Operation Guide E 2
To ensure long, trouble-free operation, please read this manual carefully. Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations of excessive vibration Power supply Please connect the designated AC/AC power supply to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.
Thank you for purchasing the Korg TR music workstation. To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual Conventions in this manual The owner’s manuals and how to use them References to the TR The TR is available in 88-key, 76-key and 61-key models, but all three models are referred to without distinction in this manual as “the TR.
Table of Contents Selecting and playing a program......21 Introduction ................................. 1 Selecting and playing a combination.....................................23 Selecting a program ................................. 21 Selecting a combination ............................ 23 Overview.......................................... 1 Main features .............................................1 Overview of the modes ...............................3 Joystick ................................
Basic functions ........................... 42 Saving data..................................... 42 Types of data that can be saved ................42 Writing to internal memory .......................43 Writing a program or combination ........... 43 Writing global settings, user drum kits, and user arpeggio patterns............................ 45 Saving on external media..........................46 Producing a song...................................... 65 Creating the basic song .........................
Loading data ..........................................101 Types of data that can be loaded..............101 Data loading procedure.............................101 Saving data ............................................102 Types of data that can be saved ...............102 Adjusting the contrast (brightness) of the LCD screen .................................................... 120 Using this instrument as a data filer......... 120 Tap tempo control................................... 120 Shortcuts ......
Introduction Introduction Overview Overview The TR Music Workstation features Korg’s acclaimed HI (Hyper Integrated) synthesis system. It contains high-quality preset multisamples/programs/combinations, an effect section, plus a sequencer, dual polyphonic arpeggiator, RPPR, fourchannel audio output, and numerous other functionality.
Sequencer EXB-SMPL sampling upgrade TR provides a high-performance 16-track MIDI sequencer, with more than sufficient power for use as a stand-alone sequencer. The sequencer can serve as the core that brings together TR’s numerous capabilities, allowing it to serve as an integrated music workstation. For more on TR’s sequencer (☞p.63). The following functionality can be added by installing the separately sold EXB-SMPL option. RPPR TR features a RPPR (Realtime Pattern Play/Recording) function.
If the separately sold EXB-SMPL option is installed, Sampling mode will be added (for a total of six modes), and you will be able to record and edit samples. Program mode • Select and play programs You can choose programs from rewritable banks A, B, C, and D which contain a total of 512 programs, and non-rewritable bank G (128 programs compatible with the GM standard, and nine drum programs). • Edit a program Make settings for the oscillator, filter, amp, EG, LFO, effects, and arpeggiator.
• Create and playback patterns in realtime, using the RPPR (Realtime Pattern Play/Recording) function. Sampling mode Global mode • An external audio device or mic connected to the rear panel AUDIO INPUT jacks can be sampled (recorded as a sample). An insert effect can also be applied to the select input sound while it is being sampled. • Make settings that affect the entire TR, such as master tune and global MIDI channel.
Introduction Front and rear panel 4 5 6 8 9 10 12 11 13 Front and rear panel Front panel 1 2 3 1. [SW1] key, [SW2] key 7 5. REALTIME CONTROLS These keys are on/off switches for the functions to which they were assigned in Program, Combination, Sequencer and Sampling modes (if the EXB-SMPL option is installed). When on, the key will light (☞p.24). 2. Joystick This controls pitch or modulation, etc. Move the joystick up/down or left/right (+Y, –Y, –X, +X) to control (☞p.24).
[3] EG-INTENSITY: Controls the filter EG intensity. [4] EG-RELEASE: Controls the filter/amp release time. [GLOBAL] key Global mode will be selected [MEDIA] key Media mode will be selected. B-mode [1] ASSIGNABLE 1: [2] ASSIGNABLE 2: [3] ASSIGNABLE 3: [4] ASSIGNABLE 4: Controls the functions that are assigned in each mode (Program, Combination, Sequencer, or Sampling (if the EXB-SMPL option is installed)).
In Program, Combination, Sequencer, Sampling (if the separately sold EXB-SMPL option is installed), and Global modes, pressing this key from anywhere other than page 1.1 will take you to page 1.1 of that mode. When a dialog box is open, this key will cancel the settings made in the dialog box and close the dialog box (corresponds to the “Cancel”). If a Utility menu or page menu is open, pressing [EXIT] will close the menu.
13.SEQUENCER/SAMPLING (If the separately sold EXB-SMPL option is installed) [LOCATE] key This key resets the playback location of a song or cue list to a specified location. You can also press this key when “stuck notes” occur for some reason. [PAUSE] key This key pauses playback of a song or cue list (the key will light). Press the key again to cancel Pause (the key will go dark). [REC/WRITE] key When you press this key in Sequencer mode, the TR will enter recording-ready mode (the key will light).
(INDIVIDUAL) 1, 2 These are unbalanced phone jacks (☞p.12). These are individual (independent) audio output jacks. By cycling the “Bus Select” through 1, 2, 1/2 an oscillator, an insertion effect, an individual drum part, or the metronome etc. can be assigned to be output from the (INDIVIDUAL) 1, 2 jacks. The output from the 1, 2 jacks is not affected by the [VOLUME] slider. 6.
Objects and functions in the LCD screen a: Current page c: Parameter d: Edit cell b: Tab f: Function buttons By pressing the function key [F1]–[F8] nearest this button, you can turn various functions on/off. , : In Media mode, these select the current directory. : Accesses the utility menu where you can execute utility menu commands.
* When you select a utility menu command etc., a dialog box will open. Use the cursor keys [ ], [ ], [ ], [ ] to select parameters. Use the VALUE controllers (☞p.16) to input the parameter values. When selecting program or combination numbers in a dialog box, you can use the BANK [A]–[GM] keys in addition to the VALUE controllers. As in the utility menu, press the function key [F1]– [F8] nearest etc. (function button 2) to access the execution or operation screen. In some cases, a dialog box will appear.
Setup Connect the AUDIO OUTPUT (MAIN) L/MONO and R jacks to the INPUT jacks of your powered monitor system, mixer etc. Connecting audio equipment etc. Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions. L/MONO and R are the main outputs. If you are outputting in stereo, make connections to the (MAIN) L/MONO jack and the R jack. If you are outputting in monaural, make connections to the (MAIN) L/MONO jack.
