patterns:

There are five patterns; UP, DOWN, ALT1, ALT2, and

RANDOM.

The functionality of these patterns is fixed, and cannot be edited.

User arpeggio patterns:

There are 1028 patterns ‐ U0000(INT)–U1027(USER) ‐ which can develop chords or phrases in a wide variety of ways, based on the pitches that you play on the keyboard or the timing with which you play them.

In Global P6: Arpeggio Pattern, Setup you can modify these user arpeggio patterns, or create a new user arpeggio pattern from an initialized condition.

Edited user arpeggio patterns can be written to internal memory areas U0000(INT)–U1027(USER) (see page 221 of the Parameter Guide).

In Media mode, you can also save user arpeggio patterns to media.

Editing a user arpeggio pattern

If you want to edit a user arpeggio pattern, you must first make sure that memory protect is unchecked.

(See page 197 of the Parameter Guide)

If you enter this mode from the Program mode, your editing will apply to the arpeggio pattern specified for the selected program.

1. In Program mode, select a program which uses the arpeggio pattern you wish to edit, or a program that you wish to use as a basis for editing the arpeggio pattern.

2. Press the ARP button to turn the arpeggiator on

(the button will light up).

Even if you entered Global mode from a program in which the arpeggiator was turned off, you can use the

ARP button to turn it on.

3. Select the Global P6: Arpeggio Pattern– Setup page (see page 211 of the Parameter Guide).

Arpeggiator function

4. “Arpeggiator Select” will automatically be set to A when you navigate to this page from Program mode.

5. In “Pattern,” select the arpeggio pattern that you wish to edit.

For this example, select an empty user arpeggio pattern.

If a blank pattern is selected, playing the keyboard will not start an arpeggio.

Although preset arpeggio patterns

P0–P4

can be selected, they cannot be edited.

When you edit a user arpeggio pattern, the changes will have an effect anytime that this pattern is used in Program, Combination, or Song.

6. In “Length,” specify the length of the pattern.

After the pattern has played for the length specified, it will return to the beginning.

This setting can also be changed during or after editing.

For this example, set it to 08.

Set knob 4 (STEP) to the center position (12 o’clock) so that the values of the “Length” and

“Resolution” parameters (Global P6: Arpeggio

Pattern ‐ Setup page) will be used.

Note:

For the preload arpeggio patterns U0000(INT)–

U0899(INT), simply changing the “Length” can significantly change the character of the pattern.

Try changing the length and listening to the result.

(See

“Length (Pattern Length)” on page 211 of the

Parameter Guide.)

7. Make settings for the “ (Tempo),” “Resolution,”

“Octave,” “Sort,” “Latch,” “Key Sync.,” and

“Keyboard” parameters.

These are program parameters, but they can be set from here as well.

If after accessing this page from Program mode, you modify these parameters and wish to keep your changes, return to Program mode and write the program.

These parameters are not saved by

“Write Arpeggio Pattern.”

For this example, make the settings shown display step

8. In Arpeggio Pattern Setup, specify how the arpeggio will be developed.

9. Press the button to select Edit dialog.

You can also select the step by pressing the Step line in the parameter view at the bottom.

You can also edit by dragging in the parameter view.

Press the button to the left of the parameter view to switch between Pitch (

Pitch Offset

)

→

Gate (

Gate

)

→

Vel.

(

Velocity

)

→

Flam (

Flam

•

Tone:

Each step can sound a chord of up to 12 tones

(

Tone No.

00–11).

By touching and dragging the overview on the right part of the screen or by using the zoom scroll buttons above it, select the location for entering tones in the zoom view below.

Press the touch grid to enter tones.

When

Step

is selected, you can also enter tones by using the numeric keys 0–9 and the “–” and “.” but ‐ tons.

Note:

The

Tone No

corresponds to the numeric keys

0–9 and the “–” and “.” buttons as shown below.

Each time you press a numeric key 0–9 or a “–” or “.” button, the corresponding tone will turn on or off.

The horizontal lines of the grid in the center of the display correspond to tones.

Tone00–09:

0–9 buttons

Tone10:

– button

Tone11:

button

Tone No.

01 05

Step No.

Entering tones

Alternate: Set or reset the tone.

Pen (set only): Set the tone.

Erase (reset only): Reset the tone.

Tool: Opens the tool tablet.

The tool tablet lets you use various commands in a region you’ve specified in the overview, or to copy and paste (see “Tool Tablet” on page 214 of the Parameter Guide).

Creating an example pattern

Length: 8

Overview

Resolution

Zoom Scroll

Tone Input

1. Press the alternate button.

2. Enter tones in the touch grid as shown in the illustration below.

Touch Grid

Parameter

View

A pattern consists of Steps and Tones.

•

Step:

Each user arpeggio pattern has up to 48 steps.

Starting with the first step, the arpeggiator will play notes at intervals of the note value specified by

Resolution

The vertical lines of the grid indicate the steps.

Use

Step

to select the step; then specify

Pitch Off ‐ set

Gate

Velocity

and

Flam

for each step.

Using the arpeggiator while you play Creating a user arpeggio pattern

3. When you play the keyboard as shown in the illustration, the arpeggiator will begin playing.

Tone 0 corresponds to the pitch of the lowest key of chord you play on the keyboard.

(If

Sort

is unchecked, it will correspond to the pitch of the first note you play.)

4. For steps 01–08, make settings for “Pitch Offset,”

“Gate,” “Velocity,” and “Flam.”

Pitch Offset:

This offsets the pitch of the arpeggio note in semitones up or down.

You can input the same tone for each step, and change the

Pitch Offset

value for each to create a melody using a single tone.

(See

“Melody pattern”)

Gate:

Specifies the length of the arpeggio note for each step.

With a setting of Legato, the note will continue sounding either until the next note of the same tone or until the end of the pattern.

With a setting of Off, the note will not sound.

Velocity

: This specifies the strength of the note.

With a setting of Key, the note will sound at the strength of how it was actually played.

The

Gate

and

Velocity

settings you select here will be valid if the

Gate

and

Velocity

parameters

(Program P7: ARP/DT– ARP Setup page) of the program selected in Program mode are set to Step.

If these parameters have a setting other than Step, the

Gate

and

Velocity

that were specified for each individual step will be ignored, and all notes of the arpeggio will sound according to the settings in

Program P7: ARP/DT– ARP Setup page.

Be sure to verify the settings of the program.

When editing

Gate

Velocity

, and

Swing

, use the

SELECT button to select ARP, and set knob 1

(GATE) and knob 2 (VELOCITY) to the center position (12 o’clock).

Other examples of creating a user arpeggio pattern

Melody pattern

1. Press the alternate button.

2. In the touch grid, set tone 0 for “Step” 01, 02, 03, 04,

05, 07, and 08 (i.e., all but 06).

3. Specify the pitch.

Set the “Step” 02 “Pitch” to +10,

“Step” 05 “Pitch” to +12, and the “Step” 08 “Pitch” to –2.

4. Play a single key; the arpeggio will begin playing.

Chordal pattern

5. To change the user arpeggio pattern name, use the

“Rename Arpeggio Pattern” menu command.

(See page 221 of the Parameter Guide)

6. If you wish to save the edited user arpeggio pattern to internal memory, be sure to Write the user arpeggio pattern.

(See page 221 of the

Parameter Guide)

If you turn off the power without writing, the edited contents will be lost.

7. If you wish to save the state of the program at the same time, return to Program mode and write the program.

(See

page 115)

1. Press the alternate button.

2. In the touch grid, set tone 00 of “Step” 01.

3. In “Step” 03, 04, 06, and 07, set tones 00–04.

4. Select “Step” 01, and set “Gate” to Legato.

5. Select “Step” 06, and set “Gate” to Legato.

Note:

To simulate the timing nuances of a strummed guitar chord, select

Flam

In Program mode, select an acoustic guitar program, and choose the user arpeggio pattern that you created here.

In the Arpeg.

Program

P7: ARP/DT– ARP Setup page, set

Gate

to Step.

Arpeggiator function

Then return to the Global P6: Arpeggio Pattern– Setup page.

For odd ‐ numbered steps, set

Flam

to a positive

(+) value.

For even ‐ numbered steps, set

Flam

to a negative (–) value.

Let’s input the following rhythm pattern.

Drum pattern

You can use the arpeggiator to play a rhythm pattern by using “Fixed Note” with a drum program.

1. In Program mode, select a drum kit program.

For this example, select the preset program A017: Jazz

Dry/Amb1 Kit (Category: Drums).

2. In Global P6: Arpeggio Pattern, select the Setup page, and parameter settings.

Arpeggio Tone Mode:

Set this to Fixed Note.

This will cause the tone to always sound at the specified pitch.

Fixed Note Mode:

If you set this to Trigger All Tones, playing a single note on the keyboard will sound all tones.

If you set this to

Trigger As Played

, the tones will be sounded according to the notes you play on the keyboard (see page 212 of the Parameter Guide).

4. For each “Tone,” specify “Fixed Note No.”

Use the Fixed Note Setup button to open the dialog box.

Here you can assign a different drumsample (note number) of the drum kit to each fixed note.

For this example, set

Tone No.

and

Fixed Note No.

as follows.

Tone No.

Fixed Note No.

C2 (kick)

F2 (snare)

F#3 (closed hi-hat)

A#3 (open hi-hat)

3. Select the Edit page.

The drumsample corresponding to each note number will differ depending on the drum kit.

It’s best to play the keyboard to find the drum sound you want; then hold down

Fixed Note No.

and play that note to enter the desired note number.

5. Press the alternate button.

6. Enter the kick (Tone00).

In the touch grid, set tone 00 (C2) of

Step

01 and 05.

7. Enter the snare (Tone01).

In the touch grid, set tone 01 (F2) of

Step

03 and 07.

8. Enter the closed hi ‐ hat (Tone02).

In the touch grid, set tone 02 (F#3) of

Step

01, 02, 03, 05,

06, and 07.

9. Enter the open hi ‐ hat (Tone03).

In the touch grid, set tone 03 (A#3) for

Step

04.

10. If Fixed Note Mode is set to Trigger As Played, playing a single note on the keyboard will cause only the kick (Tone00) to play.

Playing two notes on the keyboard will cause only the kick (Tone00) and snare (Tone01) to play.

In this way, the number of keys that you play will be played by the same number of tones.

Using the arpeggiator while you play Creating a user arpeggio pattern

11. Set the parameters for each step.

Use

Velocity

etc.

to add accents to the rhythm pattern.

The

Gate

and

Velocity

settings you select here will be valid if the

Gate

and

Velocity

parameters

(Program P7: ARP/DT– ARP Setup page) of the program selected in Program mode are set to Step.

If these parameters have a setting other than Step, the

Gate

and

Velocity

that were specified for each individual step will be ignored, and the notes of the arpeggio will be sounded according to the settings of the Program P7: ARP/DT– ARP Setup page.

Check the settings of the program.

When specifying

Gate

and

Velocity

, press the control surface ARP button, and set knob 1 (GATE) and knob 2 (VELOCITY) to the center position (12 o’clock).

Dual arpeggiator editing

Here we will use a combination as an example in our explanation.

The same procedure applies when editing an arpeggio pattern in Sequencer mode.

If you have entered this mode from the Combination mode, the arpeggio pattern selected by the combination will be affected by your editing.

1. In Combination mode, select a combination that uses the arpeggio pattern you wish to edit.

For this example, select a combination where both arpeggiators A and B are assigned.

2. Press the ARP button to turn on the arpeggiator

(the button will light up).

Even if the arpeggiator had been turned off when you moved here, you can use the ARP button to turn it on.

However, if

Arpeggiator Run

A or B are not checked, and if

Arpeggiator Assign

, is set to off, then the arpeggiator will not function.

3. Select the Global P6: Arpeggio Pattern– Setup page.

4. If you accessed this page from Combination mode, use the “Arpeggio Select” A and B to select the arpeggiator that you wish to edit.

If this is A, your editing will apply to the parameters and user arpeggio pattern of arpeggiator A.

If this is B, your editing will apply to the parameters and user arpeggio pattern of arpeggiator B.

5. Switch between arpeggiators A and B, and edit their respective user arpeggio patterns.

If you wish to stop one of the arpeggiators, return to

Combination mode, and in Combination P0: Play–

Arpeggio A or the Arpeggio B page and uncheck the

Arpeggiator Run

check box.

6. To modify the name of a user arpeggio pattern, use the Utility “Rename Arpeggio Pattern.”

(See page 221 of the Parameter Guide)

7. If you wish to save the edited user arpeggio pattern in internal memory, you must write the user arpeggio pattern.

In this case, both user arpeggio patterns will be written simultaneously.

If you turn off the power without writing, the edited contents will be lost (see page 221 of the Parameter Guide).

8. If you wish to save the state of the combination at the same time, return to Combination mode and write the combination.

(

See

page 115

)

Note:

When editing a user arpeggio pattern, pay attention to the global MIDI channel, the channel of each track, and the arpeggiator assignments, and make sure that the arpeggiator you are hearing is the pattern that you wish to edit.

