Table of Contents 1

Table of Contents

Introduction
Introduction Raising or lowering the Upper octave . . . . . . . . . . . . . . . . . . . . 44

Welcome! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Selecting and saving Performances . . . . . . . . . . . . . . . . . . . 45

What’s in the box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Selecting a Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Saving your settings to a Performance . . . . . . . . . . . . . . . . . . . . 46
Contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Selecting and saving the “My Setting” Performance . . . 48
Making a safety copy of your data . . . . . . . . . . . . . . . . . . . . . . . . .7 Selecting the startup parameters (the "My Setting"
Restoring the original factory data . . . . . . . . . . . . . . . . . . . . . . . . .7 Performance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Loading the Operating System . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Saving the startup parameters into the "My Setting"
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
FFront Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Drawbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Rear Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Choosing a Drawbars Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Start up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Editing the Drawbars Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Connecting the AC power cord . . . . . . . . . . . . . . . . . . . . . . . . . 21 Selecting and playing Styles . . . . . . . . . . . . . . . . . . . . . . . . . 52
Turning the instrument on (or in standby) . . . . . . . . . . . . . . . 21 Selecting and playing a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Controlling the Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
The X-Fader slider . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Intro, Variation, Fill, Break, Ending . . . . . . . . . . . . . . . . . . . . . . 55
Headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Single Touch Settings (STS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Loudspeakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 The Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Audio Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Adjusting the balance between the Style and the keyboard . . 58
MIDI connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Adjusting the volume of the separate tracks . . . . . . . . . . . . . . . 58
Damper pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Turning the Style tracks on/off . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Assignable pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Adding harmony notes to your right-hand melody with
The music stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 the ENSEMBLE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 The Chord Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Song Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Selecting a Song to play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Playing back a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Keyboard tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Changing the tracks’ volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Turning the Song tracks on/off . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Soloing a track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Removing the Melody track from a Standard MIDI File or
The LOGO decoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 the Lead Vocal from an MP3 file . . . . . . . . . . . . . . . . . . . . . . . 70
Interface basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Mixing two Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Color TouchView graphical user interface . . . . . . . . . . . . . . . . 25 The SongBook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Operative modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Selecting the desired Entry from the Main List . . . . . . . . . . . . . 73
Selected, highlighted items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Displaying Artist or Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Non-available, grayed-out parameters . . . . . . . . . . . . . . . . . . . 27 Sorting Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Searching for Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Easy Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Adding Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
The Style Play page in detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Editing the Entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
The Song Play page in detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Creating a Custom List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Selecting and using a Custom List . . . . . . . . . . . . . . . . . . . . . . . 81
Synchronizing the SongBook with external software . . . . . . . . 81
Quick Guide Singing with a microphone . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Turning the instrument on . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Connecting a microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Turning the instrument on and viewing the main screen . . . 32 Setting up your voice tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Choosing a Voice Processor Preset . . . . . . . . . . . . . . . . . . . . . . . 85
Connecting and calibrating the Damper pedal . . . . . . . . 33 Applying harmony to your voice while playing with
Programming the Damper pedal . . . . . . . . . . . . . . . . . . . . . . . . 33 the Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Playing the Demo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Applying harmony to your voice while playing with a Song . 86
Starting and stopping the Demo . . . . . . . . . . . . . . . . . . . . . . . . . 35 Balancing the voice, effects and tracks level . . . . . . . . . . . . . . . 87
Soloing your voice (Talk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Playing Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Selecting a Sound and playing it on the keyboard . . . . . . . . . . 37 Recording a new Song (Standard MIDI File) . . . . . . . . . . . 88
Playing two or three Sounds at the same time . . . . . . . . . . . . . 39 Preparing the Style and Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Playing different Sounds with your left and right hand . . . . . 41 Accessing the Backing Sequence (Quick Record) mode . . . . . 88
Changing the split point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Setting the Record parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
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Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 List of recorded events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

Second-take recording (Overdubbing) . . . . . . . . . . . . . . . . . . . . 92 Main page - Record 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Saving a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Main page - Record 2/Cue . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Main page - Guitar Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Recording a new Song (MP3 file) . . . . . . . . . . . . . . . . . . . . . .94
Style/Pad Record procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
Searching files and musical resources . . . . . . . . . . . . . . . . .96 Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
How to use the Search function . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Notes about searching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Event Edit: Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
Event Edit: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Style/Pad Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Reference Style/Pad Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Selecting elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Style/Pad Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Style Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Style/Pad Edit: Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Sound Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Style/Pad Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Performance Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Style/Pad Edit: Delete All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
Pad Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Style/Pad Edit: Copy from Style . . . . . . . . . . . . . . . . . . . . . . . . .151
STS Select . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Style/Pad Edit: Copy from Pad . . . . . . . . . . . . . . . . . . . . . . . . . .152
Song Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Style Element Track Controls: Sound/Expression . . . . . . . . . .153
Style Element Track Controls: Keyboard Range . . . . . . . . . . .154
Style Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Style Element Track Controls: Noise/Guitar . . . . . . . . . . . . . .154
Start-up settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Pad Track Controls: Sound/Expression . . . . . . . . . . . . . . . . . .155
How Styles, Variations, Performances and STSs are linked
Style Element/Pad Chord Table: Chord Table . . . . . . . . . . . . .156
together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Style Track Controls: Type/Trigger/Tension . . . . . . . . . . . . . .156
Styles and Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Import: Import Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
Master Volume and Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Import: Import SMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
Factory, Favorite and User Styles . . . . . . . . . . . . . . . . . . . . . . . 106
Export SMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
STS Name panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Write Style/Pad dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Volume panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Copy Key/Chord dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Pad panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Copy Sounds dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Split panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Copy Expression dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Sub-Scale panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Copy Key Range dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Mic panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Copy Chord Table dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Overdub Step Recording window . . . . . . . . . . . . . . . . . . . . . . .164
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Tempo Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Master Volume, Balance, X-Fader . . . . . . . . . . . . . . . . . . . . . . .165
Mixer/Tuning: Sub Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Track parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Standard MIDI Files and Sounds . . . . . . . . . . . . . . . . . . . . . . . .166
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Keyboard, Pad and Player tracks . . . . . . . . . . . . . . . . . . . . . . . .166
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Main page (Normal view) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 STS Name panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Volume panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Keyboard/Ensemble: Key/Velocity Range . . . . . . . . . . . . . . . . 123 Pad panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Keyboard/Ensemble: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . 123 Split panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Keyboard/Ensemble: Keyboard Control . . . . . . . . . . . . . . . . . 124 Sub-Scale panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Pad/Switch: Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Jukebox panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Pad/Switch: Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Mic panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Style Controls: Drum/Fill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Style Controls: Keyboard Range On/Off / Wrap Around . . . 126 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Write Performance dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Write Single Touch Setting dialog box . . . . . . . . . . . . . . . . . . . 128 Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .172
Write Current Style Settings dialog box . . . . . . . . . . . . . . . . . . 129 Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
The Favorite banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . .173
Style/Pad Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Recording Styles and Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Style/Pad Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Entering the Style/Pad Record mode . . . . . . . . . . . . . . . . . . . . 132
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Exit by saving or deleting changes . . . . . . . . . . . . . . . . . . . . . . . 132
Keyboard/Ensemble: Key/Velocity Range . . . . . . . . . . . . . . . .174
Listening to the Style while in Edit mode . . . . . . . . . . . . . . . . . 132
 Table of Contents 3

Keyboard/Ensemble: Ensemble . . . . . . . . . . . . . . . . . . . . . . . . 174 Filter: Filter LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Keyboard/Ensemble: Keyboard Control . . . . . . . . . . . . . . . . . 174 Filter: Filter EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Introduction
Pad/Switch: Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Amp: Amp Level/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Pad/Switch: Assignable Switch . . . . . . . . . . . . . . . . . . . . . . . . . 175 Amp: Amp Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Jukebox Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Amp: Amp EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 LFO: LFO1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
LFO: LFO2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Sequencer mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Effects: “B” FX Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Transport controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Effects: Master 1 / Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Standard MIDI Files and MP3 . . . . . . . . . . . . . . . . . . . . . . . . . 177
Effects: Master 2 / Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Songs and Voice Processor Presets . . . . . . . . . . . . . . . . . . . . . 177
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Sequencer Play - Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Write Sound dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Entering Record mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Copy Oscillator dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Record mode: Multitrack Sequencer page . . . . . . . . . . . . . . . 180
Copy Drum Kit dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Record mode: Step Record page . . . . . . . . . . . . . . . . . . . . . . . . 182
AMS (Alternate Modulation Source) list . . . . . . . . . . . . . . . . . 229
Record mode: Backing Sequence (Quick Record) page . . . . 184
Record mode: Step Backing Sequence page . . . . . . . . . . . . . . 187 Sampling mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Entering and exiting the Sampling mode . . . . . . . . . . . . . . . . 231
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Creating new Sounds from the Samples . . . . . . . . . . . . . . . . . 231
Mixer/Tuning: Volume/Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Creating new Drum Kits from the Samples . . . . . . . . . . . . . . . 232
Mixer/Tuning: FX Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Creating new Sounds from an Audio Groove . . . . . . . . . . . . . 232
Mixer/Tuning: EQ Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Mixer/Tuning: EQ Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Sampling: Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Mixer/Tuning: Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Sampling: Loop Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Mixer/Tuning: Sub Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Sampling: Sampling Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Effects: A/B FX Configuration . . . . . . . . . . . . . . . . . . . . . . . . . 191 Time Slice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Effects: Master 1, 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 The Time Slice procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Track Controls: Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 The Extend procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Track Controls: Drum Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Multisample: Edit MS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Track Controls: Easy Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Multisample: Key Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Event Edit: Event Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Event Edit: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Write Sample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Song Edit: Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Write MultiSample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . 243
Song Edit: Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Write Slice dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Song Edit: Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Delete Sample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Song Edit: Cut/Insert Measures . . . . . . . . . . . . . . . . . . . . . . . . 196 Delete Multisample dialog box . . . . . . . . . . . . . . . . . . . . . . . . . 244
Song Edit: Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Export Sample page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Song Edit: Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Export Multisample page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Song Edit: Move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Merging Samples from various sources . . . . . . . . . . . . . . . . . . 245
Song Edit: RX Convert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Overview on the Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Song Select window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Save Song window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Sound mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
The MIDI channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 General Controls: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
How to select oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 General Controls: Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Sounds, Drum Kits, Digital Drawbars . . . . . . . . . . . . . . . . . . . 201 General Controls: Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 General Controls: Clock & Power . . . . . . . . . . . . . . . . . . . . . . . 251
Digital Drawbars page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Mode Preferences: Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Edit menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Mode Preferences: Song & Sequencer . . . . . . . . . . . . . . . . . . . 253
Edit page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Mode Preferences: Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Basic: Sound Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Controllers: Hand Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Basic: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Controllers: Foot Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Basic: Vel/Key Zone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Tuning: Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Basic: Damper Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Tuning: Transpose Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Basic: Damper Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Tuning: Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Basic: EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 MIDI: General Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
DrumKit: Sample Setup (Drum Kits) . . . . . . . . . . . . . . . . . . . 210 MIDI: MIDI In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
DrumKit: EQ (Drum Kits) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 MIDI: MIDI In Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
DrumKit: Voice Mixer (Drum Kits) . . . . . . . . . . . . . . . . . . . . 212 MIDI: MIDI Out Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Pitch: Pitch Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 MIDI: Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Pitch: Pitch EG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 Audio & Video: MP3 / Speakers . . . . . . . . . . . . . . . . . . . . . . . . 262
Filter: Filter Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Audio & Video: Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Filter: Filter Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Audio & Video: Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
4 Table of Contents

Audio & Video: Video Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Connecting Pa900 to a MIDI accordion . . . . . . . . . . . . . . . . . .310
Audio & Video: Audio In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Connecting Pa900 to an external sequencer . . . . . . . . . . . . . . .311
Mic: Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Playing another instrument with Pa900 . . . . . . . . . . . . . . . . . .312
Mic: Harmony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Mic: Harmony Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Mic: Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Appendix
Mic: Global Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Factory data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Mic: Global Dynamics / EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314
Harmony and Tuning with the Voice Processor . . . . . . . . . . . 270 Style Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317
Touch Panel Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Style and Player controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 Single Touch Settings (STS) . . . . . . . . . . . . . . . . . . . . . . . . . . . .317
Write Quarter Tone SC Preset dialog box . . . . . . . . . . . . . . . . 275 Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318
Write Midi Preset dialog box . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 DNC Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331
Write Limiter Preset dialog box . . . . . . . . . . . . . . . . . . . . . . . . . 275 Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .333
Write Master EQ Preset dialog box . . . . . . . . . . . . . . . . . . . . . . 275 Multisamples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334
Write Voice Processor Preset dialog box . . . . . . . . . . . . . . . . . 276 Drum Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Media mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348
Storage devices and internal memory . . . . . . . . . . . . . . . . . . . . 277 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351
Supported device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 MIDI Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .353
Selecting and deselecting files . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Assignable parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
Searching files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 List of Pedal/Footswitch functions . . . . . . . . . . . . . . . . . . . . . . .354
Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 List of Assignable Knob functions . . . . . . . . . . . . . . . . . . . . . . .355
File types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 List of Assignable Switches functions . . . . . . . . . . . . . . . . . . . .356
Media structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .356
Main page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Page structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Navigation tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Dynamic Modulation sources . . . . . . . . . . . . . . . . . . . . . . . . . . .357
Load . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Dynamics (Dynamic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .358
Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 EQ and Filters (EQ/Filter) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361
Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Overdrive, Amp models, and Mic models (OD Amp Mic) . .368
Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Chorus, Flanger, and Phaser (Cho/Fln Phaser) . . . . . . . . . . . .373
Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Modulation and Pitch Shift (Mod./P.Shift) . . . . . . . . . . . . . . .379
Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .390
USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Reverb and Early Reflections (Reverb ER) . . . . . . . . . . . . . . . .400
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Mono-Mono Serial (Mono-Mono) . . . . . . . . . . . . . . . . . . . . . .402
Care of mass storage devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Double Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .419
Merging Samples from various sources . . . . . . . . . . . . . . . . . . 294 Installing the Korg USB MIDI Driver . . . . . . . . . . . . . . . . . 428
SongBook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Connecting Pa900 to a personal computer . . . . . . . . . . . . . . . .428
Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 KORG USB-MIDI Driver system requirements . . . . . . . . . . .428
Custom List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Please note before use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .428
List Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Windows: Installing the KORG USB-MIDI Driver . . . . . . . .428
Book Edit 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Mac OS X: Installing the KORG USB-MIDI Driver . . . . . . . .429
Book Edit 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430
Book Edit 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .430
Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Recognized chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431
Page menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Replacing the clock backup battery . . . . . . . . . . . . . . . . . 433
Lyrics, Score, Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Selected Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Lyrics page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Score page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Installing a microSD card . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Markers page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Accessing the microSD card . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
What is MIDI? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .436
What is MIDI Over USB? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Standard MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437
The General MIDI standard . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
The Global channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
The Chord 1 and Chord 2 channels . . . . . . . . . . . . . . . . . . . . . 309 Technical specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
The Control channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . 440
MIDI Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Connecting Pa900 to a Master keyboard . . . . . . . . . . . . . . . . . 310 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
100 Selecting elements
Style Select window

Selecting elements
The following windows are shown in the various operating Style Select page menu
modes, whenever you try to select a Sound, Performance, Style
or Song. Touch the page menu icon to open the menu. Touch a command
to select it. Touch anywhere in the display to close the menu
without selecting a command.

Style Select window

To open the Style Select window, touch the Style area whereas it
appears in the display, or one of the buttons in the STYLE sec-
tion on the control panel.
Press EXIT to exit from this page and go back to the previous
page without selecting any Style.
Copy and Paste
Style sets Side tabs (banks)
Use this command to copy the selected Style to a different selec-
tion,
1. Select the Style to be copied. To select more items, keep the
SHIFT button pressed and touch all the item to be selected
for copying. Hint: You can deselect one of the selected items
by touching it while still keeping the SHIFT button pressed.
You can deselect all by touching a single item.
2. Choose the Copy and Paste command.
3. Select the target location. In case you are copying more
than a single item, all subsequent items will sequentially
follow the first one. If there aren’t enough locations avail-
able, the procedure will be cancelled. Warning: If you con-
firm, any Style already existing at the target location will be
Lower tabs (pages) Styles overwritten!

Note: Depending on the status of the “Auto Select” parameter (see Rename
page 248), a Style may be immediately selected when pressing one Use this command to edit the name of the selected item. Please
of the STYLE buttons. The latest selected Style for that bank will be keep in mind that you can only rename non-protected items.
selected.
1. Select the Style to be renamed,
Style sets 2. Choose the Rename command, and use the virtual key-
Selected set of Styles. Factory Styles are Styles supplied as stan- board to edit the name.
dard. Fav/User are Favorite Styles (locations for custom-made 3. When done, touch OK to confirm.
Styles with editable names) and User Styles (locations for cus-
tom-made Styles with fixed names). Delete

Side tabs (banks) Choose this command to delete the selected item. Please keep in
mind that you can only delete non-protected items.
Use these tabs to select a bank of Styles. Favorite tabs can be
renamed (see “Renaming the Favorite banks” on page 129). 1. Select the Style to be deleted. To select more items, keep the
SHIFT button pressed and touch all the item to be selected
Lower tabs (pages) for deleting. Hint: You can deselect one of the selected items
by touching it while still keeping the SHIFT button pressed.
Use these tabs to select one of the available pages in the selected
You can deselect all by touching a single item.
bank.
2. Choose the Delete command, and confirm deletion. Warn-
Styles ing: Unless you have a copy of it, the deleted item will be gone
forever!
Touch one of these buttons in the display to select a Style. Unless
the “Display Hold” parameter (see page 248) is turned on, the
window automatically closes shortly after you select a Style.
After selecting a Style from this window, and another Style is
playing, the name of the new Style name begins to flash, mean-
ing it is ready to start playing at the beginning of the next mea-
sure.
 Selecting elements 101
Sound Select window

Rename Favorite Sound sets

Choose this command to edit the name of the Favorite Style Selected set of Sounds. Factory Sounds are the Sounds supplied
banks. as standard. Legacy Sounds are Sounds compatible with older
Pa-Series models. GM are Drum Kits mapped according to the
General MIDI 2 or XG standards. User Sounds are custom-cre-
ated or edited Sounds.

Side tabs (banks)

Use these tabs to select a bank of Sounds.

Lower tabs (pages)

Use these tabs to select one of the available pages in the selected
The assigned name can be spanned over two lines, by separating bank.
them with the paragraph character (¶). For example, to write
“World Music” on two lines, enter “World¶Music”. Previous/Next tabs
Be careful not to write words exceeding the width of the side tabs Scroll the lower tabs to the left or the right, when additional tabs
of the Style Select window. are available but cannot be seen in the display.
1. Choose the Rename Favorite command. Sounds
2. Touch the (Text Edit) symbol next to the bank to be Touch one of these buttons in the display to select a Sound.
renamed. Unless the “Display Hold” parameter (see page 248) is turned
on, the window automatically closes shortly after you select a
3. Use the virtual keyboard to edit the name. Sound.
4. When done, touch OKto confirm.
Program Change
Select All (Bank) Program Change number. Shown only when the “Show” param-
Choose this command to select all items in the current bank. eter is turned on in Global mode. (See page 248).
You can deselect one of the selected items by touching it while
keeping the SHIFT button pressed. You can delect all by touch- Sound Select page menu
ing any single item.
Touch the page menu icon to open the menu. Touch a command
to select it. Touch anywhere in the display to close the menu
without selecting a command.
Sound Select window

Reference
To open the Sound Select window, touch the Sound area whereas
it appears in the display, or the SOUND SELECT button of the
control panel.
Press EXIT to exit from this page and go back to the previous
page without choosing any Sound. The commands are the same seen for the Style Select window’s
page menu, apart for a difference with the Delete command.
Sound sets Side tabs (banks)

Delete
Choose this command to delete the selected Sound.
1. Select the Sound to be deleted. To select more items, keep
the SHIFT button pressed and touch all the item to be
selected for deleting. Hint: You can deselect one of the
selected items by touching it while still keeping the SHIFT
button pressed. You can deselect all by touching a single item.
2. Choose the Delete command, and confirm deletion. Warn-
ing: Unless you have a copy of it, the deleted item will be gone
forever!
Note: This command does not delete any User PCM Sample used
Sounds
by User Sounds. In case you need more free PCM Sample memory,
Lower tabs (pages) If more than five pages are
available, the Previous/Next
and you know there are unused Samples and Multisamples in
tabs are shown in this area memory, use the “Not assigned to any Multisample/Drumkit”
option of the “Delete” command in the Sampling mode to clean
memory (see page 244).
102 Selecting elements
Performance Select window

Performance Select page menu

Performance Select window Touch the page menu icon to open the menu. Touch a command
to select it. Touch anywhere in the display to close the menu
To open the Performance Select window, touch the Performance without selecting a command.
area whereas it appears in the display, or one of the PERFOR-
MANCE buttons on the control panel. Use the PERFOR-
MANCE buttons to go directly to the selected bank.
Press EXIT to exit from this page and go back to the previous
page without selecting any Performance.
Side tabs (banks)

The commands are the same seen for the Style Select window’s
page menu.

Pad Select window

Touch the Pad area whereas it appears in the display, to open the
Pad Select window.
Press EXIT to exit from this page and go back to the previous
page without selecting any Pad.
Pad sets Side tabs (banks)
Lower tabs (pages) Performances

Note: Depending on the status of the “Auto Select” parameter (see

page 248), a Performance may be immediately selected when
pressing one of the PERFORMANCE buttons. The latest selected
Performance for that bank will be selected.

Side tabs (banks)

Use these tabs to select a bank of Performance. Each tab corre-
sponds to one of the PERFORMANCE buttons on the control
panel.

Lower tabs (pages)

Use these tabs to select one of the available pages in the selected
Lower tabs (pages) Pads
bank.
If you press again the same PERFORMANCE button on the con-
trol panel, the next page in the same bank is selected. This way, Pad sets
you do not need to touch one of the corresponding tabs in the Selected set of Pads. Hit are single-note, pre-programmed fac-
display in order to select a different page. tory Pads. Sequence are sequence-based, pre-programmed fac-
tory Pads. Local are like Factory Pads, but contain Pads
Performances
customized for the music of your Country. User can be either
Touch one of these buttons in the display to select a Perfor- single-note or sequence-based Pads, and can be user-created or
mance. Unless the “Display Hold” parameter (see page 248) is modified.
turned on, the window automatically closes shortly after you
select a Performance. Side tabs (banks)
Use these tabs to select a bank of Pads.

Lower tabs (pages)

Use these tabs to select one of the available pages in the selected
bank.

Pad
Touch one of these buttons in the display to select a Pad. Unless
the “Display Hold” parameter (see page page 248) is turned on,
the window automatically closes short after you select a Pad.
 Selecting elements 103
STS Select

Pad Select page menu Directory

Touch the page menu icon to open the menu. Touch a command This is the list of the selected device’s content.
to select it. Touch anywhere in the display to close the menu File status
without selecting a command.

The commands are the same seen for the Style Select window’s
page menu.
Type of the file File or folder
or folder name

STS Select Use the scrollbar to scroll the list items. As an alternative, you
can scroll the list using the VALUE dial.
To select one of the four STS associated with the current Style or When the Name label is selected on top of the list, keep the
the selected SongBook Entry, use the four STS buttons on the SHIFT button pressed and touch one of the arrows to jump to
control panel. the previous or next alphabetical section.
As an alternative, touch the STS name tab in the main page of You can touch one of the labels on top of the list, to reorder the
the Style Play or Song Play mode, where you can see the name of list items accordingly. By touching the label again, the order of
the available STSs. the files will switch between ascending and descending.
A list can contain several different types of files or folders.

Type icon File/folder type

The STS’s name can also be seen in the Lyrics and Markers page: Standard MIDI File (MID)

Karaoke file (KAR)

MPEG Layer 3 (MP3)

Song Select window

Reference
This page appears when you touch the Song name in the display, Jukebox file (JBX)
or press the SELECT button in one of the PLAYER sections on
the control panel.
Folder
Press EXIT to exit from this page and go back to the main page
of the Song Play operating mode without selecting a Song.

Directory Page menu

A file or folder may be in one of the following status. (See “Pro-
tect” and “Unprotect” on page 293 for information on how to
change the file status).

Status icon File/folder status

Protected

– Unprotected

Page menu icon

Touch the page menu icon to open the menu. See “Song Select
page menu” on page 104 for more information.
Storage device Song path

While in this page, you can select a Standard MIDI File, Kara-
oke, MP3 or Jukebox file.
104 Selecting elements
Song Select window

Storage device While in any page of the Song Play mode, press the SELECT but-
ton in the corresponding PLAYER section twice to open the key-
Use this menu to select one of the available storage devices.
pad.

Device Type Note: If no Song corresponds to the dialed number, the “Song not
available” message will appear.
USB Optional device connected to the rear USB Host port
Note: While the directory may contain more than 9999 files, you
The actual name (label) of the device appears within square can’t select Songs outside the 0001-9999 range when using the
brackets ([]). numeric keypad.

Song path Song Select page menu

This line shows the current device path. Touch the page menu icon to open the menu. Touch a command
to select it. Touch anywhere in the display to close the menu
Open
without selecting a command.
Opens the selected folder (item whose icon looks like this one:
).

Close
Closes the current folder, returning to the parent (“upper”)
folder.

Locate
Touch this button to go back to the folder containing the selected
Song. This is useful to quickly locate it, after you have browsed
Export Song List
through long directories and “dug” into different folders.
Select this command to save the current list as a text file. This
Select way, you will be able to print a list of Songs, to see which number
Selects the highlighted item in the display. If a Song is already matches each Song.
playing, it stops, and the new Song is ready to play. You will 1. While in the Song Select window, select the folder whose
return to the main page. Song list you wish to save as a text file.

Play All 2. Select the Export Song List command from the page menu.

When you touch this button, all Standard MIDI Files and MP3 3. A dialog box will appear, asking you to select one of the
files contained in the current directory are added to a new Juke- available storage devices.
box list, that is automatically assigned to Player 1. The order in
which they are played depends on the current sorting method,
i.e., how the files are shown in the display.
You can use this Jukebox list as any other list of this type (i.e.,
start the playback with PLAY/STOP, jump to the next Song in
the list with SHIFT + >>, edit it in the Jukebox page…).
Note: A Jukebox list can include up to 127 Songs. If your folder
contains more items, only the first 127 will be considered.
Hint: If you don’t want the list to be deleted when setting the 4. Select one of the options, and touch OK to confirm.
instrument to standby, go to the Jukebox page and save it as a
Note: The text file will contain a list of “*.mid”, “*.kar”, “.mp3”
“.JBX” file.
and “*.jbx” files only. Folders and other types of files will not be
included.
Selecting a Song by its ID number When saved, the text file will be named after the selected folder.
Each Song in a folder on a device (up to 9,999) has a progressive For example, a folder named “Dummy” will generate a
ID number assigned. When the “Show Song Number” option is “Dummy.txt” file. If a file with the same name already exists in the
selected in the Song Select page menu (see below), you can see target, it will be overwritten without waiting for any confirmation.
this number before the Song’s name in the Song Select window. A file containing the list of all valid files contained into the root of
You can use this number to select the Song by composing the the disk will generate a “Root.txt” file.
corresponding number, speeding up the Song retrieval when you The list will include the progressive number assigned to each Song,
are using an hard disk filled with midifiles. the file names, the total number of files in the list.
To correctly display and print the list on a personal computer, use a
fixed size (i.e., non-proportional) character in your text editor.
While in the Song Select window, press the SELECT button in
the corresponding PLAYER section to open the keypad, and
enter the number corresponding to the Song to be selected.
 Selecting elements 105
Song Select window

Show Song Number Rename

Check this option to make the Song’s progressive ID number (Only available when an item is selected in a list) Use this func-
appear in the list, next to each Song. tion to change the name of an existing file or folder. You cannot
change the 3-character extension of files and “.SET” folders,
Show Song Extension since they are used to identify the type of file or folder.
Check this option to make the file extension (“*.mid”, “*.kar”,
“*.jbx”, “*.mp3”) appear in the list, at the end of each Song’s
name.

Create New Folder

This command will let you create a new generic folder in the
root of any device, or inside any other generic folder. You can’t
create a “.SET” folder with this command, since this type of
folder is reserved to the Save operations (and can be created with
the New SET button in any Save page).
Touch the (Text Edit) button to open the Text Edit window.
Enter the new name, then touch OK to confirm and close the
Text Edit window.

Delete
(Only available when an item is selected in a list) Use this com-
mand to delete the selected file or folder.

By touching the (Text Edit) button you can open the Text
Edit window. Enter the name, then touch OK to confirm and
close the Text Edit window.

Reference
106 Style Play mode
Start-up settings

Style Play mode

The Style Play mode is the boot-up operating mode. When in
this mode, you can play along with the Styles (i.e. automatic Styles and Pads
accompaniments), using up to four tracks (Upper 1-3 and
Lower) to play on the keyboard. You can choose different
Sounds and Effects by selecting Performances and STSs. Four Each Style includes four Pads. Each time you select a Style, the
Pads will provide single-shot sounds or repeating patterns in four Pads it contains are assigned to the four PAD buttons. The
sync with the Style. You can also use the SongBook to automati- Style and the Pads will play using the same Tempo value.
cally select Styles suited for a particular song.

Master Volume and Balance

Start-up settings
While the MASTER VOLUME knob controls the general vol-
Since the “My Setting” Performance is automatically selected ume of the instrument, you can use the BALANCE knob to bal-
when turning the instrument on, you can save your preferred ance the Style’s Accompaniment and Pad tracks against the
start-up settings to it. Keyboard tracks.
Select the Sounds, Effects, and other settings you would like to
see automatically selected when turning the instrument on.
Then keep the MY SETTING button pressed for about one sec-
ond. When the Write Startup Settings window appears, confirm
by touching OK.
Note: If you like some settings to be preserved even when choosing Overall instrument’s Balance of Style and
different Performances, STSs and Styles, turn on the desired volume Pad tracks against the
“locks” to avoid changes to the selected parameters (see “General Keyboard tracks
Controls: Lock” on page 249).
Note: As an alternative, the BALANCE knob can also work as a
volume control. See “Balance Slider” on page 255.