A foot pedal can be connected to control the volume or other functions. Connect a separately sold Korg assignable pedal such as the XVP-10 EXP/VOL or EXP-2 to the rear panel ASSIGNABLE PEDAL jack. The function controlled by the foot pedal is specified in GLOBAL 1.1–3: System, Foot page “Foot Pedal Assign” (☞p.117, PG p.127, 227). Foot switch connections A foot switch controls sostenuto, soft pedal on/off, arpeggiator on/off, to select programs or combinations, and to start/stop the sequencer etc.
Inserting/removing a card in the SD card slot Connecting separately sold options If an SD card is inserted in the SD card slot, you can use it to save or load various types of TR data. By installing the separately sold EXB-SMPL option you can add two channels of audio input jacks and a SCSI connector. Inserting a card 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.
Introduction Basic operation 2 Press the [MENU] key. 1. Selecting modes In order to use a particular function on the TR, you must first select the appropriate mode. Press one of the front panel mode keys to enter the corresponding mode. [COMBI] key: [PROG] key: [SEQ] key: [GLOBAL] key: [MEDIA] key: [SAMPLING] key: Combination mode Program mode Sequencer mode Global mode Media mode Sampling mode (if the separately sold EXB-SMPL option is installed) The page menu will appear.
Selecting a tab 5 Press the function key [F1]–[F7] that is nearest the tab displayed at the bottom of the LCD screen. As an example, we will select the “Slope” tab. Press the [F3] key. Some pages have no tabs. Numeric keys [0]–[9], [ENTER] key, [–] key, [./HOLD] key Use these when you know the parameter value that you wish to input. After using the numeric keys [0]–[9] to input a number, press the [ENTER] key to finalize the parameter value. Use the [–] key to enter negative numbers. Use the [.
Introduction 5 If after recording two different takes on the same track, you record a third, the Compare function will now alternate between the second and third takes. Recording a fourth take will mean that Compare now alternates between takes three and four, and so on. In this fashion, Compare always alternates between the last two recorded passes that are made on the same track.
Quick Start Turning the power on/off Before you turn on the power, make sure that the desired connections have been made as described in “Setup” (☞p.12). • When using Sampling mode (if the separately sold EXB-SMPL option is installed) utility commands (“Move Sample,” “Move MS,” “Conv.To Prog,” “Time Slice,” etc.) to simultaneously modify programs or drum kits. 1. Turning the power on 1 Press the TR’s [POWER] switch to turn on the power.
Listening to the demo songs 1 Press the [GLOBAL] key (the key will light). You will enter Global mode. Verify that the GLOBAL 1.1: System page is displayed. If it is not displayed, press the [EXIT] key. 2 Press the [F8] (“UTILITY”) key to access the Utility menu. 3 Press the [F7] (“ ”) key to select “Load Preload/Demo Data,” and press the [F8] (“OK”) key. Quick Start The TR contains demo songs (and preloaded data). This data can be loaded in Global mode.
Playing a cue list Here’s how to playback the demonstration cue list. By using a cue list, you can repeatedly play multiple songs that you specify in the cue list, or play songs consecutively. (☞p.73) 1 Press the [MENU] key. 2 Press the [F2] key to select “Cue,” and then press the [F8] (“OPEN”) key. The SEQ 2.1: Cue List, Setup&Play page will appear. 3 Press the [START/STOP] key. 4 To stop playback, press the [START/STOP] key once again.
Selecting and playing a program Selecting the program bank In Program mode, you can switch banks to select programs from another bank. With the factory settings, banks A, B, C, D and G, g(d) contain programs. (☞ table bellow) Quick Start In Program mode you can select and play a program from banks A–D, G, g(d). Here we will show how to select preset programs. Select various programs and hear how they sound. 5 Press a BANK [A]–[GM] key to select a bank.
Selecting programs by category Using 10’s HOLD to select programs You can select programs by categories such as keyboard, organ, bass, and drums. With the factory settings, all the preloaded programs are organized into sixteen categories. You can choose a category, and then select from the programs in that category. You can fix the ten’s place of the program number as you select programs. On this instrument, you can use one of the following two methods to select programs by category. 1 Press the [.
Selecting and playing a combination 1 Press the [COMBI] key (the key will light). You will enter Combination mode. Make sure that the upper line of the LCD screen indicates “COMBI 1.1: Play.” With the factory settings, these banks contain a wide variety of preloaded combinations that use multiple programs, effects, and arpeggio patterns. Quick Start Selecting a combination A, B, C 128 programs can be written or rewritten to each bank A–C (for a total of 384).
Using controllers to modify the sound The TR provides various controllers – a joystick, the SW1 and SW2 switches, and the REALTIME CONTROL [1], [2], [3], [4] knobs – that let you modify the tone, pitch, volume, or effects in realtime while you play. Each time you select a program or combination, try out these controllers to hear how they affect the sound. Tonal changes etc. created using these controllers can be recorded on the internal sequencer or on an external MIDI sequencer.
5 Press the [SW2] key once again to defeat the lock. Knob [2]: RESONANCE/HPF Adjust the resonance level of a low pass filter or the cutoff frequency of a high pass filter. The content that is controlled will depend on the filter type specified by the program. By adjusting the filter resonance level, you can increase or decrease the resonance level to add a unique character to the sound.
B-mode controls You can control parameters such as volume, portamento time, pan or filter and amp EG, pitch LFO, and master effect send levels etc. Foot pedals Damper Pedal The B-mode function settings are made for each individual program, combination, or song. In Sampling mode, the B-mode functions are set for the entire mode (if the EXB-SMPL option is installed) (☞p.119). A separately sold Korg switch-type damper pedal such as the DS-1H can be connected to this instrument.
Using the arpeggiator while you play Using the arpeggiator in Program mode Quick Start The arpeggiator is a function that automatically generates arpeggios (broken chords). Most arpeggiators produce an arpeggio when you play a chord on the keyboard. 1 Press the [PROG] key to enter Program mode, and select a program. (☞p.
Adjusting the arpeggiator tempo 1 Press the REALTIME CONTROLS [SELECT] key to make the right “C” LED light. You can control the tone effectively by simultaneously adjusting the REALTIME CONTROLS Amode [1] (LPF CUTOFF), [2] (RESONANCE/ HPF), and [3] (EG-INTENSITY) knobs. 2 Rotate the [TEMPO] knob to adjust the tempo. The “ =” value in the upper right of the LCD screen will change. You can set this in the range of 40–240. The [SELECT] key LED will blink at quarter-note ( ) intervals.