Arpeggiator function

Regarding arpeggiator synchronization

“Key Sync.” parameter

The timing of the arpeggiator notes depends on the state of the arpeggiator

Key Sync.

check box.

If this box is checked, the arpeggiator will start running at the first note ‐ on that occurs after you’ve taken your hands completely off the keyboard.

If this box is unchecked, the arpeggiator will run in synchronization with the internal/external MIDI clock.

Below, we will explain how synchronization occurs when the

Key Sync.

check box is not checked

(Synchronization with Song Start and with MIDI realtime Start messages are excluded).

Synchronization between arpeggiators

A and B

In Combination and Sequencer modes, the two arpeggiators can run simultaneously.

In this case, if one arpeggiator is already running, and you then run the other arpeggiator (with “Key Sync.” unchecked), the second arpeggiator will synchronize to the “ (Tempo)” based on the first arpeggiator.

Key Sync.

is checked, arpeggiators A and B will run independently, each at their own tempo.

Synchronization with the drum track

If you want the arpeggiator to synchronize to the drum track pattern that’s currently playing, uncheck the

Key

Sync.

setting.

In this case, the arpeggiator will synchronize to the beat of the drum track pattern that’s currently playing.

If you want the drum track pattern to synchronize to the arpeggiator that’s currently running, turn on the

“Sync” setting (the Trigger parameter of the Drum

Track page of each mode).

Synchronization between the arpeggiator and sequencer in Sequencer mode

If song playback is stopped

• The arpeggiator will synchronize to the “ (Tempo)” based on the internal MIDI clock timing.

• If an RPPR pattern is playing in Sequencer mode, the arpeggiator will synchronize to the beat based on that pattern.

If you want the RPPR pattern playback to synchronize to the arpeggiator that’s currently running, set “Sync” to SEQ (SEQ P10: Pattern/RPPR– RPPR Setup page).

Pattern playback will synchronize to the “ (Tempo)” timing of the arpeggiator.

While playing back or recording a song

• The arpeggiator will synchronize to the beat based on the timing of the song.

Synchronization with Song Start

• If the arpeggiator is turned on (ARP button is on) and is running, it will reset to the beginning of its arpeggio pattern when a Song Start is received.

(This is unaffected by the

Key Sync.

setting.)

• In Sequencer mode when

Key Sync.

is unchecked and the ARP button is on, if you start the arpeggiator by pressing a key during the pre ‐ count before recording begins, the arpeggiator will start its pattern as soon as recording begins, and will be recorded.

Synchronization with external sequencer playback

If “ (Tempo)” is EXT (i.e., if Global P1: MIDI

MIDI

Clock

is External MIDI or External USB) in Program,

Combination, or Sequencer modes, the arpeggiator will synchronize to the MIDI timing Clock and Start messages received from a connected MIDI device.

Note:

Synchronization will occur in the same way if

MIDI timing Clock

is Auto and MIDI realtime clock messages are being received from a connected MIDI device.

Synchronization with external MIDI timing clock

The arpeggiator will synchronize to the “ (Tempo)” timing of the external MIDI timing clock.

Synchronization with MIDI realtime Start messages

If the arpeggiator is turned on and running, an incoming MIDI realtime Start message will reset the arpeggiator to the beginning of its pattern (This is unaffected by the

Key Sync.

setting).

Drum Track function

Performing with the Drum Track function

The Drum Track function makes it easy to play the

KROME’s high ‐ quality drum programs using a wide variety of Drum Track patterns.

It provides a convenient way for you to hear Drum

Track patterns while you try out various phrases on a program or combination, or work out the outline of your song.

Then, when you’ve come up with some ideas, you can use the Auto Song Setup function to immediately start recording in Sequencer mode.

You can use preset drum patterns that cover a wide range of musical styles, as well as user patterns that you yourself created.

Preset

User

P001...P605

U000...U999

Preset Drum Track patterns

User Drum Track patterns

Using the Drum Track function in Program mode

Turning the Drum Track function on/ off

1. In Program mode, select a program (see

“Selecting

Programs” on page 21).

You can write your own patterns into U000–U999.

User patterns you’ve created in Sequencer mode can be converted into user Drum Track patterns.

The Drum Track pattern will start immediately when you press the DRUM TRACK button, or when you play the keyboard after pressing the ON/OFF button.

If you’re starting the pattern by playing the keyboard, you have the option of starting it by using a specific range of notes or velocities.

In Program mode, the drum track has a dedicated mixer channel (including EQ) and effect routing, allowing you to control the drum track independently from the sound of the program itself.

In Combination and Sequencer modes, the drum track is handled as a conventional timbre or track, allowing you to select programs, edit EQ settings, and specify the effect routing in the same way as for conventional timbres or tracks.

2. Press the DRUM TRACK button.

The ON/OFF button will light up or blink, depending on the setting (

Trigger Mode

) of the program.

If lit: The Drum Track pattern will start according to the

Sync

setting.

When you turn it off, the pattern will stop.

(This will occur if the

Trigger Mode

parameter is set to Start Immediately.)

If blinking: The Drum Track pattern will be ready to start.

It will start when you play the keyboard or when a MIDI note ‐ on is received.

(This will occur if the

Trigger Mode

parameter is set to Wait KBD Trigger.)

Adjusting the performance tempo

• You can use the TEMPO knob or the

TAP button to adjust the performance tempo.

This will change the “ =” value located on the upper right side of the display.

You can adjust the tempo with a range of 40.00–300.00

bpm.

The LED located above the TAP button will blink at inter ‐ vals of a quarter note ( ).

You can also adjust the tempo by choos ‐ ing “ =” in the display.

Use numeric keys 0–9 to enter the tempo, and then press the ENTER button.

You can also use the VALUE controller to set the tempo.

The LED will blink at the tempo you specify.

Note:

The tempo setting is also saved when you write a program.

Drum Track function

If the Global P1: MIDI– MIDI Basic page

MIDI

Clock

parameter is set to External MIDI, External

USB, or set to Auto and MIDI Clock messages are being received, the display will indicate “ =” EXT, and the KROME will be synchronized to an external MIDI device.

In this case, you won’t be able to change the tempo by using the KROME.

Selecting a Drum Track pattern and

Drum Track program

1. Access the Prog P0: Play– Main page.

Drum Track Play/Mute, Solo On/Off, Volume

Using the Drum Track function in Combination mode

Selecting a combination and turning the

Drum Track function on/off

1. Press the COMBI button to enter Combination mode, and select the desired combination.

For details, please see

Pattern

Bank/No.

Drum Track

Program

Drum Track

2. Select a Drum Track pattern.

Use “Pattern Bank” to select the preset or the user bank, and use

“Pattern No.” to select the pattern number.

3. Use “Drum Track Program” to select the program that will play the Drum Track pattern.

Note:

You can only select programs of category number 15 (Drums).

If you want to use an original program you created as the Drum Track program, save it with “Category” set to 15 (see

page 30).

Note:

If you’ve selected an empty pattern, the DRUM

TRACK button will not function.

These parameters can also be set from P7: ARP/DT page.

Setting the EQ, volume, mute, and solo for the drum track pattern

In the Prog P0: Play– Mixer & Drum Track page you can use a 3 ‐ band EQ to adjust the sound of the drum track program.

You can also edit the volume, mute, and solo settings.

2. Press the DRUM TRACK button.

The ON/OFF button will light up or blink, depending on the setting (

Trigger Mode

) of the combination.

If lit: The Drum Track pattern will start according to the

Sync

setting.

When you turn it off, the pattern will stop.

(This will occur if the

Trigger Mode parameter

is set to Start Immediately.)

If blinking: The Drum Track pattern will be ready to start.

It will start when you play the keyboard or when a MIDI note ‐ on is received.

(This will occur if the

Trigger Mode

is set to Wait KBD Trigger.)

Adjusting the performance tempo

You can use the TEMPO knob or the TAP button to adjust the performance tempo.

Selecting a Drum Track pattern and Drum

Track program

Unlike its functionality in Program mode, the Drum

Track function in Combination mode does not have its own dedicated track (timbre).

The program that plays the Drum Track pattern will use the timbre that you specify.

1. In the Combi P0: Play– Program T01–08 page or

T09–16 page, select the timbre that you want to use for the drum track, and then select the Drum Track program.

Performing with the Drum Track function Using the Drum Track function in Combination mode

In the following illustration, we’ve selected timbre 5 for use by the drum track.

2. Specify the MIDI channel of the drum track timbre.

Be aware that if another timbre uses the same MIDI channel, that timbre will also be played.

3. Access the Combi P7: ARP/DT– Drum Track page.

Specify the drum track’s MIDI channel

Output

Set this to match the

MIDI Channel

of the timbre you specified in step 2.

4. Select a Drum Track pattern.

Use “Pattern (Pattern

Bank)” to select the preset or user bank, and use

“Pattern No.” to select the pattern number.

Note:

If you select an empty pattern, the DRUM

TRACK button will not function.

5. Press the DRUM TRACK button to verify that the pattern plays correctly.

The method of triggering will depend on the Trigger settings.

If the

Trigger Mode

parameter is set to Start

Immediately, the Drum Track pattern will start when you press the DRUM TRACK button.

For details on the

Trigger settings, please see “7–4b: Trigger” on page 56 of the Parameter Guide.

100

Drum Track function

Drum Track function settings

Drum Track function settings in Program mode

Starting/stopping the drum track

1. Access the Prog P7: ARP/DT– Drum Track Pattern page.

2. “Trigger Mode” specifies how the Drum Track pattern will be triggered.

Start Immediately:

When you press the DRUM

TRACK button to turn it on, the LED will light up and the Drum Track pattern will start according to the

Sync

setting.

It will stop when you press the DRUM TRACK button to turn it off.

Wait KBD Trigger:

When you press the DRUM

TRACK button to turn it on, the LED will blink and the

Drum Track pattern will wait to start.

When you play the keyboard or receive a MIDI note ‐ on, the Drum

Track pattern will start according to the

Sync

setting.

3. Specify the Sync setting.

Off:

The Drum Track pattern will not synchronize to the arpeggiator that’s currently running, but will start immediately.

On:

The Drum Track pattern will synchronize to the arpeggiator that’s currently running.

4. If “Trigger Mode” is set to Wait KBD Trigger, specify the “Latch” setting.

“Latch” specifies whether the Drum Track pattern will continue playing even after you take your hand off the keyboard.

Off:

If the DRUM TRACK button is on (the LED will blink), the pattern will start when you play the keyboard (note ‐ on).

The pattern will stop when you release the keyboard (note ‐ off).

On:

If the DRUM TRACK button is on (the LED will blink), the pattern will start when you play the keyboard (note ‐ on).

The pattern will continue when you release the keyboard (note ‐ off).

The pattern will stop when you turn the DRUM TRACK button off (the

LED will go dark).

5. If “Trigger Mode” is set to Wait KBD Trigger, specify the Keyboard Zone and Velocity Zone.

These settings specify the range of keys and velocities that will trigger the Drum Track pattern when you play the keyboard (or receive a note ‐ on).

Saving the on/off status

If “Trigger Mode” is set to Wait KBD Trigger, the drum track’s on/off status can be saved in the program.

If “Trigger Mode” is set to Start Immediately, the drum track’s on/off status will always be saved as “off,” regardless of the state of the DRUM TRACK button.

EQ adjustments for the Drum Track program

You can adjust a three ‐ band EQ for the Drum Track program.

If you turn “Auto Load Program EQ” on (selected), the three ‐ band EQ settings specified for the program will be automatically loaded when you switch Drum Track programs.

Normally you will leave this selected.

You are free to adjust the three ‐ band EQ settings that are loaded automatically.

These adjustments are applied relative to the original settings of the program.

Drum Track function settings Drum Track function settings in Combination mode

MIDI transmission and reception for the drum track

In Program mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive:

If you’re controlling the triggering by playing the keyboard, the drum track will receive on the global

MIDI channel.

Transmit:

The drum track will transmit on the MIDI channel specified by Drum Track

Prog MIDI Ch

(default: channel 10).

(Note data etc.

of the Drum Track program will be transmitted.)

Note:

MIDI transmission of the pattern data is enabled if Drum Track

Prog MIDI Out

is selected.

The default setting is off (unselected).

The Drum Track program does not transmit or receive program changes.

Drum Track function settings in Sequencer mode

The parameters for the Drum Track function are structured in the same way as in Combination mode.

Assign the Drum Track program to the desired track 1–

16.

However, while a combination triggers the Drum

Track pattern on the global MIDI channel, a song triggers the Drum Track pattern on the MIDI channel specified by the Drum Pattern

Input

Normally you’ll set this to Tch.

With the Tch setting, the MIDI channel of the track selected by

Track Select

will automatically be used as the trigger channel.

For details, please see

“Selecting a Drum Track pattern and Drum Track program” on page 98.

Drum Track function settings in Combination mode

Unlike Program mode, Combination mode does not have a dedicated track for the Drum Track function.

You’ll need to specify a timbre 1–16 as the one for use by the Drum Track program.

Then set the drum track’s output MIDI channel

Output

to match the timbre’s MIDI channel

MIDI Channel

so that the Drum Track program can be played.

For details, please see

“Selecting a Drum Track pattern and Drum Track program” on page 98.