How Styles, Variations, Performances and

STSs are linked together Factory, Favorite and User Styles
Styles, Variations, Performances and STSs are linked in many
There are three different types of Style locations:
ways.
• Factory Style banks are the preloaded Styles, that you can’t
• When the STS MODE LED is steadily on or blinking, selecting
usually edit (unless you want to do so by turning off the
a Style also changes the Keyboard tracks (STS 1 is automatically
protection, see “Factory Style and Pad Protect” on
selected). Performance settings are overridden.
page 254).
• When the STS MODE LED is blinking, selecting a Variation
• Favorite Style banks are Styles that can be loaded from an
also select the corresponding STS.
external device, or can be created or edited in Style Record
• When the STYLE CHANGE LED is on, selecting a Perfor- mode. You can rename the tabs in the Style Select window
mance also selects a Style (the one memorized with the Perfor- to create places for custom banks, or for additional music
mance). genres that are not already included among the supplied
banks. See “The Favorite banks” on page 129 for informa-
• Current track settings can be saved either to a Performance, an
tion on how to manage these Styles.
STS, or the Style Settings, depending on the Write command you
select. • User Style banks are, like the Favorite banks, Styles loaded
from an external device, created or edited by yourself (the
User). These are banks conceived as a ‘workbench’ – a place
where to manage Styles and banks before saving them to a
final location. See the “Style/Pad Record mode” chapter for
information on how to edit or create Styles.
 Style Play mode 107
Main page

Recognized chord
Main page Displays the recognized chord, when you play a chord on the
keyboard. If no chord abbreviation is shown, check if at least one
This is the page you see when you turn the instrument on. of the LEDs in the CHORD SCAN section is turned on.

To access this page from another operating mode, press the You can choose how chords are recognized by using the CHORD
STYLE PLAY button. SCAN buttons and the “Chord Recognition” parameter in the
Global > Style page (see page 252).
To return to this page from one of the Style Play edit pages, press
the EXIT button.
Page menu icon
Keyboard
tracks area Touch the page menu icon to open the menu. See “Page menu”
Style area Page header Page menu icon on page 127 for more information.

Style area
Song This is where the Style name is shown, together with its Tempo
area
and Meter (Time Signature) parameters.
Style name

Perfor- Current beat

mance/
STS area
Style bank
Current
Panels Tempo

Style Element meter Measure length/number

Details on individual tracks can be seen by pressing the Vol-
ume tab. Use the TRACK SELECT button to switch between
Normal view (Keyboard tracks, grouped Style tracks) and
Style name
Style view (individual Style tracks). (See “Volume panel”
starting from page 109). Currently selected Style. Touch the Style name (or press one of
the buttons in the STYLE section) to open the Style Select win-
dow.
Page header
This line shows the current operating mode, transposition and Style bank
recognized chord. Bank the current Style belongs to.

Reference
Style Element meter
Operating mode Master Transpose (in Recognized chord Meter (time signature) of the current Style Element.
semitones)
Measure length/number
Operating mode name While the Style is playing, an ‘M’ appears, to show the current
Name of the current operating mode. measure number of the current Style Element playing. While it is
in stop, an ‘L’ appears, to show the length (total number of mea-
Master transpose sures) of the current Style Element.
Master transpose value in semitones. This value can be changed Current beat
by using the TRANSPOSE buttons on the control panel.
Beat number currently playing.
Note: Transpose may automatically change when selecting a differ-
ent Performance or Style. It may also change when loading a Stan- Current Tempo
dard MIDI File generated with an instrument of the Korg Pa-
Metronome Tempo (from 30 to 250). Use the TEMPO buttons to
Series.
change the Tempo value.
To avoid transposition, the Master Transpose is “locked” by
As an alternative, keep the SHIFT button pressed and use the
default. If you want to unlock it, change the Master Transpose
VALUE DIAL to change the Tempo. Also, you can touch the
Lock parameter’s status (see “General Controls: Lock” on
Tempo field and drag it with your finger, or change it with the
page 249).
VALUE DIAL.
To recall the Tempo stored in the current Style, press the
TEMPO buttons together.
108 Style Play mode
Main page

You can prevent Tempo from changing by turning the TEMPO • If the track is already selected (white background), touch the
LOCK LED on. Sound name to open the Sound Select window.
Note: Since Style Elements may contain Tempo Change data, • If the track is not selected (dark background), first select it,
Tempo may change while a Style Element is playing. then touch the Sound name to open the Sound Select window.
You can also open the Sound Select window by using the
Songs area SOUND SELECT button on the control panel.
This is where the Songs assigned to the onboard Players are For more information about the Sound Select window, see
shown. “Sound Select window” on page 101.

Keyboard track octave transpose

Non editable. Octave transpose of the corresponding track. To
individually edit the octave transpose for each track, go to the
Song name
“Mixer/Tuning: Tuning” edit page (see page 116).
You can also transpose all Upper tracks by using the UPPER
Song name OCTAVE buttons on the control panel.
Name of the Songs assigned to the Players. You can select Songs Bass & Lower Backing icon
while playing Styles, to have them ready when switching to Song
Play mode. When the Bass & Lower Backing function is
active, the Backing icon appears in the Lower
track Sound area (see “Bass & Lower Backing” on page 253).
Performance/STS area
This is where the latest selected Performance or STS name is Keyboard track name
shown. Non editable. Name of the corresponding track:

Abbreviation Track Hand

UP1 Upper 1 Right hand (or both

Selected Performance when in Full Key-
or STS UP2 Upper 2
board mode)
UP3 Upper 3
LOW Lower Left hand
Selected Performance or STS
This is the latest selected Performance (Perf) or Single Touch Sound bank’s icon
Setting (STS#).
This picture illustrates the bank the current Sound belongs to.
Touch the name to open the Performance Select window (see
“Performance Select window” on page 102). As an alternative, Keyboard track status
use the PERFORMANCE section to select a different Perfor- Play/mute status of the current track. Select the track, then touch
mance. this area to change the track status.
To select a different STS, use the four STS buttons under the dis- No icon Play status. The track can be heard.
play, or the STS panel in the display.
Mute status. The track cannot be heard.
Keyboard tracks area
This is where Keyboard tracks are shown. Panels
Sound The lower half of the main page contains the various panels, you
name Track name can select by touching the corresponding tabs. See more infor-
mation in the relevant sections, starting from page 109.
Volume panel
Sound bank’s
icon

Track status

Track’s octave transpose

Tabs

Sound name
Name of the Sound assigned to the corresponding Keyboard
track.
 Style Play mode 109
STS Name panel

STS Name panel Volume panel

Touch the STS Name tab to select this panel. Single Touch Set- Touch the Volume tab to select this panel. This is where you can
tings (STS) are memory locations intended for quickly choosing set the volume of each track, and mute/unmute them.
Keyboard Sounds, contained in each Style or SongBook Entry.
While in this panel, you can see the name of the four STSs
Changing the tracks’ volume
belonging to the latest selected Style or SongBook Entry. Touch
one of the names to select the corresponding STS. You can change the volume of each track by dragging the sliders
in the display. You can also change the volume by touching a
track’s slider, then using the VALUE DIAL.

Note: You cannot edit the STS names in this panel. To edit a name,
select the STS to be renamed, then select the Write Single Touch
Setting command from the page menu (see “Write Single Touch
Sliders
Setting dialog box” on page 128).

Changing the Play/Mute status

Play/mute status of the current track. Select the track, then touch
this area to change its status.

Track status icons

Play status. The track can be heard.

Mute status. The track cannot be heard.

Saving the track’s volume and play/mute

Reference
status
Each set of tracks can be saved into a different memory. This
allows for a great flexibility when mixing Keyboard and Accom-
paniment tracks through the use of Performances, STSs and
Styles.
• The volume and play/mute status of the Keyboard tracks can
be saved to a Performance or STS (see “Write Performance” on
page 127 and “Write Single Touch Setting” on page 127).
• The volume and play/mute status of the separate Style tracks
can be saved to the current Style Settings (see “Write Current
Style Settings” on page 127).
• The offset volume of the grouped Style tracks is automatically
saved to the Global.

Track names
Under the sliders, a label for each track is shown. Use
the TRACK SELECT button to switch between the
110 Style Play mode
Volume panel

Normal (grouped Style tracks, Keyboard tracks) and the Style Style Tracks view
Tracks view (separate Style tracks).
Press the TRACK SELECT button to switch from the Normal
view to the Style Tracks view. In this view, individual Style tracks
Track Description
are shown in the lower half of the display, while the upper half of
Normal View the main page changes to show parameters for the selected Style
Grouped Drum and Percussion tracks.
track.
DR/PERC (*)

ACCOMP (*) Grouped Accompaniment tracks (Acc1-5).

BASS (*) Grouped Bass Style track. Selected

track
LOWER Lower track.
info area
UPPER1…3 Upper tracks.

Style Tracks View

Sounds
DRUM Drum Style track. area
PERC Percussion Style track.
BASS Bass Style track.
ACC1…5 Accompaniment Style tracks.

(*).Volume for these grouped tracks is a global offset, that can be adjusted in Style tracks Volume
the Global > Mode Preferences > Style page.

Press TRACK SELECT again to return to the Normal view (Key-

Normal view board tracks, grouped Style tracks, Mic/In controls).
In Normal view you can see the grouped Style tracks (Play/Mute Style tracks Volume
only), and the separate controls for the Keyboard tracks:
Here you can change the volume and play/mute status of each
one of the individual Style tracks.

Original Style Sounds

This parameter lets you decide if the Style has to play the Sounds
saved in the Performance or Style Settings, or the ones saved in
Grouped Style tracks Keyboard tracks each Style Element.
Note: When assigning a Sound to a Style track, the “Original Style
Sounds” parameter is automatically turned off to allow its use.
Grouped Style tracks
Note: This parameter can be saved with the Performance or Style
In the Normal view, Style tracks are grouped together (Dr/Perc, Settings.
Accomp, Bass groups), to allow for instant play/mute of several
tracks at the same time. On Style tracks always use the original Sounds
recorded inside each Style Element. If you assign
a different Sound to a Style track, this parameter
is automatically set to Off.
Off You can assign different Sounds to each Style
track, and save them in a Performance or Style
Settings. The selected Sounds remain the same
Grouped Style Tracks for all Style Elements. These Sounds can be saved
into a Performance or Style Settings with the
Changing the volume of the grouped Style tracks can be done (as “Write Performance” or “Write Current Style Set-
a general control) in the Global mode > Mode Preferences > tings” commands (see page 127). Assigned
Style page (see “Style Tracks Global Volume” on page 253). Sounds are shown in the Sounds area of this page.

Keyboard tracks
Selected Track Info area
Here you can separately control the volume and play/mute status
of each Keyboard track. This line lets you see the Sound assigned to the selected track. It
appears both in the main page, and in several edit pages.

Track name Sound bank

Sound name Program Change sequence

 Style Play mode 111
Pad panel

Track name
Name of the selected track. Pad panel
Sound name
Touch the Pad tab to select this panel. This is where you can
Sound assigned to the selected track. Touch anywhere in this assign a different Hit or Sequence Pad to each of the four pads,
area to open the Sound Select window, and select a different and see at a glance how pads are programmed. For more options,
Sound. go to the “Pad/Switch: Pad” page (see page 125).

Sound bank
Bank of the selected Sound.

Program Change
Program Change number sequence (Bank Select MSB, Bank Pad assignment
Select LSB, Program Change).
Name of the Hit or Sequence assigned to each Pad. Touch the
box to make the Pad Select window appear (see “Pad Select win-
Sounds area dow” on page 102).
This area lets you see the Sound bank’s icon and octave transpo- When the lock is open, Pads could automatically change when
sition for the eight Style tracks. choosing a Style or SongBook Entry.
Style track’s octave transpose icon
Pads lock icon ( )
Close this lock to prevent Pads from changing when choosing a
different Style or SongBook Entry.

Sound bank’s icon

Style track’s octave transpose icon

Non editable. Octave transpose of the corresponding track. To
change the octave transpose, use the UPPER OCTAVE buttons,
or go to the “Mixer/Tuning: Tuning” edit page (see page 116).

Sound bank’s icon

This picture illustrates the bank the current Sound belongs to.
Touch an icon a first time to select the corresponding track

Reference
(detailed information are shown on the Selected Track Info area,
see above). Touch it a second time to open the Sound Select win-
dow.
112 Style Play mode
Split panel

Split panel Sub-Scale panel

Touch the Split tab to select this panel. This is where you can set Touch the Sub-Scale tab to select this panel. This panel replicates
the split point and activate the Bass Inversion. the “Mixer/Tuning: Sub Scale” edit page (see page 117). .

Split Point
Use this parameter to select a different split point. A full-range
piano keyboard is shown in the display, divided at the selected
split point. Upper tracks play on the right of this point, while the
Lower track plays on the left.
With the “Quarter Tone” button not pressed
Keyboard diagram
Touch anywhere on the keyboard diagram. A message will
appear, asking you to press the new split point on the keyboard
of your Pa900 (or to press the EXIT button to close the message
with no changes).

Global
There is a global split point, and a “local” one, that can be mem-
orized into the Performances and STSs.
On You are editing the global split point. The global
split point is considered when selecting a Perfor-
mance or STS that does not contain a “local” split
point. With the “Quarter Tone” button pressed
Off You are editing the “local” split point memorized
in the current Performance or STS.
 Style Play mode 113
Mic panel

Mic panel Edit menu

Touch the Mic tab to select this panel. This is where you can set From any page, press the MENU button to open the Style Play
the various Voice Processor options. edit menu. This menu gives access to the various Style Play edit
sections.
When in the menu, select an edit section, or press EXIT or
STYLE PLAY to exit the menu and return to the main page. To
return to the main page, you can also select the Main Page menu
item.
Note: Depending on the audio input routing, the microphone input When in an edit page, press EXIT or the STYLE PLAY button to
might not work, whichever the status of the switches in this page. return to the main page of the Style Play operating mode.
See “Audio & Video: Audio In” on page 264.

VP Preset
Use this pop-up menu to select one of the available Voice Proces-
sor Presets. Selecting a Preset may change all the Voice Processor
parameters. Presets can be freely edited (see “Mic: Preset” on
page 265).

Global
You can choose a global VP Preset, and a “local” one, that can be
memorized into a Performance, STS or SongBook Entry.
On You are choosing the global VP Preset, that will Each item in this menu corresponds to an edit section. Each edit
be considered when selecting a Performance, STS section groups various edit pages, that may be selected by touch-
or SongBook Entry that does not contain a ing the corresponding tab on the lower part of the display.
“local” split point.
Off You are choosing the “local” VP Preset memo-
rized in the current Performance, STS or Song- Edit page structure
Book Entry.

Mic Talk On/Off All edit pages share some basic elements.
Use this switch to soften all music generated by the Pa900, and Selected Page menu
speak in the microphone at normal level. This is useful to Operating mode Edit section track info icon
address your audience, while automatically lowering the back-

Reference
ground music volume.
On While this switch is pressed, all the Voice Proces-
sor modules are momentarily turned off. The
Talk function can be programmed in the Talk
section of the Global > Mic > Global Setup page
(see “Mic: Global Setup” on page 454).
Off Release this switch to return to the original set-
tings.

Harmony Level
Use this knob to adjust the level of the Harmony voices. By
Tabs Parameters
default, this control is assigned to the ASSIGNABLE KNOB. area

EQ (Low / Mid / Hi)

Use these knobs to adjust the level of the corresponding Equal- Operating mode
ization bands. The Equalizer has effect on the Lead voice only. This indicates that the instrument is in Style Play mode.

Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 113).
114 Style Play mode
Mixer/Tuning: Volume/Pan

Page menu icon Dry

Touch this icon to open the page menu (see “Page menu” on Use this checkbox to turn the dry (direct) track signal on or off
page 127). from the outputs.
On When checked, the direct signal coming from the
Parameters area
track is sent to the output, mixed with the Master
Each page contains various parameters. Use the tabs to select FXs.
one of the available pages. For detailed information on the vari-
ous types of parameters, see sections starting below. Track L/R Out

Tabs
Master FX
Use tabs to select one of the edit pages of the current edit section.
Off When unchecked, the direct signal coming from
the track is removed from the audio output, and
only sent to the Master FXs. The effected signal
Mixer/Tuning: Volume/Pan will still be panned (in stereo FXs only) according
to the Pan value.
This page lets you set the volume and pan for each of the Key-
board or Style tracks. Volume settings are the same as in the Vol- Track L/R Out
ume panel of the main page.
Use the TRACK SELECT button to switch from the Keyboard to Master FX
the Style tracks, and vice versa.
Pan
Track position in the stereo field.
L-64…L-1 Left stereo channel.
C 00 Center.
R+1…R+63 Right stereo channel.

Volume
Track’s volume. This is the volume of each track, as saved in the
Style (Style Settings), Performance or STS. It may change when
choosing a different Style, Performance or STS.
Upper Volume Link
0…127 MIDI value of the track’s volume.
With this parameter, you define if changing the volume of one of
the Upper tracks proportionally changes the volume of the other Play/Mute icon
Upper tracks. Track’s play/mute status.
On When changing the volume of one of the Upper
tracks, volume for the other Upper tracks changes Play status. The track can be heard.
proportionally.
Mute status. The track cannot be heard.
Off When changing the volume of one of the Upper
tracks, only that track’s volume is changed. The
other Upper tracks are left unchanged.
 Style Play mode 115
Mixer/Tuning: FX Send

Mixer/Tuning: FX Send Mixer/Tuning: EQ Gain

Pa900 includes two groups of effects (FX A and FX B). While in In this page you can set the three-band equalization (EQ) for
Style Play mode, the A group is reserved to the Style and Pad each individual track.
tracks, the B group to the Keyboard tracks.
Use the TRACK SELECT button to switch from the Keyboard to
Choosing and editing the effects is done in the dedicated Effect the Style tracks, and vice-versa.
section (see “Effects: A/B FX Configuration” on page 119).
This page lets you set the level of the track’s signal going to the
Master FX processors. The Master FX processors are connected
in parallel with the dry/direct signal, so you can decide the
amount of direct signal that will be sent to the Master FX proces-
sors.
In case you do not want to hear the direct signal, just set the Dry
parameter to Off (see “Dry” above).
You can assign to the Master FXs any kind of available effects,
but we found it convenient to arrange them in the following way,
for most of the Styles, STS and Performances included with the
Pa900: Hi (High) Gain
A-Master 1 Reverb processor for the Style and Pad tracks. This parameter lets you adjust the high frequencies equalization
A-Master 2 Modulating FX processor for the Style and Pad on each individual track. This is a shelving curve filter. Values
tracks. are shown in decibels (dB).

B-Master 1 Reverb processor for the Keyboard tracks. -18…+18dB High gain value in decibels.

B-Master 2 Modulating FX processor for the Keyboard Mid (Middle) Gain

tracks.
This parameter lets you adjust the middle frequencies equaliza-
Use the TRACK SELECT button to switch from Keyboard to tion on each individual track. This is a bell curve filter. Values
Style tracks, and vice-versa. are shown in decibels (dB).
-18…+18dB Middle gain value in decibels.

Low Gain
This parameter lets you adjust the low frequencies equalization
on each individual track. This is a shelving curve filter. Values
are shown in decibels (dB).

Reference
-18…+18dB Low gain value in decibels.

Play/Mute icon
Track’s play/mute status.

FX Group Play status. The track can be heard.

This indicates the FX group (A or B) assigned to the group of
Mute status. The track cannot be heard.
tracks shown.

Send level (Master 1, Master 2)

0…127 Level of the track (direct) signal sent to the corre-
sponding Master FX effect processor.

Play/Mute icon
Track’s play/mute status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

116 Style Play mode
Mixer/Tuning: EQ Control

Mixer/Tuning: EQ Control Mixer/Tuning: Tuning

This page lets you reset or bypass the track’s equalization, pro- This page is where you can set the octave transpose and fine tun-
grammed in the previous page. ing for each track. Plus, you can program the Pitch Bend range
for each track.
Use the TRACK SELECT button to switch from the Keyboard to
the Style tracks, and vice-versa. Use the TRACK SELECT button to switch from the Keyboard to
the Style tracks, and vice-versa.

Track
Reset
buttons

Reset All Tracks button

Touch this button to reset (i.e., “flatten”) equalization for all PB Sensitivity
tracks (both Realtime and Style tracks).
These parameters show the Pitch Bend range for each track, in
Track Reset buttons semitones.
Use these buttons to reset (i.e., “flatten”) equalization for the cor- 1…12 Maximum up/down pitch bend range (in semi-
responding track. tones). 12 = ±1 octave.
Bypass 0 No pitch bend allowed.
Check any of these checkboxes to bypass the equalization for the
corresponding track. When bypassed, equalization has no effect on Oct(ave) Transpose
the track, but all parameters are preserved. When the box is This is the octave transpose value.
unchecked, equalization is activated again.
-3 Lowest octave.
On The bypass function is engaged, so no equaliza-
0 Standard tuning.
tion is active on the corresponding track.
+3 Highest octave.
Off The bypass function is not engaged, so the equal-
ization is active on the corresponding track. Detune
Input Trim
This is the fine tuning value.
This knob allows you to limit the level of the signal passing
-64 Lowest pitch.
through the equalizer. Extreme equalization values can overload
the audio circuits and lead to distortion. This control lets you set 00 Standard tuning.
equalization as desired, and at the same time avoid overloading.
+63 Highest pitch.
0…99 Limiting value. The higher, the most effective it is.
Play/Mute icon Play/Mute icon

Track’s play/mute status. Track’s play/mute status.

Play status. The track can be heard. Play status. The track can be heard.

Mute status. The track cannot be heard. Mute status. The track cannot be heard.
 Style Play mode 117
Mixer/Tuning: Sub Scale

Quarter Tone
Mixer/Tuning: Sub Scale Press the Quarter Tone button in the display to make the key-
board diagram active. In the display, touch any note you want to
You can assign a different scale (a sub-scale) to the Keyboard lower a quarter tone, making a big dot appear on the note dia-
tracks, the Upper tracks or all tracks. This will allow, for exam- gram. Touch the note again to make the dot disappear.
ple, to play a solo with a particular Quarter Tone tuning, while
the backing tracks play in the Equal tuning.
This page is where you can program the sub-scale for the
selected tracks; a different sub-scale can be associated to each
Performance or STS. Track selection is general, and can be done Touch one of the four SC Preset buttons to recall the corre-
with the “Scale Mode” parameter of the Global > Mode Prefer- sponding preset, and touch any note you want to lower a quarter
ences > Style page (see page 252). tone down, making a big dot appear on the detuned note in the
diagram. Touch the note again to make the dot disappear.
The remaining tracks will use the basic scale set in the Global
> Tuning > Scale page (see “Main Scale” on page 257). This is Scale alteration made in this page is momentary and is not
the “standard” scale of the instrument. memorised. It is only meant to allow for fast scale alteration
while playing.
To make realtime changes faster, you can also assign the Quarter
Tone function to the footswitch or an Assignable Switch (see
below “How to use the Quarter Tone function with a footswitch
or Assignable Switch” for more information).
The use of SC Presets allows for immediate recall of previously
programmed Quarter Tone scales (see below “How to use the
Quarter Tone function with the SC Presets” for more informa-
tion).

SC Preset buttons
With the “Quarter Tone” button not pressed
These buttons only appear when the “Quarter Tone” parameter is
checked. Use these buttons to recall the corresponding custom
scale presets. See “How to use the Quarter Tone function with
the SC Presets” below for information on how to use them.

Keyboard diagram
When “Quarter Tone” is checked, this diagram allows for lower-
ing each note of a quarter tone. When a User scale is selected, it
allows you to fine-tune each note’s pitch.

Reference
Scale lock icon
When locked, Scale parameters remain unchanged when select-
With the “Quarter Tone” button pressed ing a different Performance or STS.
For more information on parameter locks, see “General Con-
Note: Quarter Tone selection can be received via MIDI (i.e., from trols: Lock” on page 249.
an external sequencer or controller). Conversely, selection of Quar-
ter Tone settings can be sent by the Pa900 to an external MIDI
recorder as System Exclusive data. How to create a custom scale by fine-tuning
each note of the User scale
Scale
When the User scale is selected, the keyboard diagram becomes
Selected scale. See “Scales” on page 356 for a list of the available active. You can then change each note tuning in cents of a semi-
scales. When selecting the User scale, the keyboard diagram tone (within a range of ±99 cents, referred to Equal tuning). This
becomes active, letting you program a custom scale (see “How to way, you can create a custom scale, that you can save to a Perfor-
create a custom scale by fine-tuning each note of the User scale” mance or STS.
below).

Key
This parameter is needed by some scales to set the preferred
key (see “Scales” on page 356).
Fine tuning values

After having selected the User scale, touch a note in the key-
board diagram, and use VALUE DIAL to adjust the selected note
tuning in cents.
118 Style Play mode
Mixer/Tuning: Sub Scale

Note: These settings can be saved to a Performance or STS, as How to use the Quarter Tone function with a
described below.
footswitch or Assignable Switch
How to use the Quarter Tone function with You can assign the “Quarter Tone” function to a footswitch or an
Assignable Switch, to program a custom scale in realtime, for
the SC Presets example to allow for those sudden scale changes typical of the
When the “Quarter Tone” button is pressed, four “SC Preset” Arabic music. These changes are not saved anywhere, so the
buttons appear, and you can select one of four SC Presets to scale is easily “wiped-out” when selecting a different Perfor-
recall a preset custom scale. mance or STS, or when pressing the Quarter Tone pedal again.

1. Program and save a custom scale into an SC Preset. Note: While in Style Play mode, you can create a custom scale, to
be assigned to a Performance or STS, simply by selecting and edit-
To do so, go to the Global mode, and reach the “Tuning: ing a User scale, and saving any change to a Performance or STS.
Scale” page. When programming is done, choose the See “How to create a custom scale by fine-tuning each note of the
“Write SC Preset” command from the page menu, then User scale” above.
select one of the preset locations where to save the current
settings (see “Write Quarter Tone SC Preset dialog box” on While in Global mode, you can create a custom scale and save it to
page 275). one of the four SC Presets, and recall it by touching one of the SC
Preset buttons in the display. Then, you can start your realtime
2. Return to this page, and touch the “Quarter Tone” button to scale editing from the selected preset. See “How to use the Quarter
make the “SC Preset” buttons appear. Tone function with the SC Presets” above.
3. Touch one of the “SC Preset” buttons to recall a preset cus- 1. Program the footswitch or an Assignable Switch to be the
tom scale. Quarter Tone switch.
Each preset contains custom detuning of each note of the Simply go to the Global mode, and reach the “Controllers:
scale, and memorizes the selected degree(s) of the scale. Foot Controllers” page. There, you will find the “Pedal/
When no preset is selected, the default scale is automati- Footswitch” parameter, to which you can assign the Quar-
cally recalled. This scale assigns a -50 cent value to all ter Tone function.
notes, and turns all scale degrees off. 2. Lower some note pitches.
You can also select an SC Preset by assigning the relevant Keep the Quarter Tone pedal pressed. The keyboard will
function to an Assignable Switch (see “Pad/Switch: Switch” not play at this time. Press the notes you want to lower a
on page 125) or Assignable Footswitch (see “Controllers: quarter tone. Release the pedal.
Foot Controllers” on page 255).
3. Play with your new scale.
4. Use the keyboard diagram to turn the note detuning on or
off. Notes you pressed on step 2 are now lowered of a quarter
tone.
Make a big dot appear to detune the corresponding note, or
make it disappear to reset tuning. 4. Reset the original scale.

5. Reset the original scale. Press and release the Quarter Tone pedal again, without
playing any note. All pitches will be reset, and the scale
Touch the “Quarter Tone button again, to deselect it and selected by the Performance or STS will be recalled.
recall the main scale.
 Style Play mode 119
Effects: A/B FX Configuration

Effects: A/B FX Configuration Effects: Master 1, 2

This page allows you to select the A (Style and Pads) and B (Key- These pages contain the editing parameters for the four effect
board) groups of effects. Please use the “FX A” and “FX B” side processors. Here is an example of the FX A page, with the Reverb
tabs to switch from one group to the other one. Wet Plate effect assigned.
Selected effect FX group
FX
group

FX Groups (FX A, FX B)
FX parameters
Pa900 includes two groups of effects (FX A and FX B). There are
two master FXs for group. In Style Play mode, the A group is
reserved to the Style and Pad tracks, the B group to the Realtime Selected effect
(Keyboard) tracks.
Select one of the available effects from this pop-up menu.
Master FX 1, 2
FX parameters
Effects assigned to the corresponding effect processors. Usually,
Parameters may be different, depending on the selected effect.
FX1 are reverbs, while FX2 are modulating effects (chorus,
See the relevant chapter in the Appendix for a list of the available
flanger, delay…). For a list of the available effects, see in the
parameters for each effect type.
Appendix.
Effects assigned to both FX groups can be saved to a Perfor- Wet/Dry
mance. Effect assigned to the FX A group (Style and Pad tracks) Use this parameter to set the amount of the effect (Wet) against
can be saved to the Style Settings. Effects assigned to the FX B the non-effected (Dry) signal coming from the track.
group (Keyboard tracks) can be saved to an STS.
Src (Source)
W/D
Modulation source. To select the track generating this message,

Reference
Use this parameter to set the amount of the effect (Wet) against see the “M.T. (Modulating Track)” parameters found in the
the non-effected (Dry) signal coming from the track. “Effects: A/B FX Configuration” page (see above). See the rele-
vant chapter in the Appendix for a list of the modulation
MFX2 to MFX1
sources.
Amount of the MFX2 effect going back to the input of the MFX1
effect.

M.T. (Modulating Track)

Source track for modulating MIDI messages. You can modulate
an effect parameter with a MIDI message generated by an inter-
nal physical controller.
120 Style Play mode
Track Controls: Mode

Both The track plays both the internal sounds and an

Track Controls: Mode external instrument connected to the MIDI OUT.

Type
This page lets you connect each track to the internal sound gen-
Drum Drum/Percussion track. Set a track to Drum
erator and to external MIDI devices. This is very useful to let a
mode if you wish to separately adjust the volume
Style track drive an external expander, or play a digital piano
and set a different output for each percussive
with one of Pa900’s Keyboard tracks. In addition, here you can
family of the assigned Drum Kit Sound. (See
set the polyphony mode for each track.
“Track Controls: Drum Edit” on page 121).
Note: Tracks set to Drum or Percussion mode while
in Style Record (see “Track Type” on page 156) can-
not be edited here. This option appears in grey.
Other Style tracks cannot be set to Drum mode
here.
Note: Drum Kits are not affected by transpose
whichever the type of track they are assigned to.
Hint: Set a track to Drum mode, if you don’t want
the assigned Sound to be transposed (it will behave
as a Drum Kit).
Int./Ext. (Internal/External) Poly Tracks of this kind are polyphonic, i.e. they can
play more than one note at the same time.
Internal The track plays the sounds generated by the
internal sound engine. It does not play an exter- Mono Tracks of this kind are monophonic, i.e. each new
nal instrument connected to the MIDI OUT. note stops the previous note.
External The track plays an external instrument connected Mono Right A Mono track, but with priority assigned to the
to the MIDI OUT. The connected device must rightmost (highest) note.
receive on the MIDI channel associated with this Mono Left A Mono track, but with priority assigned to the
track on the Pa900 (see “MIDI: MIDI Out Chan- leftmost (lowest) note.
nels” on page 261).
A track set to this status cannot play the internal Play/Mute icon
sounds. Track’s play/mute status.
Instead of the assigned Sound name, the
<E: aaa.bbb.ccc> indicator is shown on a track’s Play status. The track can be heard.
area in the Main page:
Mute status. The track cannot be heard.