You can select whether the arpeggio will continue playing when you take your hand off the keyboard, or whether the arpeggio will stop playing when you take your hand off the keyboard. Use the cursor keys [ ], [ ], [ ], [ ] to select “Latch,” and use the [VALUE] dial or the [INC]/ [DEC] keys to make the 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.
Checking the structure of a user arpeggio pattern Let’s see how combination C053: Echo Jamm is constructed. 1 Select combination C053: Echo Jamm, and look at the Arp. Play A page and Arp. play B page. Other settings for the arpeggiator You can also set “Gate,” “Velocity,” “Swing,” and “Scan Zone.” These parameters are set in PROG 6.1: Ed–Arp, COMBI 6.1: Ed–Arp. (☞p.104).
Shutdown Keys: Using the RPPR function, each note of the keyboard can be assigned to a preset pattern or user pattern and a track that will play the assigned pattern. You can then playback the assigned pattern in realtime (and record it, if desired) simply by playing a note. (Preset patterns suitable for playing by the drum track are already provided in internal memory.) When you play a key in the range of C–1 – C2, the currently-playing pattern will stop.
Simple program editing By operating the performance editor and the realtime controllers you can easily and intuitively modify the sound of a program. Program editing refers to the process of modifying the parameters that make up a program, in order to modify the sound or change the controller, effect settings etc. More detailed editing can be performed in PROG 2.1: Ed-Basic – 7.2: Ed-MasterFx. Amp Level: Indicates the amp level. This will adjust the volume of the entire program.
Simple combination editing You can edit a combination in COMBI 2.1: Ed-Prog/ Mix–7.2: Ed-MasterFX, but can also make settings for “Program Select, “Pan,” and “Volume” in COMBI 1.1 Play as well. 3 Select the Prog page. Press the [F2] (“Prog”) key. Now you can specify the programs for timbres 1–8.
Listening to the program sound of just one timbre Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to choose “Solo Selected Timbre.” Press the [F8] (“OK”) key. Now you will hear only the program sound of the currently selected timbre. The lower part of the LCD screen will indicate [Solo]. To cancel this setting, choose “Solo Selected Timbre” once again and press the [F8] (“OK”) key. Adjusting the stereo location of the sound 5 Select the Mixer page.
Sampling (recording a sample) In order to perform the steps described below, the EXB-SMPL option must be installed. (☞PG p.260) Sampling a sound and playing it back as “one-shot” 1. Connect a mic and make input settings 1 Turn off the power. Then turn it on again. When you turn off the power, all unsaved sample data will be erased. If you want to keep any of the sample data, save it before you continue. This explanation assumes that you are starting from the initial power-on state.
Set “Pre Trigger” to 5 ms. With this setting, sample recording will begin 5 ms earlier than (i.e., immediately before) sampling is actually triggered, so that the very beginning of the sound is not lost. As an alternative to the Auto setting for “Mode (REC Mode),” you can set this to Manual and record manually. (☞p.39) Speak the word that you want to sample. (Example: “It’s”) Recording will start when the input exceeds the “Threshold” level.
3 Select “Insert Effect,” use the numeric keys to enter 52, and press the [ENTER] key to confirm 52: Rev Hall. and press the [F8] (“OK”) key. Select “IFX On/Off,” and press the [INC] key to turn it ON. 4 Speak into the mic, and verify that reverb is applied to the sound. Quick Start A dialog box will appear. Press the [F5] (“Name”) key to display the text dialog box, and assign a name of SMPL_Demo. 5 After pressing the [EXIT] key, press the [F2] (“Rec.”) key to access the SMPL 1.
The following dialog box will appear. Saving sample data Here’s how to save a sample or multisample that you created. All samples and multisamples in the TR will be lost when the power is turned off. 1 Insert an SD card into the slot. Alternatively, make sure that settings are made correctly for a connected external SCSI device. 2 Press the [MEDIA] key to select Media mode. 3 Press the [F2] (“Save”) key. 4 In the “To:” field, select the program into which the data will be converted.
Here’s how you can sample a drum phrase (or similar phrase) from an audio CD, and loop the playback. You will need to provide a drum rhythm loop sample. Initially, it is a good idea to begin with a rhythm loop sample that has a fairly simple beat. As an example, we will sample one measure of a 140 BPM drum phrase in a 4/4 time signature. 1. Connect your external audio device and make input settings 1 Turn off the power. Then turn it on again. 1 Play back the audio source that you want to record.
4. Record the sample 1 Press the [F1] (“Sample”) key to access the SMPL 1.1: Recording, Sample page. 2 Press the [REC/WRITE] key. 3 At the moment that you wish to start sampling, press the [START/STOP] key. Sampling will start. It is a good idea to allow a bit of extra time before you start and after you stop sampling. 4 At the moment that you wish to stop sampling, press the [START/STOP] key. Sampling will stop. A 140 BPM drum phrase has now been sampled.
Quick Start Check “Grid,” set “Resolution” to , and press the [F8] (“OK”) key. Set “ (Grid Tempo)” to 140. With these settings, vertical dotted lines will be displayed at 140 BPM quarter note intervals. Set “E (End).” Sampling (recording a sample) When “Lp (Loop)” is On, the dotted vertical “Grid” lines will start at “LpS (Loop Start).” If you want to set “End” at the end of one 4/4 measure, the fourth vertical line from the “LpS (Loop Start)” line will be the end of the first measure.
Basic functions Saving data Types of data that can be saved On the TR, there are three ways to save data: writing to internal memory, saving on external media (SD card etc.), and MIDI data dump. Writing to internal memory The following data that you edit can be written into internal memory. • Program Programs 0–127 in banks A–D • Combination Combinations 0–127 in banks A–C • Global settings (Page 1.1–4.
Writing to internal memory You can also access the same dialog box by holding down the [ENTER] key and pressing the [0] key. The screen shown is for Program mode Memory protect You must also turn memory protect off before loading the above data from SD card or via MIDI data dump, or before recording in Sequencer mode. 1 Press the [GLOBAL] key to enter Global mode (the key will light), and press the [EXIT] key to select 1.1: System. 2 Press the [F2] (“Pref.”) key to access the 1.
Assigning a name (Rename) You can modify the name of an edited program, combination, song, drum kit, user arpeggio patterns etc.. You can also modify the category names for programs and combinations. These renaming operations can be performed in the following pages. Programs PROG 1.1...7.2 Utility: Write Program Combinations COMBI 1.1...7.2 Utility: Write Combination Song SEQ 1.1...4.4, 6.1 Utility: Rename Song Cue list SEQ 2.1 Utility: Rename Cue List Tracks SEQ 5.1, 5.