MIDI transmission and reception for the drum track

In Combination mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive:

If you’re controlling the triggering by playing the keyboard, the drum track will receive on the global

MIDI channel.

Transmit:

The drum track will transmit on the MIDI channel specified by the Drum Pattern

Output

setting of each combination.

Set this to match the MIDI channel of the timbre you’ve specified for the drum program.

If the timbre’s

Status

is EXT or EX2, the note data etc.

of the Drum Track pattern will be transmitted.

In Sequencer mode you can use the Drum Track function while realtime ‐ recording a song track or pattern.

The note ‐ on/off data transmitted by the Drum Track pattern can be recorded as events in a track or pattern.

You can’t use note data from the internal sequencer as a trigger to start patterns for the

Drum Track function.

When you’ve used the Drum Track function with a program or combination to come up with an idea for a song, you can then use the Auto Song Setup function to immediately start realtime ‐ recording (see

page 59).

MIDI transmission and reception for the drum track

In Sequencer mode, the Drum Track function transmits and receives on the following MIDI channels.

Receive:

The drum track will receive on the MIDI channel specified by the Drum Pattern

Input

setting of each song.

Normally you’ll set this to Tch and use the

KROME’s keyboard to control the triggering.

Transmit:

The drum track will transmit on the MIDI channel specified by the Drum Pattern

Output

setting of each song.

Set this to match the MIDI channel of the

MIDI track where you’ve assigned the drum program.

If the track’s

Status

is BTH, EXT, or EX2, note data etc.

of the Drum Track pattern will be transmitted.

101

Drum Track function

102

Synchronizing the Drum Track function

The Trigger “Sync” parameter

The trigger timing of a drum track will depend on the setting of its Trigger

Sync

parameter.

On (checked):

The trigger timing will be quantized to the nearest beat relative to the base tempo.

Off (unchecked):

Trigger Mode

is set to Start

Immediately, triggering will occur at the moment you press the DRUM TRACK button.

If this is set to Wait

KBD Trigger, triggering will occur at the moment you play the keyboard.

Synchronizing the drum track with the KAR-

MA function, Sequencer mode songs, patterns, and RPPR performance

If you want the Drum Track pattern to play or be recorded in synchronization with the arpeggiator that’s currently running, a currently ‐ playing song, pattern, or RPPR performance, turn Trigger

Sync

on.

Trigger

Sync

Off:

If the

Trigger Mode

setting is Start

Immediately, the Drum Track pattern will be triggered the moment you press the DRUM TRACK button.

If this is set to Wait KBD Trigger, the Drum Track pattern will be triggered the moment you play the keyboard.

It will not synchronize to the arpeggiator that’s currently running or to the song, pattern, or RPPR that’s currently active.

Trigger

Sync On:

Triggering will synchronize to the song that’s currently playing, pattern or RPPR performance in units of a measure.

Triggering will synchronize to the arpeggiator that’s currently running

(in Sequencer mode if the song or pattern is stopped) in units of a beat.

Note:

If you want to synchronize arpeggiator to the

Drum Track function that’s currently running , set the

Sync

parameter (Prog/Combi/Seq P7: ARP/DT ‐

DrumTrk Pattern).

Note:

If you want to synchronize the RPPR pattern performance to the Drum Track function that’s currently running, set the

Sync

parameter (Seq P10:

Pattern/RPPR– RPPR Setup page) to Beat or Measure.

Ke y 1 on Ke y 2 on

S y nc settings

Song

Patterns 1 and 2 are set to

Mode=Manual, and have identical S y nc settings

S y nc: Off

Pattern 1

Pattern 2

S y nc: Beat

Pattern 1

Pattern 2

S y nc: Measure

Pattern 1

Pattern 2

Ke y 1 off

Synchronization with song stop

Synchronization with a song in Sequencer mode

• When you press the SEQUENCER START/STOP

( ) button, the Drum Track function will stop as well as the sequencer.

• If you want the Drum Track function to start simultaneously with the start of recording, press the DRUM TRACK button during the pre ‐ count before recording (if

Trigger Mode

is set to Start

Immediately) or play the keyboard (if

Trigger

Mode

is Wait KBD Trigger).

The Drum Tracks will not be triggered immediately, but will be triggered in synchronization with the sequencer the moment recording starts.

Slave operation

Connect the KROME’s MIDI IN to your external MIDI device’s MIDI OUT, or connect the KROME’s USB B connector to your computer’s USB port.

Set

MIDI Clock

(see

page 111)

to External MIDI or

External USB.

Note:

If the KROME is set to

MIDI Clock

= Auto, it will also synchronize to the external MIDI device in the same way if MIDI timing clock messages are being received from the external device.

Synchronization to MIDI clock

The arpeggiator function will synchronize to a tempo based on the external MIDI clock timing.

Synchronization with MIDI realtime commands

In Sequencer mode, Song Start, Continue, and Stop messages that the KROME receives will control song playback and recording just as when you use the front panel START/STOP ( ) button.

The KARMA function also will be controlled in the same way as when you use the front panel START/STOP ( ) button.

(See

“Synchronization with song stop”)

Drum Track function settings Creating a Drum Track pattern

Master operation

If you want an external MIDI device or computer to synchronize to the KROME’s MIDI timing clock and realtime commands, connect the KROME’s MIDI OUT to your external MIDI device’s MIDI IN, or connect the

KROME’s USB port to your computer’s USB port.

Set

MIDI Clock

to Internal.

Note:

The same applies if

MIDI Clock

=Auto and MIDI realtime clock messages are being transmitted (see

page 111).

Synchronization via MIDI clock

The connected external MIDI device will synchronize to the MIDI clock of the KROME.

Creating a Drum Track pattern

Once you’ve converted the pattern in this way, you’ll be able to use it with the drum track in each mode.

These converted Drum Track patterns are held in internal memory even after you turn off the power.

This means you can manage them together with the programs and combinations.

Preparing a user pattern

You’ll first need to prepare the user pattern that you want to convert to a Drum Track pattern.

To create a user pattern, you can realtime ‐ record it (see

page 65)

in the Seq P10: Pattern/RPPR– Pattern Edit page, or step ‐ record it (see page 167 of the Parameter

Guide).

Alternatively, performance data from a track can be imported into a pattern, meaning that performance data you’ve created in a track or SMF data you’ve loaded in Media mode can be used as a user pattern.

To do this, execute the

Get From Track

menu command in the Seq P10: Pattern/RPPR– Pattern Edit page (see page 187 of the Parameter Guide).

Converting to a Drum Track pattern

1. Press the SEQ button to enter Sequencer mode.

2. Access the Seq P10: Patern/RPPR– Pattern Edit page.

3. Select the user pattern that you want to convert to a Drum Track pattern.

Set

Pattern

to User, and use

Pattern Select

to select the desired pattern.

4. Choose the menu command Convert to Drum Trk

Pattern to access the dialog box.

5. Use the To “Drum Track Pattern Select” field to specify the user Drum Track pattern number that will hold the converted data.

When you execute the command, the data will be overwritten onto this number.

6. If you select the “All Patterns available in Song

***” option, all patterns in the song that contain note data will be converted, starting with the number you specified in step 3.

7. If you execute this command with “Note Only” selected, only the note events will be converted.

8. Press the OK button or the ENTER button to execute.

If you decide not to execute, press the

Cancel button or the EXIT button.

9. As described in

“Using the Drum Track function in Program mode” on page 97,

set the Drum Track

“Pattern Bank” to User, and set “Pattern No.” to the user Drum Track pattern you converted.

Then play the Drum Track pattern.

Song

Drum Track

Program

/Combination

Preset

Pattern

Track/RPPR

Drum Track

100

User

Pattern

User

Drum Track

Pattern

Convert to

Drum Track Pattern

Sequencer memory

(Not saved internally; save on external USB media.)

Internal memory (saved inside the KROME)

If the drum pattern memory

is insufficient, or if there are not enough pattern slots, the error message “Not enough Drum Track pattern memory” or “Not enough Drum Track pattern locations available” will appear, and the command cannot be executed.

Tip:

It’s a good idea to convert drum patterns that you use frequently.

Use “Load Drum Track Pattern” to load them.

103

104

Drum Track function

Using Drum Kits

Drum Kit Overview

What’s a Drum Kit?

A drum kit is a collection of drumsamples (drum set sounds such as bass drum, snare, or cymbals, as well as a wide variety of other percussion sounds), with each sample assigned to a note of the keyboard.

• Each key can play a different sound

• On each key, you can use up to eight Drumsamples, with velocity crossfades

• Each key has separate settings for the most important sound parameters, including volume, filter cutoff and resonance, envelope attack and decay, pitch, drive and low boost, and gain for each band of the Program EQ.

For instance, you could combine high drive and low cutoff frequency to create a lo ‐ fi effect on only a few sounds, while the rest of the sounds remained clear and pristine.

• Each note can be routed to different Insert Effects, or have separate FX Send amounts.

For instance, you can send a snare sound through a dedicated compressor.

You can use Drum Kits only in Programs whose

Oscillator Mode

is set to

Single

Double

Drums

Drum Kit memory structure

The KROME has over 161 Drum Kits, divided into

Internal, User, and GM (General MIDI) groups as shown below.

You can edit or write into any of the locations except for the GM bank, which cannot be erased.

Drum Kit contents

INT

User

GM 0

Bank

00...31

32...47

48...56

No.

Contents

Preload Drum Kits

User Drum Kits

GM2 Drum Kits

The 9 Drum Kits in the GM bank are compatible with the GM2 sound map.

The other Drum Kits may use different mappings, where appropriate.

Using a drum kit in a program

(Oscillator Mode)

In the Program P1: Basic Ctrls– Program Basic page, set the

Oscillator Mode

parameter to

Drums

Double

Drums

Then for the oscillator, select the drum kit that you want to use.

Before you start editing…

Selecting a drum program

Drum Kits are edited in Global Mode.

While you’re in

Global Mode, you’ll play the kit that you’re editing as if you were playing it from within the Program, Combi, or Song which was selected before you entered Global mode.

So, before you enter Global mode, it’s best to select a

Program which is already set up for drums, with the appropriate EG settings, effects, and so on.

Just use the

Program Category select popup, and choose a drum

Program such as “Studio Standard Kit.”

Even if the program’s oscillator is set to

Double

Drums

, this page will show only the single drum kit that is selected by

Drum Kit Select

Matching the key of the keyboard with the drum kit

In order for the note mappings to match the keyboard, the Oscillator’s

Octave

setting needs to be

+0 [8 ʹ ]

All

Drum Kit Programs should have this setting already.

If you’re unsure, you can check this yourself:

1. Go to the OSC1 Setup tab of the OSC/Pitch page.

With a setting other than

+0 [8 ʹ ]

, the relationship between the keys and the Drum Kit sound map will be incorrect.

2. Set the Global P0: Basic Setup– Basic parameter

“Key Transpose” to +00.

Make sure that Memory Protect is disabled

Before you start editing, go to the Global P0: Basic

Setup– System Preferences page, and look in the

Memory Protect section.

Make sure that

Drum Kit

is not checked–if so, you won’t be able to make any edits.

Drum Kits may be used by more than one Program

When you edit a Drum Kit, all Programs that use that

Drum Kit will be affected.

To avoid changing the factory voicing, you may wish to copy Drum Kits to empty locations in the USER banks before editing.

105

Using Drum Kits

Editing a Drum Kit

Basic Editing

1. Select the Program that you wish to use while editing the Drum Kit.

2. Access the P2: OSC/Pitch– OSC1 Setup page or the

OSC2 Setup page (Double Drums only), and press the Jump to Drum Kit Edit button.

If you want to edit the OSC2 drum kit of a double drums program, press the Jump to Drum Kit Edit button from the P2: OSC/Pitch– OSC2 Setup page.

Assign

is checked, the key will have its own settings.

This is the default.

Assign

is not checked, the key won’t have its own settings.

Instead, it will use the same settings as the next higher note–except that the drumsamples will be played at a lower pitch.

The amount of pitch change depends on the

Pitch Slope

parameter, on the Prog P2:

OSC/Pitch– OSC1 Pitch or OSC2 Pitch page.

Use this setting when you want only to change the pitch, such as with tom or cymbal sounds.

Velocity crossfade settings

For this key, let’s create a simple velocity crossfade between two stereo drumsamples.

1. On the left side of the page, make sure that

Drumsample1 and 2 are turned On.

Just press the On/Off buttons to toggle them, if necessary.

106

You’ll jump to the Global mode P5: Drum Kit– Sample

Setup page.

Note:

If you enter Global mode by pressing the

GLOBAL button or the mode button, and then access the P5: Drum Kit– Sample Setup page, the OSC1 sound settings will be used.

KEY Assign

Drum Kit

Select

3. In the top line of the display, use “Drum Kit

Select” to select the drum kit that you want to edit.

GM drum kits 48 (GM)–56 (GM) cannot be selected here.

(It is not possible to edit or write a GM drum kit.) If you wish to modify the settings of one of the drum kits 48 (GM)–56 (GM), you can use

Copy

Drum Kit

to copy it to 00 (INT)–47 (USER), and then edit the copy.