Control Change/Program Change area

This indicator begins with a remark saying the

track is in External (”E”) mode, and continues
with a strings of transmitted Control Change and
Program Change data. This will let you know
what the track is transmitting to the MIDI OUT.
In the following example, CC#0 is the Control
Change 0 (Bank Select MSB), CC#32 is the Con-
trol Change 32 (Bank Select LSB), PC is the Pro-
gram Change:

CC#0 value CC#32 value PC value

When touching the Sound area, the numeric key-

pad appears, instead of the Sound Select window.
You can enter the Control Change/Program
Change bundle shown above, separating the three
parts with a dot (.).
 Style Play mode 121
Track Controls: Drum Edit

Drum Edit parameters

Track Controls: Drum Edit Use these parameters to adjust the offset value.

In this page you can adjust the volume and edit the main param- Sound parameters Meaning
eters for each family of Drum and Percussion instrument for the Volume Instrument’s Volume.
selected track. A list of families is shown below. EQ Hi Equalization, High band.
These parameters can be accessed only on tracks set to the Drum EQ Mid Equalization, Middle band.
mode (see above). Use them on tracks with a Drum Kit assigned, EQ Low Equalization, Low band.
or you will not be able to hear any change.
Attack Attack time. This is the time during which the sound
Hint: Use the TRACK SELECT button to cycle between the track goes from zero (at the moment when you strike a
groups. After selecting a track, choose the “Solo Track” command key) to it’s maximum level.
from the page menu to avoid listening to the other tracks during Decay Decay time. Time to go from the final Attack level to
editing. the minimum level.
Cutoff Filter cutoff. This sets the sound brightness.
Note: All values are offsets referred to the value of the original
Resonance Use the Filter Resonance to boost the cutoff fre-
Sounds.
quency.
Fine Tune Fine instrument tuning.
Coarse Tune Coarse instrument tuning.
MFX 1 Send Scales the Send level to the Master FX1.
MFX 2 Send Scales the Send level to the Master FX2.

0…127 Volume (see above).

-64…0…+63 Offset value for all sound generation parameters. ‘0’
means no change to the original value memorized in
the Drum or Percussive instrument, while any other
value means a decrease or increase to the original
value.
Family Select
Use these icons/buttons to select the drum family you want to Select
edit. These buttons are only accessible when you select a Drum Use these buttons to select the track to edit. The button corre-
track. sponding to the selected track turns green.

Drum family icon Drum family Reset Family

Kick drums Touch this button to reset all changes to the selected family.

Reference
Reset Track
Snare drums
Touch this button to reset all changes to percussive instrument
volumes in the selected track.
Toms
Play/Mute icon

Hi-Hat cymbals
Track’s play/mute status.

Play status. The track can be heard.

Ride, Crash and other cymbals
Mute status. The track cannot be heard.

Low-pitched percussions
How to edit a single Drum Family
Here is a quick example of the use of the Drum Volume func-
High-pitched percussions
tion.
1. While in this page, press TRACK SELECT to see individual
Special effects
Style tracks.
2. Touch the “Select” button, in the display, corresponding to
the Drum track to edit.
Overview of the current parameter
3. Press START/STOP to let the Style go.
Under the icons of the Drum families you can see the value of
4. If you like, choose the “Solo Track” command from the
the selected parameter for all the families. This will let you com-
page menu to solo the Drum track.
pare the value of the selected family with all the others. The val-
ues are shown in grey (non editable).
122 Style Play mode
Track Controls: Easy Edit

5. While listening to the Style, select the Snare family, then Select
select the Volume parameter, and use the VALUE DIAL to
Use these buttons to select the track to edit. The button corre-
turn the volume completely off.
sponding to the selected track turns green.
You’ll notice how all snares stops sounding.
Reset Track
6. Touch the Reset Track button in the display to recall the
original Snare’s volume. Touch this button to reset all changes to Sound parameters in the
selected track.

Reset All Tracks

Track Controls: Easy Edit Touch this button to reset all changes to Sound parameters in all
tracks.
In this page you can edit the main parameters of the Sounds
Play/Mute icon
assigned to each track.
Track’s play/mute status.
Hint: Use the TRACK SELECT button to cycle between the track
groups. After selecting a track, choose the “Solo Track” command
Play status. The track can be heard.
from the page menu to avoid listening to the other tracks during
editing. Mute status. The track cannot be heard.
Note: All values are offsets referred to the value of the original
Sound. How to adjust sound parameters for a single
Sound
Here is a quick example of the use of the Easy Sound Edit func-
tion.
1. If needed, while in this page press TRACK SELECT to see
Keyboard tracks.
2. Touch the “Select” button, in the display, corresponding to
the Upper 1 track.
3. While playing on the keyboard to hear the Sound, select
the Cutoff knob, and use the VALUE DIAL to turn its value
completely off.
Easy Sound Edit parameters
You’ll notice how the filter progressively cuts out high fre-
Use these knobs to adjust the offset value. quencies, making the sound darker and mellower.
4. Touch the Reset Track button in the display to recall the
Sound parameters Meaning
original Cutoff value.
Attack Attack time. This is the time during which the sound
goes from zero (at the moment when you strike a
key) to it’s maximum level.
Decay Decay time. Time to go from the final Attack level to
the beginning of the Sustain.
Release Release time. This is the time during which the
sound goes from the sustaining phase, to zero. The
Release is triggered by releasing a key.
Cutoff Filter cutoff. This sets the sound brightness.
Resonance Use the Filter Resonance to boost the cutoff fre-
quency.
LFO Depth Intensity of the Vibrato (LFO).
LFO Speed Speed of the Vibrato (LFO).
LFO Delay Delay time before the Vibrato (LFO) begins, after the
sound starts.

-64…0…+63 Offset value. ‘0’ means no change to the original value

memorized in the Sound, while any other value
means a decrease or increase to the original value.

Portamento knob and switch

Use the Time knob to adjust the speed of the portamento (a slide
between notes). Check the box to turn portamento on, or
uncheck it to turn portamento off.
 Style Play mode 123
Keyboard/Ensemble: Key/Velocity Range

Keyboard/Ensemble: Key/Velocity Range Keyboard/Ensemble: Ensemble

This page lets you program a key and dynamic (velocity) range This page lets you program the Ensemble function. This func-
for each of the Keyboard tracks. tion harmonizes the right-hand melody (played in realtime)
using the recognized chords played by the left hand.
Key range is useful to create a set of Keyboard tracks playing in
different zones of the keyboard. For example, you may have The Ensemble works both in the Style Play and the Song Play
French Horns and Woodwinds playing in the center range of the modes. Chords are always recognized in the Lower Chord Scan
keyboard, while only Woodwinds play on the higher range. area.
Velocity range is useful to create a sound made of up to three Note: The Ensemble function only works when the keyboard is in
dynamic layers, assigning each of the Upper tracks to a different Split mode.
dynamic range.
As an example, you may assign the El.Piano 1 Sound to the
Upper 1, and the El.Piano 2 Sound to the Upper 2 track. Then,
set Upper 1 to [Bottom=0, Top=80], and Upper 2 to [Bot-
tom=81, Top=127]. The El.Piano 1 will play when playing softer,
the El.Piano 2 when playing louder.

Ensemble
Harmonization type.
Duet Adds a single note to the melody.
Close Adds a closed-position chord to the melody.
Open 1 Adds an open-position chord to the melody.
Top/Bottom Key (Key Range)
Open 2 As the above, but with a different algorithm.
This parameter pair sets the Top and Bottom key range for the
track. Block Block harmonization – very typical of jazz music.

C-1…G9 Selected key. Power Ensemble

Adds a fifth and an octave to the melody, as heard
Top/Bottom Vel. (Velocity Range) in hard rock.

Reference
This parameter pair sets the Top and Bottom dynamic range for Third Up This option adds a third over the melody note
the track. (depending on the recognized chord).
0 Lowest velocity value. Fourths LO Typical of jazz, this option adds two perfect
127 Highest velocity value. fourths under the melody.
Fourths UP As the above, but with notes added over the mel-
Play/Mute icon
ody.
Track’s play/mute status.
Fifths This adds two fifths below the original note.
Play status. The track can be heard. Octave Adds an octave to the melody.
Dual This option adds to the melody line a second
Mute status. The track cannot be heard.
note, at a fixed interval set with the “Note”
parameter. When selecting this option, a transpo-
sition value appears (-24…+24 semitones to the
original note).
Brass Typical Brass section harmonization.
Reed Typical Reed section harmonization.
124 Style Play mode
Keyboard/Ensemble: Keyboard Control

Trill When two notes are played on the keyboard, this

option trills them. If three or more notes are Keyboard/Ensemble: Keyboard Control
played, only the last two are trilled. You can set
the trill speed by using the Tempo parameter (see
below). This page lets you enable/disable the Damper and Expression
pedals, plus the Joystick, for each of the Upper Keyboard tracks.
Repeat The played note is repeated in sync with the
Tempo parameter (see below). When playing a
chord, only the last note is repeated.
Echo As the Repeat option, but with the repeated notes
fading away after the time set with the Feedback
parameter (see below).
AutoSplit1 If more than a single Upper track is in play, the
Upper 1 track plays the melody in mono, while
the other Upper tracks play the chord notes.
If only the Upper 1 track is in play, it plays poly-
phonically all the chord notes.
AutoSplit2 Similar to AutoSplit1, but the Upper 1 track Damper
always plays the uppermost note.
On When you press the Damper pedal and release
the keys, the track’s sound is kept sustained.
Note Velocity
Off The Damper pedal is not active on any track set
This parameter sets the velocity difference between the right-
to this status.
hand melody and the added harmonization notes.
-10…0 Subtracted velocity value. Joystick X
This enables/disables the left/right movement of the Joystick
Tempo
(Pitch Bend, and sometimes a Sound parameter’s control; for
Note: This parameter only appears when the Trill, Repeat or Echo Pitch Bend settings, see “Mixer/Tuning: Tuning” on page 116).
options are selected.
Joystick Y
Note value for the Trill, Repeat or Echo Ensemble options. This
is in sync with the Metronome Tempo. This enables/disables the front/rear movement of the Joystick
(Y+: Modulation, and sometimes a different Sound parameter’s
Feedback control; Y-: Various controls, or non-active).
Note: This parameter only appears when the Echo option is
Expression
selected.
This parameter allows you to switch the Expression control on/
This parameter sets how many times the original note/chord is
off on each individual Keyboard track. The Expression control is
repeated by the Echo option.
a relative level control, always subtracted from the Volume value
Ensemble Track Assign of the track.

Use these parameters to separately set Upper tracks for the As an example, imagine you have a Piano sound assigned to
Ensemble function. Upper 1, and a Strings sound assigned to Upper 2. If you turn
the Expression switch on on Upper 2, and off on Upper 1, you
Off There is no harmonization on this track. can use a continuous pedal to control only the Strings’ volume,
Normal This track is included in the harmonization. while the Piano remains unchanged.
Mute This track only plays the Ensemble notes, but not To program a pedal or Assignable Slider to act as an Expression
the original note. control, see “Controllers: Foot Controllers” on page 255. You can
only assign this function to a volume-type pedal, not to a switch-
Play/Mute icon type one. Assign the “KB Expression” option to the pedal or
Assignable Slider.
Track’s play/mute status.
Play/Mute icon
Play status. The track can be heard.
Track’s play/mute status.
Mute status. The track cannot be heard.
Play status. The track can be heard.

Mute status. The track cannot be heard.

 Style Play mode 125
Pad/Switch: Pad

Pad/Switch: Pad Pad/Switch: Switch

This page lets you select a different hit sound or sequence for This page lets you select a different function for each of the
each of the four PAD buttons. ASSIGNABLE SWITCH buttons.

Assignments can be saved into the current Style Settings or Assignable Switches can be saved into a Performance, STS or
SongBook Entry. SongBook Entry.
Note: Each Style or SongBook Entry can change the Pad assign-
Switch 1, 2, 3
ment.
Each of the ASSIGNABLE SWITCH buttons. Use these pop-up
Pad assignment menus to assign a function to each switch. See “List of Assign-
able Switches functions” on page 356.
Name of the Hit or Sequence assigned to each Pad. Touch the
box to make the Pad Select window appear (see “Pad Select win-
Assignable Switch lock icon
dow” on page 102).
This lock avoids selecting a different Performance or STS
Note: You can also choose Hits or Sequences from the Pad panel of
changes also the functions assigned to the switches.
the main page.
For more information on parameter locks, see “General Con-
Volume trols: Lock” on page 249.
Volume for each of the four Pad tracks.
0…127 Volume level.

Pan
Pan for each of the four Pad tracks.

Reference
-64…-1 Left stereo channel.
0 Center.
+1…+63 Right stereo channel.

FX Send (Master 1, 2)
Send level to the Master FX processors for each of the four Pad
tracks. The Pads share the FX A group with the Style tracks.
0…127 Level of the Pad track (direct) signal sent to the
effect processor.

EQ Gain [dB] (Hi, Mid, Low)

Equalization for each of the four Pad tracks.
-18.0…+0.0…18.0
Gain value of the High, Middle, or Low band.

Pad lock icon

This lock avoids selecting a different Style or SongBook Entry
changes also the Hit or Sequence Pads assigned to the Pads.
For more information on parameter locks, see “General Con-
trols: Lock” on page 249.
126 Style Play mode
Style Controls: Drum/Fill

Style Controls: Drum/Fill Style Controls: Keyboard Range On/Off /

Wrap Around
In this page you can select various general parameters for the
Style.
In this page you can program the Wrap Around point, and turn
on/off the Keyboard Range included in each Style tracks.

Drum Mapping (Var.1…Var.4)

The Drum Mapping lets you select an alternative arrangement of Keyboard Range On/Off
percussive instruments for the selected Drum Kit, without any
additional programming. Just select a Drum Map, and some per- This parameter is an on/off switch for the Key Range parameter
cussive instruments will be replaced with different instruments. memorized inside each Style Element track.

Off Standard mapping. On The Keyboard Range is considered – provided it

has been programmed (see “Style Element Track
Drum Mapping 1…7 Controls: Keyboard Range” on page 154 in Style
Drum Map number. Mapping 1 is “soft-sound- Record mode). When a track goes over the lower
ing”, while mapping 7 is “loud-sounding”. or higher Keyboard Range point, it is automati-
cally transposed, to stay in the programmed
Kick and Snare Designation range.
The Kick Designation replaces the original Kick (Bass Drum) Off No Keyboard Range used.
sound with a different Kick of the same Drum Kit, while the
Snare Designation replaces the original Snare Drum sound with Wrap Around
a different Snare of the same Drum Kit. The wrap-around point is the highest key range limit for the
Hint: Select different Designations while listening to the Style, and backing track. The accompaniment patterns will be transposed
see how they affect the Style. When you like the result, save your according to the detected chord. If the chord is too high, the
setting to a Performance or Style Settings. Style tracks might play in a range that is too high, and therefore
unnatural. If, however, it reaches the wrap-around point, it will
Off Original Kick or Snare. be automatically transposed an octave lower.
Type 1…3 Kick or Snare replacing the original one. The wrap-around point can be individually set for each track in
semitone steps up to a maximum of 12 semitones, relative to the
Track status
chord root set in Style Record mode (see “Key/Chord” on
Track play/mute status. Touch these icons to change it. page 135).

Play status. The track can be heard. It is advisable to set different Wrap Around points for each track,
to avoid all tracks “jump” to a different octave at the same time.
Mute status. The track cannot be heard. We suggest to consider the actual range of the real instrument.
1…12 Maximum transposition (in semitones) of the
track, referred to the original key of the Style pat-
tern.

Play/Mute icon
Track’s play/mute status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

 Style Play mode 127
Page menu

Copy/Paste FX
Page menu You can copy a single effect (Master 1, Master 2), or both effects
of an FX group (A or B). You can copy them between different
Touch the page menu icon to open the menu. Touch a command elements (for example, between Styles and Performances, or
to select it. Touch anywhere in the display to close the menu STSs and Songs or Sounds).
without selecting a command. Note: This operation only copies the parameters of the “Effects”
section. Parameters contained in other sections, like “Dry” or “FX
Send”, are not copied. Please note that these parameters are rele-
vant in the overall sound of the effect, so please fine-tune them.
To copy a single effect:
1. Select the source Performance, STS, Style, Song or Sound.
2. Choose the source FX group (A or B) by touching the cor-
responding side tab.
3. Go to the page of the single effect you want to copy (Master
1, Master 2).
Write Performance 4. Choose the “Copy FX” command from the page menu.
Select this command to open the Write Performance dialog box, 5. Select the target Performance, STS, Style, Song or Sound,
and save most of the current control panel settings to a Perfor- 6. Choose the same FX group (A or B) as the target by touch-
mance. ing the corresponding side tab.
See “Write Performance dialog box” on page 128 for more infor- 7. Go to the page of the single effect you want to paste (Master
mation. 1, Master 2).
Write Single Touch Setting 8. Choose the “Paste FX” command from the page menu.
Select this command to open the Write Single Touch Setting To copy all the effects in an FX group:
(STS) dialog box, and save Keyboard track settings to one of the 1. Select the source Performance, STS, Style, Song or Sound,
Single Touch Settings (STS) of the current Style. then go to the Effects > A/B FX Config page, to copy all the
See “Write Single Touch Setting dialog box” on page 128 for effects.
more information. 2. Choose the source FX group (A or B) by touching the cor-
responding side tab.
Write Current Style Settings
3. Choose the “Copy FX” command from the page menu.
Select this command to open the Write Current Style Settings
dialog box, and save Style track settings to the current Style. 4. Select the target Performance, STS, Style, Song or Sound,
then go to the page of the Effects > A/B FX Config page.
See “Write Single Touch Setting dialog box” on page 128 for

Reference
more information. 5. Choose the FX group (A or B) as the target by touching the
corresponding side tab.
Solo Track
6. Choose the “Paste FX” command from the page menu.
Select the track to be soloed, and check this item. You will hear
only the selected track, and the ‘Solo’ warning will flash on the Easy Mode
page header. Easy Mode allows you to use the Style Play and Song Play modes
Uncheck this item to exit the Solo function. with an easier-to-use user interface. It is recommended to begin-
ners, and to professionals alike that do not want to deal with the
The Solo function works in a slightly different way, depending
extra parameters of the Advanced mode.
on the selected track:
At any time, you can manually turn the Easy Mode on/off with
• Keyboard track: The selected Keyboard track is the only track
the Easy Mode command in the page menu of the Style Play and
you can hear when playing on the keyboard. All other Keyboard
Song Play modes.
tracks are muted. The status of the Style tracks is unaffected.
• Style track: The selected track is the only Style track you can
hear. All other Style tracks are muted. The status of the Keyboard
tracks is unaffected.
• Grouped Style tracks: The Solo function does not work on these
special tracks.

Keep the SHIFT button pressed and touch one of the

tracks to solo it. Do the same on a soloed track to deactivate the
Solo function.
128 Style Play mode
Write Performance dialog box

Write Performance dialog box Write Single Touch Setting dialog box
Open this window by keeping one of the PERFORMANCE but- Open this window by keeping one of the STS buttons pressed for
tons pressed for about one second, or by choosing the Write Per- about one second, or by choosing the Write Single Touch Setting
formance item from the page menu. Here, you can save all track item from the page menu. Here, you can save Keyboard track
settings, the selected Style, and various Style settings to a Perfor- settings, and the selected Voice Processor Preset, to one of the
mance. four single Touch Settings (STS) belonging to the current Style.

Note: When the “Factory Style and Pad Protect” option is checked
Name
in the Global > Mode Preferences > Media page, you cannot write
Name of the Performance to be saved. Touch the (Text Edit) an STS over a Factory Style. The “Write Single Touch Setting”
command in the page menu is greyed out and cannot be selected.
button next to the name to open the Text Edit window.
All original settings of the Factory Styles will be left untouched.
Perf Bank
Name
Target bank of Performances. Each bank corresponds to one of
the PERFORMANCE buttons. Use the VALUE DIAL to select a Name of the STS to be saved. Touch the (Text Edit) button
different bank. next to the name to open the Text Edit window.

Performance Current Style

Target Performance location in the selected bank. Use the Non editable. Settings are saved in one of the four STSs belong-
VALUE DIAL to select a different location. ing to the current Style. This parameter displays the name of the
“parent” Style.
Select… button
Touch this button to open the Performance Select window, and STS
select a target location. Target STS location. The name of the STS currently saved at the
target location is shown. Use the VALUE DIAL to select a differ-
ent location.
 Style Play mode 129
Write Current Style Settings dialog box

Write Current Style Settings dialog box The Favorite banks

Open this window by keeping one of the STYLE buttons pressed You can create a custom set of Styles, made of up to twelve
for about one second, or by selecting the Write Style Settings Favorite banks. You can assign a different name to the tabs that
item from the page menu. Here, you can save Style track settings appear in the Style Select window, in order to add musical genres
to the Style Settings of the current Style. not included among the Factory Styles.
The Favorite Styles are contained in twelve files, automatically
created by the Pa900 inside the Style folder in the SYS area of the
internal storage memory. Even if different bank names can
appear in the display, these files have fixed names:

File Name FAVORITE Banks

FAVORITE01…12.STY Bank 1…12

Note: When the “Factory Style and Pad Protect” option is checked Creating the Favorite banks
in the Global > Mode Preferences > Media page, you cannot write
any Style Settings onto Factory Styles. The “Write Current Style There are various ways to create the Favorite banks:
Settings” command in the page menu is greyed out and cannot be • While in Style Play mode, you can copy & paste any Style
selected. All original settings of the Factory Styles will be left into the Favorite banks, as an alternative to the User Style
untouched. banks. See the “Selecting” chapter for more information on
the Copy & Paste operations.
Style bank
• While in Style Record mode, you can write the new or
Non editable. Bank of Styles the current Style belongs to. edited Style to the Favorite banks, as an alternative to the
User Style banks. See the “Style Record” chapter for more
Current Style information on saving a Style.
Non editable. Name of the current Style. • While in Media mode, you can load any Style into the
Favorite banks, as an alternative to the User Style banks.
See the “Media” chapter for more information on the Load
operations.

Renaming the Favorite banks

While the Style Select window is in the display, you can choose
the “Rename Favorite” command from the page menu, and

Reference
assign the Favorite Style tabs any name you like.

The assigned name can be spanned over two lines, by separating

them with the paragraph character (¶). For example, to write
“World Music” on two lines, enter “World¶Music”.
Be careful not to write words exceeding the width of the side tabs
of the Style Select window.
130 Style/Pad Record mode
Recording Styles and Pads

Style/Pad Record mode

By entering the Style/Pad Record mode, you can create your own Each Style Element is made up of smaller units, called Chord
Styles or Pads, or edit an existing Style or Pad. Variations (CV), but not all of them have the same number of
CVs. Variations 1-4 have up to 6 CVs each, while the other Style
Elements have only up to 2 CVs.
When you play in the chord recognition area (Lower, Upper or
Recording Styles and Pads Full, depending on the On or Off status of the SPLIT button), the
arranger scans the keyboard and determines which chord you
Styles and Pads share most of the same structure and recording/ are playing. Then, depending on the selected Style Element, it
editing operations. Here is how they are made. determines which Chord Variation (CV) should be played for
the scanned chord. Which Chord Variation corresponds to each
scanned chord is a setting of the Style: the Chord Variation
The Style’s structure Table. Each Style Element contains a Chord Variation Table,
The term “Style” relates with music sequences automatically whose prototype is the following:
played by the arranger of the Pa900. A Style consists of a pre-
defined number of Style Elements (E) (Pa900 features fifteen Chord Chord Variations (CVs)
different Style Elements: Variation 1-4, Intro 1-3, Fill 1-4, Break,
Ending 1-3). When playing, most of these Style Elements can be Intro 1-2, Count-In, Fill 1-4, Break,
Variation 1-4
Ending 1-3
directly selected by using the corresponding buttons on the con-
trol panel. Major
6
To explain the Style structure, we can use a tree structure, as
shown in the following diagram: M7

M7(b5)
Pop Ballad
sus
sus2
Va riation 1 M7sus
Va riation 2 m
CV1
m6
Drum Va riation 3
m7
Perc
Va riation 4 m7(b5)
Bass
Acc1 m((M7)
Intro1 CV1 – CV6 CV1 – CV2
Acc2 7
Acc3 7(b5)
CV1
Acc4
7sus4
Acc5 CV2 dim
CV2 dim(M7)
Intro 2
CV3 #5
Intro 3/C.In 7(#5)
CV4
Fill 1 M7(#5)
CV5 1+5
Fill 2 1+8
CV6 b5
Fill 3
dim7
Fill 4
After deciding what CV to play, the arranger triggers the right
Break sequence for each track. Since each sequence is written in a par-
ticular key (for example, CMajor, GMajor or Emin), the arranger
Ending 1 transposes it according to the scanned chord. Notes in the
sequence are carefully transposed, to make them work fine with
Ending 2 all recognized chords.
Ending 3 Going deeper into the Style structure, we can see that each
Chord Variation is made up of Track Sequences, and the Pa900
supports 8 different tracks. DRUM and PERC are used for drum
and percussion sequences, BASS for bass and ACC1-5 are for
 Style/Pad Record mode 131
Recording Styles and Pads

accompaniment sequences (string, guitar, piano or other accom- • Gtr (Guitar) tracks: When a chord is recognized, the
paniment instruments). arranger triggers single notes, strumming and arpeggios on
a “virtual guitar”, keeping care of the way notes are played
Just to summarize, when you play a chord on the chord recogni-
on the guitar keyboard. Note that inside a Guitar track you
tion area, the arranger determines which Style Element is used,
can also have some parts typical of an Acc track - a useful
then determines which Chord Variation should be used for the
addition for short “free-form” passages.
played chord, then Style sequences for every track of that Chord
Variation are transposed from the original chord to the recog-
nized chord, and so on every time you play a chord. What to record in a Style
Recording a Style means recording tracks, inside a series of
The Pad’s structure Chord Variations, inside a series of Style Elements, inside the
Style itself.
A Pad is basically a single-track Style. Most of what applies to
Style recording also applies to Pad recording. You don’t have to record all Chord Variations for all Style Ele-
ments. It is often only needed to record a single Chord Variation
There are two different categories of Pads:
for each Style Element. Exceptions are the Intro 1 and Ending 1,
• “Hit” Pads. While they are where we suggest to record both a Major and minor Chord Vari-
mostly used as non-transpos- Pad ations.
ing events, they can also be
transposing notes or chords. CV1
Basically, they are single-note Pad Track
What to record in a Pad
or single-chord Sequences Recording a Pad is a matter of recording a single track, inside a
(see below). CV2 series of Chord Variations, inside the Pad itself.
• “Sequence” Pads, i.e., complex CV3 You don’t need to record all Chord Variations. It is often only
single-track patterns, that can needed to record just a Chord Variation.
be transposed by playing dif- CV4
ferent chords on the keyboard
– exactly as a Style track. They CV5 Pattern data vs. track data
are roughly equivalent to sin- While the Style/Pad Record mode is where you can create or edit
CV6
gle-element, single-track, the music patterns, track parameters (like Volume, Pan, Octave
multi-chord variation Styles Transpose, FX settings…) are to be edited in Style Play mode.
(see illustration).
• After having created or edited music patterns in Style/Pad
Each Pad is made up of up to six smaller units, called Chord Record mode, save them by selecting the “Write Style” or
Variations (CV). Each Chord Variation is made of a single track “Write Pad” command from the page menu of the Style
(the Pad track). Record mode (see “Write Style/Pad dialog box” on
Exactly as with the Styles, when playing a chord in the chord rec- page 162).
ognition area, the corresponding Chord Variation is recalled. • After having edited track parameters in Style Play mode,
Recognized chords are associated to a Chord Variation by means save them to the Style Settings by selecting the “Write Cur-

Reference
of the Chord Variation Table. Each Pad contains a Chord Varia- rent Style Settings” command from the page menu of the
tion Table. Style Play mode (see “Write Current Style Settings dialog
As with the Styles, the Note Transposition Tables (NTT) applies box” on page 129).
to the Pads.
The same differences between the different types of tracks Sounds
applies (see “Track Type” on page 155). There are two ways of assigning Sounds to the Style tracks.
• While in Style Record mode you can assign different
Ordinary, Guitar and Drum tracks Sounds to each Style Element in the “Style Element Track
There are different types of tracks (see “Track Type” on Controls: Sound/Expression” page (see “Sounds area” on
page 156), and each of them is treated in a different way by the page 137). You can assign a Sound to the Pad in the same
arranger; page of the Pad Record mode.
• Acc (Accompaniment) and Bass tracks: When a chord is • While in Style Play mode, you can assign a single Sound to
recognized, the programmed chord notes are transposed to the Style Settings (together with the other track parame-
a suitable scale, according to the Note Transposition ters), that remains the same for all Style Elements.
Tables (NTT) The NTT allows you to record just some Which Sounds are used by the Style tracks depends on the status
Chord Variations, and have all the notes play in the right of the “Original Style Sounds” parameter (see page 110).
place, avoiding dissonances and transposing the pattern
notes to the notes of the recognized chord. Note: When assigning a Sound in Style Play mode, the “Original
Style Sounds” parameter is automatically turned off.
• Drum & and Perc (Percussion) tracks: No transposition is
applied.The original pattern plays always.
132 Style/Pad Record mode
Style/Pad Import/Export

Note: After a record or edit operation, the memory is automati-

Style/Pad Import/Export cally reorganized. Therefore, when you press START/STOP there is
a delay before you can actually listen to the Style. This delay is
higher with a Style containing more MIDI events.
As an alternative to creating Styles on the Pa900, you can import
a Standard MIDI Files (SMF) from your computer to a Pa900’s Note: While in Record mode, the footswitch is disabled. On the
Style. See “Import: Import SMF” on page 157 and “Export SMF” contrary, volume/expression-type pedals can be used.
on page 160.

Exit by saving or deleting changes

Entering the Style/Pad Record mode
When finished editing, you can save your Style or Pad in mem-
ory, or abort any change.
While in the Style Play operating mode, press the RECORD but-
ton. The following page will appear in the display: • To save changes, select the “Write Style/Pad” command from
the page menu (see “Write Style/Pad dialog box” on page 162).
• To abort all changes, select the “Exit from Record” command
from the page menu, or press the RECORD button, to exit from
record and return to the main page of the Style Play mode.
Hint: Save often while recording, to avoid accidentally losing your
changes to the Style/Pad.