Before you write a user drum kit or user arpeggio pattern, the Global mode memory protect setting must be turned off (☞“Memory protect”). The user arpeggio pattern settings “Tempo,” “Pattern,” “Octave,” “Resolution,” “Sort,” “Latch,” “Key Sync,” and “Keyboard” are parameters that are set independently in Program, Combination, and Song. These settings are not saved when you perform the Write operation described here.
Saving on external media For details on the data that can be saved on external media (SD card etc.) (☞p.42 “Types of data that can be saved”). Song data and cue lists in the TR’s Sequencer mode, and multisamples and samples in Sampling mode (if the EXB-SMPL option is installed) cannot be written into internal memory. This data will disappear when the power is turned off. If you wish to keep this data, you must save it on an SD card or on other external SCSI storage media.
.KSC file Files listing the multisamples and samples created in Sampling mode (if the separately sold EXB-SMPL option is installed). Directory A directory containing the multisamples (.KMP files) and samples (.KSF files) that are listed in the .
Restoring the factory settings Loading the preloaded data The factory settings are referred to as the “preloaded data.” The action of restoring the programs, combinations, and global settings of the TR to their factory settings is referred to as “loading the preloaded data.” This operation will rewrite any data that had been previously written. If you do not want to lose the previously-written data, you must first save it to SD card or external SCSI media (requires the EXBSMPL option) (☞p.46).
Program mode If the separately sold EXB-SMPL option is installed, the TR will have AUDIO INPUT jacks that allow external audio to be input. In Sampling mode you can sample these external audio input sources. In modes other than Sampling mode, the TR’s internal effects can be applied to the external audio input sources, allowing a wide range of applications (☞p.115, PG p.128). All transmission and reception of MIDI data in Program mode is performed on the Global MIDI channel.
Basic (Prog Basic) page The three elements of sound Sound can be broken down into three elements: pitch, tone, and volume. On this instrument, these elements correspond to the Pitch, Filter, and Amplifier settings of the program. In other words you would adjust the Pitch settings to modify the pitch, the Filter settings to modify the tone, and the Amplifier settings to modify the volume. In Oscillator (Oscillator: 2.
1 Specify different multisamples for “High Multisample” and “Low Multisample.” 2 Specify a velocity value for “Velocity SW L→H.” Notes played on the keyboard at a velocity less than the value you specify will sound the Low multisample; velocities at or above this velocity value will sound the High multisample. For example if you set “Velocity SW L→H” to 100, playing the keyboard softly will sound the “Low” multisample, and playing strongly will sound the “High” multisample.
OSC1 page “Intensity (AMS Intensity)” specifies the depth of vibrato that will be applied by the LFO when AMS (Alternate Modulation Source) is operated. For example if “AMS (LFO1 AMS)” is set to AfterT and you set an appropriate value for “Intensity (AMS Intensity),” vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.
Filter characteristics Level Level This area of overtones will be diminished When resonance is applied Low Pass Level Filter Overtones after passing through the filter Overtones included in the original multisample Frequency (pitch) Frequency (pitch) Basic page Low resonance value High resonance value Basic functions Mod.1, Mod.2 page Filter Type, Filter A, Filter B Selects the type of filter, and specify the “Frequency” (cutoff frequency) and “Resonance” (resonance level).
Intensity: “to A (LFO1 Int. to A)” and “to B (LFO1 Int. to B)” specify by how much the LFO will change the tone. JS-Y Int.: “to A” and “to B” specify the depth of the wah effect that will be produced by the LFO when the joystick of this instrument is moved toward yourself, or when CC#2 is received. “Int. to A” and “Int. to B” specify the depth of the wah effect that will be produced by the LFO when “AMS” (Alternate Modulation Source) is operated.
Amp Mod. OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2 “Velocity Int” is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and this 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. “Waveform” selects the type of LFO.
More about Alternate Modulation Auto Song Setup function Alternate Modulation is a type of modulation that can be used to control various aspects of the sound. This function automatically applies the settings of the current program or combination to a new song in the sequencer. If inspiration for a phrase or song strikes you while you’re playing a program or combination, you can use this function to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key.
Combination mode A combination consists of a variety of parameters that can be accessed in 2.1: Ed-Basic–7.2: Ed-MasterFX. The diagram below shows how a combination is structured. Basic combination editing Banks A, B, and C of the TR contain a variety of combinations that use the preloaded programs (banks A, B, C) and the preset and preloaded user arpeggio patterns and effects. You can edit these combinations to create your own original combinations.
Layer, split, and velocity switch The Compare function Within a combination, you can use keyboard location and velocity to change the program that sounds. The programs assigned to each timbre can sound in three ways: as 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. As you are editing a combi, you can use the [COMPARE] key to listen to the previously saved version (as it was before you began editing).
Mix (Mixer) page MIDI Channel Pan Timbres that you wish to play from this instrument’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel. Adjusts the volume of each timbre.
Pitch page Layer and split settings 3.3: Ed–Key Zone Indicates settings such as layer, split, and keyboard crossfade. Key page 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.
Vel (Velocity) page For each timbre, you can specify a range of velocities for which it will sound. The range of velocities for which a timbre will sound is called the Velocity Zone. By setting a velocity zone, you can set up a timbre which will be sounded only by notes played at a certain strength, and not by stronger or weaker notes. By combining timbres that have differing velocity zone settings, you can create velocity switched combinations.
Auto Song Setup function This function automatically applies the settings of the current combination to a new song. If inspiration for a phrase or song strikes you while you’re playing a combination, you can use this function to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key. The “Setup to Record” dialog box will open and ask “Are you sure?”. Press [F8] (“OK”) key. You will automatically enter Sequencer mode, and will be in the record-ready state.
Sequencer mode If you wish to save the programs, track parameters, effects, and arpeggiator function settings etc. selected for a song as a template song, use the Utility menu command “Save Template Song.” Immediately after the power is turned on, this instrument will not contain any cue list data or song data, so if you wish to playback a song on the sequencer, you must first load data from external media (SD card etc.) or receive a MIDI data dump from an external MIDI sequencer (☞p.42, 101, PG p.
The structure of Sequencer mode Patterns The following describes the structure of Sequencer mode. (see diagram below) 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. Songs A song consists of tracks 1–16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns.