4. Use the Key parameter to select the note that you wish to edit.

To select a key, you can use any of the standard VALUE controllers (the dial, numeric keypad etc.).

As a shortcut, you can also hold down the

Key

and play a note on the keyboard.

This Key selection applies to all five Drum Kit editing pages.

5. Use the Assign check box to specify whether the key will have its own settings, or use the same settings as the next higher note.

2. In the same way, make sure that Drumsamples 3–8 are Off.

When they are turned off, most of their parameters will be grayed out.

3. Select Stereo as the Bank for Drumsample1 and

Drumsample2.

Drumsamples come in several types:

Mono

Stereo

VM.M

, or

VM.S

Mono are mono drumsamples, and

Stereo are stereo drumsamples.

Stereo drumsamples use twice as many voices as mono drumsamples.

VM.M

and VM.S

are respectively mono and stereo versions of large ‐ capacity drumsamples.

Drumsamples are organized into categories such as bass drum or snare.

4. Press the Drumsample popup for Drumsample1.

This brings up a list of Drumsamples, organized by category.

Use the tabs at the left of the display to browse through the different categories.

For a list of the Drumsample names, please see the

Voice Name List.

Editing a Drum Kit

5. Select a Drumsample by touching its name in the list.

6. Press the OK button to confirm your selection.

7. Switch the slot to 2, and make settings for

Drumsample 2 in the same way.

Now that you’ve assigned Drumsamples to

Drumsample1 and Drumsample2, let’s set up the velocity ranges and crossfades.

8. Access the P5: Drum Kit– Velocity Split page.

9. Set Drumsample2’s Threshold Velocity to 1, and its Crossfade to Off.

10. Set Drumsample1’s Threshold Velocity to 80.

You can edit the

Threshold Velocity

setting by touching and dragging the graphic on the right

(see

“* EG, Velocity Split” on page 6).

Now, Drumsample2 will sound when you play softly, at velocities of 79 or less–and Drumsample1 will sound when you play harder, with velocities of 80 or more.

The meter at the left side of the Velocity Split graphic indicates the note ‐ on velocity value.

This lets you verify the drumsample that will be sounded by a given velocity.

11. Next, set Drumsample1’s Crossfade to 20, and its

Curve to Linear.

Notice that the graphic now shows the two ranges tapering into one another.

Between 80 and 100,

Drumsample2 will fade out, and Drumsample1 will fade in, creating a gradual velocity transition instead of a hard split.

Fine-tuning the sound of each sample

1. If you like, adjust the Levels for the two

Drumsamples.

This can be very useful in creating a smooth velocity split or crossfade.

2. As necessary, specify the tuning, EG parameters, and filter.

Access the P5: Drum Kit– Sample Parameter page.

Adjust

Tune

Attack (Amp EG Attack)

Decay (Amp

EG Decay)

Cutoff

and

Resonance

for each drumsample.

3. You can also edit the drive, boost, and EQ for each drumsample.

Access the P5: Drum Kit– Drive/EQ page.

Adjust

Drive

Low Boost

, and

3 Band EQ Gain [dB

] for each drumsample.

4. Repeat

“Basic Editing,” on page 106

to set up each key of the Drum Kit.

5. You can also copy settings from one key to another, using the Copy Key Setup menu command.

Using Exclusive Groups

1. Access the P5: Drum Kit– Voice/Mixer page.

2. Use the Exclusive Groups to make one drum sound cut off another drum sound ‐ such as closed and open hi ‐ hats.

For example, let’s say that you’ve assigned an open hi ‐ hat and a closed hi ‐ hat to the same exclusive group:

• Play the open hi ‐ hat sound.

• While it’s still ringing, play the closed hi ‐ hat.

• The open hi ‐ hat sound will be cut off–simulating the action of a physical hi ‐ hat.

107

Using Drum Kits

108

Sustaining the sound even after the key is released (Hold)

Use the

Hold

function for instruments that should continue sustaining even after the key is released, such as a crash cymbal.

The way this works will depend on the settings of the program and drum kit.

Set the

Hold

function as follows.

1. Access the Prog P1: Basic/Controllers– Note ‐ On/

Scale page.

If you jumped to the Global P5: Drum Kit page by pressing the Jump to Drum kit Edit button from

Program mode, you can return to Program mode by pressing the Return to OSC button.

2. Under Key Zone, make sure that the Hold check ‐ box is checked.

Once you’ve turned on

Hold

for the Program, the function is controlled on a note ‐ by ‐ note basis according to settings within the Drum Kit.

3. Access the Global P5: Drum Kit– Voice/Mixer page.

4. For each key, set the Enable Note ‐ Off Receive parameter as desired.

If this check box is not selected, notes will be held, and the sound will continue even after the key is released.

If it is checked, the key will not be held.

If you turn off

Hold

in the Program, no keys will be held ‐ regardless of their

Enable Note ‐ Off Receive

setting.

Controlling effects for each key

Drum Kits have their own, built ‐ in mixers.

For each key, you can control the Insert Effects bussing, Master

Effects sends, and pan.

To use separate bus settings for each key:

1. Access the Prog P8: Routing/IFX– Routing page.

2. Make sure that the Use DKit Setting check ‐ box is checked.

When

Use DKit Setting

is on, the Program will use the

Bus Select and Effects Send settings for each key of the

Drum Kit.

When

Use DKit Setting

is off,

the Program will ignore the Drum Kit’s Bus Select and Effects Send settings.

3. Access the Global P5: Drum Kit– Voice/Mixer page.

4. Use the Bus (IFX/Output) Select parameter to send drum sounds through their own Insert effects, or to the L/R outputs.

If you like, you can send each note to its own Insert effect, or to the individual audio outputs, in addition to the L/R outputs.

For example, you might send all snare sounds to

IFX1

, all kick sounds to

IFX2

, and the remaining sounds to

Tip:

In most preloaded drum kits, the drum instruments have the same

Bus (IFX/Output) Select

settings according to their type, as follows.

Snares



IFX1

Kicks



IFX2

Other



IFX3

5. Use Send1 (to MFX1) and Send2 (to MFX2) to set the send levels to the master effects.

Controlling pan for each key

To use separate pan settings for each key:

1. Access the Prog P4: Amp/EQ– Amp1/Driver1 or

Amp2/Drive2 page.

2. Under Pan, make sure that the Use DKit Setting check ‐ box is checked.

When

Use DKit Setting

is on, the Program will use the pan settings for each key of the Drum Kit.

3. Access the Global P5: Drum Kit– Voice/Mixer page.

4. Use “Pan” to specify the panning for each key.

Saving Drum Kits

Once you’ve spent some time editing, you’ll want to save your work.

The contents of your editing in Global mode are preserved as long as the power is on, but will be lost when you turn off the power.

If you want to keep your edits, you must execute the

Write Drum

Kits

function.

This will save all drum kits.

Adjusting Global KROME setings

How Global mode is structured

In Global mode you can adjust overall settings for the entire KROME.

These consist mainly of the following settings.

• Master tune

• Key transpose

• Effect global button

• Global MIDI channel

• Creating scales

• Damper pedal, assignable foot switch/pedal

• Category names for programs and combinations

• Creating user drum kits

• Creating user arpeggio patterns

For details on how to access each page, please see

“Basic operations” on page 9.

Three types of data are handled in Global mode: user drum kit settings (Global P5), user arpeggio patterns (Global P6), and other global settings

(Global P0–4).

Each of these has a respective memory area to store its data.

This data can also be saved to various types of SD card in Media mode.

For details, please see

“Writing Global settings,

User Drum Kits and User Arpeggio Patterns” on page 116,

and

“Saving to SD card (Media–Save)” on page 118.

The Compare function that lets you return to the state prior to your editing (or undo edits) is not available in Global mode.

Global settings

Basic setup

Tuning and transpose settings

Velocity/ curve settings

Effect bypass settings

Link the arpeggiator

Stop the arpeggiator and drum track

Tuning and Transposing

Tuning to another instrument

To adjust the tuning in fine increments, in order to match other instruments or recorded music:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Adjust the Master Tune to the desired pitch.

The

Master Tune

is adjustable over a range of ±50 cents

(one semitone = 100 cents).

When

Master Tune

is at 0, middle A is tuned to 440 Hz.

Transposing the keyboard

You can also transpose the keyboard in semitones, for quick key ‐ changes (for instance, if the band decides to play a song in F rather than E).

To do so:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Adjust the Key Transpose as desired.

You can adjust the transposition over a range of ±1 octave.

3. Use the Global mode P1: MIDI– MIDI Basic page

Convert Position parameter to specify the position at which the transpose and velocity curve settings will be applied.

PreMIDI is the normal setting.

With this setting, the

Transpose setting described above and the Velocity

Curve described below will be applied to the KROME’s keyboard performance data, and will affect both the

MIDI OUT and the internal sound generator.

This is also required in order to record the output of the curves into the internal sequencer.

PostMIDI applies the transposition and curves to incoming MIDI, for adjusting the KROME response to an external MIDI controller.

When simply playing the internal sounds from the

KROME keyboard, both settings work the same.

Adjusting the keyboard response

Velocity curve let you adjust the way the KROME responds to how you play on the keyboard.

The default setting should work for most players, but there are many other choices to let you customize the response to match your own style.

To set the velocity and after touch curves:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Set the Velocity Curve to suit your playing style.

Velocity Curve

is the default, and should work for most players.

109

Adjusting Global KROME setings

110

Curve

is designed specifically for playing piano sounds from the weighted NH keyboards in the 73 ‐ note and 88 ‐ note models.

For details on the other curves, see the graphic below, as well as the “Velocity Curve” section on page 194 of the Parameter Guide.

3. Specify the position where the velocity curve will be applied.

For more about “Convert Position,” please see

“Transposing the keyboard,” above.

Velocity curves

Convert Position =

PreMIDI

Velocity (Keyboard to MIDI Out)

127

Convert Position =

PostMIDI

Velocity (MIDI In to sound engines)

MAX

Soft

Strong

Velocity effect

127

Bypassing the effects

You can bypass the KROME’s insert effects, master effects, and total effects.

These settings will bypass the effects in all modes.

If you’re using effects such as reverb or chorus provided by an external effect processor, mixer, or DAW, you can bypass the

KROME’s own effects so that they will not be used.

1. Access the Global mode P0: Basic Setup– Basic page.

2. Use the various Effect Global SW buttons to select the effects that you want to bypass.

The effect will be bypassed if the check box is cleared.

Clearing the “IFX 1 ‐ 5” box: Bypasses the insert effects

Clearing the “MFX 1&2” box: Bypasses the master effects

Clearing the “TFX 1&2” box: Bypasses the total effects

“MFX1&2” and “TFX” can also be controlled by the front panel MASTER FX button and TOTAL FX button.

This is convenient when you want to temporarily turn off these effects during a performance.

Note:

These parameters will always be turned on when the KROME starts up.

Arpeggiator recall settings (Linking the arpeggiator with programs or combinations)

You can specify whether the arpeggiator settings written into each program or combination will also be selected when you select that program or combination, or whether the arpeggiator will stay in its current state without changing settings.

With the factory settings, the former will occur.

You can choose the latter behavior if you want to play phrases and patterns with certain arpeggiator settings while you switch only the sound between different programs or combinations.

1. Access the Global mode P0: Basic Setup– Basic page.

2. In the “Load ARP when changing” area, if the

“Program” or “Combination” box is selected, switching programs or combinations respectively will recall the arpeggiator settings written in that program or combination.

Disabling the arpeggiator and drum track

1. Access the Global mode P0: Basic Setup– Basic page.

2. If the “All ARP/DT Off” box is selected, all arpeggiator and drum track functionality will be turned off.

Even if the ARP or DRUM TRACK buttons are on, the arpeggiator and drum track will not function.

Recalling the last-selected mode and page at power-on

Select the mode that is selected at power-on

Beep setting

Memory protect settings

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the Power ‐ On Mode is set to Reset (factory setting), KROME will automatically select the

Program mode P0: Play.

If the

Power On Mode

is set to Memorize, the location

(mode and page) and the program or combination number that had been selected when you turned off the power will be recalled.

Enabling a beep tone when the display is pressed

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the “Beep Enable” check box is selected, a beep tone will sound when you press an object in the display.

Clear the check box if you don’t want a beep to sound.

Protecting the memory

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If a Memory Protect check box is selected, the corresponding write, data load, or song recording operation will be disabled, thus protecting the contents of memory.

Global settings MIDI Settings

Other screen display settings (Edit pad function and animation)

You can keep the edit pad (see

page 4)

or realtime control popup (see

page 6)

from appearing, and disable the animation that appears when a popup is displayed.

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the “Value Edit Pop ‐ up,” “Realtime Controls

Pop ‐ up,” and “Animation” check box are cleared, the respective function will be disabled.

Note:

If the KROME is processing large amounts of musical data such as from the drum track or sequencer, the realtime control popups or animation effects might be disabled automatically in some cases.

MIDI Clock synchronization

The KROME can use its own internal tempo, or synchronize to external clocks from either MIDI or

USB.