Listening to the Style while in Edit mode

You can edit Factory Styles or Pads, assuming the status of the While you are in Style/Pad Record mode, you can listen to the
“Factory Style and Pad Protect” parameter in the Global > Mode selected Chord Variation or to the whole Style or Pad, depending
Preferences > Media page is set to Off (see page 254) on the page you are in.
• Select Record/Edit Current Style to edit the current Style. To select a Chord Variation, go to the Main page of the Record/
• Select Record New Style to start from a new, empty Style. Edit mode. For more details, see “Element (Style Element)” and
Default Style Settings will be recalled. When finished “Chord Var (Chord Variation)” on page 134.
recording, you will save the new Style onto a Favorite or • When you are in the Main, Event Edit, Quantize, Transpose,
User Style location. (Styles may also be saved onto Factory Velocity, or Delete pages, you can listen to the selected Chord
Style locations only when the “Factory Style and Pad Pro- Variation. Press START/STOP to check how it works. Press
tect” parameter is set to Off). START/STOP again to stop the playback.
• Select Record/Edit Pad to select an existing Pad to edit. • When you are in the Sounds/Expression, Keyboard Range,
• Select Record New Pad to start from a new, empty Pad. Chord Table, Trigger/Tension, Delete All, Copy, Style/Pad
When finished recording, you will save the new Pad into a Element Controls or Style/Pad Control pages, you can lis-
User Pad location. (Pads can be saved into Factory Pad ten to the whole Style or Pad. Press START/STOP and play
locations only when the “Factory Style and Pad Protect” some chords to do your tests. Select any Style/Pad Element
parameter is set to Off). using the control panel buttons (VARIATION 1-4, INTRO
1-3, AUTO FILL, BREAK, ENDING 1-3). Press START/
After having edited the Style or Pad, please save it (see “Exit by STOP again to stop the playback.
saving or deleting changes” below) and exit the Style/Pad Record
mode. • When you are in the Guitar Mode page, you can listen to the
pattern you are programming, played in the selected Key.
Then, edit the Style or Pad track settings.
Note: When entering Style Record mode, the Chord Recognition
• With a Style: Go to the Style Play mode, edit the Style Settings mode changes according to the mode that was selected while in
to adjust track settings (Tempo, Volume, Pan, FX Send… see Style Play mode. For a chord to be recognized, a minimum of three
page 113 and following in the “Style Play mode” chapter) and notes must be played.
save it by selecting the “Write Current Style Settings” from the
page menu (see “Write Current Style Settings dialog box” on
Chord Recognition Mode
page 129).
• With a Pad: Go to the Pad page of the Style Play or Song Play Style Play mode Style Record mode Notes (min.)
mode, assign the new Hit or Sequence to a Pad button, and One Finger Fingered 3
adjust the various Pad settings (Volume, Pan, and FX Send… see Fingered Fingered 3
“Pad/Switch: Pad” on page 125). Finally, save the Pad settings by Expert Expert 3
selecting the “Write Current Style Settings” command from the
page menu.
Note: In this mode, the pattern is always played back in loop, even
if the “Pad Type” parameter is set to “One Shot” (see page 155).
 Style/Pad Record mode 133
List of recorded events

List of recorded events Main page - Record 1

The Style/Pad Record mode filters out some events that may After having pressed the RECORD button, and having chosen
cause wrong operation of the Style or Pad. Here are the recorded whether you want to edit an existing Style or create a new one,
events. the main page of the Style Record mode appears, with the tab
“Record 1” selected.
Control function CC# Recording Selected track
parameters area info area
Allowed
Page sub-header Page header Page menu icon
Note On
RX Noise On
Pitch Bend
Channel After Touch
Modulation 1
Breath 2
Pan 10
Expression 11
CC#12 12
CC#13 13
Damper (Hold 1) 64
Filter Resonance (Harmonic Content) 71 Key/Chord area Track volume/status area NTT area
Low Pass Filter Cutoff (Brightness) 74
CC#80 (General Purpose #5) 80 Style Record

CC#81 (General Purpose #6) 81

CC#82 (General Purpose #7) 82 Recording Selected track
parameters area info area
Note: Some Control Change messages cannot be recorded directly Page sub-header Page header Page menu icon
by using the integrated controls of Pa900.
All allowed controllers can be assigned to an Assignable Pedal/
Slider/Switch.
MIDI Control Change messaged inserted by using a software on
an external computer are imported when using the Import func-
tion (“Import: Import SMF” on page 157).

Reference
Some controllers are reset at the end of the pattern.

Track volume/status area Key/Chord area NTT area

Pad Record

Page header
This line shows the current operating mode and transposition.

Operating mode Master Transpose (in

semitones)

Operating mode name

Name of the current operating mode.

Master Transpose
Master Transpose value in semitones. This value can be changed
using the TRANSPOSE buttons on the control panel.
134 Style/Pad Record mode
Main page - Record 1

Page menu icon notes are moved to the nearest 1/8 division. A ‘3’
after the quantization value means triplet.
Touch this icon to open the page menu. See “Page menu” on No quantiza-
page 161. tion

Page sub-header
1/16
This area shows some performing info on the Style/Pad.

1/8
Style/Pad in record/edit Beat counter Measure number

Pad Sync
Style in record/edit
(Pad only) This parameter allows you to set a synchronization
Name of the Style currently in edit or record. mode for the Pad’s pattern.
Beat counter Off No synchronization. The sequence will start as
soon as you press the PAD button.
This indicator shows the current beat.
Continued The pattern will start immediately, in sync with
Measure number the arranger’s or active player’s tempo. Depend-
ing on the current position of the beat counter, it
Current measure you are recording.
might not start from its very beginning; instead,
it will continue from the current position.
Recording parameters area
For example, if the arranger’s or player’s beat
counter shows the third beat, and is playing tick
Element (Style Element)
91, the Pad will start from its third beat, at tick 91.
(Style only) This parameter lets you select a Style Element for
editing. Each Style Element corresponds to a button on the con- The beat counter
trol panel carrying the same name. After selecting a Style Ele-
ment, select a Chord Variation for actual editing (see below).
Var1…End3 This is the selected Style Element

Chord Var (Chord Variation)

This works exactly as if it was a Fill.
This parameter lets you select a Chord Variation for editing
(inside the selected Style Element or Pad). Beat The sequence will start at the next beat, in sync
with the arranger’s or player’s tempo. It will start
Note: When this parameter and the assigned value is in small let-
from its very beginning (i.e., tick 1 or measure 1).
ters (cv1…cv6), the Chord Variation is empty; when it is in capi-
tals (CV1…CV6), it is already recorded.
Rec Length (Recording Length)
• If the Style Element is Var1, Var2, Var 3 or Var4, you can select
This parameter sets the recording length (in measures) of the
one of 6 Chord Variations to edit.
selected track. Its value is always equal to, or a divider of, the
• If the Style Element is Intro1, Intro2, Intro3, Fill1, Fill2, Fill3, Chord Variation Length (see next parameter).
Fill4, Ending1, Ending2 or Ending3, you can select one of 2
This is not the total length of the Chord Variation, but just of the
Chord Variations to edit.
current track. For example, you may have a Chord Variation
• With a Pad you can choose one of the six available Chord Vari- eight measures long, with a drum pattern repeating each two
ations (CV1 … CV6). measures. If so, set the CV Length parameter to “8”, and the Rec
Length parameter to “2” before starting recording the Drum
Resolution track. When playing back the Style, saving it or executing any
Use this parameter to set the quantization during recording. edit operation on the Style, the 2-measures pattern will be
Quantization is a way of correcting timing errors; notes played extended to the full 8-measures length of the Chord Variation.
too soon or too later are moved to the nearest axis of a rhythmic Warning: If you assign a value lower than Rec Length to CV
“grid”, set with this parameter, thus playing perfectly in time. Length, the value of Rec Length is not immediately updated in the
Note: To quantize after recording, use the Quantize function in the display. Therefore, you are still free of changing the value of CV
Edit section (see “Style/Pad Edit: Quantize” on page 148). Length, before the measures exceeding its value are deleted. For
more details, see the warning in “CV Length (Chord Variation
High No quantization applied. Length)” below.
(1/32)… (1/8) However, if you press START/STOP to begin recording, the real
Rec Length value is changed to the new one, even if the display still
Grid resolution, in musical values. For example,
shows the old value.
when you select 1/16, all notes are moved to the
nearest 1/16 division. When you select 1/8, all
 Style/Pad Record mode 135
Main page - Record 1

For example, you may have CV Length = 4 and Rec Length = 4. If Track name
you set CV Length to 2, and press START/STOP to begin record-
Name of the selected track.
ing, Rec Length is still shown as 4, but it is in reality set to 2, and
recording will cycle for just 2 measures. After you press START/ Drum…Acc5 Style track.
STOP to stop recording, Rec Length is updated to 2, and all mea-
sures after the second measure are deleted. Sound name
Sound assigned to the selected track. You can touch the name to
CV Length (Chord Variation Length) open the Sound Select window, and select a different Sound.
This parameter sets the total length (up to 32 measures) for the
selected Chord Variation. When playing a Style, this will be the Sound bank
length of the accompaniment pattern, when the chord corre- Bank the selected Sound belongs to.
sponding to the Chord Variation is recognized on the keyboard.
Warning: If you reduce the Chord Variation Length after record- Program Change
ing, any measure after the selected length will be deleted. Be very Program Change number sequence (Bank Select MSB, Bank
careful when setting the CV Length to a lower value after record- Select LSB, Program Change).
ing! If it happens, we suggest to exit from record without saving
(see “Exit from Record” on page 161).
Key/Chord area
Tempo
Key/Chord
Select this parameter to use the TEMPO controls to set the
Tempo value. This parameter pair allows you to define the track’s original key
and chord type, for the current Chord Variation. When playing
Hint: You can always change the Tempo, when other parameters the pattern back, this chord will be played back exactly as it was
are selected, by keeping the SHIFT button pressed, and rotating the recorded, without any NTT processing (see above).
DIAL.
Note: To conform to Korg specifications, it is advisable to record
Note: When recording Tempo, old data is always replaced by the both the “Major” and “minor” Chord Variations for the Intro 1 and
new data. Ending 1 Style Elements.
Note: The actual Tempo of the Style will be the one shown when When you select a track, the original key/chord assigned to the
saving the Style Settings in Style Play mode (see “Current Tempo” selected track will be shown. All recorded tracks will play back
on page 107). on that key/chord. For example, if the original key/chord for the
Acc1 track is A7th, when selecting the Acc1 track all the remain-
Meter ing tracks will play on the A7th key/chord.
This is the meter (time signature) of the Style Element or the Pad In the example above, you will record the Acc1 track in the
Sequence. You can edit this parameter only when the Style Ele- AMajor key, with notes pertaining to the A7th scale. This exact
ment or Pad is empty, i.e. before you begin recording anything. pattern will be recalled, when an A7th chord will be recognized.
Note: This does not apply to Guitar Mode, relying on a different
Selected track info area

Reference
rule. See “Main page - Guitar Mode” on page 138 for more infor-
This line lets you see the Sound assigned to the selected track. mation.

Track name Sound bank

Sound name Program Change sequence

136 Style/Pad Record mode
Main page - Record 1

NTT Area Parallel/Root The root note (in CMaj = C) is transposed to the
missing notes.
NTT Type/Table Parallel/Fifth The 5th note (in CMaj = G) is transposed to the
NTTs (Note Transposition Tables) are the sophisticated algo- missing notes.
rithms that allow Korg arrangers to convert recognized chords As recorded with
into musical patterns. The Note Transposition Table (NTT) NTT = Root or 5th When you play a C7 When you play a C7
determines how the arranger will transpose pattern notes, when (Key/Chord = C) with NTT = Root with NTT = 5th
a chord is recognized that does not exactly match the original
chord of a Chord Variation. For example, if you only recorded a
Chord Variation for the CMaj chord, when a CMaj7 is recog-
nized on the keyboard the arranger must transpose some notes
to create the missing 7th. Parallel/i-Series
All original patterns must be programmed on the
Note: These parameters cannot be selected with Drum or Percus-
“Maj7” or “min7” chords. When loading old Korg
sion tracks, and are therefore greyed out.
i-Series Styles, this option is automatically
Note: NTT parameters are separately programmed for each track selected.
of the Style Element.
As recorded with
There are two general types of NTTs: NTT = i-Series When you play a C When you play a C7
(Key/Chord = CM7) with NTT = i-Series with NTT = i-Series
• When Parallel types are selected, notes are transposed inside
the area set by the Wrap Around parameter. These tables are ide-
ally suited to melody parts.

Parallel/No Transpose
The chord is not modified, and is moved to the
new key unchanged. The pattern plays exactly the
recorded notes, and is moved to the new key as is.
This is the standard setting of Intro 1 and Ending
as written as played back
1 in Korg’s original Styles (where a chord progres-
sion is usually recorded, and should remain
• When Fixed types are selected, the arranger moves as few notes
unchanged in any key).
as possible, making legato lines and chord changes more natural.
They are ideally suited to chord tracks (strings, piano etc…). Fixed/Chord This table moves as few notes as possible, making
legato lines and chord changes more natural. It is
ideally suited to chord tracks (strings, piano
etc…). Contrary to the Parallel mode, the pro-
grammed chord is not transposed according to
the Wrap Around parameter, but always stays
around its original position, looking for common
as written as played back notes between the chords.
Fixed/No Transpose
Note: To conform to Korg specifications, it is advisable to set the
NTT to “No Transpose” on the Intro 1 and Ending 1. The programmed notes can only be transposed
by the Master Transpose. They are never trans-
posed when chords are changed.
 Style/Pad Record mode 137
Main page - Record 2/Cue

Delete Note button

Use this command to delete a single note or a single percussive
Main page - Record 2/Cue
instrument from a track. For example, to delete a snare, keep the
D2 note (corresponding to the snare) pressed. (Style only) While in the main page, touch the “Record 2/Cue”
1. Select a track. tab to see this page. Most parameters in this page are the same as
in “Main page - Record 1”. In addition, here you can see and
2. Touch the “Delete Note” button, and keep it pressed. select Sounds for each Style track, and the Cue mode for the
3. Press START/STOP to start the Style. Style Element.

4. When you reach the passage containing the note to be

deleted, play the note on the keyboard. Keep it pressed, up
to the last note to be deleted.
5. When finished, release the Delete button and the note to be Sounds
deleted, and press START/STOP again to stop the Style. area

Note: If the note is at the beginning of the pattern, press the

Cue area
note before starting the Style.

Tracks volume/status area

Virtual slider(s)
Drag a virtual sliders on the display to change the volume of the
Sounds area
corresponding track. This area lets you see Sounds and octave transposition for the
As an alternative, touch a track to select it, and use VALUE DIAL eight Style tracks.
to change the value. Octave transpose icon

Track status icons

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard. Sound bank’s icon

Mute status. The track cannot be heard.

Octave transpose icon
Record status. After starting recording, the track
will receive notes from the keyboard and the Non editable. This indicator shows the track’s octave transposi-
MIDI IN connector. tion. Tracks will be recorded with the selected octave transposi-
tion. To change this value, use the UPPER OCTAVE buttons, or

Reference
Track names go to the “Mixer/Tuning: Tuning” edit page in the Style Play
mode (see page 116). Save this value to the Style Settings.
(Style only) Under the sliders, a label for each track is shown.
Drum…Acc5 Shown Style tracks. Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Touch an icon a first time to select the corresponding track
(detailed information are shown on the Selected Track Info area,
see the “Main page - Record 1” page above). Touch it a second
time to open the Sound Select window.
Note: These Sounds can be replaced by Sounds selected by a Per-
formance, provided the “Original Style Sounds” parameter is left
unchecked in Style Play mode (see page 110).
138 Style/Pad Record mode
Main page - Guitar Mode

Cue area
Main page - Guitar Mode
Cue mode for [Style element]
This parameter lets you decide how the current Style Element While in the main page, and a Guitar track has been selected,
will enter after it has been selected. This setting is only available touch the “Guitar Mode” tab to see this page. This is where you
for the ‘Variation’ and ‘Fill’ Style Elements. can access Guitar Mode programming:
Immediate, first measure
The Style Element enters immediately, and begins
from the first measure. Only available on Fills.
Immediate, current measure
The Style Element enters immediately, and begins
from the current measure. Only available on Fills.
Next measure, first measure
The Style Element enters at the beginning of the
next measure, and begins from the first measure
of the new pattern. Available on both Fills and
Variations. Note: To access this page, a Guitar track must first be selected (see
“Track Type” on page 156). The Pad track must be of Guitar type
Next measure, current measure
(Pad Track Controls > Sound/Expression page, see “Track Type”
The Style Element enters at the beginning of the
on page 155). Otherwise, the Guitar Mode tab will remain grey
next measure, and begins from the current mea-
(not selectable).
sure. Only available on Variations.
Note: When programming a Guitar track from an external
sequencer, you must be sure the Guitar tracks is associated to the
right channel. Go to the Global > MIDI > MIDI IN Channels page,
and assign the corresponding Style track (usually Acc1 ~ Acc5) to
the same channel of the Guitar track on the external sequencer.
Then, go to the Style Record > Style Track Controls > Type/Ten-
sion/Trigger page, and set the track as a track of type “Gtr” (see
“Track Type” on page 156).
Guitar Mode allows for easy creation of realistic rhythm guitar
parts, without the artificial, unmusical playing typical of MIDI
programming of guitar parts. Just record a few measures, and
you will end up with realistic rhythm guitar tracks, where each
chord is played according to its real position on the guitar, and
not generated by simply transposing a written pattern.

Recording overview
Recording a Guitar track is unlike recording the other tracks,
where you play exactly all the notes of a melody line or all the
chords of an accompaniment part. With Guitar tracks you can:
a) play the keys corresponding to the strumming modes,
b) play an arpeggio using the six keys corresponding to the six
guitar strings (and the special keys corresponding to the root
and fifth notes),
c) play RX Noises to add realism to the pattern,
d) add regular patterns, for short melodic passages without wast-
ing an Acc track,
e) use the finest MIDI programing to select Chord Shapes, and
recreate any nuance of a guitar performance.
The following sections describe the various control keys avail-
able for this guitar simulation.
 Style/Pad Record mode 139
Main page - Guitar Mode

Recording strumming types This octave also includes an ‘all mute’ key (F#):

The octave from C1 to B1 is devoted to selecting a strumming 76-keys

61-keys
type. By pressing these keys, you play fast strumming samples:

76-keys
61-keys

All Mute
Recognized Chord
Fifth Power Chord
Full Down Slow Mute
Recognized Full Down/Up
Chord Root
Full Up Mute Up Mute 4-Strings

Full Down Mute Down Mute 4-Strings

VI String (E) I String (e) Down/Up

4-Strings
V String (A) II String (B)
Full Down Up 4-Strings
Full Down IV String (D) III String (G)
Full Up Slow Down 4-Strings

Full Down Mute Body Full Up Slow

Recording RX Noises
Further on, the upper octaves are used to trigger RX Noises:
Recording single strings 76-keys
61-keys
The octave from C2 to B2 is devoted to selecting a single string
(or more than one) for playing arpeggios or power chords. You
can either play a free arpeggio with the six guitar chords
assigned to the C~A keys, or play one of the faster sampled
arpeggios on the higher keys. The root note is always available
on the C# key, while the fifth note is always assigned to the D#
key; with them, you can always play the lowest notes of an arpeg-

Reference
gio.

RX Noises

Selecting a Capo
Together with strumming types, single strings and RX Noises,
you can choose a Capo (“capotasto”). Note that this might pre-
vent some single strings to sound, depending on the composed
chord. You can always see which strings are playing and which
are not, as described in “Diagram” on page 141.

Recording a regular pattern

Together with strums and arpeggios, you can record regular pat-
terns, exactly as if the track was of Acc type (see “Track Type” on
page 156). This will save an Accompaniment track, when all you
need is just to record some short melodic passages (for example,
the closing of a strumming pattern).
140 Style/Pad Record mode
Main page - Guitar Mode

You can record the pattern by playing it in the range shown by Vel. Range from Str. to Str. Position
the diagram.
34 4 Strings Treble I IV 3
76-keys
61-keys 35 4 Strings Treble I IV 4
36 4 Strings Treble I IV 5
37 3 Strings Bass IV VI 0
38 3 Strings Bass IV VI 1
39 3 Strings Bass IV VI 2
40 3 Strings Bass IV VI 3
41 3 Strings Bass IV VI 4
42 3 Strings Bass IV VI 5
43 3 Strings MiddleBas III V 0
44 3 Strings MiddleBas III V 1
45 3 Strings MiddleBas III V 2
Recording a Chord Shape
46 3 Strings MiddleBas III V 3
You can finely choose Chord Shapes by using MIDI messages. 47 3 Strings MiddleBas III V 4
When you play a C0 note with the velocity value shown in the 48 3 Strings MiddleBas III V 5
following table, a chord is played in a particular position and on
49 3 Strings MiddleTreble II IV 0
a certain number of strings.
50 3 Strings MiddleTreble II IV 1
51 3 Strings MiddleTreble II IV 2
Vel. Range from Str. to Str. Position
52 3 Strings MiddleTreble II IV 3
0 6 Strings I VI 0
53 3 Strings MiddleTreble II IV 4
1 6 Strings I VI 0
54 3 Strings MiddleTreble II IV 5
2 6 Strings I VI 1
55 3 Strings Treble I III 0
3 6 Strings I VI 2
56 3 Strings Treble I III 1
4 6 Strings I VI 3
57 3 Strings Treble I III 2
5 6 Strings I VI 4
58 3 Strings Treble I III 3
6 6 Strings I VI 5
59 3 Strings Treble I III 4
7 5 Strings Bass II VI 0
60 3 Strings Treble I III 5
8 5 Strings Bass II VI 1
61 2 Strings Bass V VI 0
9 5 Strings Bass II VI 2
62 2 Strings Bass V VI 1
10 5 Strings Bass II VI 3
63 2 Strings Bass V VI 2
11 5 Strings Bass II VI 4
64 2 Strings Bass V VI 3
12 5 Strings Bass II VI 5
65 2 Strings Bass V VI 4
13 5 Strings Treble I V 0
66 2 Strings Bass V VI 5
14 5 Strings Treble I V 1
67 2 Strings MiddleBas IV V 0
15 5 Strings Treble I V 2
68 2 Strings MiddleBas IV V 1
16 5 Strings Treble I V 3
69 2 Strings MiddleBas IV V 2
17 5 Strings Treble I V 4
70 2 Strings MiddleBas IV V 3
18 5 Strings Treble I V 5
71 2 Strings MiddleBas IV V 4
19 4 Strings Bass III VI 0
72 2 Strings MiddleBas IV V 5
20 4 Strings Bass III VI 1
73 2 Strings Middle III IV 0
21 4 Strings Bass III VI 2
74 2 Strings Middle III IV 1
22 4 Strings Bass III VI 3
75 2 Strings Middle III IV 2
23 4 Strings Bass III VI 4
76 2 Strings Middle III IV 3
24 4 Strings Bass III VI 5
77 2 Strings Middle III IV 4
25 4 Strings Middle II V 0
78 2 Strings Middle III IV 5
26 4 Strings Middle II V 1
79 2 Strings MiddleTreble II III 0
27 4 Strings Middle II V 2
80 2 Strings MiddleTreble II III 1
28 4 Strings Middle II V 3
81 2 Strings MiddleTreble II III 2
29 4 Strings Middle II V 4
82 2 Strings MiddleTreble II III 3
30 4 Strings Middle II V 5
83 2 Strings MiddleTreble II III 4
31 4 Strings Treble I IV 0
84 2 Strings MiddleTreble II III 5
32 4 Strings Treble I IV 1
85 2 Strings Treble I II 0
33 4 Strings Treble I IV 2
86 2 Strings Treble I II 1
 Style/Pad Record mode 141
Main page - Guitar Mode

Vel. Range from Str. to Str. Position Guitar mode parameters

87 2 Strings Treble I II 2 Here is a detailed description of the parameters of the Guitar
88 2 Strings Treble I II 3 Mode page.
89 2 Strings Treble I II 4
Key/Chord
90 2 Strings Treble I II 5
This parameter pair allows you to define the track’s original key
and chord type. This parameter works in a different way than the
Choosing a Key/Chord for Intro 1 and other tracks. While with other tracks this is always the reference
Ending 1 key used for NTT transposition, with Guitar tracks there is a dif-
ference, whether you are recording a Chord Variation contained
The pattern is recorded in the key indicated by the Key/Chord
in an Intro 1 or Ending 1 Style Element, or any other Chord
pair of parameters. However, this parameter is only used for
Variation:
playback by the Intro 1 and Ending 1 Style Elements. All other
Style Elements will be played back according to the recognized • With Intro 1 and Ending 1, this chord will be used as the
chord. reference key for the chord progression.
With Intro 1 and Ending 1 (both Chord Variation 1 and 2) you • With all the other Chord Variations, this chord will be used
can also prefer to enter a chord progression, to be played on the only for listening during recording. During playback in
lowest MIDI octave (C-1 ~ B-1). Chord types are inserted by Style Play mode, the chord will follow chord recognition.
using velocity values, as shown in the following table:
Capo - Fret
Vel. Chord Type Vel. Chord Type A capo (from the Italian “capotasto”, “head of fingerboard”) is a
1 Major 2 Major 6th
movable bar attached to the fingerboard of the guitar, to uni-
formly raise the pitch of all the strings. Its use makes the strings
3 Major 7th 4 Major 7th flatted 5th
shorter, therefore changing the timbre and position of the chords
5 Suspended 4th 6 Suspended 2nd (but not its shape).
7 Major 7th suspended 4th 8 Minor
0 Open string – no capo.
9 Minor 6th 10 Minor 7th
11 Minor 7th flatted 5th 12 Minor major 7th
I…X Position of the capo over the fingerboard (i.e., “I”
corresponds to the first fret, “II” to the second
13 Dominant 7th 14 7th flatted 5th
one, and so on).
15 7th suspended 4th 16 Dimished
17 Diminished major 7th 18 Augmented Strings - High/Low
19 Augmented 7th 20 Augmented major 7th Use this pair of parameters to choose the strings the pattern will
21 Major w/o 3rd 22 Major w/o 3rd and 5th be played on.
23 Flatted 5th 24 Diminished 7th 1…6 Position of the capo over the fingerboard (i.e., “I”
corresponds to the first fret, “II” to the second
Playing back the pattern one).

Reference
When in Stye Play mode, the recorded Guitar pattern is trans- Diagram
posed according to the chord recognized on the keyboard. The
The diagram shows how a chord would be composed on the fin-
way it is transposed depends on the programmed pattern, with
gerboard. Here is the meaning of the various symbols:
the chosen positions, strumming mods, etc…
Red dot Fingered string (i.e., played note).
White dot Fifth, playing on the D#2 key.
X Non played or muted note.
Light grey bar Barré (a finger crossing all the strings, like a
mobile capo).
Dark grey bar Capo.
142 Style/Pad Record mode
Style/Pad Record procedure

Realtime Record procedure

Style/Pad Record procedure 1. Select the track to record. Its status icon will turn to
‘Record’. (For more details, see “Tracks volume/status area”
There are two different methods for recording a Style/Pad: Real- on page 137).
time and Step. Note: When entering the Record mode, a track is already
• Realtime Recording allows you to record Style/Pad patterns in Record status. When you press START/STOP after
in realtime. entering the Record mode, you can immediately start
recording.
• Step Recording allows you to create a new Style/Pad by
entering single notes or chords in each track. This is very If you like, you can try your part before recording:
useful when transcribing an existing score, or needing a • Mute the track, by repeatedly touching its icon status,
higher grade of detail, and is particularly suitable to create
drum and percussion tracks. until the (Mute) status icon appears.

In addition, you can program a Style/Pad on a personal com- • Press START/STOP to let any recorded track play back,
puter, and then import it via the Import function (see “Import: and practice on the keyboard.
Import SMF” on page 157). • When you have finished practicing, press START/STOP
to stop the arranger, and unmute the track by repeatedly
Preparing to record touching its icon status, until the (Record) status icon
appears again.
1. If you like to edit an existing Style/Pad, select it.
2. While the shown status icon is Record, press START/STOP
2. Press the RECORD button to enter the Style/Pad Record
to begin recording. A 1-bar precount will play before the
mode. You are prompted to either select the Current Style
recording actually begins. When it begins, play freely. The
or an existing Pad, or create a New Style or Pad.
pattern will last for some measures, according to the Rec
Select “Record/Edit Current Style” or “Record/Edit Current Length value, then restart.
Pad” if you want to edit the current Style/Pad, or make a
Since the recording will happen in overdub, you can add
new Style/Pad starting from an existing one. Select “Record
notes on any following passage. This is very useful to
New Style/Pad” if you want to start from scratch with an
record different percussive instruments at any cycle on a
empty Style/Pad.
Drum or Percussion track.
3. After you select your preferred option, the main page of the
Note: While recording, the track’s Keyboard Range (see
Style/Pad Record mode will appear.
page 154) is ignored, and notes can be recorded and played
4. Use the Element (Style Element) (Style only) and Chord Var back over the whole keyboard range. The Local parameter
(Chord Variation) parameters, to select the Chord Varia- (see “Local Control On” on page 259) is also automatically
tion to be recorded/edited. set to On, to allow playing on the keyboard.
Note: For more information on the Style Elements and Chord 3. When finished recording, press START/STOP to stop the
Variations, and the Style/Pad structure in general, see “The arranger. Select a different track, and go on recording the
Style’s structure” on page 130 or “The Pad’s structure” on full Chord Variation.
page 131.
Note: You can select a different track only when the arranger
5. Use the Rec Length (Recording Length) parameter to set is not running.
the length (in measures) of the pattern to record.
4. When finished recording the Chord Variation, select a dif-
6. Use the Meter parameter to set the Style Element’s or Pad’s ferent Chord Variation or Style Element (Style only) to go
meter (time signature). on recording the full Style/Pad.
Note: You can edit this parameter only if you selected the 5. When finished recording the new Style/Pad, select the
“Record New Style/Pad” option when entering the Record “Write Style/Pad” command from the page menu, to open
mode, or when editing an empty Style Element. the Write Style/Pad dialog box (see “Write Style/Pad dialog
box” on page 162) and save it to memory.
7. Select the Tempo parameter and set the Tempo.
To exit the Style/Pad Record mode without saving any
8. (Style only) Touch the Record 2 tab to see the Sounds area.
change, select the “Exit from Record” command from the
Here you can assign the right Sound to each Style track.
page menu, or press the RECORD button.
(Pad only) Press the SOUND button to select a Sound to be
assigned to the Pad track.
9. If needed, set the Octave Transpose for each track. Note:
The Octave Transpose will affect only the notes coming from
the keyboard, and not from the arranger.
10. At this point, if you want to do a Realtime Recording go on
reading “Realtime Record procedure” below. Otherwise, if
you prefer to do a Step Record, jump to “Step Record pro-
cedure” on page 143.
 Style/Pad Record mode 143
Style/Pad Record procedure

Step Record procedure 8. When back to the main page of the Style Record mode, you
may turn all tracks to the play status, then press START/
1. While in the main page of the Style/Pad Record mode, STOP to listen to the Style. Press START/STOP again to
select the “Overdub Step Recording” command from the stop the playback.
page menu, to enter the Overdub Step Record mode.
9. From the main page of the Style Record mode, select the
2. The “Pos” parameter shows the current position. “Write Style/Pad” command to save, or the “Exit from
• If you do not want to insert a note or chord at the current Record” command to exit from the Style/Pad Record mode
position, insert a rest instead, as shown in step 4. (see “Write Style/Pad dialog box” on page 162), or by can-
celing any change.
• To jump to the next measure, filling the remaining beats
with rests, touch the Next M. button in the display.
Chords and second voices
3. To change the step value, use the “Step Time values” area in
the display. With Pa900, you are not limited to inserting single notes in a
track. There are several ways to also insert chords and double
4. Insert a note, rest or chord at the current position.
voices. For more information, see “Chords and second voices in
• To insert a single note, just play it on the keyboard. The Step Record mode” on page 183.
inserted note length will match the step length. You may
change the velocity and relative duration of the note, by
editing the “Duration” and “Velocity” parameters (see
page 164).
• To insert a rest, just touch the Rest button in the display.
Its length will match the step value.
• To tie the note to be inserted to the previous one, touch
the Tie button in the display. A note will be inserted, tied to
the previous one, with exactly the same name. You don’t
need to play it on the keyboard again.
• To insert a chord or a second voice, see “Chords and sec-
ond voices in Step Record mode” on page 183.
5. After inserting a new event, you may go back by touching
the Back button in the display. This will delete the previ-
ously inserted event, and set the step in edit again.
6. When the end of the pattern is reached, the “End of Loop”
event is shown, and the recording restarts from the
“001.01.000” position. Any note exceeding the pattern
length, inserted at its end, will be reduced to fit the total
length of the pattern.