Producing a song Use the cursor keys to move to “Copy Pattern to Track too?” Press the [INC] key to check the check box. This section describes how to use the TR’s sequencer. As an example, we will create a song by following the order outlined below. If this is checked, a drum pattern will be copied to the song after the template song is loaded. “Creating a cue list” Here we will complete the song by creating a cue list for the song that we copied etc. in “Editing the song.” A dialog box will appear.
Use the VALUE control to select T02: Bass, and play it from the keyboard. Next select T03–T08 in order, and play them from the keyboard. (The TR has sixteen sequence tracks, but this template song specifies only tracks 1–8.) Select T03: Elec.Piano. 3. Recording the bass track 1 If playback is occurring, press the [START/STOP] key to stop playback. Press the [LOCATE] key to return to the beginning of the song. 6 Press the [START/STOP] key to play back the preset pattern that you copied.
4. Recording arpeggio patterns The performance of an arpeggio pattern can be recorded into a song. With the settings of this template song, the arpeggiator will function on track 4. 1 In “Track Select,” choose T04: Guitar. 2 Press the [ARP ON/OFF] key. 4 Press the [REC/WRITE] key. You will hear the metronome. The TR will be in record-ready mode. (☞Refer to PG p.57 for details on metronome settings.) 5 Press the [START/STOP] key.
record phrases that would be impossible or too rapid to play “live.” Rapid phrases can also be recorded in realtime by temporarily slowing down the sequencer tempo. Here’s the procedure for step recording. 1 Press the [MENU] key to access the page menu. Press the [F5] key to select “TEdit,” and press the [F8] (“Open”) key. The SEQ 5.2: Track Edit screen will appear. 2 Press the [ ] key to set “Track Select” to T08 (Ch:08) Lead Synth.
7. Using controllers to record tonal changes Let’s try using the realtime controllers and the joystick to add effects to the performance that we just steprecorded on track 8. 1 Press the [EXIT] key, and then press the [F6] (“Pref.”) key to move to the SEQ 1.1: Play/Rec, Preference page. 2 Set the “Recording Mode” to Over Dub. Over Dub allows you to add to a previouslyrecorded track.
Press the track 2 “SOLO On/Off” and press the [INC] key once. 2. Set the pan and volume of each track (SEQ 1.1: Play/REC, Mixer page) The display will change, and only the playback of tracks 1 and 2 will be heard. To turn off the Solo function, select the “SOLO On/Off” and press the [DEC] key once again. Select the track 1 and 2 “SOLO On/Off” and press the [DEC] key once each. The display will change, and the playback of tracks 1 and 2 will be muted.
When you are finished making these settings, the basic setup is complete. Record as described in “3. Recording the bass track” (☞p.66) and following sections. Song editing methods A song can be edited in a variety of ways. Here we will explain various ways in which the song we recorded in the preceding pages can be edited for the purpose of creating a Cue List (explained in the section that follows). 2. Naming a song Here’s how to assign a name to a song you created.
A dialog box will appear. Input the number of measures for the song. For this example, select 008 (8 measures) and press the [F8] (“OK”) key. The performance data from measures 1–8 will remain, and the data of subsequent measures will be deleted. When you press the [START/STOP] key to play the song, playback will stop at the end of the 8th measure. If you are using Track Play Loop, check whether the measures specified for “Loop Start Meas” and “Loop End Meas” would be deleted.
4 Set the last step to End. A cue list allows you to play multiple songs in succession. For example you can create a separate song for each portion (introduction, melody A, melody B, chorus, and ending) of a composition, and use the cue list to specify the order of each portion and the number of times that it will be repeated to complete the song. If you want to change the structure of the song, the cue list lets you do so in an efficient way.
If playback is not connected smoothly between songs when playing a cue list Depending on the effect settings, a certain amount of time may be required for the effects to be switched. If this occurs, the playback will not be smoothly connected from song to song. To ensure a smooth transition from song to song, check “FX” for “Step” 01. Do not check “FX” for the remaining steps.
Choose “Pattern Select,” and press the [INC] key once to select P122: HipHop 2/HipHop. Creating and recording RPPR (Realtime Pattern Play/Record) By using “REVERT” in this way, you can work efficiently when the patterns to be assigned have consecutive or nearby numbers, or use the same track. This section explains how to assign a pattern to RPPR, and how to play and record. (☞“Playing with the RPPR function” p.31) Creating RPPR data 1 Create a new song. (☞p.71) 9 Press the C#2 key. 3 Select the SEQ 5.
drums and bass to the C#2–B2 keys and use these keys to control pattern playback, and use keys C3 and above to play solos in realtime. It is a good idea to keep the assigned keys together in this way. RPPR playback Let’s use the RPPR you created to perform in the SEQ 1.1: Play/REC page. 1 In Sequencer mode, select SEQ 1.1: Play/REC. 2 Check the “RPPR” check box. The RPPR function will be turned on. The on/off setting is memorized for each song.
3 In the SEQ 1.1: Play/REC, Preference page, check the “Multi REC” check box. If you made a mistake during your performance or would like to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you wish. 9 If you want to record other tracks, un-check the “Multi REC” or “RPPR” check boxes as necessary. If “Recording Mode” is set to Loop All Tracks,” it will not be possible to select Multi REC. Set the “Recording Mode” to Over Write.
3 Hold down the [ENTER] key and press the [REC/ WRITE] key. The “Setup to Record” dialog box will appear. 4 Press the [F8] (“OK”) key to execute Auto Song Setup, or press the [F7] (“Cancel”) key if you decide not to execute. When you execute Auto Song Setup, the TR will automatically enter the Sequencer mode, and the settings of the previously selected program or combination will be applied to the song. The first unused song will be selected as the song.
*2 Multiple tracks that are set to the same MIDI channel are combined into a single stream of performance data during recording. If there is a track with the same MIDI channel as the track being played by the arpeggiator, the data played by the arpeggiator will be combined with the performance data that was played manually, and all of this data will be sounded by each track of the same channel (if “Status” is INT).
Caution and other functions in Sequencer mode TR song data and its compatibility The following two types of song data can be loaded from SD card into this instrument’s sequencer. • Song data saved in this instrument’s own format This data is only for this instrument. However, it is partially compatible with the TRITON/TRITONpro/TRITONproX/TRITON-Rack (Multi)/TRITON Le/TRITON STUDIO/TRITON Extreme and KARMA Music Workstation (☞PG p.250). It cannot be loaded into other instruments.