The best general ‐ purpose setting is

Auto

This combine the functionality of

Internal

and

External MIDI/USB

, so that you don’t have to manually switch between the two:

• If external clocks are being received, they control the KROME tempo.

• If external clocks are not being received, the

KROME uses its internal tempo instead.

Synchronizing to a USB-connected computer

If you want to synchronize the KROME’s tempo to a computer connected via USB:

1. Go to the Global P1: MIDI– MIDI Basic page.

2. In the MIDI Setup section, set the MIDI Clock to

Auto.

MIDI Settings

Global MIDI channel

Local

Control on/off

MIDI clock settings

Pedal and other controller settings

In the Global mode P2: Controllers– Foot Controllers page you can assign the functions of the assignable buttons and assignable pedals.

(See

“Connecting a damper pedal, foot switch, or foot pedal” on page 18.)

Assignable button and

Assignable

Pedal settings

Global MIDI filter settings

Global MIDI Channel

The Global MIDI Channel is the most important MIDI ‐ related setting in the KROME.

It determines the main

MIDI channel used for both Program and Combination modes, for instance.

To set the Global MIDI Channel:

1. Go to the Global P1: MIDI– MIDI Basic page.

2. In the MIDI Setup section, set the MIDI Channel as desired.

111

112

Adjusting Global KROME setings

Creating user scales

The Global P3: Scales page lets you create your own original scales.

You can create sixteen User Octave

Scales which allow you to specify the pitch of each note in an octave (which will then be applied across all octaves), and you can create one User All Note Scale which allows you to individually specify the pitch for every one of the 128 notes.

By adjusting the pitch of each key in the range of ±99 cents, you can raise or lower it by approximately one semitone relative to the normal pitch.

The user scales you create here can be used by specifying the scale for a program, for each timbre of a combination, or for each track of a song.

User Octave

Scales select

Key lock button

Setting Category Names

In the Global P4: Category pages you can assign names to the categories and sub ‐ categories of programs and combinations.

Category name settings

Editing the Category/sub category names is very simple:

1. Press the T (Text) button next to the name you’d like to edit.

The text editing dialog will appear.

2. Enter the new name, and press OK.

To edit a Sub Category name:

1. Choose the Main Category from the popup menu.

2. Edit the Sub ‐ Category names as described above.

You can choose these scales from the following pages.

Mode

Program

Combination

Sequencer

Page

P1: Basic/Controllers– Note-On/Scale:

Scale

P3: Timbre Parameters– Scale T01–08/

T09–16: Scale, Use Program’s Scale

P3: Track Parameters– Scale T01–08/T09–

16: Scale, Use Program’s Scale

Here is how to set the scale type for each timbre in

Sequencer mode.

1. Create a user octave scale or a user all notes scale.

Select a key, and use the VALUE controllers to adjust the pitch.

The range of ±99 raises or lowers the pitch approximately one semitone above or below the standard pitch.

Note:

You can also select the key by holding down the

ENTER button and playing a note on the keyboard.

Alternatively, you can turn on the key lock button and then play a note on the keyboard.

Note:

You can copy one of the preset scales and edit it to create an original scale.

To do so, use the page menu command

Copy Scale

2. Access the Sequencer mode P3: Track Parameters–

Other T01–08 or T09–16 page.

3. If you want the Track to use the scale saved with its individual Program, check the track’s “Use

Program’s Scale” check box.

Tracks that are not checked will use the scale specified by Scale “Type (Song’s Scale).”

4. Set “Type (Song’s Scale)” to select the scale for the currently selected song.

Loading & saving data

Saving data

Saving data on the KROME

You can save the KROME’s various types of data in the following ways.

• Writing to internal memory

• Saving to an SD card (commercially available)

• MIDI data dump

Writing to internal memory

The following types of data can be written into the internal memory.

•

Program

Programs 000–127 in banks A–F

•

Combination

Combinations 000–127 in banks A–D

•

Global settings

(Global P0: Basic Setup– P4: Category)

•

User drum kits

00(INT)–47(USER)

•

User arpeggio patterns

U0000(INT)–U1027(USER)

•

User Drum Track patterns

U000–U999

(See

page 97)

•

User template songs U00–U15

Song settings such as the song name and tempo, track settings (see page 106 of the Parameter

Guide), arpeggiator, and effect settings can be saved (written) to internal memory.

However, the musical data for song tracks and patterns are not saved to internal memory.

Furthermore, settings that govern how the musical data is played back such as

Meter

Metronome

PLAY/MUTE

Track

Play Loop

(including Start/End measure), and

RPPR settings will not be saved either.

Use the

Sequencer mode menu command

Save Template

Song

to write this data; for details, please see page 164 of the Parameter Guide.

•

Effect presets

For each effect, you can write parameter settings into internal memory by using the menu command

Write FX Preset

The musical data and setup data of a song you create in Sequencer mode cannot be saved in the

KROME’s internal memory.

You’ll need to save this data to a commercially available SD card or by using MIDI data dump.

About preloaded data and preset data

“Preloaded data” refers to the data that is loaded in the

KROME when it is shipped from the factory.

You are free to rewrite this data, and with the exception of the demo songs, the data will be written to the location as described in “Writing to internal memory.” This data is stored in the KROME’s system area.

You can reload the factory preload data into internal memory by using the Global mode menu command

Load Preload/Demo Data

Preset data, on the other hand, is data that cannot be overwritten by the Write operation.

This includes the following data.

• GM program banks GM, g(1)–g(9), g(d)

• GM drum kits 48(GM)–56(GM)

• Preset template songs P00–P15

• Preset patterns P000–P605

Saving to SD card

The following data can be saved to an SD card

(commercially available) inserted in the KROME’s SD card slot.

•

.PCG

file:

Programs, Combinations, Drum kits, Global settings, user Drum Track patterns, and user arpeggio patterns (The data that was checked in the check boxes of the Save dialog box will be saved.)

•

.SNG

file:

Song and cue list.

•

.EXL

file:

System exclusive data from an external device that was saved on the KROME (This allows the KROME to be used as a data filer.)

•

.MID

file:

Saves a Sequencer mode song in Standard MIDI

File (SMF) format.

(See the illustration on the following page.)

MIDI data dump

The KROME can transmit the following types of data as a MIDI data dump; you can save this data on an external data filer or other device.

• Programs, combinations, drum kits, and global settings

• Song and cue list

• User drum kit patterns

• User arpeggio pattern

For details, please see “Dump:” on page 218 of the

Parameter Guide.

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Loading & saving data

Supported file types

DOS files

.PCG file

All programs 1 program bank A...F

1 program

All combinations 1 combination bank A...D

1 combination

All drum kits

User

1 drum kit bank INT, USER

All user arpeggio patterns

1 user arpeggiopattern bank INT, USER

1 drum kit

All drum track patterns

Global settings

1 drum track pattern

DOS director y

Undefined DOS file

DOS files

.SNG file Cue list

1 song

(S000-127)

All track

1 user pattern

(U00–99)

.MID file

.EXL file

Saving data Writing to internal memory

Writing to internal memory

Writing a Program or Combination

About the Program and Combination edit buffer

When you select a program in Prog P0: Play or a combination in Combi P0: Play, the program or combination data is called into the KROME’s edit buffer.

When you then use the various Program or

Combination pages to edit the parameters, your changes will affect the data in the edit buffer.

If you wish to save this modified data into internal memory, you must perform the Write operation.

When you perform the Write operation, the data in the edit buffer is written to the specified program or combination number of the specified bank.

If you select another program or combination without writing your edits, the data of the newly selected program or combination will overwrite the edited data in the edit buffer, and your changes will be lost.

Note:

When you press the COMPARE button in

Program mode, or Combination mode, the data from memory (i.e., the contents that were written into memory) will be temporarily called into the edit buffer.

This allows you to compare the settings you are editing with the original un ‐ edited settings.

When you write, the program or combination settings will be saved in internal memory.

Edit Buffer

Write

Editing applies to the data in the edit buffer. Programs or combinations will play according to the data in the edit buffer.

Select

Edit

When you select a program or combination, its data is called from internal memory into the edit buffer.

Program

A 0...127

Internal Memory

Combination

A 0...127

Writing (saving) procedure

The Program and Combination settings you’ve made in the various editing pages can be saved to internal memory.

This action is referred to as “writing a program” or “writing a Combination.” If you want your edited data to be preserved after the power is turned off, you must perform a Write operation.

There are two ways to write a Program or

Combination.

• Use the WRITE button.

• Use the

Write Program

Write Combination

menu commands in the upper right of the display.

Before you can write data into memory, you must turn off the memory protect setting in Global mode.

For details, please see

“Memory protect” on page 117.

A combination does not contain the actual program data for each timbre, but simply references the number of the program used by each timbre.

If you edit a program that is used by a combination, or exchange it with a different program number, the sound of the combination will also change, reflecting the altered program.

1. Verify that the program or combination you want to save is selected.

2. Press the WRITE button.

Alternatively, press the page menu button in the upper right of the display, and select the menu command

“Write Program” or “Write Combination.”

The

Write Program

Write Combination

dialog box will appear.

This screenshot is for Program mode

3. Check the program/combination name displayed in the upper line (the writing source).

4. If you wish to change the name of the program/ combination, press the text edit button.

The text dialog box will appear.

Enter the name of the program/combination.

For details, please see

“Saving data” on page 113.

After you have entered the name, press the OK button to return to the Write Program/Write Combination dialog box.

5. In “Category,” specify the category of the Program/

Combination.

6. Select a “Sub Category” as well.

For combinations, the category and sub ‐ category you specify here can be selected in the following pages.

Prog P0: Play

“Category”

Combi P0: Play– Program T01–08, 09–16

“Category”

Seq P0: Play/REC– Program T01–08, 09–16

“Category”

For Programs, the category/sub ‐ category you specify here can be selected in the following pages.

Combi P0: Play– Program T01–08, 09–16

“Category”

7. Use “To” to specify the bank and number of the writing destination program/combination.

Use the VALUE controllers or the BANK buttons to make your selection.

8. To execute the Write operation, press the WRITE button.

Alternatively, press the OK button in the Write dialog box.

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Loading & saving data

To cancel without executing press the Cancel button or

EXIT button.

About the Tone Adjust settings that are saved

There are three types of Tone Adjust parameters, as listed below.

The way in which settings are written will depend on the type.

•

Absolute:

This type of Tone Adjust parameter controls a single program parameter.

The Program parameter and the Tone Adjust parameter reflect each other exactly.

If you edit one, the other parameter will reflect the identical change.

This type of Tone Adjust parameter “absolutely” controls the program parameter itself.

•

Relative:

This type of Tone Adjust parameter controls two or more program parameters simultaneously.

For example, “Filter/Amp EG

Attack Time” controls a total of six program parameters.

The value of a relative parameter indicates the amount of change that is applied to the value of each program parameter it’s affecting.

When a relative parameter is at zero (i.e., when its slider is in the center position), the program parameters it controls will function according to their original settings.

Raising or lowering the value of a relative parameter will indirectly raise or lower the value of these program parameters.

•

Meta:

This type of Tone Adjust parameter affects other Tone Adjust parameters.

It does not affect program parameters directly.

If you’ve adjusted an absolute or a relative Tone Adjust parameter, the result of your adjustment will be written as follows.

Program mode:

• The settings of relative ‐ type Tone Adjust parameters are automatically applied directly to the program parameters when you write the program.

The Tone Adjust values will be reset to zero.

• The settings of absolute ‐ type Tone Adjust parameters are written “as themselves” (i.e., as the new settings of those Tone Adjust parameters).

Combination mode:

• The settings of both relative ‐ type and absolute ‐ type

Tone Adjust parameters are written and preserved as the Tone Adjust settings for each timbre.

For details, please see pages 7, 75 of the Parameter

Guide.

Writing Global settings, User Drum

Kits and User Arpeggio Patterns

Memory in Global mode

When the power is turned on, the Global mode data is called from internal memory into the Global mode memory area.

Then when you modify the parameters in Global mode, the data in the memory area will be modified.

If you wish to save this modified data in internal memory, you must

Write it.

When you write this data, the data in the memory area is written into internal memory.

If you turn off the power without writing, the modified data in the memory area will be lost.

Editing will affect the data that has been called into the memory area.

When you Write, the various Global mode settings will be saved in internal memory.

Memory Area

Write Power On

Edit

When the power is turned on, the settings are called into the memory area.

Global Setting

P0...P4

Internal Memory

Drum Kits

Arpeggio Patterns

Writing (saving) procedure

The following three types of Global mode data can be saved by writing it into the KROME’s memory.

• Global settings (the settings in Global P0–P4)

• Drum kits (the settings in Global P5)

• Arpeggio patterns (the settings in Global P6)

Changes you make to this data will be remembered as long as the power remains on, but will be lost when you turn off the power.

If you want to keep your changes even after turning the power off, you must write them into memory.

The following are exceptions.

Parameters that are not saved even if you Write

• Effect Global SW

Parameters that are saved even if you don’t Write

• Auto Power ‐ Off

1. Access the page that contains the parameters or settings that you want to save.

Choose one of the P0–P4 pages if you want to write global settings, choose P5 if you want to write drum kits, or choose P6 if you want to write arpeggio patterns.