Reference
At this point, you may go on, inserting new events in over-
dub mode (the previously inserted events will not be
deleted). This is very useful when recording a drum or per-
cussion track, where you may want to record the bass drum
on a first cycle, the snare drum on the second cycle, and the
hi-hat and cymbals during the following cycles.
7. When finished recording, touch the Done button in the
display to exit the Step Record mode.
A dialog box appears, asking you to either cancel, discard
or save the changes.

If you touch Cancel, exit is canceled, and you can continue

editing. If you choose No, changes are not saved, and the
Step Record window is closed. If you choose Yes, changes
are saved, and the Step Record window is closed.
144 Style/Pad Record mode
Edit menu

Edit menu Edit page structure

From any page (apart for Step Record), press the MENU button Most edit pages share some basic elements.
to open the Style Record or Pad edit menu. This menu gives
Operating Chord Selected Selected Style Page
access to the various Style/Pad Record edit sections. Edit section track info Element menu
mode
When in the menu, select an edit section, or press EXIT to exit icon
the menu and return to the main page. To return to the main
page, you can also select the Main Page menu item.
When in an edit page, press the EXIT button to return to the
main page of the Style Record mode.

Tabs Parameters area

Other pages have a slightly different structure.

Style Record menu Operating Chord

Page menu
mode Edit section icon

Pad Record menu Parameters

Tabs Track status area
Note: While the Style/Pad is in play, you cannot access the Edit
section pages from the main page (see page 133). Stop the playback Operating mode
before pressing MENU.
This indicates that the instrument is in Style/Pad Record mode.
Note: When switching from the Edit section pages (Quantize,
Transpose, Velocity, Delete) to the other pages, or vice-versa, the Edit section
Style (if in play) is automatically stopped.
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 144).

Chord
(Style only) Chord in edit.

Selected Style Element

(Style only) In Style Record mode, edits always happen on the
selected Style Element.

Page menu icon

Touch this icon to open the page menu (see “Page menu” on
page 161).
 Style/Pad Record mode 145
Event Edit: Event Edit

Parameters area
Each page contains various parameters. Use the tabs to select Event Edit: Event Edit
one of the available pages. For detailed information on the vari-
ous types of parameters, see sections starting from page 145. The Event Edit is the page where you can edit each single MIDI
event of the selected Chord Variation. You can, for example,
Track status
replace a note with a different one, or change its playing strength
Use these buttons to mute/unmute tracks while editing. (i.e., velocity value). See “Event Edit procedure” on page 146 for
more information on the event editing procedure.
Tabs
Chord
Use tabs to select one of the edit pages of the current edit section. Page sub-
header Page header Page menu icon

Event
list

Track
pop-up
menu

Tabs Scrollbar

Page header
See “Page header” on page 133.

Page menu icon

Touch this icon to open the page menu. See “Page menu” on
page 161.

Page sub-header

Reference
This area shows some performing info on the Song.

Selected track Selected Style Selected Chord

Element Variation

Selected track
(Style only) Name of the track in edit. Use the Track pop-up
menu to select one of the Style tracks.

SE/CV (Style Element/Chord Variation)

Selected Style Element (Style only) and Chord Variation. This
parameter cannot be edited. To select a different Style Element
and Chord Variation, press EXIT to go back to the main page of
the Style/Pad Record mode (see “Main page - Record 1” on
page 133).

Event list
Use the Event list to see all events contained in the selected track
in the selected Style Element.
Use the scrollbar to browse through the events. You can also
scroll by using the SHIFT + VALUE DIAL combination.
146 Style/Pad Record mode
Event Edit: Event Edit

Touch the event to be selected. Selected events are highlighted Go Meas.

and can be heard.
While the Style is not running, touch this button to open the Go
to Measure dialog box:
Position
Position of the event, expressed in the form ‘aaa.bb.ccc’:
• ‘aaa’ is the measure
• ‘bb’ is the beat
• ‘ccc’ is the tick (each quarter beat = 384 ticks)
When in this dialog box, select a target measure, and touch OK.
You can edit this parameter to move the event to a different posi-
The first event available in the target measure will be selected.
tion. You can edit a position in either of the following ways:
(a) select the parameter, and use the VALUE DIAL to change Insert
the value, or Touch the Insert button in the display to insert a new event at the
(b) select the parameter, then touch it again; the numeric key- current shown Position. The default values are Type = Note,
pad will appear. Enter the new position by dialing in the Pitch = C4, Velocity = 100, Length = 192.
three parts of the number, separated by a dot. Zeroes at the
beginning can be omitted, as well as the least important Delete
parts of the number. For example, to enter position Touch the Delete button in the display to delete the event
002.02.193, dial “2.2.193”; to enter position 002.04.000 dial selected in the display.
“2.4”; to enter position 002.01.000, simply dial “2”.

Type, Value 1, Value 2 Event Edit procedure

Type and values of the event shown in the display. Depending on Here is the general procedure to follow for the event editing.
the selected event, the value may change. This parameter also
1. Select the Style/Pad to edit, and press the RECORD button.
shows the (greyed-out, so non editable) “CC#11” (Expression)
Select the “Current Style/Pad” option to enter recording.
event at the beginning of the pattern, and the “End Of Track”
The main page of the Style/Pad Record mode will appear.
marking, when the end of a track is reached.
2. Select the “Element (Style Element)” (Style only) and
To change the event type, select the Type parameter, then use the
“Chord Var (Chord Variation)” parameters.
VALUE DIAL to select a different event type. A set of default val-
ues will be automatically assigned to the event. Note: For more information on the Style Elements and Chord
Variations, and the Style structure in general, see “The Style’s
To select and edit the event’s value, select the corresponding
structure” on page 130.
parameter, and use VALUE DIAL.
3. Press MENU, and select the Event Edit section. The Event
Length Edit page appears (see “Event Edit: Event Edit” on page 145
for more information).
Length of the selected Note event. The value format is the same
as the Position value. This is only available for Note events. 4. Press START/STOP to listen to the selected Chord Varia-
tion. Press START/STOP to stop it. Chord Scanning does
Note: If you change a length of “000.00.000” to a different value,
not work, so you will listen the pattern at the original Key/
you can’t go back to the original value. This rather uncommon
Chord.
zero-length value may be found in some drum or percussion
tracks. 5. Touch the Filter tab to select the Filter page, and uncheck
the filters for the event types you wish to see in the display
Scrollbar (see “Event Edit: Filter” on page 147 for more information).
Use the scrollbar to browse the event through the list. (As an 6. Touch the Event Edit tab to go back to the Event Edit page.
alternative, use SHIFT + VALUE DIAL).
7. (Style only) Use the Track pop-up menu to select the track
to edit (see “Track pop-up menu” on page 146).
Other elements
8. The list of events contained in the selected track (inside the
Chord Variation selected on step 2) will appear in the dis-
Track pop-up menu
play. Some events on the beginning of the Chord Varia-
Use this pop-up menu to select the track to edit, inside the cur- tions, as well as the “EndOfTrk” event (marking its ending
rent Chord Variation. point) cannot be edited, therefore appearing in grey.
Drum…Acc5 Style track.
 Style/Pad Record mode 147
Event Edit: Filter

9. Scroll though the various events by using the scrollbar.

10. Select an event to be edited by touching it in the display. Event Edit: Filter
This is usually a note, that you can edit.
This page is where you can select the event types to be shown in
the Event Edit page.
For more information on the event types and their val-
ues, see “Event Edit: Event Edit” on page 145.
11. Edit the event.
• Select the “M” parameter. Use VALUE DIAL to change
the event’s position.
• Select the Type parameter. You may use VALUE DIAL to
change the event type, as well as its Value 1 and Value 2.
• If a Note event is selected, select the Length parameter,
and use VALUE DIAL to change the event’s length.
12. You may use the Go Meas. command to go to a different
measure (see “Go Meas.” on page 146) Turn On the filter for all event types you do not wish to see in
the Event Edit page.
13. As described in step 4, you may press START/STOP to lis-
ten how the pattern sounds after your changes. Press Note: Some of the events are “ghosted”, and non editable, since the
START/STOP again to stop the pattern running. corresponding events are not editable in a Style/Pad.
14. Touch the Insert button in the display to insert an event at Note/RX Noise
the Position shown in the display (a Note event with default Notes and RX Noises.
values will be inserted). Touch the Delete button in the dis-
play to delete the selected event. Control Control Change events. Only the following Con-
trol Change numbers are allowed with Styles/
15. When editing is complete, you may select a different track Pads.
to edit (go to step 7).
16. When finished editing the selected Chord Variation, press Control function CC# (Control Change Number)
EXIT to go back to the main page of the Style Record
Modulation 1 1
mode, then go to step 2 to select and edit a different Chord
Variation. Modulation 2 2
Pan 10
17. When finished editing the whole Style, select the “Write
Expression(a) 11
Style/Pad” command from the page menu to open the
Write Style/Pad dialog box (see “Write Style/Pad dialog CC#12 12
box” on page 162), or select the “Exit from Record” com- CC#13 13

Reference
mand to cancel all changes. Ribbon 16
Damper 64
• Touch the (Text Edit) button to enter the Text Edit
Filter Resonance 71
dialog box. Enter a name and confirm by selecting OK.
Low Pass Filter Cutoff 74
• Select a target memory location where to save the Style/
CC#80 80
Pad. The name of the Style/Pad already existing at the
selected location is shown after the Bank-Location number. CC#81 81
CC#82 82
Warning: If you select an existing Style/Pad and confirm
writing, the older Style/Pad is deleted and replaced by the (a). Expression events cannot be inserted at the starting Position (001.01.000). An
Expression value is already among the default “header” parameters of the Style Ele-
new one. Save the Styles/Pads you don’t want to lose to a
ment or Pad Track.
storage device, before overwriting them.
18. Touch OK to save the Style/Pad to the internal memory, or Tempo/Meter Tempo and Meter (time signature) changes (Mas-
Cancel to delete any changes made in Style/Pad Record ter Track only).
mode. When the “Are you sure?” message appears, touch
Pitch Bend Pitch Bend events.
OK to confirm, or Cancel to go back to the “Write Style” or
“Write Pad” dialog box.
148 Style/Pad Record mode
Style/Pad Edit: Quantize

Top parameters, you can select a single percussive instrument in

Style/Pad Edit: Quantize a Drum or Percussion track.
Note: These parameters are available only when a Drum or Per-
The quantize function may be used to correct any timing mis- cussion track is selected.
take after recording, or to give the pattern a “groovy” feeling.
Execute
Touch this button to execute the operation set in this page.

Track status icon

Status of tracks. Touch this icon to change the status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

Track names
Under the buttons, a label for each track is shown.
After setting the various parameters, touch Execute.

Track
(Style only) Use this parameter to select a track. Style/Pad Edit: Transpose
All All tracks selected.
Drum…Acc5 Selected track. In this page you can transpose the selected track(s).
Note: After transposing, please don’t forget to readjust the “Key/
E / CV (Style Element/Chord Variation) Chord” parameter in the main page of the Style Record mode (see
Use these parameters to select the Style Element (Style only) and page 135).
Chord Variation for editing.

Resolution
This parameter sets the quantization after recording. For exam-
ple, when you select 1/8, all notes are moved to the nearest 1/8
division. When you select 1/4, all notes are moved to the nearest
1/4 division.
No quantiza-
tion

1/8 After setting the various parameters, touch Execute.

Track
1/4
(Style only) Use this parameter to select a track.
All All tracks selected, apart for tracks set in Drum
(1/32)… (1/4) mode (like the Drum and Percussion tracks). The
whole selected Chord Variation will be trans-
Grid resolution, in musical values. A “b…f ” char- posed.
acter added after the value means swing-quanti-
zation. A “3” means triplet. Drum…Acc5 Single selected track.

Start / End Tick E / CV (Style Element/Chord Variation)

Use these parameters to set the starting and ending points of the Use these parameters to select the Style Element (Style only) and
range to quantize. Chord Variation for editing.

If a Chord Variation is four measures long, and you want to Value

select it all, the Start will be positioned at 1.01.000, and the End
at 5.01.000. Transpose value (±127 semitones).

Bottom / Top Note Start / End Tick

Use these parameters to set the bottom and top of the keyboard Use these parameters to set the starting and ending points of the
range to quantize. If you select the same note as the Bottom and range to be transposed.
 Style/Pad Record mode 149
Style/Pad Edit: Velocity

If a Chord Variation is four measures long, and you want to E / CV (Style Element/Chord Variation)
select it all, the Start will be positioned at 1.01.000, and the End
Use these parameters to select the Style Element (Style only) and
at 5.01.000.
Chord Variation for editing.
Bottom / Top Note
Value
Use these parameters to set the bottom and top of the keyboard
range to be transposed. If you select the same note as the Bottom Velocity change value (±127).
and Top parameters, you can select a single percussive instru-
ment in a Drum or Percussion track. Since in a Drum Kit each Start / End Tick
instrument is assigned to a different note of the scale, transpos- Use these parameters to set the starting and ending points of the
ing a percussive instrument means assigning the part to a differ- range to be modified.
ent instrument.
If a Chord Variation is four measures long, and you want to
Execute select it all, the Start will be positioned at 1.01.000, and the End
at 5.01.000.
Touch this button to execute the operation set in this page.
Bottom / Top Note
Track status icon
Use these parameters to set the bottom and top of the keyboard
Status of tracks. Touch this icon to change the status. range to be modified. If you select the same note as the Bottom
and Top parameters, you can select a single percussive instru-
Play status. The track can be heard.
ment in a Drum or Percussion track.
Mute status. The track cannot be heard. Advanced
Track names When this checkbox is checked, the “Intensity”, “Curve”, “Start
Velocity Value” and “End Velocity Value” parameters can be
Under the buttons, a label for each track is shown.
edited.

Intensity
Style/Pad Edit: Velocity (Only available in Advanced mode). Use this parameter to specify
the degree to which the velocity data will be adjusted toward the
curve you specify in “Curve”.
In this page you can change the velocity (dynamics) value of
notes in the selected track. An Advanced mode is available, 0…100% Intensity value. With a setting of 0 [%], the veloc-
allowing you to select a velocity curve for the selected range. ity will not change. With a setting of 100 [%], the
This is useful to create fade-ins or fade-outs. velocity will be changed the most.

Curve
(Only available in Advanced mode). Use this parameter to select

Reference
one of the six curves, and to specify how the velocity will change
over time.
Start Value = 0%, End Value = 100%
Curve 1 Curve 2 Curve 3
127 127 127

Velocity Velocity Velocity

1 1 1
Start End Start End Start End
Value Value Value Value Value Value

After setting the various parameters, touch Execute.

Curve 4 Curve 5 Curve 6
127 127 127
Note: When an RX Sound is assigned to the track being edited, the
resulting sound may change, since this kind of Sounds is made of Velocity Velocity Velocity RANDOM

several different layers triggered by different velocity values. 1 1 1

Start End Start End Start End
Value Value Value Value Value Value
Also, a fade-out may result in the level “jumping” up next to the
zero, since a higher-level layer may be selected by low velocity val-
ues. Start / End Vel. Value

Track (Only available in Advanced mode). Velocity change at the start-

ing and ending ticks of the selected range.
(Style only) Use this parameter to select a track.
0…100 Velocity change in percentage.
All All tracks selected. The velocity for all notes of
the whole selected Chord Variation will be Execute
changed.
Touch this button to execute the operation set in this page.
Drum…Acc5 Selected track.
150 Style/Pad Record mode
Style/Pad Edit: Cut

Track status icon

Status of tracks. Touch this icon to change the status. Style/Pad Edit: Delete
Play status. The track can be heard.
This page is where you can delete MIDI events out of the Style/
Pad. This function does not remove measures from the pattern.
Mute status. The track cannot be heard.
To remove whole measure, use the Cut function (see “Style/Pad
Track names Edit: Cut” on page 150)

Under the buttons, a label for each track is shown.

Style/Pad Edit: Cut

This function lets you quickly delete a selected measure (or a
series of measures) from the selected Chord Variation. All fol-
lowing events are moved back, to replace the cut measure(s).

After setting the various parameters, touch Execute.

Track
(Style only) Use this parameter to select a track.
All All tracks selected. After deletion, the selected
Chord Variation will remain empty.
Drum…Acc5 Selected track.

E / CV (Style Element/Chord Variation)

After setting the various parameters, touch Execute. Use these parameters to select the Style Element (Style only) and
Chord Variation for editing.
E / CV (Style Element/Chord Variation)
Use these parameters to select the Style Element (Style only) and Event
Chord Variation for editing. Type of MIDI event to delete.
Start All All events. The measures are not removed from
the Chord Variation.
First measure to be cut.
Note All notes in the selected range.
Length Dup.Note All duplicate notes. When two notes with the
Number of measures to be cut. same pitch are encountered on the same tick, the
one with the lowest velocity is deleted.
Execute
After Touch After Touch events.
Touch this button to execute the operation set in this page.
Pitch Bend Pitch Bend events.
Track status icon Prog.Change Program Change events, excluding the bundled
Status of tracks. Touch this icon to change the status. Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
Play status. The track can be heard. Note: This kind of data is automatically removed
during recording.
Mute status. The track cannot be heard.
Ctl.Change All Control Change events, for example Bank
Track names Select, Modulation, Damper, Soft Pedal…
Under the buttons, a label for each track is shown. CC00/32…CC127
Single Control Change events. Double Control
Change numbers (like 00/32) are MSB/LSB bun-
dles.
Note: Some CC data are automatically removed
during recording. See the table on page 133 for
more information on the allowed data.
 Style/Pad Record mode 151
Style/Pad Edit: Delete All

Start / End Tick All All Style Elements, i.e. the whole Style. When E/
Track=All and CV=All, the whole Style is deleted,
Use these parameters to set the starting and ending points of the
and all parameters are set to the default status.
range to delete.
Var1…CountIn
If a Chord Variation is four measures long, and you want to
select it all, the Start will be positioned at 1.01.000, and the End Single Style Element.
at 5.01.000.
V1-CV1…CI-CV2
Bottom / Top Note Single Chord Variation.
Use these parameters to set the bottom and top of the keyboard
Execute
range to delete. If you select the same note as the Bottom and
Top parameters, you can select a single percussive instrument in Touch this button to execute the operation set in this page.
a Drum or Percussion track.
Track status icon
Note: These parameters are available only when the All or Note
option is selected. Status of tracks. Touch this icon to change the status.

Execute Play status. The track can be heard.

Touch this button to execute the operation set in this page. Mute status. The track cannot be heard.
Track status icon Track names
Status of tracks. Touch this icon to change the status. Under the buttons, a label for each track is shown.
Play status. The track can be heard.

Mute status. The track cannot be heard. Style/Pad Edit: Copy from Style
Track names
Under the buttons, a label for each track is shown. Here you can copy a track, Chord Variation or Style Element
inside the same Style, or from a different one. Furthermore, you
can copy a whole Style.
Warning: The Copy operation deletes all data at the target loca-
Style/Pad Edit: Delete All tion (overwrite).

This function lets you quickly delete a selected Style Element or

Chord Variation, or the whole Style.

After setting the various parameters, touch Execute. Reference

Note: If you copy too many events on the same tick, the “Too many
events!” message appears, and the copy operation is aborted.
After setting the various parameters, touch Execute.
Note: When you copy over an existing Chord Variation, Program
Change data is not copied, to leave the original Sounds unchanged
Track
for that Chord Variation.
(Style only) Use this parameter to select a track.
From Style
All All tracks of the selected Style, Style Element or
Chord Variation. Choose this option to select the source Style to copy the track,
Chord Variation or Style Element from. Touch the Select button
Drum-Acc5 Single track of the selected Style, Style Element or
to open the Style Select window and select the source Style.
Chord Variation.
From… To E/CV (Style Element/Chord Variation)
E / CV (Style Element/Chord Variation)
Use these parameters to select the source and target Style Ele-
Use these parameters to select the Style Element (Style only) and
ments or Chord Variations.
Chord Variation for editing.
Note: You can’t copy from a Variation to a different Style Element
(or vice-versa), because of their different structure.
152 Style/Pad Record mode
Style/Pad Edit: Copy from Pad

All All Style Elements, i.e. the whole Style. You can’t
change the target, that is automatically set to All. Style/Pad Edit: Copy from Pad
Var1…End2 Single Style Element.
V1-CV1…E2-CV2 Here you can copy a Chord Variation from a Pad. Furthermore,
you can copy a whole Pad.
Single Chord Variation.
Warning: The Copy operation deletes all data at the target loca-
From… To Track tion (overwrite).
Use this parameter to select the source and target track to copy.
You can double a track, to strengthen a pattern.
All All tracks of the selected Style, Style Element or
Chord Variation.
Drum-Acc5 Single track of the selected Style, Style Element or
Chord Variation.

Execute
Touch this button to execute the operation set in this page.

Track status icon

After setting the various parameters, touch Execute.
Status of tracks. Touch this icon to change the status.
Note: If you copy too many events on the same “tick”, the “Too
Play status. The track can be heard. many events!” message appears, and the copy operation is aborted.
Note: When you copy over an existing Chord Variation, Program
Mute status. The track cannot be heard. Change data is not copied, to leave the original Sounds unchanged
for that Chord Variation.
Track names
Under the buttons, a label for each track is shown. From Pad
Choose this option to select the source Pad to copy the Chord
Copying to a Chord Variation of a different Variation from. Touch the Select button to open the Pad Select
window and select the source Pad.
length
You can copy a Chord Variation to a different one of a different From CV (Chord Variation)
length. Just keep in mind the following: Use this parameter to select the source Chord Variation.
• If the source length is a divider of the target length, the All All Chord Variations, i.e. the whole Pad. You can’t
source Chord Variation will be multiplied to fit the target change the target, that is automatically set to All.
Chord Variation. For example, if the source is 4-measures
CV1…CV6 Single Chord Variation.
long, and the target 8-measures, the source will be copied
two times. To CV (Chord Variation)
1 2 3 4 Use this parameter to select a target Chord Variation inside the
current Style/Pad.
CV1…CV6 Target Chord Variation. Automatically set to All
1 2 3 4 1 2 3 4
if the “From CV” parameter is also set to All.
• If the source length is not a divider of the target length, the To Track
source Chord Variation will be copied for as many mea-
sures as can fit the target Chord Variation. For example, if (Style only) Use this parameter to select the target track to copy.
the source is 6-measures long, and the target 8-measures, All All tracks of the selected Style, Style Element or
the source will be copied once, then the first 2 measures Chord Variation.
will be copied to fit the remaining 2 measures.
Drum-Acc5 Single track of the selected Style, Style Element or
1 2 3 4 5 6 Chord Variation.

Execute
1 2 3 4 5 6 1 2 Touch this button to execute the operation set in this page.

Note: Avoid copying to a Chord Variation with a different meter

(time signature), for example a 4/4 Chord Variation onto a 3/4
one.
 Style/Pad Record mode 153
Style Element Track Controls: Sound/Expression

Expression
Style Element Track Controls: Sound/ Use these knobs to set the Expression (CC#11) value for the cor-
responding track. This value can be seen at the beginning of the
Expression Event Edit list (see “Event Edit: Event Edit” on page 145).
Different Expression values can be defined for each Style Ele-
In this page you can assign a different Sound to each track of the ment. This way, you can set a different volume in each Style Ele-
selected Style Element. Each Style Element can have different ment, relative to the general Volume value set in the Style
Sound; after saving the new Style, please don’t forget to check the Header.
“Original Style Sounds” parameter in the Style Play mode (see
page 110), to let the Style select the Sound bypassing the Style
Settings. Expression leveling
In this page you can also check and modify the Expression You can quickly and easily adjust the Expression level of all
(CC#11) value for each of the Style Element tracks. This lets you tracks in a Style Element (Variation, Intro…). This allows for a
reduce the relative level of a track in a single Style Element, with- more precise control over the volume level of all Style Element.
out reducing the overall Volume of the Style. This is a very useful
1. While in this page, select one of the Style Elements by
control, when you have different Sounds assigned to the same
pressing its button in the control panel.
track in different Style Elements, and the internal level of these
Sounds must be different. Selected Style Element

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 … Expression level
ENDING3).
To copy the settings of this page to another Style Element, use 2. Keep the SHIFT button pressed, and press the TEMPO+
the “Copy Sound” and “Copy Expression” commands from the button to increase the Expression value of all the Style Vari-
page menu (see “Copy Sounds dialog box” and “Copy Expres- ation’s tracks, TEMPO- to decrease it.
sion dialog box” starting from page 162).
3. Release the SHIFT button.

Reference
4. Repeat the above operation with all the desired Style Ele-
Selected Track Info area
ments.
See “Selected track info area” on page 135 for detailed informa-
Note: A track’s volume may be changed by an Expression event
tion.
contained in a track. To check if any of these events exist in a track,
let the Style Element play and look at the Expression Monitor in
Sounds area this same page. If one or more Expression events are found, go to
the Event Edit page and delete it (or them)
See “Sounds area” on page 137 for detailed information.

Volume area
Expression area
Use these controls to set the volume and status of each track. See
Expression Monitor page 137 for more information.
You can use these indicators to check if CC#11 (Expression) The Volume value is the same for the whole Style. Use the
messages are contained in a track. Expression messages con- Expression controls to adjust the relative balance between tracks
tained in a track can vary the volume of the track. It is very diffi- in each Style Element.
cult to catch them out – unless you carefully read all the events
in the Event Edit page.
This monitor should help you keeping track of them, and let you
access Event Edit only on the tracks containing the messages.
Press the START/STOP button to start playback, and look at the
indicators. When one of them lights up, you can enter Event Edit
on the corresponding track, and edit or remove the Expression
messages.
154 Style/Pad Record mode
Style Element Track Controls: Keyboard Range

Style Element Track Controls: Keyboard Style Element Track Controls: Noise/Guitar
Range
The Noise/Guitar page is where you can set the RX Noise level
and the ‘human feel’ of Guitar tracks.
The Keyboard Range automatically transposes any pattern note
that would otherwise play too high or too low in pitch, com-
pared to the original acoustic instrument, when transposed by
the arranger. This will result in a more natural sound for each
accompaniment instrument.
For example, the lower limit for a guitar is E2. If you play a chord
under the E2, the transposed pattern could exceed this limit, and
sound unnatural. A Bottom limit set to E2 for the guitar track
will solve the problem.
Different Keyboard Range values can be set for each Style Ele-
ment.

RX Noise
Use these controls to adjust the volume of RX Noises in the cor-
responding tracks. This control applies to all types of tracks
(provided the Sound includes RX Noises).

Humanize GTR
Use these controls to apply a random value to the position,
velocity and length of notes of Guitar tracks (see “Track Type”
on page 156). This control has no effect on other types of track.

Note: The Keyboard Range is ignored while recording. The selected

track can be recorded and played back on the full range of the key-
board.
When in this page, press the corresponding button on the
control panel to select a Style Element (VARIATION1 …
ENDING3).
To copy the settings of this page to another Style Element, use
the “Copy Keyboard Range” command from the page menu (see
“Copy Key Range dialog box” on page 163).

Top/Bottom
Use these parameters to set the bottom and top of the keyboard
range for the corresponding track of the current Style Element.

Volume area
Use these controls to set the volume and status of each track. See
page 137 for more information.
 Style/Pad Record mode 155
Pad Track Controls: Sound/Expression

Rt (Retrigger) The sound will be stopped, and new

Pad Track Controls: Sound/Expression notes matching the recognized chord will be
played back.

In this page you can assign a Sound to the Pad track, adjust its Rp (Repitch) New notes matching the recognized
Volume (CC#07) and Expression (CC#11) values, and set vari- chord will be played back, by repitching notes
ous other parameters, like the Keyboard Range, Track Type, already playing. There will be no break in the
Trigger Mode, Tension and Wrap Around. sound. This is very useful on Guitar and Bass
tracks.

Track Type
Use this parameter to set the type of the Pad track.
Drum Drum track. This type of track is not transposed
by the arranger, and is used for Drum Kits, or for
tracks that you don’t want to be transposed when
playing a different chord.
Bass Bass track. This type of track always plays the
root when changing chord.
Acc Accompaniment track. This type of track can be
Sound/Bank used freely, for melodic or harmonic accompani-
ment patterns.
Sound assigned to the Pad track.
Expression
Volume
Use this knob to set the Expression (CC#11) value for the Pad
Use this slider to set the Volume (CC#07) value for the Pad track.
track. This value can be seen at the beginning of the Event Edit
This value is not saved with the Pad, and is only used to test the
list.
Pad’s volume during editing or recording.
The Expression is useful to balance the Pad with the other Pads.
Pad Type For example, if you want the Pad you are recording to be mel-
lower than the average, just lower the Expression value.
Use this parameter to decide if the Pad will play once or if it will
loop.
Tension
Note: While in Pad Record mode, the pattern is always played
Tension adds notes (a 9th, 11th and/or 13th) that have actually
back in loop, even if this parameter is set to “One Shot”.
been played, even if they haven't been written in the Pad pattern.
One Shot When you press one of the PAD buttons, the cor- This parameter specifies whether or not the Tension included in
responding Pad is only played once. This is useful the recognized chord will be added to an Acc-type track.
for playing Hits or Sequences that must only play
On The Tension will be added.