Recording a track, and recording a pattern Recording a track There are two ways to record to a track: realtime recording and step recording. You can choose from a further six types of realtime recording. In addition, you can use event editing to modify data that has been recorded or to insert data, and use track editing operations such as Create Control Data to insert data such as bend, after touch, and control changes.
• Manual punch-in While the song is playing, you can press the [REC/ WRITE] key or a connected pedal switch at the desired location to start or stop recording. With this method, the musical data previously on the track is overwritten by the newly recorded data. 1 Use “Track Select” to select the track that you want to record. 2 Set the “Recording Mode” to Manual Punch In. (SEQ 1.
When you are once again ready to record musical data, uncheck the “Remove Data” check box. 7 Press the [START/STOP] key. Playback will end, and you will return to the recording start location that you specified in step 4. If Loop All Tracks is selected, normal playback will be looped as well. • Multi (multitrack recording) Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel.
Step recording This is a method of recording where you specify the note timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitches. (☞p.67) Only note-on/off data can be recorded with this method. Event Edit and Create Control Data Note data is the only type of data that can be recorded in step recording. However there are ways to record other types of data, aside from the realtime mode. You can use the Event Edit and Create Control Data functions.
Control data in pattern recording Reset value Modulation 1 (CC#01) 00 (zero) Modulation 2 (CC#02) 00 (zero) Expression (CC#11) 127 (max) Ribbon controller (CC#16) 64 (center) Damper switch (CC#64) 00 (zero) Sostenuto switch (CC#66) 00 (zero) Soft switch (CC#67) 00 (zero) EG sustain level (CC#70) 64 (center) Resonance level (CC#71) 64 (center) EG release time (CC#72) 64 (center) EG attack time (CC#73) 64 (center) Low pass filter cutoff (CC#74) 64 (center) EG decay time (CC#75) 64 (
Sampling mode The separately sold EXB-SMPL option can be installed in the TR to add high-performance mono/stereo sampling functionality. Features of EXB-SMPL • 48 kHz 16 bit linear mono/stereo sampling. • The EXB-SMPL includes a 16 Mbyte 72 pin SIMM sample data (waveform data) memory module. When this memory is installed in the TR, you can sample for approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo.
In Sampling mode • An external audio signal from an external audio device or microphone connected to the AUDIO INPUT 1 and 2 jacks is passed through an analog/ digital convertor, and recorded (sampled). • You can edit the waveform and loop settings etc. of sample data that you sampled or that you loaded from an SD card, CD-ROM etc., in Media mode. • You can assign samples to the keyboard to create a multisample.
back of sample A producing “One-Two-Three,” sample B producing “One-Two,” and sample C producing “Two-Three.” (☞PG p.96). Multisamples A multisample consists of settings that make one or more samples sound in different areas of the keyboard. A multisample consist of between one and 128 “indexes.” Each index contains parameters that specify the sample that will playback, the zone for which it will playback, the original pitch key, the playback pitch, and level etc.
“Input 1” controls the AUDIO INPUT 1 jack, and “Input 2” controls the AUDIO INPUT 2 jack. The settings above will cause the sound from the AUDIO INPUT 1 jack to be output from the AUDIO OUTPUT L/MONO jack and from the L channel of the headphones. 6 Use the [LEVEL] knob to set an appropriate level. If an overload occurs in the input stage of the TR, “ADC OVER!” (AD converter overload!) will be displayed above the “Recording Level” slider.
3 Select the 1.1: Recording, Sample page. 4 For “MS (Multisample Select),” select 000: NewMS____000. Immediately after the power is turned on, 000: NewMS______000 will be created automatically. Use the numeric keys [0]–[9] to input the multisample number that you wish to record, and press the [ENTER] key. If you select a new number, the Create New Multisample dialog box will appear. Press the [F8] (“OK”) key, and the new multisample will be created. 8 Press the [REC/WRITE] key.
5 Select the “MS (Multisample Select).” (☞“Manual sampling” step 4) 6 Select the sample in “SMPL (Sample Select)” that you wish to record. (☞“Manual sampling” step 5) 7 Select the 1.1: Recording, Recording page. 8 Set the “Mode (Sample Mode).” (☞“Manual sampling” 6 7) Immediately after the power is turned on, “Pstn (Position)” will be R (Right), “Range (Zone Range)” will be 012 (Keys), and “Orig.K (Original Key Position)” will be Btm (Bottom), so that indexes will be created as shown below.
The recorded sample will automatically be assigned to the index you created in step 1. 3 Repeat steps 1 and 2. This is an efficient way to record multiple samples. (☞p.36) Loop settings 4 Specify the start address in “S (Start),” the loop start address in “LpS (Loop Start),” and the end address in “E (End).” Select “S (Start)” (highlighted), and use the [VALUE] dial or other VALUE controllers to modify the value. The corresponding vertical line will move.
The following dialog box will appear. 3 Use “S (EditRangeStart)” and “E (EditRangeEnd)” to specify the range that you wish to edit. The selected range will be highlighted. Check “Grid,” set “Resolution” as desired, and press the [F8] (“OK”) key. The dotted grid lines will appear. This will cause the loop interval to be the same length as the BPM value. The grid display will be based at “LpS (Loop Start)” if looping is on. If looping is off, the grid will be based at “S (Start).
Multisample editing “Pitch BPM Adj.” to set the loop interval to a desired BPM value (☞PG p.119). Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing operations such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index. Multisample editing is performed in 4.1: Multisample.
• Adjust the tempo of several rhythm loop samples (all of differing tempos) without affecting their pitch. • Make realtime changes to the tempo without changing the pitch. Here is an example of the procedure for time-slicing a rhythm loop sample in Sampling mode, and for playing the resulting rhythm loop samples in Sequencer mode. You can try this using a rhythm loop sample that contains a drum performance. You can record this on the TR or use Media mode to load data from SD card etc.
Seq.Event: Pattern Song: 001, Pattern: U00, Meter: 4/4 RPPR: On (checked), Key: C#2, Track: 01 Press the [F8] (“Save”) key. to save your settings. You will return to the dialog box of step 6. 8 Press the [F7] (“Exit”) key to return to the screen of step 3. 9 Press the [SEQ] key to enter Sequencer mode, and set “Song Select” to 000. The song data that you specified in step 7 has been automatically set/created as shown below. • SEQ 1.
Global mode When you play the keyboard in Global mode, the TR will sound as in the previous mode in which you were previously. Be aware that if you moved from Sampling mode (if the separately sold EXBSMPL option is installed) to Global mode in a state where the sampling memory contained no data (such as immediately after the power is turned on), playing the keyboard will not produce sound.