2. Press the WRITE button.

Alternatively, press the page menu button in the upper right of the display, and choose “Write Global Setting,”

“Write Drum Kits,” or “Write Arpeggio Patterns.” The corresponding one of the following dialog boxes will appear.

Write Global Setting dialog box (P0–P4)

Saving data Editing names

Write Drum Kits dialog box (P5)

Write Arpeggio Patterns dialog box (P6)

3. To execute the Write command, press the WRITE button.

Alternatively, press the OK button in the Write dialog box.

If you decide not to execute, press the EXIT button or the Cancel button.

Memory protect

To prevent Programs, Combinations, Songs, Drum

Kits, and User Arpeggio Patterns from being overwritten accidentally, the KROME provides a

Memory Protect setting that prohibits writing to memory.

Before you save edited data or load data from media, use the following procedure to turn the memory protect off (uncheck the appropriate check box).

You must also turn memory protect off before loading the above data from media or via a MIDI data dump, or before recording in Sequencer mode.

1. Press the GLOBAL button to enter Global mode.

2. Access the Global P0: Basic Setup– System

Preferences page.

Editing names

You can modify the name of an edited program, combination, song, drum kit, or user arpeggio patterns etc.

You can also modify the category names for programs and combinations.

These renaming procedures can be performed in the following pages.

Program

Track

Pattern

Item

Combination

Song

Cue list

Drum Kit

Arpeggio Pattern

File

Effect preset

Page

Prog P0…9 menu command:

Write Program

Combi P0…9 menu command:

Write Combination

Seq P0…5 menu command:

Rename Song

Seq P6: Track Name

Seq P10: Pattern Name

Seq P11: menu command: Rename

Cue List

Program category/ sub category

Combination category/ sub category

Global P4: Program Category

Global P4: Combination Category

Global P5 menu command:

Rename Drum Kit

Global P6 menu command:

Rename Arpeggio Pattern

Media Save: Save All…Save Exclusive,

Media Utility menu command:

Rename, Create Directory, Format

Seq P0–P11:

Save Songs and Cue Lists Data

Prog, Combi, Seq P8, 9 menu command: Write FX Preset

1. In the pages listed above, or after selecting a menu command in these pages, press the text edit button

to access the text edit dialog box.

Text Cursor

Character Set Selects the type of character.

Character buttons

3. Press the “Memory Protect” check box for the type of data you wish to write to internal memory, so that the box is unchecked.

Cursor buttons

Move the cursor to left or right.

Space button

Insert a space at the cursor location.

Delete button

Deletes the character to the left of the cursor.

Clear button

Delete all characters of the text.

Shift button

Switches between uppercase and lowercase characters.

Cancel button, OK button

If you are satisfied with the text that you input, press the OK button. If you wish to discard your input and exit the text edit box, press the Cancel button.

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Loading & saving data

Saving to SD card (Media–

Save)

For details on the data that can be saved on storage media.

For details, please see

The musical data of a song you create in Sequencer mode cannot be saved in the KROME’s internal memory.

You must save this data on a commercially available SD card, or save it using

MIDI data dump.

When you’ve come up with settings you like, it’s a good idea to save them, so that even if you subsequently edit those settings, you’ll always be able to reload the previous settings if desired.

Types of SD card you can use

SD card specifications

SD memory cards up to 2GB and SDHC memory cards up to 32GB are supported.

SDXC memory cards are not supported.

MS ‐ DOS format FAT16 or FAT32 are supported.

Media is not included.

You will need to purchase it separately.

Inserting/removing a card in the SD card slot

If you’ve placed an SD card in the SD card slot, you can use it to save or load various types of Program,

Combination, and Song data.

About the write protect setting of an SD card

SD cards have a write protect switch that prevents the data from being overwritten accidentally and lost.

If you set the card’s Lock (write protect) switch to the

“protected” setting, it will be impossible to write or erase data on the card, or to format it.

If you need to save edited data on the card, move the switch back to its original “unprotected” setting.

Inserting a card

• Insert an SD card in the SD card slot.

With the card label facing upward, insert the connector end of the card into the SD card slot and press it in until you hear a click.

SD card slot

Removing a card

Never remove an SD card from the slot while loading, saving, or formatting is in progress.

• Remove the card from the SD card slot.

Press the card inward; you will hear a click, and the card will pop out part ‐ way, allowing you to pull it completely out.

Refer to the owner’s manual included with your card, and observe the guidelines for handling and use.

Formatting media

Some consumer electronics products that use SD cards utilize their own proprietary format.

Before using an

SD card with the KROME, you must format it on the

KROME (see

page 123).

How to save data

As an example here, we’ll execute

Save All

to save the

.PCG

and .SNG

files.

“Save All” saves all internal memory Programs,

Combinations, Global settings, Drum Kits, User

Arpeggio Patterns, and Drum Track User Patterns to media as a .PCG

file.

It also saves songs and cue lists as a .SNG

file.

This method is available only if the current directory is a DOS directory.

If you save this data to low ‐ capacity media, you may need more than one media.

1. Prepare the media on which you want to save the data.

2. Press the MEDIA button to enter Media mode.

3. Access the Media– Save page.

Press the Save tab.

4. If the media contains directories, select the directory in which you want to save the data.

Press the Open button to move to a lower level, or press the Up button to move to an upper level.

Note:

If you are saving data on high ‐ capacity media, we recommend that you create directories to organize the media into sections.

To create a new directory, move to the level at which you want to create the directory, and execute the Utility menu command

Create Directory

5. Press the menu button to access the menu, and press Save All.

A dialog box will appear.

The contents, settings, and operations for the dialog box will depend on the type of data that you are saving.

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SD card

Make sure that the card is oriented correctly when you insert it.

Forcing it in the wrong direction may damage the slot or the card, and the data may be lost.

Saving data Using the KROME as a data filer

6. Press the text edit button and input a filename for the file you want to save.

(See

page 117.)

7. Press each Selection button to access the dialog box, and use the check boxes to uncheck any items that you do not need to save.

In order to accurately reproduce the data you created, we recommend that you check all of the boxes.

When you’ve finished making settings, press the OK button to close the dialog box.

8. Press the OK button to execute the Save operation.

• If the data fits on one volume of media

The data will be saved on the specified media, and you will return to the Save page.

• If the data does not fit on one volume of media

The “No space available on media” dialog box will appear.

Cautions when saving

If an identically named file exists on the media

If a file with the same name already exists on the media, you will be asked whether you want to overwrite.

If you wish to overwrite, press the OK button.

If you want to save without overwriting, press the Cancel button and rename the file before you save it.

For details, please see

“Loading the preloaded data” on page 125.

Please note when saving

• When using

Save All (PCG & SNG)

, and

Save

PCG

to save combinations, you should also remember to save the programs used by each timbre (or the drum kits, and user arpeggio patterns used by the programs) at the same time.

Similarly when saving programs, you should also remember to save the drum kits, user drum track patterns and user arpeggio patterns used by the programs.

Time required when saving data

• The length of time required will depend on the amount of data being saved.

Press the OK button and the file will be divided and saved to multiple volumes of media.

If you don’t want to divide the file, press the Cancel button, and re ‐ save it to larger ‐ capacity media.

For details, please see “If the data being saved does not fit on one volume of media” on page 231 of the

Parameter Guide.

9. When saving ends and you return to the Save page, the display will show the file that was saved.

The various types of data are saved as the following files.

• .PCG

file

• .SNG

file

Using the KROME as a data filer

The KROME can receive MIDI System Exclusive data sent by an external device, and save this data to media.

(This is sometimes referred to as the “Data Filer” function.) For details, please see “Save Exclusive” on page 232 of the Parameter Guide.

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Loading & saving data

Loading data

Data that can be loaded

Loading from media

You can load the following data from media.

•

.PCG

file:

Programs, Combinations, Drum Kits, Global settings, User Arpeggio Patterns, and User Drum

Track patterns

•

.SNG

file:

Song and cue list.

•

.MID

file:

Standard MIDI file (SMF) format

•

.EXL

file:

MIDI exclusive data

Loading the preloaded data and demo songs to restore the factory settings

You can load the factory settings and demo songs back into the KROME’s internal memory.

For the procedure, please see

•

Preload data:

Programs, Combinations, Drum Kits, Global settings, User Arpeggio Patterns

• Demo song data

Loading data from SD card

(Media–Load)

Loading all Programs, Combinations,

Drum Kits and Arpeggio patterns

Here we’ll explain how to load all data from a .PCG

file containing Programs, Combinations, Drum kits,

Global settings, User Arpeggio patterns, and Drum

Track patterns in a single operation.

When loading Programs, Combinations, Songs, or

Drum Kits, you must make sure that the Global mode memory protect setting is unchecked.

For details, please see

“Memory protect” on page 117.

Note:

Please see

page 117

for details on the SD card from which you can load data.

1. Make sure that the media is ready for you to load data.

For details, please see

“Inserting/removing a card in the SD card slot” on page 118.

2. Access the Media– Load page.

Press the Load tab.

3. Press the .PCG

file containing the program and combination data you want to load, so that the file is highlighted.

• If there are directories, press the Open button to move to a lower level, or press the Up button to move back to the higher level.

4. Press the Load button.

Alternatively, choose the menu command “Load Selected.”

A dialog box will appear.

5. If you want to load song data at the same time, select the “Load ********.SNG

too” box.

When you execute the load operation, the .SNG

file will be loaded together with the .PCG

file.

Use “Select .SNG

Allocation” to specify the destination to which the song data will be loaded.

Loading data Loading data from SD card (Media–Load)

“Append” will load the song into the song number that follows the song(s) currently existing in internal memory, without leaving a vacant number.

“Clear” will erase all songs from internal memory, and load the songs into the numbers from which they were saved.

6. Press the OK button.

All data from the .PCG

file will be loaded into the KROME.

Never remove the media while data is being loaded.

Note:

You can load individual banks of programs or combinations.

For details, please see page 228 and following of the Parameter Guide.

Loading individual data from a .PCG file

The KROME lets you load Programs, Combinations,

Drum kits, user Drum Kit patterns, User Arpeggio patterns individually or by individual banks.

This is a convenient way to rearrange Combinations in the order in which you will use them during a live performance.

Be aware that if you change the order of Programs, the sounds played by Combinations may also be affected.

As an example here, we will explain how a combination saved in bank A can be loaded into D000.

1. Move to the “Bank A” directory, and select the

Combination that you want to load.

(.PCG

file/

Combinations/Bank A/)

The procedure is as follows:

• Perform steps 1–3 under

“Loading all Programs,

Combinations, Drum Kits and Arpeggio patterns” on page 120.

Select the .PCG

file containing the data you want to load (it will be highlighted), and press the Open button.

• Press “Combinations” to highlight it, and press the

Open button.

• Press “Bank A” to highlight it, and press the Open button.

• Press the scroll bar to find the Combination you want to load, and highlight it.

Alternatively, you could select any file, since the desired file can be selected later from the dialog box.

2. Press the Load button.

Alternatively, choose the menu command “Load Selected.”

A dialog box will appear.

Note:

The contents and settings of the dialog box will differ depending on the type of file that you are loading.

3. Check the “Load ********.PCG

too” check box.

When you execute loading, the .PCG

file will be loaded along with the .SNG

file.

Use “Select .SNG

Allocation” to specify the destination to which the song data will be loaded.

“Append” will load the song into the song number that follows the song(s) currently existing in internal memory, without leaving a vacant number.

“Clear” will erase all songs from internal memory, and load the songs into the numbers from which they were saved.

Note:

When you press the keyboard of the KROME, you will hear the combination you have selected.

However, the internal programs will be used as the program of each timbre.

3. Use the “Combination” (upper line) to select the load ‐ source combination, and use “(To)

Combination” (lower line) to specify the destination combination.

For this example, select

D000.

You can press the popup button and select from a menu, or use the BANK buttons and numeric keys to make a selection.

4. Press the OK button to execute loading; the loaded combination will be assigned to D000.

Loading songs for use in Sequencer mode (.SNG)

As an example here, we will explain how to load a song.

We’ll assume that this song uses edited programs, multisamples you sampled and programs that use drumkit and user arpeggio patterns etc.

In such cases, it is best to load “all data.”

1. Perform steps 1–3 under

“Loading all Programs,

Combinations, Drum Kits and Arpeggio patterns” on page 120.

Select the .SNG

file containing the data you want to load (it will be highlighted).

2. Press the Load button.

Alternatively, choose the menu command Load Selected.

A dialog box will appear.

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122

Loading & saving data

4. Press the OK button to execute loading.

Never remove the media while data is being loaded.

Loading KROME system update data

You can update the KROME’s system by downloading the most recent version of the system file from the

Korg website (http://www.korg.com) to your computer, and loading it into the KROME.

For details on the procedure, please see the Korg website and to

“Update System Software” on page 218 of the

Parameter Guide.

Use the Global mode menu command

Update System

Software

to load the system update data.

Media utility Formatting media

Media utility

Formatting media

Newly purchased media or media that has been used by another device cannot be used “as is;” you must format the media before you can use it with the

KROME.

When you format media, all data that had been saved on that media will be erased.

Be sure to double ‐ check media for data before you format.