Reference
once.
Off No Tension will be added.
Loop When you press one of the PAD buttons, the cor-
responding Pad plays up to the end, then contin- RX Noise
ues playing from the start. Press STOP in the
PAD section to stop it playing. This is useful for Use these controls to adjust the volume of RX Noises in the cor-
playing cyclic sequences. responding tracks. This control applies to all types of tracks
(provided the Sound includes RX Noises).
Keyboard Range
Humanize GTR
The Keyboard Range automatically transposes any pattern note
that would otherwise play too high or too low in pitch, com- Use these controls to apply a random value to the position,
pared to the original acoustic instrument, when transposed by velocity and length of notes of Guitar tracks (see “Track Type”
the arranger. This will result in a more natural sound for the Pad on page 155). This control has no effect on other types of track.
instrument.
Wrap Around
Note: The Keyboard Range is ignored while recording. The Pad
track can play on the full range of the keyboard. The wrap-around point is the highest register limit for the Pad
track. The Pad pattern will be transposed according to the
Trigger Mode detected chord. If the chord is too high, the Pad track might play
in a register that is too high, and therefore unnatural. If, how-
(Not available if Track Type = Drum). This setting lets you define ever, it reaches the wrap-around point, it will be automatically
how Bass and Acc-type tracks are retriggered when the chord is transposed an octave lower.
changed.
The wrap-around point can be individually set in semitone steps
Off Each time you play a new chord, current notes up to a maximum of 12 semitones, relative to the chord root set
will be stopped. The track will remain silent until in the main page of the Pad Record mode (see “Key/Chord” on
a new note will be encountered in the pattern. page 135).
156 Style/Pad Record mode
Style Element/Pad Chord Table: Chord Table

1…12 Maximum transposition (in semitones) of the Track Type

track, referred to the original key of the Pad pat-
Use this parameter to set the type of the corresponding track.
tern.
Drum Drum track. This type of track is not transposed
by the arranger, and is used for Drum Kits made
of Drum sounds. It can be affected by the Drum
Style Element/Pad Chord Table: Chord Mapping of the Style Play mode (see “Drum
Mapping (Var.1…Var.4)” on page 126).
Table
Perc Percussion track. This type of track cannot be
transposed, and is used for Drum Kit made of
This is the page where you can assign a Chord Variation to each Percussion sounds. It is NOT affected by the
of the most important recognized chord. When a chord is recog- Drum Mapping.
nized, the assigned Chord Variation will be automatically
selected by the arranger to play the accompaniment. Bass Bass track. This type of track always plays the
root when changing chord.
Acc Accompaniment track. This type of track can be
used freely, for melodic or harmonic accompani-
ment patterns.
Gtr Guitar track. This type of track uses Guitar Mode
to create guitar strumming (see “Main page -
Guitar Mode” on page 138). When this type is
selected, the “Tension” parameter can no longer
be edited.

Trigger Mode
When in this page, press the corresponding button on the This setting lets you define how Bass and Acc-type tracks are
control panel to select a Style Element (VARIATION1 … retriggered when the chord is changed.
ENDING3). Off Each time you play a new chord, current notes
will be stopped. The track will remain silent until
Chord / Chord Variation
a new note will be encountered in the pattern.
Use these parameters to assign a Chord Variation to each of the
Rt (Retrigger) The sound will be stopped, and new
most important chords.
notes matching the recognized chord will be
played back.
Rp (Repitch) New notes matching the recognized
Style Track Controls: Type/Trigger/Tension chord will be played back, by repitching notes
already playing. There will be no break in the
sound. This is very useful on Guitar and Bass
In this page you can set the Mode, Trigger mode for the Style tracks.
tracks, and activate/deactivate the Tension for the Accompani-
ment tracks. Tension
Tension adds notes (a 9th, 11th and/or 13th) that have actually
been played to the accompaniment, even if they haven't been
written in the Style pattern. This parameter specifies whether or
not the Tension included in the recognized chord will be added
to the Acc-type tracks.
On The Tension will be added.
Off No Tension will be added.

When in this page, press the corresponding button on the

control panel to select a Style Element (VARIATION1 …
ENDING3).
 Style/Pad Record mode 157
Import: Import Groove

Import: Import Groove Import: Import SMF

The Import Groove function allows the loading of MIDI The Import SMF function allows you to import MIDI data from
Grooves (“.GRV” files). By importing these data to a track, and a Standard MIDI File (SMF) created on your preferred external
assigning the Sound based on the sliced samples to the same sequencer, and transform them in a Chord Variation.
track, you can play the original audio groove, and freely change
Note: You cannot use this function to import data from any
its Tempo.
generic Song. The Standard MIDI File to be imported must be pro-
grammed as if it was one of Pa900’s Chord Variations.

Note: After importing a groove generated by a melody line (not by

a percussive groove), the imported groove and samples will not be
When importing an SMF, parameters like CV Length, Meter,
transposed together with the other Style tracks. Audio data cannot
Tempo Changes, Program Changes and Expression are recog-
be transposed by the arranger.
nized. These parameters will be imported as the header of the
Note: Please execute the Import Groove operation before setting Style Element containing the Chord Variation, provided the
the instrument to standby. All “.GRV” files generated by a Time “Initialize” parameter is checked, or the Style Element is empty.
Slice operation are deleted when the instrument enters standby.
Hint: It is a good idea to check the “Initialize” parameter when
From importing the first Chord Variation of a Style Element, and
uncheck it when importing the following Chord Variations.
Use this parameter to select one of the MIDI Groove patterns
(“.GRV” files) generated when saving data after a Time Slice • Sounds assigned to each track can be imported, provided the
operation. Program Change, Bank Select MSB and LSB events are on the
first ‘tick’ of the SMF. These data are loaded in the Style Ele-
To E/CV (Style Element/Chord Variation) ment’s header, and not as Sounds assigned to the Style Perfor-
mance.
Use this parameter to select the target Style Element (Style only)
and Chord Variation. Note: Sounds in the Style Element header can be overridden by
Sounds assigned to the Style Settings, by checking the “Original

Reference
To Track Style Sound” parameter in the main page of the Style Play mode
(Style Track view).
(Style only) Use this parameter to select the target track inside
the selected Chord Variation. The Percussion track is usually • If the above data was not found on the first tick of the imported
suggested, since the Drum track is still suitable for standard SMF, Sounds must be manually assigned to each track. You can
Drum Kit sounds (count-in, break etc.). After importing the do this in the “Record 1” or “Record 2”, or the “Sound/Expres-
MIDI Groove pattern, assign the Sound, to which the sliced sion” page of the Style Record mode,.
samples are assigned, to the track playing the MIDI Groove pat- • Key/Chord, Chord Table, Expression, and any other Style Vari-
tern. ation parameter, must be manually programmed in the relevant
Style Record pages.
• The starting Tempo, and each track’s Volume, must be pro-
grammed as Style Settings data, and then saved in the Style Set-
tings.
• Meter (time signature) Change is not allowed, therefore not
recognized.
• The Chord Variation length is the same as the imported SMF.
You can change length by changing the value of the CV Length
parameter, on the main page of the Style/Pad Record mode.
158 Style/Pad Record mode
Import: Import SMF

Hint: If a note extends beyond the last measure of the Chord Vari- Importing an SMF separated by Markers into
ation, an additional measure is appended (for example, if a note
a Style
extends after the end of the fourth measure in a 4-measure pat-
tern, a 5-measure Chord Variation will be generated). If so, change As an alternative to importing single Chord Variations, you can
the CV Length value to reset the Chord Variation length. The import a whole Style as an SMF separated by Markers, i.e., a sin-
exceeding note will be cut, to fit the new pattern length. gle SMF containing all the Chord Variations (Variation 1, Varia-
When programming a Chord Variation on an external tion 2, etc.) each one separated by a Marker (the same events
sequencer, please assign each Style track to the correct MIDI used in Song Play mode).
channel, according to the following table. 1. While in this page, touch the Select button, and choose the
Standard Midi File to be imported.
Style Track MIDI Channel 2. Keep the SHIFT button pressed.
Bass 09 3. Without releasing the SHIFT button, touch the Execute
Drum/Pad 10 button in the display.
Percussion 11
4. Release the SHIFT button.
Accompaniment 1 12
When creating a new Style, we suggest to check the “Initialize”
Accompaniment 2 13
checkbox. Do not check it if the SMF you are loading was previ-
Accompaniment 3 14 ously exported from a Style to be edited; in this case, it is very
Accompaniment 4 15 important to keep all the previous settings.
Accompaniment 5 16
Style Tracks and MIDI Channels must be lined as in the previous
table, as per Korg’s standard Style format definition.
When programming a Chord Variation on the external
sequencer, please assign the Pad track to the MIDI channel #10. Note: Tracks/MIDI Channels other than the above mentioned are
ignored during the import procedure.
Note: Only SMF in format 0 can be loaded.
For a list of MIDI events supported during the import opera-
From Song tions, please see “List of recorded events” on page 133. If any, the
following events are stripped off and automatically transferred to
This is the name of the Standard MIDI File to be loaded. Touch the Style Element header during the import procedure:
the Select button to open the file selector, and select an “.SMF”
file. • Time signature (this event is mandatory)
• Control Change bundle #00-32 (Bank Select MSB/LSB)
Select
• Program Change
Touch this button to open the file selector and load the SMF.
• Control Change #11 (Expression)
Initialize Control Change 00, Control Change 32 and Program Change
Check this parameter if you want all settings of the target Style messages must be placed at the very beginning of each Chord
Element (i.e., Key/Chord, Chord Table, Sounds…) are reset Variation (tick 0).
when loading the SMF.
Hint: It is a good idea to check the “Initialize” parameter when
importing the first Chord Variation of a Style Element, and
uncheck it when importing the following Chord Variations.

To E/CV
Use this parameter to select a target Chord Variation.

Execute
After setting all parameters in this page, touch this button to
import the Standard MIDI File into the target Chord Variation.
 Style/Pad Record mode 159
Import: Import SMF

Whenever they are not saved in the SMF, Program Change, Con- The order of the Chord Variations inside the SMF is not relevant.
trol Change 00, 11 and 32, can be still programmed in Style They can be freely placed inside the SMF.
Record mode, by using the edit features available.
At the end of this page you can find a screenshot of a test file cre-
Warning: Pa900 can only handle SMF format 0 (Zero). If you are ated in Steinberg Cubase, just as an example of how a SMF sepa-
in trouble importing your file, maybe your sequencer (or DAW) is rated by Markers can look like. Considering analogies between
exporting using SMF format 1. Please refer to the software’s user’s actual workstations, it will not look much different in other
manual. applications like Logic, Digital Performer, Pro Tools or Sonar.
The naming structure for the Markers inside the SMF is
“EnCVn”, whose single components are shown in the following
table:

Component Meaning

E Style Element (‘v’ = variation, ‘i’ = intro, ‘f’ = fill,

‘e’ = ending)
n Style Element number (‘1’~’4’ for variations, ‘1’~’2’ for all
other style elements)
CV Chord Variation (‘cv’ = chord variation – no other choices
allowed)
n Chord Variation number [1~6 for Variations, 1~2 for all oth-
ers]

Warning: It is mandatory not to use capital letters in Marker

names. Some examples of valid names:
‘i1cv2’ = Intro1 – Chord Variation 2
‘v4cv3’ = Variation 4 – Chord Variation 3
Examples of non accepted names:
‘V1cv2’, ‘v1CV2’, ‘intro i1cv2’, ‘v1cv1 chorus’

Reference
160 Style/Pad Record mode
Export SMF

Exporting a Style as an SMF separated by

Export SMF Markers
As an alternative to exporting single Chord Variations to indi-
The Export SMF function allows you to export a Chord Varia- vidual Standard MIDI Files, you can export a whole Style as an
tion as a Standard MIDI File (SMF), and edit it on your preferred SMF separated by Markers, i.e., a single SMF containing all the
external sequencer. Chord Variations (Variation 1, Variation 2, etc.) each one sepa-
rated by a Marker (the same events used in Song Play mode).
1. While in this page, keep the SHIFT button pressed.
2. Without releasing the SHIFT button, touch the Execute
button in the display.
3. Release the SHIFT button.
4. Assign a name to the Standard Midi File where to save the
Style in edit.
This operation creates, in the selected device, an SMF format 0
(Zero), containing all the MIDI data included in the selected
Style, with each Chord Variation starting from a different
To Song Marker (named as per the naming convention explained in the
Import section above).
This (non editable) parameter shows the name of the Standard
MIDI File to be generated. The (automatically assigned) name Each Chord Variation will include, at the very beginning (tick 0),
will be the same of the exported Chord Variation. the following informations:
• Time signature
From E/CV
• Control Change bundle #00-32 (Bank Select MSB/LSB)
Use this pop-up menu to select one of the available Chord Varia-
tions from the current Style. • Program Change
• Control Change #11 (Expression)
Execute
After selecting a Chord Variation, touch this button to export it
as a Standard MIDI File. A standard file selector will appear.
Select the target device and directory, then touch Save. After you
touch Save, a dialog box appears, letting you assign a name to the
file.
 Style/Pad Record mode 161
Page menu

Copy Expression
Page menu (Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open
Touch the page menu icon to open the page menu. Touch a com- the Copy Expression dialog box and copy all Expression values
mand to select it. Touch anywhere in the display to close the assigned to the current Style Element tracks to a different Style
menu without selecting a command. Element.
See “Copy Expression dialog box” on page 163 for more infor-
mation.

Copy Keyboard Range

(Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open
the Copy Keyboard Range dialog box and copy all Keyboard
Range values for the current Style Element tracks to a different
Style Element.
Style Record
See “Copy Key Range dialog box” on page 163 for more informa-
tion.

Copy Chord Table

Only available while in the Style Element Chord Table page. Select
this command to open the Copy Chord Table dialog box (see
“Copy Chord Table dialog box” on page 163).

Delete Current Track

Pad Record (Only available in the Main Record pages). Select this command
to delete the selected track.
Write Style/Pad Overdub Step Recording
Select this command to open the Write Style or Write Pad dialog (Only available in the Main Record pages). Select this command
box, and save the Style/Pad to the internal memory. to open the Overdub Step recording window (see “Overdub Step
See “Write Style/Pad dialog box” on page 162 for more informa- Recording window” on page 164).
tion.
Solo Track
Undo Select the track to be soloed, then check this item. You will hear
Only available in Record mode. While in Record mode, cancels only the selected track, and the ‘Solo’ warning will flash on the
the latest recorded data and restores the previous situation. page header.

Reference
Selected a second time, it restores recorded data again (“Redo” Uncheck this item to exit the Solo function.
function).
Keep the SHIFT button pressed and touch one of the
Delete Pad Track tracks to solo it. Do the same on a soloed track to deactivate the
Only available in the Main page of the Pad Record mode. Select Solo function.
this command to delete the Pad track.
Exit from Record
Copy Key/Ch (Copy Key/Chord) button Select this command to exit from Record without saving changes
Select this command to open the Copy Key/Chord dialog box, to the Style.
and copy Key/Chord settings of the currently selected track to all
other tracks of the same Chord Variation, or to the whole Style.
See “Copy Key/Chord dialog box” on page 162 for more infor-
mation.

Copy Sound
(Only available in some edit pages). While the Style Element
Track Control edit section is selected, use this command to open
the Copy Sound dialog box and copy all Sounds assigned to the
current Style Element tracks to a different Style Element.
See “Copy Sounds dialog box” on page 162 for more informa-
tion.
162 Style/Pad Record mode
Write Style/Pad dialog box

Write Style/Pad dialog box Copy Key/Chord dialog box

Open this window by choosing the Write Style or Write Pad item (Style only) Open this window by choosing the Copy Key/Chord
from the page menu. Here you can save the recorded or edited item from the page menu. Here you can copy Key/Chord settings
Style/Pad to memory. of the currently selected track to all other tracks of the same
Chord Variation, or to the whole Style. This function is useful to
speed-up pattern programming, and to avoid having different
tracks in different keys within the same Chord Variation.

Name

Name of the Style/Pad to be saved. Touch the (Text Edit)

Current Chord Variation Tracks
button next to the name to open the Text Edit window.
The Key/Chord of the current track will be cop-
Style/Pad Bank ied to all tracks of the current Chord Variation.
Target bank of Styles/Pad. Use the Select button on the display, All Style Tracks
or the VALUE DIAL to select a different bank.
The Key/Chord of the current track will be cop-
Style ied to all tracks of the Style (i.e., all Chord Varia-
tions).
Target Style/Pad location in the selected bank. Use the Select
button on the display, or the VALUE DIAL to select a different
location.
Note: A User or Favorite Style, or a User Pad, is usually prompted Copy Sounds dialog box
when writing a Style/Pad. However, you can overwrite a Factory
Style/Pad when the “Factory Style and Pad Protect” parameter is (Style only) Open this window by choosing the Copy Sounds
left unchecked (see page 254). item from the page menu. Here you can copy all Sounds
assigned to the current Style Element tracks to a different Style
Select… button Element.
Touch this button to open the Style/Pad Select window, and
select a target location.

From Style Element

Non editable. Currently selected Style Element.

To Style Element
While in the Style/Pad Select window, use the buttons on top of
the window to select either the User or the Favorite banks. Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
 Style/Pad Record mode 163
Copy Expression dialog box

Copy Expression dialog box Copy Chord Table dialog box

(Style only) Open this window by choosing the Copy Expression (Style only) Open this window by choosing the Copy Chord
item from the page menu. Here you can copy all Expression val- Table item from the page menu. Here you can copy the Chord
ues assigned to the current Style Element tracks to a different Table of the current Style Element to a different Style Element.
Style Element.

To Style Element
From Style Element
Target Style Element.
Non editable. Currently selected Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
To Style Element
Var1…CountIn
Target Style Element.
Single Style Element where to copy settings to.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.

Copy Key Range dialog box

(Style only) Open this window by choosing the Copy Keyboard
Range item from the page menu. Here you can copy all Key-
board Range values for the current Style Element tracks to a dif-
ferent Style Element.

Reference

From Style Element

Non editable. Currently selected Style Element.

To Style Element
Target Style Element.
All Settings will be copied to all Style Element of the
Style in edit.
Var1…CountIn
Single Style Element where to copy settings to.
164 Style/Pad Record mode
Overdub Step Recording window

Free Memory
Overdub Step Recording window Remaining memory for recording.

Duration
The Step Record allows you to create a new Style/Pad by entering
single notes or chords to each track, by playing them on the key- Relative duration of the inserted note. The percentage is always
board one at a time, with no need to play on time. This is very referred to the step value.
useful when transcribing an existing score, or needing a higher 25% Staccatissimo.
grade of detail, and is particularly suitable to create drum and
percussion tracks. 50% Staccato.

To access this page, select the “Overdub Step Recording” com- 85% Ordinary articulation.
mand from the page menu. 100% Legato.

Velocity
Set this parameter before entering a note or chord. This will be
the playing strength (i.e., velocity value) of the event to be
inserted.
Kbd Keyboard. You can select this parameter, by turn-
ing all counter-clockwise the dial. When this
option is selected, the playing strength of the
played note is recognized and recorded.
1…127 Velocity value. The event will be inserted with
this velocity value, and the actual playing
Track (Selected track) strength of the note played on the keyboard will
Name of the selected track in record. be ignored.

DRUM…ACC5 Rest
Style track. Touch this button to insert a rest.

SE (Selected Style Element) Tie

See “Element (Style Element)” on page 134. Touch this button to tie the note to be inserted to the previous
note.
CV (Selected Chord Variation)
See “Chord Var (Chord Variation)” on page 134. Back
Goes to the previous step, erasing the inserted event.
Pos (Position)
This is the position of the event (note, rest or chord) to be Next M. (Next Measure)
inserted. Goes to the next measure, and fills the remaining space with
rests.
Event list
Previously inserted events. You may delete this event, and set it Done
in edit again, by touching the Back button. Exits the Step Record mode. If you have inserted some notes, a
dialog box appears, asking you to either cancel, discard or save
Step Time values the changes.
Length of the event to be inserted.

… Note value.
Standard (–) Standard value of the selected note.
Dot (.) Augments the selected note by one half of its
value.
If you touch Cancel, exit is canceled, and you can continue edit-
Triplet (3) Triplet value of the selected note. ing. If you choose No, changes are not saved, and the Step
Record window is closed. If you choose Yes, changes are saved,
Meter
and the Step Record window is closed.
Meter (time signature) of the current measure. This parameter
cannot be edited. You can set the Meter in the main page of the
Style Record mode, before actually starting recording (see step 6
on page 142 for more information).
 Song Play mode 165
Transport controls

Song Play mode

The Song Play operating mode is where you can listen to Songs,
while reading Lyrics and Chords (where available). An automati- Tempo Lock
cally-generated Score can also be seen for Standard MIDI Files,
and Markers can let you quickly jump to a Song section. You can
mix two Songs by using the X-FADER. If you don’t want the Tempo value to change when selecting a
new Song, turn on the Tempo Lock function by using the
Songs can be in Standard MIDI File, Karaoke™ or MP3 format. TEMPO LOCK buttons on the control panel. When this button’s
The MP3+G format is also supported. LED is turned on, you can still manually change the Tempo with
You can play along with the Song with up to four Keyboard the TEMPO +/– buttons, or by touching the Tempo field and
tracks (Upper 1-3, Lower) and four Pads. You can select different using the VALUE DIAL.
Sounds and Effects for Keyboard tracks by selecting Perfor-
mances and STSs.
While in Song Play mode, you can use the SongBook to auto-
matically select Songs for a desired music genre. With each Song
Master Volume, Balance, X-Fader
entry in the SongBook, up to four STSs are also selected.
While the MASTER VOLUME knob controls the general vol-
Song Play mode can also be used in Easy Mode.
ume of the instrument, you can use the BALANCE knob to bal-
ance the Song and Pad tracks against the Keyboard tracks.

Transport controls
You can use a separate set of transport controls for each of the
two onboard players. Use the PLAYER 1 controls for Player 1,
and PLAYER 2 controls for Player 2. Overall instrument’s Balance of Songs and Pads
volume against the Keyboard tracks
If you want both players to play together, keep the SHIFT button
pressed and press one of the (PLAY/STOP) controls to
Use the X-FADER to mix between Player 1 and Player 2. Move it
make both players start in sync.
to the center for the maximum volume of both players.
If one of the players is already playing, you can start the other
player by pressing the other (PLAY/STOP) control; the
second player will start at the next measure. Player 1 Player 2
The two players’ Tempo value is linked together. The Tempo
data written into the Songs are ignored. Adjust the Tempo using Note: When this slider is fully moved to the right or the left, differ-

Reference
the TEMPO buttons. ent Lyrics, Chords, Score and Markers can be shown, and a differ-
ent can be selected.

MIDI Clock
Track parameters
In Song Play mode the MIDI Clock is always generated by the
internal Player 1, even if the Clock parameter is set to MIDI or Changes to Keyboard tracks can be saved to a Performance. You
USB mode in the Global > MIDI > General Controls page (see can then recall different settings by just selecting a single Perfor-
“Clock Source” on page 259). While in this mode, Pa900 cannot mance.
receive MIDI Clock messages from the MIDI IN.
Settings for Song tracks, like Pan, Volume and FX Sends, depend
Pa900 only transmits to the MIDI OUT and USB port the MIDI on each individual Standard MIDI File. Changes to Song tracks
Clock messages generated by Player 1. For MIDI Clock messages made in Song Play mode cannot be saved to a Standard MIDI
to be sent, the “Clock Send” parameter must be activated in the File, and are only intended for realtime control.
Global > MIDI > General Controls page (see “Clock Send” on
page 258). To make permanent changes Song tracks, edit and save the Stan-
dard MIDI File in Sequencer mode.
166 Song Play mode
Standard MIDI Files and Sounds

Standard MIDI Files and Sounds Keyboard, Pad and Player tracks
The native Song file format of Pa900 is the Standard MIDI File Pa900 is equipped with a double player. Each Song can play up to
(SMF), an universal standard set by all manufacturers. Filename a maximum of 16 Song tracks, for a total of 32 tracks. In addi-
extension is .MID, but Pa900 can also read files with the .KAR tion, you can play the keyboard with four additional Keyboard
extension. You can read these files with any musical instrument tracks (Upper 1-3 and Lower).
or computer.
When the Volume panel is shown in the main page of the Song
Even if the Standard MIDI File format is standard, differences Play mode (see illustration below), you can adjust the Volume
may appear in sounds when playing the various files. If you and Play/Mute status of these tracks, but please keep in mind
recorded a Song on the Pa900 in Sequencer mode using only that these changes will not be saved in the Standard MIDI File.
General MIDI sounds (i.e., those of the “GM” type), you can be
confident you can play the same Song on virtually any other
musical instrument or computer. If you used Korg native
sounds, you may not find the same sounds on instruments from
other manufacturers.
When you read Standard MIDI Files in Song Play mode, there is
no problem reading files made using only General MIDI sounds.
Sounds could be different when playing a Song made on a differ-
ent instrument: despite the wide compatibility of Pa900 with
other standards (like GS or XG), differences may arise.
Should this happen, load the Standard MIDI File in Sequencer
mode, then manually reassign the non-matching Sounds, replac- Keyboard tracks
ing them with similar Sounds on the Pa900. Finally, save the
Standard MIDI File again, and you will be able to play it in Song While in Song Play mode, you can select Performances or STSs.
Play mode with the correct Sounds. STSs are from the latest selected Style; choose a different Style to
select a different set of STSs. You can see the name of the avail-
able STSs when the STS Name panel is shown in the main page
of the Song Play mode (see illustration):

STS names

Selecting a different Style or SongBook Entry may also change

the Pads.
When entering Song Play mode from the Style Play mode, Key-
board and Pad tracks remain the same they were in Style Play
mode.
 Song Play mode 167
Main page (Normal view)

Recognized chord
Main page (Normal view) This displays the recognized chord when you play a chord on the
keyboard. If no chord abbreviation is shown, it means that no
Press the SONG PLAY button to access this page from another chord recognition mode has been selected by using the CHORD
operating mode. SCAN buttons.

Note: When switching from Style Play to Song Play mode, various
track parameters and settings may change. Page menu icon
To return to this page from one of the Song Play edit pages, press Touch the page menu icon to open the menu. See “Page menu”
the EXIT or SONG PLAY button. on page 176 for more information.

Keyboard tracks area

Songs area Page header Page menu icon
Songs area
This is where the Song names are shown, together with parame-
ters depending on the selected type of Song.
This is how a Song’s area appears when a Standard MIDI File or
Style
area
Karaoke file has been selected:

Song type icon Song name

Perf./
STS area

Panels
Meter Current measure Tempo

Details on individual tracks can be seen by touching the Volume

tab. To switch between Keyboard tracks (Normal view) and Song And this is how it appears when an MP3 File has been selected:
tracks (Song Tracks views), use the TRACK SELECT button. Song type icon Song name
Pressed a first time, you will see tracks 1-8; a second press will
show tracks 9-16; pressed again will go back to Keyboard tracks.

Page header
This line shows the current operating mode, transposition and
Total time Elapsed time Tempo variation
recognized chord.

Reference
Ply 1/2
Operating mode Master Transpose (in Recognized chord
semitones) A different Song may be assigned to each of the two onboard
players (Ply 1 and Ply 2). Each player has its own parameters.
Operating mode name Song type icon
Name of the current operating mode. Songs of different types can be assigned to the players. This icon
shows the file type.
Master Transpose
Master Transpose value in semitones. This value can be changed Standard MIDI File, often abbreviated as SMF
using the TRANSPOSE buttons on the control panel. (file extension: *.MID or *.KAR). The SMF
(*.MID) is the industry standard song format,
Note: You can also transpose MP3 files. Keep in mind, however, used by Pa900 as its basic Song format when
that transposition always remains inside the -5…+6 semitones recording a new Song. A MIDI Karaoke File
range. This is enough to cover all keys, while avoiding excessive (*.KAR) is an extension of the SMF format.
audio degradation. Any further transposing will be reversed to fit
the range. So, you might see a +7 transpose value (Just Fifth Up) MPEG Layer-3 format, or MP3 (file extension:
shown in the display, but the MP3 will actually play 5 semitones *.MP3). This is a compressed audio file, that may
lower (Just Fourth Down). be generated on any personal computer, or by the
Pa900 itself.
Note: Transpose may automatically change when selecting a differ-
ent Performance. It may also change when loading a Standard A Jukebox file (file extension: *.JBX) can be
MIDI File generated with an instrument of the Korg Pa-Series. assigned to Player 1, but its name will not be
To avoid transposing, “lock” the Master Transpose parameter in shown in this area. The JBX icon will appear
the Global (see “General Controls: Lock” on page 249).
168 Song Play mode
Main page (Normal view)

instead, together with the name of the currently are smoothly accelerated or slowed down (inside a range of
selected Song, in the Jukebox list. ±30% of the original tempo). This may seem trivial, but it is
really rocket-science instead, and it is made possible by Korg
Note: To create or edit a Jukebox file, go to the
sophisticated time-stretching algorithms.
Jukebox Edit page (see page 175).

Song name Style area

Displays the name of the Song assigned to the corresponding Currently selected Style. You can select a Style while playing
Player. Songs, to have it ready when switching to Style Play mode. Also,
• If the Player is already selected (white background), touch the this lets you change the Pads and STSs (both are recalled by
Song name to open the Song Select window. selecting a Style).
• If the player is not selected (dark background), first select it, Touch the Style name to open the Style Select window. As an
then touch the Song name to open the Song Select window. alternative, use the buttons in the STYLE section of the control
panel.
When the Song Select window appears, you can select a single
Song or a Jukebox file (see “Song Select window” on page 103).
If you select another Song while a Song is playing, the previous
Song will stop, and the new Song will be selected and be ready to Selected Style
play.
To select a Song, you can also press the SELECT button (on the
control panel) corresponding to the desired Player. Press it a sec- Performance/STS area
ond time to select a Song by dialing in its ID number (see This is where the Performance or STS name is shown.
“Selecting a Song by its ID number” on page 104).

Selected Performance or STS

Meter Selected Performance or STS

This parameter only appears when a Standard MIDI File or Kara- This is the latest selected Performance or Single Touch Setting.
oke file has been selected.
Touch the name to open the Performance Select window. As an
Current Song’s meter (time signature). alternative, use the PERFORMANCE section to select a different
Performance.
Measure number
To select a different STS from the latest selected Style, use the
This parameter only appears when a Standard MIDI File or Kara- four STS buttons under the display.
oke file has been selected.
Current measure number. Keyboard tracks area
Tempo This is where Keyboard tracks are shown.
This parameter only appears when a Standard MIDI File or Kara- Sound
oke file has been selected. name
Track name
Metronome Tempo. Select this parameter and use the TEMPO+
and TEMPO– buttons to change the Tempo. As an alternative,
touch this parameter and drag with your finger. Sound bank’s
icon
Total time
This parameter only appears when an MP3 file has been selected.
Total length (in minutes:seconds) of the selected MP3 file. Track status

Elapsed time
Track’s octave transpose
This parameter only appears when an MP3 file has been selected.
Elapsed time (in minutes:seconds) of the MP3 file currently in
Sound name
play.
Name of the Sound assigned to the corresponding Keyboard
Tempo variation track.
This parameter only appears when an MP3 file has been selected. • If the track is already selected (white background), touch the
Sound name to open the Sound Select window.
Variation of the original MP3 file’s tempo, inside a range of
±30% of the original tempo. When Tempo is changed, MP3 files
 Song Play mode 169
STS Name panel

• If the track is not selected (dark background), first select it,

then touch the Sound name to open the Sound Select window. STS Name panel
You can also open the Sound Select window by using the
SOUND SELECT button on the control panel. Select this panel to see the name of the four available STSs. See
For more information about the Sound Select window, see “STS Name panel” on page 109 for details.
“Sound Select window” on page 101.