Editing a drum kit Before editing a drum kit, uncheck the Memory Protect (☞p.43). 1 In PROG 1.1: Play, select the program that you wish to use while editing the drum kit. Select a drum kit program from the preload programs etc. If the drum kit that you will be editing is already being used by a program, select that program. (In the separate “VNL,” programs that use a drum kit are marked by a d symbol.) Set “Octave” (PROG 2.1–2) to +0 [8'].
A Set the “Excl Group (Exclusive Group).” The “Excl Group (Exclusive Group)” setting is used when you wish to group drumsamples of the same type. For example if the note number to which a open hihat and a closed hi-hat drumsample are assigned are set to the same exclusive group number, they will be grouped so that the open hi-hat and closed hi-hat can not be sounded simultaneously, ensuring that the hi-hat performance will sound natural. B Use “BUS” to specify the output routing.
Media mode How Media mode is organized In Media mode you can use an SD card or a connected external SCSI device (if the separately sold EXB-SMPL is installed) to save or load various types of data. You can also make settings related to saving and loading functionality. For details on connecting an external SCSI device and setting the SCSI ID, refer to refer to the manual included with the EXB-SMPL. For the formatting procedure, refer to “Format” (☞PG p.156). Media must be formatted.
Data loading procedure Write protect switch Loading Programs, Combinations, Drum kits, User arpeggio patterns, and Global settings (loading a .PCG file) LOCK Protected Types of data that can be loaded The data that can be loaded from external media (e.g., SD card) is shown in the diagram below. (☞For details on each type of data, refer to PG p.141) If the EXB-SMPL option is installed, data can also be loaded from media such as a hard disk or CD-ROM.
2 Enter Media mode, and press any function key to make the TR recognize the media. Saving data For the procedure of saving data to an SD card or to external SCSI media, refer to “Saving on external media” (☞p.46). 3 Select the Load page. The LCD screen will display file information. 4 If you are loading from an external SCSI device, use the [INC]/[DEC] keys to select the media that contains the data you want to load. 5 Use the [ ], [ ] cursor keys to select a .PCG file.
Arpeggiator settings Arpeggiator settings for a program P000: UP UP P001: DOWN Basic functions This chapter describes the procedure for making arpeggiator settings in each mode. For details on the arpeggiator function, refer to “Using the arpeggiator while you play” (☞p.27). DOWN Each time you press the [ARP ON/OFF] key, the arpeggiator will be switched on or off. When on, the [ARP ON/OFF] key will light. When you play the keyboard, an arpeggio will play according to the selected arpeggio pattern.
4 Make settings for the various parameters. “Octave”: Select the octave range in which the arpeggio will be played. Sort OFF, UP Sort ON, UP Octave: 4 UP If a user arpeggio pattern is selected, the “Octave Motion” setting (GLOBAL 6.1: Arp.Pattern, Setup page) will affect the way in which the arpeggio is played. “Reso”: Specifies the timing value of the arpeggio notes over a range of 3 – . “Gate”: Specifies the length (gate time) of each note in the arpeggio.
Linking the arpeggiator to a program If you want the arpeggiator settings written in a program to be selected when that program is selected, check Program for “Auto Arp.” (GLOBAL 1.1: System, Basic page). 1 Select COMBI 2.1: Ed-Prog/Mix, Prog 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 3.1: Ed-Paraml. MIDI page.
You can use keyboard ranges or playing velocity to operate the arpeggiator, or to switch between arpeggiators A and B. By using the COMBI 3.3: Ed-Key Zone, Key page and COMBI 3.4: Ed-Vel Zone, Vel page to set keyboard ranges 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. (☞p.43).
Creating a user arpeggio pattern If a blank pattern is selected, playing the keyboard will not start an arpeggio. Although preset arpeggio patterns P000–P004 can be selected, they cannot be edited. About user arpeggio patterns When you edit a user arpeggio pattern, the changes will have an effect anytime that this pattern is used in Program, Combination, or Song.
• Tone: At each step, a chord consisting of up to 12 tones (Tone No. 00–11) can be sounded. To input tones, select “Step (Step No.)” and then use numeric keys [0]–[9], [–], and [./HOLD] to input tones. The “Tone No.” corresponds to the [0]–[9], [–], and [./HOLD] keys as shown below. Each time you press a [0]–[9], [–], or [./HOLD] key, the corresponding tone will be turned on/ off. The horizontal lines of the grid shown in the center of the LCD screen indicate the tones.
Melody pattern 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 Setup page of PROG 6.1: Ed-Arpeg., set “Gate” to Step. Then return to the GLOBAL 6.1: Arp.Pattern, Edit page. For odd-numbered steps, set “Flam” to a positive (+) value. For even-numbered steps, set “Flam” to a negative (–) value. 2 Set “Step (Step No.)” to 02, and press the [0] key.
3 Select the Edit page. Each Tone in the display will be shown as a small circle. For each horizontal line (Tone) in the display, you will specify a drumsample (note number) of the drum kit. Before you set “Gate,” move the REALTIME CONTROLS C-mode [ARP-GATE] knob to the center position (12 o’clock). Before you set “Velocity,” move the REALTIME CONTROLS C-mode [ARP-VELOCITY] knob to the center position (12 o’clock). Next we will input a rhythm pattern.
If you moved here from Sampling mode (if the separately sold EXB-SMPL option is installed), the arpeggiator will not turn on. Nor will it be possible to edit arpeggio patterns. Synchronizing the arpeggiator The note timing of the arpeggiator will differ depending on the state of the arpeggiator “Key Sync.” check box. If this is checked, the arpeggiator will operate at the timing of the first note-on you play from a state in which all keys are released.
Effects settings The effect section of the TR provides one insert effect, two master effects, one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these components. You can choose from 89 types of full-digital effects for each effect. The effects are categorized as follows.
This is valid only if “BUS Select (All OSCs)” is set to L/R or Off. If IFX is selected for “BUS Select (All OSCs),” the send level to the master effects is adjusted by the “Send 1 (MFX1)” and “Send 2 (MFX2)” parameters (PROG 7.1: Ed-InsertFX, Setup page) after the signal has passed through the insert effect. Insert effect 1 Access the PROG 7.1: Ed-InsertFX, Setup page. The Setup page displays the state of the routing and insert effect settings. In this page you can also make “BUS Select” settings.