After formatting, it is not possible to press the

COMPARE button to return to the previous state.

1. Make sure that the media you want to format is inserted.

For details, please see

“Inserting/ removing a card in the SD card slot” on page 118.

2. Access the Media– Utility page.

Press the Utility tab.

3. Press the menu button to access the menu, and press “Format” to open the dialog box.

Setting the current time

Specify the date and time; this is used to record the correct date and time when you save data.

You can set the date and time by using the Media Utility page’s

Set

Date/Time

menu command.

The KROME does not contain an internal calendar or clock, you must use the Utility menu command

Set Date/Time

to set the date and time before saving the file.

1. Press the MEDIA button to enter Media mode.

2. Access the Media– Utility page.

Press the Utility tab.

3. Open the menu, and select the Set Date/Time command.

The following dialog box will appear.

4. In “Volume Label,” use the text edit button to access the text edit dialog box, and specify the volume label.

The previously ‐ specified volume label will be displayed.

If no volume label had been specified for the media, or if a non ‐ DOS media was inserted, this will indicate “NEW VOLUME.”

5. Specify the initialization format.

Quick Format:

This erases the file information on the

SD card, allowing the card to be formatted quickly.

Normally you’ll use this method of formatting.

Full Format:

All blocks on the media will be erased.

Normally, there is no need to apply a Full Format; you should simply execute Quick Format.

6. Press the OK button to format, or press the Cancel button if you decide to cancel.

When you press the OK button, a message will ask you for confirmation.

Press the OK button once again to execute the Format operation.

You must use the KROME to format the media.

The KROME will not correctly recognize media that has been formatted by another device.

4. Use the VALUE controllers to set the correct year, month, day, hour, minute, and second.

5. Press the OK button.

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Loading & saving data

Appendices

Restoring the factory settings

Loading the preloaded data

The original preload data is backed up in the KROME, so you can restore any or all of the Programs,

Combinations, Drum Kits, User Arpeggio Patterns, and Global settings to their original factory settings.

Note:

The original demo songs can be re ‐ loaded at any time.

For details, please see

“About the data loaded by

All (Preload PCG and Demo Songs)”.

User banks and user patterns into which preload data has not been loaded will remain unchanged.

If you want to erase user banks or user patterns, initialize the

KROME and then load the preload data.

For more details, please see

“Initialization” on page 125.

Never turn off the power while the data is being loaded.

Before you load the preload data, go to the Global mode P0: Basic Setup– System Preferences page, and uncheck the “Memory Protect” settings for the data that you want to load.

If you execute this procedure with these settings checked, the data will not be loaded.

Loading the preloaded data will overwrite the contents of the internal memory.

If you want to keep the existing data that is stored in internal memory, use “Save All (PCG&SNG)” or “Save

PCG” to save your data to external media before you continue.

1. Access the Global mode P0: Basic Setup– Basic page.

Enter Global mode by pressing the GLOBAL button or by using the mode button.

If the Global P0: Basic Setup– Basic page is not shown, press the EXIT button.

2. Press the menu button, and choose “Load Preload/

Demo Data.”

A dialog box will appear.

3. In the “Kind” field, select All (Preload PCG and

Demo Songs).

4. Press the OK button to load the preload data.

If you decide not to load the preload data, press the

Cancel button.

When you press the OK button, a dialog box will ask you for confirmation.

Press the OK button to execute loading.

Note:

When the dialog box is displayed, the ENTER button performs the same function as the OK button.

About the data loaded by All (Preload PCG and Demo Songs)

When you execute All Preload PCG, the following data will be loaded:

• Program: Bank A, B, C, D, E

• Combination: Bank A, B, C

• Drum Kit: 00(INT)–31(INT)

• User Arpeggio Pattern: U0000(INT)–U899(INT)

• Global Setting

If you execute All (Preload PCG and Demo Songs), the demo songs will be loaded as well as the above data.

• Demo Song: S000–003

Only when executing All (Preload PCG and Demo

Song)

Note:

As with the other user songs, the Demo Song data will not remain in Sequencer mode when you turn off the power.

You’ll need to load it again if necessary.

Initialization

If your KROME should become unstable, you can initialize it.

• Turn off the power, and then, while holding down the EXIT button and PAGE button, turn the power on.

The KROME will be initialized.

While the data is being loaded, the display will indicate “Now writ ‐ ing into internal memory.”

The resulting state will be the same as when

Load

Preload/Demo Data All

is executed (see

page 125).

125

Appendices

Troubleshooting

If you experience problems, please see the relevant item and take the appropriate measures.

Power supply

Power does not turn on

Is the AC adapter connected to an outlet?

→ p.15

Power turns off

Could the Auto Power ‐ Off function be enabled?

→ p.16

126

Display

The power is turned on, but nothing is shown on the display. The KROME functions normally when you play the keyboard or perform other procedures.

Access the Global mode menu “Display Setup” (Global

P0: Basic Setup), and use “Brightness” to adjust the contrast of the display.

→

PG p.216

The power is turned on, but the display does not work normally, or an error message is displayed. There is no sound when you play the keyboard, and the KROME does not function normally.

This type of problem may occur if a data writing operation to internal memory was not completed correctly, for example, if the power of the KROME was turned off while a program or other data was being written.

If this occurs, use the following procedure to initialize the KROME’s internal memory.

1. Turn off the power.

2. Initialize the KROME.

While holding down the

EXIT button and the PAGE button located beside it, turn on the power of the KROME.

The KROME will be initialized, and data will be written into internal memory.

While the data is being written, the display will indicate “Now writ ‐ ing into internal memory.”

After initialization, all user data will be empty, and you will need to re ‐ load the preload data.

Execute the Global mode menu command

Load Preload/

Demo Data

to load the data.

→ p.125

Operations in the display don’t work, the position has drifted, the response is poor

On the Global P0: Basic Setup page, use the

Touch

Panel Calibration

menu command to adjust the touch panel response.

→

PG p.217

In order to perform the calibration optimally, use a stylus pen to accurately press the center of the symbol

(calibration target) that appears in the corner of the display.

Note:

If you are unable to select commands from the menu, do the following:

1. Press the GLOBAL button (lit).

2. Press the EXIT button several times.

3. Hold down the ENTER button and press 4 on the numeric keypad.

The Touch Panel Calibration page will appear.

Follow the on ‐ screen instructions to re ‐ calibrate the touch panel.

Can’t switch modes or pages

If you’re doing any of the following, you may not be able to change modes or switch to a different page:

• Recording or playing back a song or pattern.

Alternatively, could the KROME be in the paused

PAUSE ( ) or record ‐ ready condition?

Could something be pressing the TouchView display?

Could a realtime control popup or similar message be displayed?

• Disabling “Animation,” “Value Edit Pop ‐ up,”

“REALTIME CONTROLS Pop ‐ up” (Global P0:

Basic Setup– System Preferences) will improve the response time and performance.

In Combination, or Sequencer modes, you can’t edit the value of Timbre/Track parameters such as MIDI Channel or Status

Some parameters can’t be edited while notes are playing, either locally or from MIDI.

If the damper pedal is held down, or if its calibration is incorrect, notes may be sustaining even if they aren’t audible.

• Are you using a damper pedal with a polarity that does not match the

Damper Polarity

setting (Global

P2: Controllers– Foot Controllers)?

→ p.18

• In some cases, this problem can be solved be executing the menu command

Half Damper

Calibration

(Global P0: Basic Setup).

→

PG p.217

No beep sounds when you touch the display

Check the

Beep Enable

check box (Global P0: Basic

Setup– System Preferences).

→ p.110

Audio output

No sound

Are connections made correctly to your amp, mixer, or headphones?

→ p.17

Is the connected amp or mixer powered ‐ on, and is its volume raised?

Is Local Control turned on?

• In Global P1: MIDI, check the

Local Control On

check box.

→

PG p.198

Could the VOLUME knob be turned all the way to the left?

→ p.1

Is the Master Volume assigned to

Foot Pedal Assign

, and is that pedal volume lowered?

→ p.19

Could the program be muted?

→ p.27

If a specific timbre doesn’t sound in Combination mode, is its Play/Mute button set to Play?

Troubleshooting Programs and Combinations

Alternatively, are all Solo button settings turned off?

→ p.46

If a specific track doesn’t sound in Sequencer mode, is its Play/Rec/Mute button set to Play?

Alternatively, are all Solo button settings turned off?

→ p.55

Make sure that the

Status

is INT or BTH.

→ p.50,

p.57

Are the Key Zone and Velocity Zone set so that sound will be produced when you play?

→

PG p.14, p.84, p.129

Is the Oscillator, Drum Track, Timbre, or Track level lowered in the control surface mixer?

→ p.27,

p.46,

p.55

Could the level of the

Master Volume

following the total effect have been lowered?

→

PG p.62, p.99, p.152

Could the total polyphony be exceeding the maximum polyphony of 120 voices?

→ p.32

Notes do not stop

In Prog P1: Basic/Controllers– Note ‐ On/Scale, select the Program Basic page, make sure that the

Hold

check box is unchecked.

→

PG p.14

Did you use Tone Adjust to turn

Hold

on?

→

PG p.10

In Global P2: Controller, make sure that

Damper

Polarity

Foot Switch Polarity

is set correctly.

→

PG p.202

If the DRUM TRACK or ARP buttons are turned on, try turning them off.

Notes are sounded in duplicate

Is Local Control turned Off?

• Clear the

Local Control On

checkbox (Global P1:

MIDI).

→

PG p.198

Noise or oscillation is heard

When using the MIDI/Tempo Sync function to control the delay time of an effect, noise may occur in the delay sound.

This noise is due to discontinuities in the delay sound, and is not a malfunction.

Some effects, such as 019: Stereo Analog Record, generate noise intentionally.

It is also possible to create oscillation using a filter with resonance.

These are not malfunctions.

Note that if you use the following effects with the routing described below, a feedback loop will be created, possibly producing a loud noise.

Please use caution.

If the signal from an oscillator or timbre/track output, or the signal after an insert effect, is sent to the FX

Control bus and that signal is output directly, with this output sent to the FX Control bus, a loud noise may be output.

(It is also possible that a DC component will be output at the maximum level, producing silence.)

• When using the 003: Stereo Limiter or 006: Stereo

Gate, and the

Envelope Source

of these effects is set as either FX Control 1 or FX Control 2, and

Trigger

Monitor

is On.

• When using 174: Vocoder, with the

Modulator

Source set to FX Control 1 or FX Control 2, and the

Modulator High Mix

set to other than 0.

Can’t play chords

Could the program’s

Voice Assign Mode

be set to

Mono?

→ p.33

Pitch is incorrect

• In the Global P0: Basic Setup page, are the

Master

Tune

and

Transpose

settings correct?

→ p.109

• In the Prog P2: OSC/Pitch page, is the

Pitch Slope

set to +1.0?

→

PG p.20

• In the combination or song, are the

Transpose

and

Detune

settings of each timbre/track set appropriately?

→

PG p.82, p.127

• In the timbre/track settings of each program, combination, or song, could you have selected a non ‐ standard scale type other than Equal

Temperament?

→

PG p.15, p.83, p.128

Programs and Combinations

Settings for oscillator 2 are not displayed

Make sure that the

Oscillator Mode

(Prog P1: Basic/

Controllers) parameter is set to Double or Double

Drums.

→ p.32

Program does not sound

Could the oscillator or amp level be lowered?

→

PG p.5, p.6, p.35

Could the program be muted?

• Use the Play/Mute button in the Prog P0: Play–

Mixer & Drum Track page to mute/unmute a program, or in the Combi P0: Play– Program T01–

08 and T09–16 pages to mute/unmute a combination.

A combination does not play correctly after you load data

In the dialog box when you saved the data, did you check the items that you wanted to save?

→

PG p.231

Are the bank/numbers of the programs used by the combination the same as when the combination was created?

• If you have switched program banks, you can use the Global mode

Change all bank references

menu command to change the program bank for each timbre of a combination.

→

PG p.216

Can’t write a Program

Is the Memory Protect

Program

Combination

checkbox (Global P0) cleared?

→ p.110,

and PG p.197

127

Appendices

Songs

128

Song does not play correctly after being loaded

In the dialog box when you saved the data, did you check all of the items that you wanted to save?

→

PG p.231

Are the programs used by the song the same as when the song was created?

• If you have switched program banks, you can use the Global mode

Change all bank references

menu command to change the program bank for each track of a song.

→

PG p.216

• When saving the song, it is best to use

Save All

(PCG&SNG)

so that the programs are saved together with the song.

Then when loading, load both the .PCG

and the .SEQ

data.

→

PG p.231

Playback does not start when you press the

SEQUENCER START/STOP (

Sequencer mode

) button in

Is the

MIDI Clock

(Global P1: MIDI) set to Internal or

Auto?

→

PG p.199

Can’t record in Sequencer mode

Did you use

Track Select

to select the MIDI track that you want to record?

→ p.60

Is the Memory Protect

Song

check box (Global P0) unchecked?

→ p.110,

and PG p.197

Is the

MIDI Clock

(Global P1: MIDI) set to Internal or

Auto?