Keyboard track octave transpose

Non editable. Octave transpose of the corresponding track. To
individually edit the octave transpose for each track, go to the
“Mixer/Tuning: Tuning” edit page of the Song Play mode (see
“Mixer/Tuning: Tuning” on page 116 for more details).
You can also transpose all Upper tracks by using the UPPER Volume panel
OCTAVE buttons on the control panel.

Keyboard track name Touch the Volume tab to select this panel. This is where you can
set the volume of each track, and mute/unmute tracks.
Non editable. Name of the corresponding track:

Abbreviation Track Hand Changing the tracks’ volume and play/mute

UP1 Upper 1 Right hand status
UP2 Upper 2 You can change the volume and play/mute status of each track in
UP3 Upper 3 the same way seen for the Style (see “Volume panel” on page 109
LOW Lower Left hand for details).

Sound bank’s icon

This icon shows the bank the current Sound belongs to.

Keyboard track status

Play/mute status of the current track. Touch this icon to change Virtual sliders
the status.
No icon Play status. The track can be heard.

Mute status. The track cannot be heard.

Reference
Panels
The lower half of the main page contains the various panels, you
Track status icons
can select by touching the corresponding tabs. See more infor-
mation in the relevant sections, starting from page 169.
Volume panel Saving the tracks’ volume and play/mute
status
Each set of tracks can be saved into a different structure. This
allows for a great flexibility when mixing Keyboard and Song
tracks through the use of Performances, STSs and Standard
MIDI Files.
• The status of Keyboard tracks can be saved to a Performance
Tabs or STS (see “Write Performance” on page 127 and “Write Single
Touch Setting” on page 127).
• The status of the Song tracks can saved as a general setting in
the Global > Mode Preferences > Song & Sequencer page (see
“Save Trk & FX” on page 253).
170 Song Play mode
Pad panel

This allows for leaving the track status unchanged even when
playing a different Standard MIDI File. You can leave, for exam- Sub-Scale panel
ple, the bass track in mute, and let your bassist play it live for the
whole show.
Select this panel to select a secondary scale for the Keyboard
However, an exception to the above is when reading a Standard tracks. See “Mixer/Tuning: Sub Scale” on page 117 for details.
MIDI File created with a Pa-Series instrument. These files do
include special commands to force the Play/Mute status of each
track.

Track names
Under the sliders, a label for each track is shown. Use the
TRACK SELECT button to switch between the Keyboard Traks
and the Song Tracks 1-8 and Song Tracks 9-16 views.

Abbreviation Track

UPPER1…3 Upper tracks. Volume and play/mute status memo-

rized into a Performance or STS.
LOWER Lower track. Volume and play/mute status memorized
into a Performance or STS. Jukebox panel
T01…T16 Song tracks. Volume memorized into a Standard MIDI
File. Play/mute status memorized as a general setting.
When a Jukebox (JBX) file is assigned to Player 1, you can use
the list shown in this panel to browse the Jukebox list, and touch
the Select button in the display to select a Song to play. This way,
Pad panel you can select any Song in the list as your starting Song, and
manually change the order of the Songs to play.

Select this panel to see which Hit or Sequence Pads are assigned Note: A Jukebox file can be assigned to Player 1 only.
to the four Pads. See “Pad panel” on page 111 for details. Note: This panel is only available after loading a Jukebox file.
Hint: To create or edit a Jukebox file, go to the Jukebox Edit page
(see page 175). A quick way to create a Jukebox list is to touch the
“Play All” button in the Song Select window (see page 104).
Warning: If you delete a Song included in the Jukebox list cur-
rently in play, the Player will stop, and the “No Song” message will
appear. At this point, you can select the JukeBox tab to open the
Jukebox panel, and select a different Song.
Split panel As an alternative, you can select the next Song by pressing SHIFT
+ >> (FAST FORWARD) in the PLAYER section of the control
Select this panel to adjust the split point for the Keyboard tracks. panel, then press (PLAY/STOP) in the PLAYER section
See “Split panel” on page 112 for details. again.
Song list Selected Song Jukebox file
 Song Play mode 171
Mic panel

Song list
Use this list to browse through the Songs in the Jukebox list. Use Edit menu
the scrollbar to scroll the list.
From any page, press the MENU button to open the Song Play
Selected Song
edit menu. This menu gives access to the various Song Play edit
Name of the Song currently in play. You can select a different sections.
Song from the list, and touch the Select button in the display to
When in the menu, select an edit section, or press EXIT or
select it for playback.
SONG PLAY to exit the menu.
Select button When in an edit page, press the EXIT or SONG PLAY button to
Touch this button to select the Song highlighted in the list, and go back to the main page of the Song Play operating mode.
assign it to the player. If a Song is already playing, it will be
stopped, and the selected Song will start playing back.

Jukebox file
Name of the selected Jukebox file. To edit this file, see “Jukebox
Editor” on page 175.

Transport controls for the Jukebox

When you select a Jukebox file, Player 1 transport controls
behave in a slightly different way than with single Songs.
<< and >> Pressed alone, these buttons are the Rewind and Each item in this menu corresponds to an edit section. Each edit
Fast Forward commands. section groups various edit pages, that may be selected by touch-
ing the corresponding tab on the lower part of the display.
Keep the SHIFT button pressed, and press
Note: Some of the edit parameters are only meant for realtime use.
these buttons to scroll to the previous or next
As a general rule, Keyboard track parameters can be saved to a
Song in the Jukebox list.
Performance or SongBook STS, while Song track’s Play/Mute sta-
(HOME) Returns to measure 1 of the current Song. tus and FX settings can be saved as a general setting in the Global
> Mode Preferences > Song & Sequencer page (see “Save Trk &
(PLAY/STOP) FX” on page 253).
Starts or stops the current Song. When you stop
the Song, it is stopped at the current position.
Press HOME to go back to measure 1 of the cur-
rent Song. Edit page structure
If the Jukebox panel is open, you can select the

Reference
Song from which to start. See “Jukebox panel” All edit pages share some basic elements, already described for
above. the Style Play mode (see “Edit page structure” on page 113 for
details).

Mic panel
Touch the Mic tab to select this panel. Parameters are the same
seen for the Style Play mode (see “Mic panel” on page 113).
172 Song Play mode
Mixer/Tuning: Volume/Pan

Use the TRACK SELECT button to switch from Keyboard to

Mixer/Tuning: Volume/Pan Song tracks, and vice-versa.

This page lets you set the volume and pan for each of the Key-
board or Song tracks.
Note: The play/mute status of a Song track may be reset when
selecting a Song created on a Pa-Series instrument.
Use the TRACK SELECT button to switch from the Keyboard to
the Song tracks, and vice versa.

Note: When you stop, then start the Song again, or select a differ-
ent Song, the default Song track settings are selected again. You
can, however, pause the Song, change the effects, then exit from
pause and start the Song again. Edit the Song in Sequencer mode
to permanently change the effects.
Note: Track FX setting can be saved as a general setting in the
Global > Mode Preferences > Song & Sequencer page (see “Save
Trk & FX” on page 253). This will help adapting the Pa900’s sound
to personal taste for any Standard MIDI File (excluding those
Parameters saved by a Pa-Series instrument, that may override the general
The parameters shown in this page are the same already seen for preferences).
the Style Play mode. See “Mixer/Tuning: Volume/Pan” on
page 114 for details. Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: FX Send” on page 115
Mixer/Tuning: FX Send for details.

Pa900 is equipped with two groups of effect processors (A and

B). In Song Play mode, these groups can be used to process Key- Mixer/Tuning: EQ Gain
board, Pad and MIDI tracks.
• Keyboard tracks always use the effects of the FX B group. In this page you can set the three-band equalization (EQ) for
each individual track.
• Pad tracks always use the effects of the FX A group.
Use the TRACK SELECT button to switch from the Keyboard to
• Standard MIDI Files and Karaoke files can only use the the Song tracks, and vice-versa.
effects of the FX A group.
• Standard MIDI Files created on a Pa-Series instrument (in
Sequencer mode) can use effects of the FX A and B groups.
Choosing and editing the effects is done in the dedicated Effect
section (see “Effects: A/B FX Configuration” on page 173).
In case you do not want to hear the direct signal, just set the Dry
parameter to Off (see the “Dry” parameter above).
You can assign to the Master FXs any kind of available effects,
but we suggest you assign the effects based on this scheme:
A-Master 1 Reverb processor for the Song tracks.
A-Master 2 Modulating FX processor for the Song tracks. Hint: Track EQ can be saved as a general setting in the Global >
Mode Preferences > Song & Sequencer page (see “Save Trk & FX”
B-Master 1 Reverb processor for the Keyboard tracks. on page 253). This will help adapting the Pa900's sound to personal
B-Master 2 Modulating FX processor for the Realtime (Key- taste for any Standard MIDI File you will ever play (excluding those
board) tracks. saved by a Pa-Series instrument, that may override the general
preferences). Need a lighter Bass track? Save the right equalization,
and the Bass will stay light with all the subsequent Songs.

Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: EQ Gain” on page 115
for details.
 Song Play mode 173
Mixer/Tuning: EQ Control

Mixer/Tuning: EQ Control Effects: A/B FX Configuration

This page lets you reset or bypass track equalization, pro- This page allows you to select the effects for the A (Song) and B
grammed in the previous page. (Keyboard) FX groups. You can use the “FX A” and “FX B” side
tabs to switch from one group to the other one. (Songs created in
Use the TRACK SELECT button to switch from the Keyboard to
Sequencer mode on a Pa-Series instrument can also use the B FX
the Song tracks, and vice-versa.
group).
The effect types and the FX matrix are the same seen for the
Style Play mode (see “Effects: A/B FX Configuration” on
page 119),

FX
group

Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: EQ Control” on
page 116 for details. Note: The default effect settings can be saved as a general setting in
the Global > Mode Preferences > Song & Sequencer page (see
“Save Trk & FX” on page 253).

Mixer/Tuning: Tuning Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the Song,
change the effects, then start the Song again with the new effects.
Parameters in this page let you set various tuning settings. All Edit the Song in Sequencer mode to permanently change the
parameters in this page are the same found in Global mode. See effects.
“Mixer/Tuning: Tuning” on page 116 for details.
Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Effects: A/B FX Configuration” on
page 119 for details.

Reference
M.T. (Modulating Track)
Source track for modulating MIDI messages. You can modulate
an effect parameter with a MIDI message generated by an inter-
nal physical controller, or a MIDI message coming from a Song
track.

Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Mixer/Tuning: Tuning” on page 116
for details.
Note: Song track values edited in this page are not saved, and are
only intended for realtime use.
174 Song Play mode
Effects: Master 1, 2

Effects: Master 1, 2 Track Controls: Easy Edit

These pages contain the editing parameters for the effect proces- These parameters let you “fine-tune” edit parameters for Sounds
sors. Here is an example of the FX A page, with the Reverb Hall assigned to the tracks.
effect assigned.
Easy Sound Edit parameters
Selected effect
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Easy Edit” on page 122
for details.
FX
group Note: Song track values edited in this page are not saved, and are
only intended for realtime use.

Keyboard/Ensemble: Key/Velocity Range

These parameters let you select a note and velocity range for the
Keyboard tracks.
FX parameters
Parameters
Parameters The parameters shown in this page are the same already seen for
the Style Play mode. See “Keyboard/Ensemble: Key/Velocity
The parameters shown in this page are the same already seen for
Range” on page 123 for details.
the Style Play mode. See “Effects: Master 1, 2” on page 119 for
details.

Keyboard/Ensemble: Ensemble
Track Controls: Mode
This page lets you program the Ensemble function.
These parameters let you set the Internal/External, and the Poly/
Parameters
Mono status of Song tracks.
The parameters shown in this page are the same already seen for
Parameters the Style Play mode. See “Keyboard/Ensemble: Ensemble” on
page 123 for details.
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Mode” on page 120 for
details.
Note: These parameters can be saved as a general setting in the Keyboard/Ensemble: Keyboard Control
Global > Mode Preferences > Song & Sequencer page (see “Save
Trk & FX” on page 253).
These parameters let you set parameters for the Keyboard tracks.

Parameters
Track Controls: Drum Edit The parameters shown in this page are the same already seen for
the Style Play mode. See “Keyboard/Ensemble: Keyboard Con-
trol” on page 124 for details.
These parameters let you adjust the volume and edit the main
parameters for each percussive instrument family.

Drum Edit parameters

Pad/Switch: Pad
The parameters shown in this page are the same already seen for
the Style Play mode. See “Track Controls: Drum Edit” on
page 121 for details. This page lets you select a different hit sound or sequence for
each of the four PAD buttons.
Note: Song track values edited in this page are not saved, and are
only intended for realtime use. Parameters
The parameters shown in this page are the same already seen for
the Style Play mode. See “Pad/Switch: Pad” on page 125 for
details.
 Song Play mode 175
Pad/Switch: Assignable Switch

Note: A Jukebox list can include only Songs contained in the same
Pad/Switch: Assignable Switch folder.
Hint: Instead of a single Song, you can select a Jukebox file, and
This page lets you select a different function for each of the insert its whole content to the current Jukebox list.
ASSIGNABLE SWITCH buttons.
Delete
Parameters This command lets you delete the selected Song from the list.
The parameters shown in this page are the same already seen for
Del All
the Style Play mode. See “Pad/Switch: Switch” on page 125 for
details. Select this command to delete the whole Jukebox list.

Save
Touch this button to save the Jukebox file. The Save Jukebox File
Jukebox Editor dialog box appears, allowing you to edit the name and save your
file.
The Jukebox function lets you play a list of Songs (127 max), at
the touch of a button. You can play a Jukebox file by assigning it
to Player 1, after having selected it in the Song Select page, just as
if it was an ordinary Song (see “Jukebox panel” on page 170).

Touch the (Text Edit) button to open the Text Edit window,
and edit the name.
If you are editing an existing list, and do not change its name, the
old file is overwritten. If you change it, a new file will be created
in the storage device.
In this page you can create, edit and save a Jukebox file. A Juke- If you are saving a new list, the “NEWNAME.JBX” name is auto-
box list can contain Standard MIDI Files, Karaoke™ files, and matically assigned, and you can edit it.
MP3 files. Note: You can save your “.JBX” file only in the same folder as the
If a Jukebox file is already selected, you will enter this page with Song files included in the list.
that file ready to be edited. Otherwise, you will enter this page
with an empty list.

Reference
To create a new Jukebox file, touch Del All to remove all Songs
from the current list. Add new Songs, then touch Save and enter
a different name before confirming. A new Jukebox file will be
saved to the storage device.

Move Up/Down
Use these button to move the selected item up or down in the
list.

Add
Adds a Song at the end of the current list. You can add up to 127
Songs to a list. When this button is pressed, a standard file selec-
tor opens up in the display.
Note: A Jukebox list can include only Songs contained in the same
folder.
Hint: Instead of a single Song, you can select a Jukebox file, and
add its whole content to the current Jukebox list.

Insert
Inserts a Song at the current position (i.e., between the selected
item and the preceding one). All subsequent Songs are moved to
the next higher-numbered slot. You can add up to 127 Songs to a
list.
176 Song Play mode
Page menu

For the correct display and printing of the list on a personal com-
Page menu puter, use a fixed size (i.e., non-proportional) character in your
text editor.

Touch the page menu icon to open the menu. Touch a command Solo Track
to select it. Touch anywhere in the display to close the menu
Select the track of the current Player to be soloed, and check this
without selecting a command.
item. You will hear only the selected track, and the ‘Solo’ warning
will flash on the page header.
Uncheck this item to exit the Solo function.
The Solo functions works in a slightly different way, depending
on the selected track:
• Keyboard track: The selected Keyboard track is the only track
you can hear when playing on the keyboard. All other Keyboard
tracks are muted. Song tracks are left in play status.
• Song track: The selected track is the only Song track you can
hear. All other Song tracks are muted. Keyboard tracks are left in
play status.

Write Performance Keep the SHIFT button pressed and touch one of the
tracks to solo it. Do the same on a soloed track to deactivate the
Select this command to open the Write Performance dialog box,
Solo function.
and save most of the current control panel settings to a Perfor-
mance. Copy/Paste FX
See “Write Performance dialog box” on page 128 for more infor- Use this command to copy a single effect, or both effects of an
mation. FX group (A or B). See “Copy/Paste FX” on page 127 for detailed
instructions.
Save Song Marker Ply.1/2
Select this command to save the markers created in the corre- Easy Mode
sponding Player (see “Markers page” on page 307). Easy Mode allows you to use the Style Play and Song Play modes
with an easier-to-use user interface. It is recommended to begin-
Export Jukebox List
ners, and to professionals alike that do not want to deal with the
Only available when a Jukebox list is selected. Select this com- extra parameters of the Advanced mode.
mand to save the current Jukebox list as a text file to a storage
At any time, you can manually turn the Easy Mode on/off with
device. Here is how it works.
the Easy Mode command in the page menu of the Style Play and
1. While a Jukebox file is assigned to the player, select the Song Play modes.
Export Jukebox List command from the page menu.
2. A dialog box will appear, asking you to select either the
internal disk or a storage device connected to one of the
USB Host ports.

3. Select an option, and touch OK to confirm.

Note: When saved, the text file will be named after the selected
Jukebox file. For example, a Jukebox file named “Dummy.jbx” will
generate a “Dummy.txt” file. A new, unnamed Jukebox file will
generate a “New_name.txt” file. If a file with the same name
already exists on the target device, it will be overwritten without
waiting for any confirmation.
The list will include the progressive number assigned to each Song,
the file names, the total number of files in the list.
 Sequencer mode 177
Transport controls

Sequencer mode
The Sequencer operating mode is the full-featured onboard
sequencer, where you can create a Song from scratch, or edit it. Sequencer Play - Main page
You can also use this mode to edit the initial parameters of a
Standard MIDI File, either made with an external sequencer or
with Pa900’s own sequencer. Press the SEQUENCER button to access this page from another
operating mode. In this page you can load a Song, and play it
You can save the new or edited Song as a Standard MIDI File back using the PLAYER 1 transport controls.
(SMF, i.e., a file with the “.MID” extension), and play it back
either in Song Play or Sequencer mode – or on any external Note: When switching from Style Play to Sequencer mode, the
sequencer. Sequencer Setup is automatically selected, and various track
parameters may change.
To return to this page from any of the Sequencer edit pages,
press the EXIT or SEQUENCER button.
Transport controls
To switch between Song tracks 1-8 and 9-16, use the TRACK
SELECT button.
To play back a Song, use the PLAYER 1 transport controls (i.e.,
Song area Page header Page menu icon
the one on the left side of the PLAYER area). While in Sequencer
mode, Player 2 controls are deactivated.

Standard MIDI Files and MP3 Selected

track info
area

The Songs and the Standard MIDI File format

Sounds
The native Song format for Pa900 is the Standard MIDI File area
(“.MID” file).
When saving a Song as a SMF, a setup measure is automatically
inserted at the beginning of the Song. This measure contains Track volume/status area
various Song initialization parameters.
When an SMF is loaded, the setup measure is automatically
Page header
removed.
This line shows the current operating mode and transposition.

Reference
Sequencer mode and the MP3
While in Sequencer mode, you cannot load nor record MP3 Operating mode Master Transpose (in
files. This mode only allows for editing of the Standard MIDI semitones)
Files.
Operating mode name
Name of the current operating mode.
Songs and Voice Processor Presets
Master Transpose

You can use the Voice Processor while in Sequencer mode. For Master transpose value in semitones. This value can be changed
this, just two settings are needed: using the TRANSPOSE buttons on the control panel.

• Select the Song track where you are recording chords for Note: Transpose may be automatically changed when loading a
the Voice Processor (see “Song Control” on page 266). Standard MIDI File generated with an instrument of the Korg Pa-
Series.
• Select the desired Voice Processor Preset.

Page menu icon

Touch the page menu icon to open the menu. See “Page menu”
on page 198 for more information.
178 Sequencer mode
Sequencer Play - Main page

Song area Selected track info area

This is where the Song name is shown, together with its tempo This line lets you see the Sound assigned to the selected track.
and meter (time signature) parameters, and the current measure. Not only it is shown on the main page, but also in several edit
pages.
Beat counter

Song name Measure number Tempo

Track name Sound bank

Sound name Program Change sequence

Track name
Name of the selected track.

Sound name
Sound assigned to the selected track. Touch anywhere in this
area to open the Sound Select window, and select a different
Sound.
Song name
Displays the name of the selected Song. “NEWSONG” means Sound bank
that a new (blank) Song is selected, and you can record it. Bank the selected Sound belongs to.
Touch the Song name to make the Song Select window appear,
allowing for selection of a different Song (see “Song Select win- Program Change
dow” on page 103). Program Change number sequence (Bank Select MSB, Bank
To select a Song, you can also press the SELECT button in the Select LSB, Program Change).
PLAYER 1 section of the control panel. Press SELECT a second
time to select a Song by dialing in its ID number (see “Selecting a Sounds area
Song by its ID number” on page 104).
This area lets you see Sounds and octave transposition for the
Note: Only Standard MIDI Files can be loaded. MP3 files cannot eight tracks currently displayed.
be loaded in Sequencer mode.
Song track octave transpose icon

Meter
Current meter (time signature).

Measure number
Sound bank’s icon
Current measure number.

Tempo Song track octave transpose

Metronome Tempo. Select this parameter and use the TEMPO Non editable. Octave transpose of the corresponding track. To
buttons to change Tempo. As an alternative, when a different edit the octave transpose, go to the “Mixer/Tuning: Tuning” edit
parameter is selected, or you are in a different page, keep the page (see page 116 for programming information).
SHIFT button pressed and use the DIAL to change Tempo for
the sequencer. Sound bank’s icon
This picture illustrates the bank the current Sound belongs to.
Start from
Touch an icon a first time to select the corresponding track
When checked, the measure shown by this parameter is a tem- (detailed information are shown on the Selected Track Info area,
porary start point of the song, instead of measure 1. When you see above). Touch it a second time to open the Sound Select win-
press the (HOME) button, or use the << (REWIND) button dow.
to go back to the beginning, the Song returns to this point.

Tempo (Tempo mode)

Use this menu to select the Tempo change mode.
Manual In this mode, you can change Tempo by using the
TEMPO buttons. The Song will be played back
using the manually selected tempo.
Auto Tempo recorded in the Song will be used.
 Sequencer mode 179
Entering Record mode

Track volume/status area

This area is where you can set the volume of each Song track,
Entering Record mode
and mute/unmute tracks.
To enter Record mode, press the RECORD button while you are
Volume and virtual sliders in Sequencer mode. The following dialog box will appear:
Drag the sliders to adjust the volume of the corresponding
tracks. You can also change the volume by touching a slider and
using the VALUE DIAL.

Virtual sliders

Select one of the three available recording options and touch OK

Use the TRACK SELECT button to switch between Song Tracks
(or Cancel if you don’t want to enter Record mode).
1-8 and Song Tracks 9-16,
Multitrack Sequencer
Track status icon
Full-featured sequencer. Select this option for
Play/mute status of the current track. Select the track, then touch classic multitrack recording. (See “Record mode:
this area to change the track status. The status of Song tracks is Multitrack Sequencer page” on page 180).
saved when saving the Song.
Backing Sequence (Quick Record)
Play status. The track can be heard. Easy way of recording. Just play with Styles, and
record your realtime performance.
Mute status. The track cannot be heard.
Step Backing Sequence
Track names Step-record. Edit chords and controls for the
Under the sliders, a label for each track is shown. Use the Style. Very useful if you are not a keyboard player.
TRACK SELECT button to switch between tracks 1-8 and 9-16.

Abbreviation Track

T01…T16 Song tracks. Volume memorized into a Standard MIDI

File. Play/mute status memorized into the Standard
MIDI File as well, and can be read in Song Play mode.

Reference
180 Sequencer mode
Record mode: Multitrack Sequencer page

Overdub The newly recorded events will be mixed to any

Record mode: Multitrack Sequencer page existing events.
Overwrite The newly recorded events will replace any exist-
While in Sequencer mode, press the RECORD button and select ing events.
the “Multitrack Sequencer” option. The Multitrack Sequencer Auto Punch Recording will automatically begin at the “Start”
page appears. position, and stop at the “End” position.
Recording parameters area
Note: The Auto Punch function will not work on
an empty Song. At least one track must already be
Page sub-header Page header Page menu icon
recorded.
PedalPunch Recording will begin when pressing a pedal set to
the “Punch In/Out” function, and will finish
when pressing the same pedal again.
Selected Note: The Pedal Punch function will not work on an
track empty Song. At least one track must already be recorded.
info area
Start from
Sounds
When checked, the measure shown by this parameter is a tem-
area
porary start point of the song, instead of measure 1. When you
press the (PLAY/STOP) button to stop recording, or use
the << (REWIND) button to go back to the beginning, the Song
Tracks volume/status area
returns to this point.
See “Multitrack recording procedure” on page 181 for informa- Resolution
tion on the record procedure.
Use this parameter to set the quantization during recording.
Quantization is a way of correcting timing errors; notes played
Page header too soon or too late are moved to the nearest axis of a rhythmic
See “Page header” on page 177. “grid”, set with this parameter, thus playing perfectly in time.
High No quantization applied.
Page menu icon (1/32)… (1/8)
See “Page menu icon” on page 177. Grid resolution, in musical values. For example,
when you select 1/16, all notes are moved to the
Page sub-header nearest 1/16 division. When you select 1/8, all
notes are moved to the nearest 1/8 division.
This area shows some performing info on the Song. No quantiza-
tion

Song name Free memory % Beat counter Measure number

1/16

Song name
Name of the Song in record. 1/8

Free memory %
Percentage of remaining memory available for recording. Start/End
Start and End locators. These parameters area available only
Beat counter
when the “Auto Punch” recording mode is selected. They set the
This indicator shows the current beat inside the current mea- starting and ending points of the Punch recording.
sure.
Tempo
Measure number
Select this parameter, and use the TEMPO controls to set the
Current measure you are recording. Tempo value.

Meter
Recording parameters area
This is the basic meter (or time signature) of the Song. You can
Rec mode (Recording mode) edit this parameter only when the Song is empty, i.e., before you
begin recording anything. To insert a meter change in the mid-
Set this parameter before starting record, to select a recording
dle of the Song, use the “Insert Measure” function (see
mode.
page 196).
 Sequencer mode 181
Record mode: Multitrack Sequencer page

Tempo (Tempo mode) Multitrack recording procedure

This parameter sets the way tempo events are read or recorded. Here is the general procedure to follow for the Multitrack
Manual Manual reading. The latest manual Tempo setting Recording.
(made using the TEMPO buttons) is considered 1. Press the SEQUENCER button to enter Sequence mode.
the current Tempo value. No Tempo change
events will be recorded. This is very useful when 2. Press the RECORD button, and select the “Multitrack
you want to record the Song at a much slower Sequencer” option to enter the Multitrack Record mode.
speed than the actual Tempo. Now you can prepare your recording parameters. (For
more details, see “Record mode: Multitrack Sequencer
Auto Auto reading. The Sequencer plays back all page” on page 180).
recorded Tempo events. No Tempo change events
are recorded. 3. Be sure the Overdub or Overwrite recording options is
selected (see “Rec mode (Recording mode)” on page 180).
Record All Tempo changes made during recording will
be recorded to the Master Track. 4. Set the Tempo. There are two ways of changing Tempo:

Note: Tempo is always recorded in overwrite mode • Use the TEMPO buttons to change the tempo
(old data is replaced by the new data). • Touch the “Tempo” parameter, and use the VALUE DIAL
to change Tempo.
Selected track info area 5. Use the TRACK SELECT button to switch between Song
Tracks 1-8 and Song Tracks 9-16, and assign the desired
This line lets you see the Sound assigned to the selected track.
Sound to each track (see “Sound bank’s icon” on page 178).
See “Selected track info area” on page 178 for more information.
6. Select the track to be recorded. Its status icon will automat-
ically change to Record (see “Track status icons” on
Sounds area
page 181).
This area lets you see Sounds and octave transposition for the 7. If this is a second-pass recording, use the “Start from”
eight tracks currently displayed. See “Sounds area” on page 178 parameter to enter a measure where you want to start
for more information. recording.
8. Press the METRO button to turn the metronome on, and
Track volume/status area start practicing.
This area is where you can set the volume of each Song track,
9. Press (PLAY/STOP) to start recording. After a 1-bar
and change track status. See “Track volume/status area” on
precount, the recording actually begins. After the precount,
page 179.
play freely.
Track status icons • If you selected the Auto Punch recording mode, the
Play/mute/record status of the current track. Select the track, recording will begin only when reaching the Start point.
then touch this area to change its status. • If you selected the Pedal Punch recording mode, press the

Reference
pedal when you want to begin recording. Press it again to
Play status. The track can be heard. finish recording.
Mute status. The track cannot be heard. Note: The Punch functions will not work on an empty Song.
At least one track must already be recorded.
Record status. After pressing (PLAY/
STOP) to start recording, the track will receive 10. When finished recording, press (PLAY/STOP) to
notes from the keyboard and the MIDI IN or stop the sequencer. Select a different track, and go on
USB Device connector. recording the whole Song.
11. When finished recording the new Song, either press the
RECORD button, or select the “Exit from Record” com-
mand from the page menu (see page 199).
Warning: Save the Song to a storage device, to avoid losing it
when the instrument enters standby.
Note: When exiting the Record mode, the Octave Transpose
is automatically reset to “0”.
12. If you wish, edit the new Song, by pressing the MENU but-
ton, and selecting the various edit pages.
182 Sequencer mode
Record mode: Step Record page

Note parameter area

Record mode: Step Record page
Meter

The Step Record allows you to create a new Song by entering sin- Meter (Time Signature) of the current measure. This parameter
gle notes or chords to each track. This is very useful when tran- cannot be edited. You can set a Meter change by using the Insert
scribing an existing score, or needing a higher grade of detail, function of the Edit menu, and inserting a new series of mea-
and is particularly suitable to create drum and percussion tracks. sures with a different Meter (see “Song Edit: Cut/Insert Mea-
sures” on page 196).
To access this page, select the “Overdub Step Recording” or
“Overwrite Step Recording” command from the page menu. Free Memory
In Overdub Step Recording mode you will add to existing Available memory for recording.
events, while in Overwrite Step Recording mode you will over-
write all existing events. Duration
Page sub-header Page header Note parameters Relative duration of the inserted note. The percentage is always
referred to the step value.
50% Staccato.
85% Ordinary articulation.
Step 100% Legato.
time
Velocity
Set this parameter before entering a note or chord. This will be
the playing strength (i.e., velocity value) of the event to be
inserted.
Kbd Keyboard. You can select this parameter, by turn-
Buttons Event list ing the VALUE DIAL all counter-clockwise.
When this option is selected, the playing strength
of the played note is recognized and recorded.
See “Step Record procedure” below, for information on the 1…127 Velocity value. The event will be inserted with
record procedure. this velocity value, and the actual playing
strength of the note played on the keyboard will
Page header be ignored.
This line shows the current operating mode.
Event list area
Page sub-header List of inserted events
Track Previously inserted events. You may delete the last of these
events, and make it ready for a new event, by touching the Back
Name of the selected track in record. button in the display.
Tr01…Tr16 Song track. Position Position where the event has been inserted. The
value is shown in the “measure.beat.tick” format.
Pos (Position)
Note/RX Noise
This is the position of the event (note, rest or chord) to be
inserted. Name of the inserted Note or RX Noise. When
entering a chord, a series of dots is shown after
the name of the root note.
Step Time area
Vel. Velocity of the inserted event.
Step Time Dur.% Percentage duration of the inserted event.
Length of the event to be inserted.