Effect settings in combination, and song In Combination, and Sequencer modes, you can specify the routing of each timbre/track to the insert effect and master effects. These settings are made in the same way in each of these modes. We will be using the example of Combination mode in our explanation here. Routing 1 Select the COMBI 7.1: Ed-InsertFX, BUS page. Master effects Master EQ These settings are made in the same way as for programs (☞p.113).
Routing In modes other than Sampling mode (i.e., in Combination, Program, and Sequencer modes) the audio input routing from the AUDIO INPUT 1, 2 jacks is specified in the GLOBAL 1.1: System, Audio In page. 1 Enter Global mode from Program mode. If you enter Global mode from Sampling mode, the “Input 1” and “Input 2” settings of Sampling mode will be maintained, and you will not be able to hear the settings made in Global mode.
Using the Dmod function to vary the feedback level by operating [SW1] key 5 In the PROG 2.2: Ed-Ctrl, Controls page, set the function of “SW1” to SW1 Mod. (CC#80), Toggle. 6 Return to the PROG 7.1: Ed-InsertFX, IFX page, and set the C Fb (C Delay Feedback) “(Source)” to SW1 #80. 7 Set “(Amount)” to +30. 8 Press the [Exit] key etc. to return to the PROG 1.1: Play page.
Other functions You can also transpose by changing the pitch in semitone steps. To transpose the pitch of the entire this instrument, use GLOBAL 1.1: System Basic page “Key Transpose.” The pitch can be transposed over a range of ±1 octave. Here we will explain how to adjust the tuning and transposition of the entire this instrument in Global mode. 1 Press the [GLOBAL] key to enter Global mode. 2 Press the [EXIT] key. 3 Press the [F1] (“Basic”) key. 4 To adjust the tuning, select “Master Tune.
6 Set “Foot SW Polarity” to the polarity of the pedal you connected. If you connected a Korg PS-1 pedal switch, select (-) KORG Standard. The pedal will not function correctly if you do not select the correct polarity. If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (☞p.45) 7 Press the [PROG] key to enter PROG 1.1: Play, or press the [COMBI] key to enter COMBI 1.1: Play. Then press the foot switch, and the program/combination will change.
Setting the function of [SW1] and [SW2] Setting the B-mode functions of REALTIME CONTROLS [1]–[4] You can specify the function of the [SW1] and [SW2] keys (☞PG p.224). You can specify the B-mode functions of REALTIME CONTROLS knobs [1]–[4]. (☞PG p.225) The functions of the [SW1] and [SW2] keys are set independently for each program, combination, and song. In and Sampling mode, the functions of these keys are set for the entire mode.
Adjusting the contrast (brightness) of the LCD screen Use the GLOBAL 1.1: System, Preference page “LCD Contrast” to make adjustments. (☞p.121, PG p.127) Using this instrument as a data filer MIDI exclusive data transmitted from an external device can be received by this instrument and saved on an SD card (the Data Filer function). This is done using the Media mode Save page “Save Exclusive” (☞PG p.154).
Appendices Troubleshooting • Is the AC/AC power supply connected to an outlet? .................................................................... ☞p.12 • Is the [POWER] switch turned on? Turn on the rear panel [POWER] switch. The power is turned on, but nothing is shown in the LCD screen. The TR functions normally when you play the keyboard or perform other operations. • Due to changes in the surrounding temperature, the LCD screen may on rare occasions be difficult or impossible to read.
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. RPPR does not start • Is the SEQ 1.1: Play/REC “RPPR” setting checked? ......................................................................... ☞PG p.51 When you loaded data, a combination or song does not sound correctly • Are “Assign,” “Pattern Select,” and “Track” set correctly? .............................................. ☞p.75, PG p.
• Is the EXB-SMPL installed correctly? ....... ☞PG p.260 Cannot input sound • Is the EXB-SMPL installed correctly? ....... ☞PG p.260 • Is your audio source connected to the AUDIO INPUT 1, 2 jacks? ................................................. ☞p.35 • Is the [LEVEL] knob raised?............................... ☞p.35 • Is the [MIC/LINE] switch set appropriately? ☞p.35 • If there is no sound in Sampling mode, go to SMPL 1.
Specifications and options Specifications System HI (Hyper Integrated) synthesis system Modes Combination, Program, Sequencer, Global, Media, Sampling (if the separately sold EXB-SMPL option is installed) Tone generator HI (Hyper Integrated) synthesis system Polyphony: 62 voices (62 oscillators) in single mode 31 voices (62 oscillators) in double mode Filters: 24 dB/oct LPF with resonance 12 dB/oct LPF + HPF Alternate modulation function Waveform memory 64 Mbyte PCM ROM (470 multisamples, 518 drumsamples) I
Input impedance: 10 [kΩ] Nominal level LINE +3 [dBu] –30 [dBu] MIC –18 [dBu] –53 [dBu] @ [INPUT] knob= min. @ [INPUT] knob= max. @ [INPUT] knob= min. @ [INPUT] knob= max. Maximum level LINE +13 [dBu] –20 [dBu] MIC –8 [dBu] –43 [dBu] @ [INPUT] knob = min. @ [INPUT] knob= max. @ [INPUT] knob= min. @ [INPUT] knob= max.
[62 notes Music Workstation/Sampler] Date : 2005. 08.
Index A ADC OVER!............................. 35, 39 After Touch.................................... 26 After touch curve........................ 118 Alternate Modulation .. 1, 24, 56, 63 Amp EG ......................................... 54 Amplifier........................................ 54 Arpeggiator ............................. 27, 63 Assign...................................... 105 Gate.............................................. 6 Key Sync. ..................................
I IFX Balance .....................................32 Index......36, 37, 86, 88, 91, 92, 93, 94 (INDIVIDUAL) 1, 2 .........................9 Input setting ...................................39 Insert effect .......................55, 61, 112 Combination, Sequencer .......114 Program ...................................113 Sampling............................89, 114 J Joystick........................................5, 24 K Key Sync. ................................29, 104 Key Zone...........................
Sample...................................... 37, 87 Recording.................................. 35 Save............................................ 93 Sampling ........................................ 88 Effect........................................ 112 Organization............................. 87 Sampling frequency ..................... 87 Save..................... 42, 46, 47, 100, 102 Scale ........................................ 60, 118 Scroll bar ........................................
IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used. If you have purchased this product via the internet, through mail order, and/or via a telephone sale, you must verify that this product is intended to be used in the country in which you reside.