→

PG p.199

A combination copied using “Copy From Combi” doesn’t record via arpeggiator as it did when you were playing it in Combination mode

Multi REC

(Seq P0: Play/REC) checked?

→ p.60,

and

PG p.118

Are the settings in the Copy from Combination dialog box correct?

→

PG p.166

• In the Copy from Combination dialog box, check the

Auto adjust Arp setting for Multi REC

option before you execute the copy.

This will cause the settings to be adjusted automatically.

Can’t record Tone Adjust data

Changes you make using Tone Adjust are recorded as system exclusive data.

Did you check the Global mode

MIDI Filter

Enable Exclusive

check box?

→

PG p.201

RPPR does not start

Is the Seq P0: Play/REC

RPPR

setting checked?

→ p.72

Are

Assign

Pattern Select

, and

Track

set correctly?

→ p.71

Is the

MIDI Clock

(Global P1: MIDI) parameter set to

Internal or Auto?

→

PG p.199

SMF you loaded in Media mode won’t play correctly

Execute the menu command

GM Initialize

to restore the settings.

→

PG p.165

Set

Bank Map

to GM(2) and load the data again.

→

PG p.196

Arpeggiator

The Arpeggiator does not start

Is the ARP button turned on (lit)?

→ p.85

If the arpeggiator does not start for a combination or song, make sure that

Arpeggiator Run

is checked, and that an arpeggiator is selected for

Assign

→ p.88,

and

PG p.74, p.92, p.114

If the arpeggiator does not run in the Global P6:

Arpeggio Pattern page, could you have navigated there from Combination or Sequencer mode with settings that do not start the arpeggiator?

Is the

MIDI Clock

(Global P1: MIDI) parameter set to

Internal?

→

PG p.199

In the Global P0: Basic Setup page, is

All ARP/DT Off

checked?

→

PG p.195

Drum Track function

The Drum Track does not start

Is the DRUM TRACK button turned on (lit)?

→ p.97

You pressed the DRUM TRACK button but the drum track pattern did not start.

• Is the DRUM TRACK button blinking?

Trigger

Mode

is set to Wait KBD Trigger.

The drum track pattern will start when you play the keyboard or receive a note ‐ on.

→

PG p.56

• Did you select a pattern that does not contain data?

• Could P000: Off be selected as the pattern?

→

PG p.55

If the drum track pattern fails to start in Combination mode, is the

Output

setting appropriate?

If the drum track pattern fails to start in Sequencer mode, are the

Input

and

Output

settings appropriate?

→ p.99,

and PG p.146

MIDI Clock

(Global P1: MIDI) set to Internal or

Auto?

→

PG p.199

In the Global P0: Basic Setup page, is

All ARP/DT Off

checked?

→

PG p.195

Drum Kits

The drumsample’s pitch does not change

You have left the

Assign

check box unchecked, and want to play the drumsample at the adjacent right a semitone lower, but the pitch does not change.

• If you have selected a drum program in Program mode, and then want to edit the drum kit in Global mode, go to the Prog P2: OSC/Pitch– OSC1 Pitch page and set

Pitch Slope

to +1.0

before you enter

Global mode.

→

PG p.20

Can’t edit the drum kit for Double Drums

OSC2

• Access the P2: OSC/Pitch– OSC2 Setup page, and move to Global mode by pressing the Jump to

Drum Kit Edit button.

Troubleshooting Effects

Effects

Effects are not audible

Have you selected effect program 000 (No Effect)?

• Select an effect other than 000: No Effect for “IFX1–

5,” “MFX 1, 2” or “TFX.”

Are the Effect Global SW

IFX 1–5

MFX1&2

, or

TFX

(Global P0: Basic Setup page) settings checked?

→

PG p.195

If you are in Combination and Sequencer mode, and master effects are not audible when you raise the

Send1

Send2

of the timbre/track, does

Return 1

Return 2

from the master effect need to be raised?

→

PG p.61, p.99, p.152

Alternatively, has

Send 1

Send 2

for each oscillator of the program used by the timbre/track been lowered?

→

PG p.96, p.148

Note:

The actual send level is determined by multiplying the send setting of each oscillator in the program with the send setting of the timbre/track.

Have you routed the output to an insert effect?

→

PG p.57, p.58, p.96, p.98, p.148, p.149

Media

Can’t format the SD card

Does the media meet the requirements for use on the

KROME?

Is the media inserted correctly?

Could the media’s Lock (write protect) switch be on?

Can’t save/load data on the SD card

Is the media inserted correctly?

Has the media been formatted?

→ p.123

Could the media’s Lock (write protect) switch be on?

The date of the data is wrong

The files you saved have the incorrect date.

• The KROME does not contain an internal calendar.

Use the menu command

Set Date/Time

(Media–

Utility page) to specify the current time and date before you save the data.

→ p.123

MIDI

The KROME does not respond to incoming MIDI data

Are all MIDI cables or USB cables connected correctly?

→ p.20

Are the KROME’s receive settings (such as the global

MIDI channel and the timbre/track’s receive channel) set to match the channels of the transmitting device?

→

PG p.360

The KROME does not respond correctly to incoming MIDI data

Are the Global P1: MIDI settings MIDI Filter

Enable

Program Change

Enable Bank Change

Enable

Control Change

Enable AfterTouch

, and

Enable

Exclusive

each checked?

→

PG p.200

Does the KROME support the types of messages that are being sent to it?

→

PG p.360

Can’t recall programs of the desired bank

Is the

Bank Map

setting correct?

→

PG p.196

Damper pedal

Damper response is wrong

Execute the menu command

Half Damper Calibration

(Global P0: Basic Setup) to correctly calibrate the half ‐ damper pedal sensitivity.

→

PG p.217

Connections with a computer

The KROME does not respond to MIDI data sent from outside

Is the USB cable connected correctly?

→ p.20

The computer does not detect the KROME

Are the USB cables connected correctly?

An error occurs when you disconnect from the computer

Never disconnect the KROME from the computer while your host application is in use.

While connected, you are asked to install software or a device driver

Does the operating system or version of your computer support the KROME?

When using USB, sound processing is slow, or the tempo is unstable

Is the KORG USB ‐ MIDI driver installed correctly?

• You must install the dedicated Korg driver in order to use the KROME via USB MIDI.

If your computer’s operating system is Windows, you’ll need to install the driver for each USB port where you connect the KROME.

If you connect the KROME to a different USB port than the one you used when installing the KORG

USB ‐ MIDI Driver for Windows, you’ll need to rein ‐ stall the KORG USB MIDI driver.

129

Appendices

Error messages

Error and confirmation messages

Are you sure ?

Meaning:

This message asks you to confirm execution.

To execute press the OK button.

To cancel, press the

Cancel button.

Can’t calibrate

Meaning:

Calibration could not be performed correctly.

• Try again.

Can’t copy/swap double size effect

Meaning:

When copying or swapping an insertion effect or master effect, you attempted to place a double ‐ size effect in IFX5 and MFX2.

• Modify your settings so that a double ‐ size effect is not moved to IFX5 or MFX2, and execute again.

Can’t open pattern Continue?

Meaning:

When you finished recording, there was not enough memory to open the pattern that was put into the track (When it must be opened automatically).

If you press the OK button, the pattern data will be deleted, and the recorded or edited content will be saved.

If you press the Cancel button, the recorded content will be discarded.

Completed

Meaning:

The processing executed by the command has been completed.

Completed. Please turn the power off, and then on again

Meaning:

Execution of Update System Software has been completed successfully.

Turn the power switch off, and then on again to complete the update.

130

Destination and source are identical

Meaning:

When copying or bouncing, the same song, track or pattern was selected for both the source and destination.

To solve this problem:

• Select a different song, track, or pattern for the source and destination.

Destination from-measure within the limits of source

Meaning:

When executing the Move Measure command for all tracks or within the same track, the specified destination measure is within the source range.

To solve this problem:

• Set a destination measure that is outside of the source range.

Destination is empty

Meaning:

When editing, the track or pattern that was specified as the destination contains no musical data.

To solve this problem:

• Select a track or pattern that contains musical data.

Destination measure is empty

Meaning:

The measure that was specified as the destination contains no data.

• Specify a destination measure that contains data.

Destination song is empty

Meaning:

The song that was specified as the copy destination or bounce destination does not exist.

• Execute the Create New Song command in the dialog box that appears when a new song is selected before copying or bouncing.

(See

page 57)

Directory is not empty Cleanup directory

Are you sure?

Meaning:

When deleting a directory, files or directories exist within that directory.

• Press the OK button to delete all files and/or directories within that directory.

Error in formatting media

Meaning:

An error occurred while performing a physical format (full format) or high ‐ level format

(quick format) of the media.

To solve this problem:

• Use other media.

Error in reading from media

Meaning:

An error occurred while reading data from media.

This error may also appear when data is being written to media by a Save or Copy operation.

To solve this problem:

• Execute the reading procedure once again.

If the same error occurs, it is possible that the data on the media has been damaged.

Error in writing to media

Meaning:

A verification error occurred while writing data to a media.

To solve this problem:

• It is possible that the media has been physically damaged.

Try another media.

Avoid using the media that produced the error.

File already exists

Meaning:

When executing a

Create Directory

File

Rename

procedure, a directory or file of the same name already exists on the media.

Meaning:

When executing the Media mode Utility

Copy

command without using wild cards, the copy destination contained a file of the same name as the copy source.

• Either delete the existing directory or file, or specify a different name.

Error messages Error and confirmation messages

File unavailable

Meaning:

You attempted to load or open a file whose format was incorrect.

File/path not found

Meaning:

When executing the

Delete

command in the

Media mode Utility page, the specified file did not exist.

Meaning:

When executing the

Copy

command in the

Media mode Utility page, and you used a wild card to specify the copy file name, the specified file was not found.

Alternatively, the length of the copy source path name exceeded 76 characters.

Meaning:

In Media mode when you used the Open button to open a directory, the path length including the selected directory name exceeded 76 characters.

• Check the file or directory.

Meaning:

When you pressed the WRITE button to save your data in Sequencer mode, the media was not in a state that allowed saving, or the previously ‐ opened directory was not a location where SNG files could be saved.

• If the save ‐ destination directory is something other than the DOS directory from which you opened a

.PCG

or .SNG

file, a message such as “File/path not found” will appear, and the data cannot be saved.

In this case, move to Media mode, select an appropriate save ‐ destination, and then execute

Save All

Save SEQ

Illegal file description

Meaning:

The filename that you specified when saving a file or creating a directory contained invalid characters.

To solve this problem:

• Change the filename you are specifying.

Filenames not permitted by MS ‐ DOS cannot be used as a filename.

Illegal SMF data

Meaning:

You attempted to load a file that was not a

Standard MIDI File.

Illegal SMF division

Meaning:

You attempted to load a Standard MIDI File that was timecode ‐ based.

Illegal SMF format

Meaning:

You attempted to load a Standard MIDI File of a format other than 0 or 1.

Master Track can’t be recorded alone

Meaning:

When realtime ‐ recording a single track, you attempted to begin recording with the master track as the current track.

• Select a MIDI track for recording, instead of the

Master Track.

Measure number over limit

Meaning:

The attempted edit procedure would cause the track length to exceed 999 measures.

• Delete unnecessary measures.

Measure size over limit

Meaning:

When loading a Standard MIDI File, the number of events in a measure exceeded the maximum

(approximately 65,535 events).

Meaning:

The attempted edit procedure would cause the maximum number of events in a measure

(approximately 65,535) to be exceeded.

To solve either of these problems:

• Use event editing etc.

to delete unwanted data.

Media changed

Meaning:

When executing the

Copy

command in the

Media mode Utility page, the media was exchanged or ejected, and it was not possible to copy between separate media on the same drive.

Media unavailable

Meaning:

You selected a media source that does not allow writing.

Media write protected

Meaning:

The other writing ‐ destination media is write ‐ protected.

• Turn off write protect on the other media, and execute the command once again.

Memory full

Meaning:

When editing a song, track or pattern in

Sequencer mode, the total data of all songs has used up all of the sequence data memory, and further editing is not possible.

To solve this problem:

• Delete other song data etc.

to regain free memory.

Meaning:

While realtime recording in Sequencer mode, there is no more free memory to accommodate the recorded data, so recording has been forcibly halted.

To solve this problem:

• Delete other song data etc.

to regain the amount of free memory.

Memory overflow

Meaning:

While receiving exclusive data in Media mode

Save Exclusive

, all remaining internal memory was used up.

To solve this problem:

• If you are receiving two or more sets of exclusive data, transmit them separately to the KROME.

Memory Protected

Meaning:

The internal program, combination, song, drum kit, user arpeggio pattern is protected.

• In Global mode, turn off write ‐ protect, and execute the write or load procedure once again.

MIDI data receiving error

Meaning:

While receiving MIDI System Exclusive data, the format of the received data was invalid, for example, because the size of the data was incorrect.

131

132

Appendices

No data

Meaning:

When loading a Standard MIDI File, the file contained no events.

No media

Meaning:

When executing a command in Media mode, no media was inserted in the drive.

To solve this problem:

• Insert media, and navigate to an appropriate directory that the KROME will recognize.