… Note value. Buttons

Standard (–) Standard value of the selected note. Rest
Dot (.) Augments the selected note length by one half of Touch this button to insert a rest.
its value.
Triplet (3) Triplet value of the selected note. Tie
Touch this button to tie the note to be inserted to the previous
one. A note with the same pitch, and the specified length, will be
created, and tied to the previous one.
 Sequencer mode 183
Record mode: Step Record page

Back 8. From the main page of the Multitrack Recording mode,

either select the “Exit from Record” command from the
Goes to the previous step, erasing the inserted event.
page menu, or press the RECORD button to exit the Record
Next M. (Next Measure) mode.

Goes to the next measure, and fills the remaining space with 9. While in the main page of the Sequencer mode, you may
rests. press the (PLAY/STOP) button in the PLAYER 1 sec-
tion to listen to the Song, or select the Save Song command
Done from the page menu to save the Song to a storage device
Exits the Step Record mode. (see “Save Song window” on page 199).

Step Record procedure Chords and second voices in Step Record

mode
Here is the general procedure to follow for the Step Recording.
You are not obliged to insert single notes in a track. There are
1. Press the SEQUENCER button to enter Sequencer mode.
several ways to insert chords and double voices. Lets look at
2. Press the RECORD button, and select the “Multitrack some.
Sequencer” option to enter the Multitrack Record mode.
Entering a chord. Simply play a chord instead of a single note.
From the page menu, select the “Overdub Step Recording”
The event name will be the first note of the chord you pressed,
or “Overwrite Step Recording” mode. At this point, the
followed by the “…” abbreviation.
Step Record window will appear in the display.
Entering a chord made of notes with different velocity values.
3. The next event will be entered at the position shown by the
You can make the upper or lower note of a chord, for example,
Pos indicator in the upper right corner of the display.
louder than the remaining ones, to let the most important stand
• If you don’t want to insert a note at this position, insert a out from the chord. Here is how to insert a three-note chord:
rest instead, as shown in step 5.
1. Edit the first note’s Velocity value.
• To jump to the next measure, filling the remaining beats
2. Press the first note and keep it pressed.
with rests, touch the Next M. button in the display.
3. Edit the second note’s Velocity value.
4. To change the step value, use the Step Time parameters.
4. Press the second note and keep it pressed.
5. Insert a note, rest or chord at the current position.
5. Edit the third note’s Velocity value.
• To insert a single note, just play it on the keyboard. The
inserted note length will match the step length. You may 6. Press the third note, then release all notes.
change the velocity and relative duration of the note, by Entering a second voice. You can insert passages where one
editing the Velocity and Duration parameters. See “Veloc- note is kept pressed, while another voice moves freely.
ity” and “Duration” on page 182.
Ex. 1:
• To insert a rest, just touch the Rest button in the display.

Reference
Its length will match the step value.
• To tie the note to be inserted to the previous one, touch
the Tie button in the display. A note will be inserted, tied to
the previous one, with exactly the same pitch. You don’t Step Time =

need to play it on the keyboard again.

• To insert a chord or a second voice, see “Chords and sec-
On Off
ond voices in Step Record mode” on page 183. Release E (continue holding C)
Press E and C
6. After inserting a new event, you may go back by touching
the Back button in the display. This will delete the previ- Step Time =
ously inserted event, and set the step in edit again.
7. When finished recording, touch the Done button in the
display. A dialog box appears, asking you to either cancel, On Off

discard or save the changes. Press G Release G and C

If you touch Cancel, exit is canceled, and you can continue

editing. If you choose No, changes are not saved, and the
Step Record window is closed. If you choose Yes, changes
are saved, and the Step Record window is closed.
184 Sequencer mode
Record mode: Backing Sequence (Quick Record) page

Ex.2:
Record mode: Backing Sequence (Quick
Record) page
Step Time = Step Time = Step Time = Backing Sequence (Quick Record) mode allows you to quickly
record your live performance with the backing of the Styles. To
make things easier, just two grouped tracks are provided: Kbd/
On Off On Pad (Keyboard and Pads) to record keyboard and pads, and Ch/
Press F and C Release F Press G
Acc (Chords/Accompaniment) to record chords and the accom-
(continue holding C) (continue holding C)
paniment provided by the Style.
Step Time = Step Time = Step Time = While in Sequencer mode, press the RECORD button and select
the “Backing Sequence (Quick Record)” option. The Backing
Sequence (Quick Record) page appears.
Off On Off
Release G Press D Release D Recording
(continue holding C) (continue holding C) (continue holding C)
parameters area
Page sub-header Page header Page menu icon
Step Time = Step Time =

On Off
Press E Release E and C
Selected
track
(continue holding C)
info area

Ex.3:
B.S.
grouped
tracks
area
Step Time = Step Time =
Track volume/status area
Tie

On On Off
See “Backing Sequence (Quick Record) recording procedure” on
Press C Press G (continue holding C) Release G and C
page 186 for information on the record procedure.

Page header
See “Page header” on page 177. Here, this line also shows the
recognized chord.

Page menu icon

See “Page menu icon” on page 177.

Page sub-header
See “Page sub-header” on page 180.

Recording parameters area

Style
This parameter shows the selected Style. Either touch it, or press
the STYLE button in the SELECTION section to open the Style
Select window and select a different Style (see “Style Select win-
dow” on page 100).

Free memory
Percentage of remaining memory for recording.
 Sequencer mode 185
Record mode: Backing Sequence (Quick Record) page

Resolution Kbd/Pad: This Backing Sequence track includes the four Key-
board tracks and the four Pads. After finishing recording, they
Use this parameter to set the quantization during recording.
will be saved as Song tracks 1-8, as in the following table:
Quantization is a way of correcting timing errors; notes played
too soon or too late are moved to the nearest axis of a rhythmic
“grid”, set with this parameter, thus playing perfectly in time. Kbd/Pad track Song track/Channel

High No quantization applied. Upper 1 1

Upper 2 2
(1/32)… (1/8) Upper 3 3
Grid resolution, in musical values. For example, Lower 4
when you select 1/8, all notes are moved to the Pad 1 5
nearest 1/8 division. When you select 1/4, all
Pad 2 6
notes are moved to the nearest 1/4 division.
Pad 3 7
High (no
quantization) Pad 4 8

Tempo
1/16
Metronome Tempo. Select this parameter and use the VALUE
DIAL to change Tempo. You can always change Tempo using the
TEMPO buttons.
1/8
Meter
(Non Editable). This parameter shows the meter (or time signa-
Chord/Acc Track, Kbd/Pad Track ture) of the selected Style for reference.
These parameters let you define grouped track status during
recording. This status is reflected by the big status indicator PERF or STS (Performance or STS)
above the track sliders. This parameter shows the selected Performance or STS (depend-
Play The Backing Sequence track is set to play. If there ing on the latest item selected).
are recorded data, they will be heard while To select a Performance, either touch it, or press one of the PER-
recording the other Backing Sequence track. FORMANCE buttons to open the Performance Select window
Mute The Backing Sequence track is muted. If this and select a different Performance (see “Performance Select win-
tracks has already been recorded, it will not be dow” on page 102).
heard during recording of the other Backing To select an STS (Single Touch Setting), use the four STS buttons
Sequence track. under the display.
Rec The Backing Sequence track is in record. All pre-
viously recorded data will be deleted. After press- Backing Sequence tracks area

Reference
ing (PLAY/STOP) to start recording, the
track will receive notes from the keyboard, the Backing Sequence tracks status indicators
MIDI IN or the USB Device connector. These giant indicators show the status of the Backing Sequence
Chord/Acc: This Backing Sequence track groups all Style tracks, tracks. They reflect the status of the Kbd/Pad and Ch/Acc
together with recognized chords and Style controls and Style parameters (see “Chord/Acc Track, Kbd/Pad Track” above).
Elements selection. After finishing recording, they will be saved
as Song tracks 9-16, as in the following table:. Selected track info area
Chord/Acc track Song track/Channel
This line lets you see the Sound assigned to the selected track.
See “Selected track info area” on page 178 for more information.
Bass 9
Drum 10
Track volume/status area
Percussion 11
Accompaniment 1 12 This area is where you can set the volume of each single Key-
Accompaniment 2 13
board track, and mute/unmute tracks.
Accompaniment 3 14 Sliders (track volume)
Accompaniment 4 15
Graphical display of each track’s volume.
Accompaniment 5 16
186 Sequencer mode
Record mode: Backing Sequence (Quick Record) page

Individual track status icons 5. Select the status of the Backing Sequence tracks, by using
the Kbd/Pad and Ch/Acc parameters. (Kbd/Pad stays for
While you can use the Kbd/Pad Backing Sequence track to
Keyboard and Pads; Ch/Acc stays for Chord and Accompa-
change the status of all Keyboard tracks at once, you can also
niment, i.e. the Style tracks). To record all you play on the
change the status of each separate track. Touch this icon to
keyboard, plus the automatic accompaniment, leave their
change the status of the corresponding individual track.
status to Rec (see “Track status icons” on page 181).
Play status. The track can be heard. Warning: Tracks set to REC are automatically overwritten
when starting recording. Set a track to the PLAY or MUTE
Mute status. The track cannot be heard.
status, when you don’t want to delete it. For example, if you
are recording a keyboard part on an existing Style track, set
Track names
the Ch/Acc parameter to PLAY, and the Kbd/Pad track to
Under the sliders, a label for each track is shown. REC.

6. Start recording by pressing the left (PLAY/STOP)

Abbreviation Track
button (or the START/STOP button, if you want the Style
MIC/IN Microphone audio input to start immediately).
UPPER1…3 Upper tracks.
• By pressing the left (PLAY/STOP) button (or the
LOWER Lower track.
START/STOP button), you can record a keyboard intro
with no Style playing. After a count-in, start recording.
Backing Sequence (Quick Record) recording Play a solo intro, then start the auto-accompaniment by
procedure pressing the START/STOP button.
Here is the general procedure to follow for the Backing Sequence • By pressing the START/STOP button you can start the
(Quick) Recording. Style right at the beginning of the Song.
1. Press the SEQUENCER button to enter the Song mode. Since you can use any Style control, you could start with the
usual combinations (INTRO, ENDING…).
2. Press the RECORD button, and select the “Backing
Sequence (Quick Record)” option to enter the Backing Note: While in Backing Sequence mode, you can’t record the
Sequence (Quick Record) mode. Now you can prepare your SYNCHRO, TAP TEMPO/RESET, MANUAL BASS, BAL-
recording parameters. (For more details, see “Record ANCE controls.
mode: Backing Sequence (Quick Record) page” on 7. Play your music. While recording you can even change the
page 184). Style, or stop it by pressing START/STOP or one of the
3. The latest selected Style is currently selected. If it is not the ENDINGs. While recording you can even start the style
right one, select a different Style to start recording with. again, by pressing START/STOP.
(See “Style Select window” on page 100). 8. When finished recording your performance, press the
4. The latest selected Performance or STS is currently (PLAY/STOP) button in the PLAYER 1 section. You
selected. If you prefer, select a different Performance or will go back to the Sequencer Play Main page (see
STS. (See “Performance Select window” on page 102, and “Sequencer Play - Main page” on page 177).
“STS Select” on page 103).
At this point, you may press the (PLAY/STOP) but-
ton in the PLAYER 1 section to listen to the new Song.
You may also edit the Song by pressing the MENU button
(see “Edit menu” on page 189).
9. Save the song to a storage device (see “Save Song window”
on page 199).
Warning: The recorded Song will be deleted when the instru-
ment enters standby, switching to the Style Play or Song Play
mode, or entering Record again. If you wish to preserve it,
save the Song to a storage device.
 Sequencer mode 187
Record mode: Step Backing Sequence page

The locator value is shown in the “measure.beat.tick” format.

Record mode: Step Backing Sequence page Measure Measure or bar number.
Beat Divider in the Time Signature ratio (e.g., a quar-
The Step Backing Sequence mode allows you to enter single ter in a 3/4 time).
chords, to create or edit the Style (Chord/Acc) part of a Song.
Tick Smallest position value. Both Pa900 internal play-
This mode lets you enter chords even if you are not a keyboard
ers feature a resolution of 384 ticks per quarter.
player, or fix any error made playing chords or selecting Style
controls, during a Backing Sequence (Quick Record) recording. Style
In this mode, you can only edit Songs created using the Backing This is the latest selected Style. To insert a Style change at the
Sequence (Quick Record) recording mode. When saving a Song current position, touch the Style name to open the Style Select
created using the Backing Sequence (Quick Record) recording window, or follow the standard selecting procedure using the
mode, all Chord/Acc data is preserved, and can be loaded later, STYLE SELECT buttons.
to be edited again by using the Step Backing Sequence mode.
Note: Any Style Change inserted after the beginning of the mea-
While in Sequencer mode, press the RECORD button and select sure (i.e., to a position other than Mxxx.01.000) will be effective at
the “Step Backing Sequence” option. The Step Backing Sequence the following measure. For example, if a Style Change event has
window appears. been inserted at M004.03.000, the selected Style will be effectively
Page menu icon selected at M005.01.000. (This works exactly as in Style Play
mode).
Note: When inserting a Style Change, you may also insert a
Tempo Change at the same position. A Style Change will not auto-
matically insert the Style’s Tempo.

Performance
This is the latest selected Performance. Select a Performance to
recall the Style it links to. To insert a Performance change at the
current position, touch the Performance name to open the Per-
formance Select window, or follow the standard selecting proce-
dure using the PERFORMANCE section.
Note: The STYLE CHANGE LED is automatically turned on
“Soft” transport buttons Parameters area
when entering the Chord/Acc Step Mode. This means that selecting
a Performance automatically selects the Style memorized in the
See “Step Backing Sequence procedure” on page 189 for infor- Performance.
mation on the record procedure.
The STS MODE and STS buttons are automatically disabled,
meaning that you can’t change Keyboard tracks while in Chord/
Page menu icon Acc Step Mode.

Reference
Touch the page menu icon to open the menu. See “Step Backing
Sequence page menu” on page 188 for more information. Tempo
This is the Tempo Change parameter. To insert a Tempo Change
Parameters area event at the current position, select this parameter and use the
VALUE DIAL to change its value.
Side arrow ( )
Chord
The small arrow next to a parameter means that its value is effec-
The chord parameter is divided in four separate parts:
tive at the current position. For example, if you are at the
“003.01.000” position, and an arrow lights up next to the Chord
parameter, this means that a chord change happens at the
“003.01.000” position. Name Type Extension

Measure Select one of the parts, then use the VALUE DIAL to modify it.
This parameter shows the current position of the Step Editor. To As an alternative, you can play a chord, and it will be automati-
go to a different position within the Song, use one of the follow- cally recognized. While recognizing a chord, the status of the
ing systems: Bass Inversion parameter will be considered.
• Select this parameter, then use the VALUE DIAL to go to a The lack of a chord (--) means that the accompaniment will not
different measure. play at the current position (apart for the Drum and Percussion
tracks). To select the “--” option, select the Name part of the
• Use the Measure buttons in the display to move to a differ-
Chord parameter, then use VALUE DIAL to select the very last
ent measure. Use the Step buttons in the display to move in
value (C…B, Off).
steps of 1/8 (192 ticks). Use the Event buttons in the display
to jump to the next event.
188 Sequencer mode
Record mode: Step Backing Sequence page

Note: If you replace a chord with a different one, please remember Done button
that the Lower track (if recorded) will not be automatically
changed, and may cause a dissonance against the accompaniment. Done

Style Element Touch this button to exit the Step Backing Sequence mode. All
changes will be saved to memory.
This is the Style Element (i.e., a Variation, Fill, Intro, or Ending).
The length of the selected Style Element is always shown by the Hint: Save the Song to a storage device, by selecting the “Save
“Length” parameter (see below). Song” command from the page menu, to avoid losing it when the
instrument enters standby.
“Off ” means that the accompaniment will not play at the
selected position – only Keyboard and Pad tracks will play.
Step Backing Sequence page menu
Hint: Insert a Style Element Off event exactly where the automatic
accompaniment must stop (at the end of the Song). Touch the page menu icon to open the menu. Touch a command
to select it. Touch anywhere in the display to close the menu
Length without selecting a command.
This parameter will let you know where to place the following
Style Element Change. For example, if you inserted an Intro
event lasting for 4 measures, you can insert 4 empty measure
after this event, and a Variation event at the end of the Intro,
beginning at the 4th empty measure.

Del (Delete) button

When a side arrow ( ) is shown next to a parameter, there is an
event at the current position. You can touch the Del button next
to it, to delete the event at the current position.
Hint: To delete all events starting from the current position, select Insert Measure
the “Delete All from Selected” command from the page menu (see
below). Use this command to insert an empty measure starting from the
current measure. All Chord/Acc events contained in the current
measure will be moved to the following measure. The event at
“Soft” transport buttons the Mxxx.01.000 position (i.e., exactly at the beginning of the
measure, like a Time Signature or Style change) will not be
moved.
Previous or Next Event

Use these buttons to move to the previous or next recorded Cut Measure
event. Use this command to delete the current measure. All Chord/Acc
event contained in the following measures will be moved one
measure back.
Previous or Next Step
Delete All from Selected
Use these buttons to go to the previous or next step (1/8, or 192
ticks). If an event is located before the previous or next step, the Use this command to delete events of all types, starting from the
locator stops on that event. For example, if you are positioned on current position.
M001.01.000, and no event exists before M001.01.192, the > but- Note: All events on the very first tick (M001.01.000), like Perf,
ton moves to the M001.01.192 location. If an event exists on Style, Tempo, Chord, Style Element selection, cannot be deleted.
M001.01.010, the > button stops to the M001.01.010 location.
These commands are effective even if the Measure parameter is Delete All Styles/Perfs from Selected
not selected. Delete All Styles Elements from Selected
Delete All Chords from Selected
Delete All Tempos from Selected
Previous or Next Measure
Select one of these commands to delete all events of the corre-
Use these buttons to move to the previous or following measure. sponding type, starting from the current position to the end of
These commands are effective even if the Measure parameter is the Song. To delete all events of the same type from the whole
not selected. Song, go back to the M001.01.000 position, and select one of
these commands.
Note: All events on the very first tick (M001.01.000), like Perf,
Style, Tempo, Chord, Style Element selection, cannot be deleted.
 Sequencer mode 189
Edit menu

Step Backing Sequence procedure

Here is the general Step Backing Sequence recording procedure.
Edit menu
Hint: Before entering Step Backing Sequence mode to edit an exist-
ing Song, select the “Save Song” command from the page menu, From any page, press the MENU button to open the Sequencer edit
and save the Song to a storage device. This way, you will have a menu. This menu gives access to the various Sequencer edit sections.
copy of the Song, in case you don’t like the results of your editing. When in the menu, select an edit section, or press EXIT to exit
1. While in Sequencer mode, press the RECORD button, and the menu.
choose the “Step Backing Sequence” recording option. When in an edit page, press EXIT or the SEQUENCER button to
2. Select the Measure parameter, and go to the desired posi- go back to the main page of the Sequencer operating mode.
tion in the Song, by using the VALUE DIAL. Alternatively,
you can move the locator using the “soft” transport buttons
in the display. See ““Soft” transport buttons” on page 188.
3. Select the parameter type (Style, Performance, Tempo…) to
insert, edit or delete at the current position. If an arrow ( )
appears next to a parameter, the shown event has been
inserted at the current position.
4. Use the VALUE DIAL to modify the selected event. Delete
it by touching the Del button next to the event. When edit-
ing a parameter without the arrow ( ) next to it, a new
event is inserted at the current position.
Each item in this menu corresponds to an edit section. Each edit
5. Exit the Step Backing Sequence recording mode, by touch- section groups various edit pages, that may be selected by touch-
ing the Done button in the display. ing the corresponding tab on the lower part of the display.
6. Press (PLAY/STOP) in the PLAYER 1 section to lis-
ten to the result of your editing. If it is fine, save the Song to
a storage device. Edit page structure
All edit pages share some basic elements.
Page menu
Operating mode Edit section icon

Selected
track
info

Reference
Param-
eters
area

Tabs

Operating mode
This indicates that the instrument is in Sequencer mode.

Edit section
This identifies the current edit section, corresponding to one of
the items of the edit menu (see “Edit menu” on page 189).

Page menu icon

Touch this icon to open the page menu (see “Page menu” on
page 198).

Parameters area
Each page contains various parameters. Use the tabs to select
one of the pages. For detailed information on the various types
of parameters, see sections starting below.
190 Sequencer mode
Mixer/Tuning: Volume/Pan

Tabs Parameters
Use tabs to select one of the edit pages of the current edit section. All parameters in this page are the same found in the same page
of the Style Play mode (see “Mixer/Tuning: FX Send” on
page 172).

Mixer/Tuning: Volume/Pan
This page lets you set the volume and pan for each Song track.
Mixer/Tuning: EQ Gain
Use the TRACK SELECT button to switch between Song tracks
In this page you can set the three-band equalization (EQ) for
1-8 and 9-16.
each individual track.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16, and vice-versa.

Parameters
All parameters in this page are the same found in the same page
of the Song Play mode (see “Mixer/Tuning: Volume/Pan” on
Parameters
page 172).
All parameters in this page are the same found in the same page
of the Song Play mode (see “Mixer/Tuning: EQ Gain” on
page 172).
Mixer/Tuning: FX Send
This page lets you set the level of the track’s direct (uneffected)
signal going to the Internal FX processors.
Mixer/Tuning: EQ Control
Use the TRACK SELECT button to switch between Song tracks
This page lets you reset or bypass track equalization, pro-
1-8 and 9-16, and vice-versa.
grammed in the previous page.
Use the TRACK SELECT button to switch between Song tracks
1-8 and 9-16, and vice-versa.

FX Groups
Use this pop-up menu to select one of the two FX groups (A or
B).
Parameters
Pa900 includes two groups of effects (FX A and FX B). While in
All parameters in this page are the same found in the same page
Song Play mode, the A group is reserved to the Song and Pad
of the Song Play mode (see “Mixer/Tuning: EQ Control” on
tracks, the B group to the Keyboard tracks.
page 173).
However, Songs created in Sequencer mode could also assign the
B group to the Song tracks.
 Sequencer mode 191
Mixer/Tuning: Tuning

Mixer/Tuning: Tuning Effects: A/B FX Configuration

This page allows you to select the effects for the A (Song) and B
Parameters
(Keyboard) FX groups. You can use the “FX A” and “FX B” side
All parameters in this page are the same found in Global mode. tabs to switch from one group to the other one. Songs created in
See “Mixer/Tuning: Tuning” on page 116). Sequencer mode on a Pa-Series instrument can also use the B FX
group.
The effect types and the FX matrix are the same seen for the
Mixer/Tuning: Sub Scale Style Play mode (see “Effects: A/B FX Configuration” on
page 119).

This page lets you program an alternative scale for the selected
tracks (via the “Track Assign” parameter). The remaining tracks
(if any) use the basic scale set in Global mode (see “Main Scale”
on page 257).

Note: When you stop the Song, or select a different Song, the
default effects are selected again. You can, however, stop the Song,
change the effects, then start the Song again. Save the Song to per-
manently change the effects.
Note: Quarter Tone selection and activation of the Sub-Scale on
each track of a Song, can be received by MIDI (i.e., by an external FX Group
sequencer or controller). Conversely, selection of Quarter Tone set-
Use these side tabs to choose the FX group (A or B) for the cor-
tings, or activation of the Sub-Scale on each track of the Song, can
responding track.
be sent by the Pa900 to an external MIDI recorder as System
Exclusive data. Pa900 includes two groups of effects (FX A and FX B). While in
Song Play mode, the A group is reserved to the Song and Pad
Parameters tracks, the B group to the Realtime (Keyboard) tracks.
All parameters in this page are the same found in Global mode. However, Songs created in Sequencer mode could also assign the

Reference
See “Mixer/Tuning: Sub Scale” on page 117. B group to the Song tracks.

Track Assign Parameters

Check the parameter corresponding to each track where the All parameters in this page are the same found in the same page
Sub-Scale must be used. of the Song Play mode (see “Effects: A/B FX Configuration” on
page 173).
Play/Mute icon
Track’s play/mute status.

Play status. The track can be heard.

Mute status. The track cannot be heard.

192 Sequencer mode
Effects: Master 1, 2

Effects: Master 1, 2 Event Edit: Event Edit

These pages contain the editing parameters for the effect proces- The Event Edit is the page where you can edit each single MIDI
sors. Here is an example of the FX A page, with the Reverb Hall event of the selected track. You can, for example, replace a note
effect assigned. with a different one, or change its playing strength. See also
“Event Edit procedure” on page 193 for more information on the
event editing procedure.

Scroll
bar

Selected effect
Select one of the available effects from this pop-up menu. This is
Position
equivalent to the “FX Group” parameters found in the “Effects:
A/B FX Configuration” page (see above). Position of the event, expressed in the form ‘aaa.bb.ccc’:
• ‘aaa’ is the measure
Parameters
• ‘bb’ is the beat
The parameters shown in this page are the same already seen for
the Style Play mode. See “Effects: Master 1, 2” on page 119 for • ‘ccc’ is the tick (each quarter beat = 384 ticks)
details. You can edit this parameter to move the event to a different posi-
tion. You can edit a position in either of the following ways:
(a) select the parameter, and use the VALUE DIAL to change
Track Controls: Mode the value, or
(b) select the parameter, then touch it again; the numeric key-
pad will appear. Enter the new position by dialing in the
Parameter three parts of the number, separated by a dot. Zeroes at the
See “Track Controls: Mode” on page 120. beginning can be omitted, as well as the least important
parts of the number. For example, to enter position
002.02.193, dial “2.2.193”; to enter position 002.04.000 dial
“2.4”; to enter position 002.01.000, simply dial “2”.
Track Controls: Drum Edit
Type
Type of the event shown in the display. To edit it, select the param-
Parameter eter and use the VALUE DIAL to change its value.
See “Track Controls: Drum Edit” on page 121. This parameter also shows the (non editable) “End Of Track”
marking, when the end of the track is reached.

Value 1 and 2
Track Controls: Easy Edit Values of the event shown in the display. Depending on the
selected event, the meaning may change.
Parameter Here are the events contained in ordinary tracks (1-16).
See “Track Controls: Easy Edit” on page 122.
Type First value Second value

Note Note name Velocity

RX Noise Note name Velocity
Prog Program Change number –
Ctrl Control Change number Control Change value
Bend Bending value –
Aftt Mono (Channel) Aftertouch value –
PAft Note to which the Aftertouch is Poly Aftertouch value
applied
 Sequencer mode 193
Event Edit: Event Edit

And here are the events contained in the Master track. Go/Catch
This is a dual-function command.
Type First value Second value
• While the sequencer is not running, it works as a Go to Mea-
Tempo Tempo change – sure command. Touch it to open the Go to Measure dialog box:
Volume Master Volume value –
Meter Meter (time signature) –
change(*)
KeySign Key Signature(†) –

Scale One of the available preset Root note for the

Scales selected Scale
When in this dialog box, select a target measure, and touch OK.
UScale (User Scale) Altered note Note alteration(‡) The first event available in the target measure will be selected.
QT (Quarter Tone) Altered note Note alteration (0,
• While the sequencer is running, it works as a Catch Locator
50)(b)
command. Touch it to show the event that is currently playing.
QT Clear (Quarter Reset of all Quarter Tone (QT) –
Tone Clearing) changes
Insert
(*). Meter changes can’t be edited or inserted separately from a measure. To insert
a Meter change, use the Insert function in the Edit section and insert a series of
Touch the Insert button in the display to insert a new event at the
measures with the new meter. Existing data can then be copied or entered to these current shown Position. The default values are Type = Note,
measures Pitch = C4, Velocity = 100, Length = 192.
(†). This is the key signature shown in the Score. If this event is missing, the Score
will be shown as if it was in the key of C Major. Note: You can’t insert new events in an empty, non-recorded Song.
(‡). To edit User Scale and Quarter Tone settings, select the first value, then select To insert an event, you must first insert some empty measures by
the scale’s degree to edit. Edit the second value to change the tuning of the selected using the Insert Measure function (see “Song Edit: Cut/Insert Mea-
note of the scale. sures” on page 196).

To edit the event Type and Values, select the parameter and use Delete
the VALUE DIAL to change their value. In case of numeric val-
Touch the Delete button in the display to delete the event
ues, you can also press them twice to open the numeric keypad.
selected in the display.
Length Note: The “End of Track” event cannot be deleted.
Length of the selected Note event. The value format is the same
as the Position value. Edit it in the same way. Event Edit procedure
Note: If you change a length of “000.00.000” to a different value, Here is the general event editing procedure.
you can’t go back to the original value. This rather uncommon
zero-length value may be found in the drum and percussion tracks 1. While in the Event Edit page, press (PLAY/STOP) in
of Songs made in Backing Sequence mode. the PLAYER 1 section to listen to the Song. Press it again to
stop the Song.

Reference
Track
2. Select the Filter page, and turn “Off ” the filter for the event
Use this pop-up menu to select the track to edit. types you wish to see in the display (see “Event Edit: Filter”
on page 194 for more information).
Track 1…16 One of the ordinary tracks of the Song. These
tracks contains musical data, like notes and con- 3. Return to the Event Edit page.
trollers.
4. Use the “Track” pop-up menu to select the track to edit.
Master This is a special track, containing Tempo The list of events contained in the selected track will appear
changes, Meter changes, Scale and Transpose in the display.
data, and the effect parameters.
For more information on the event types and their values, see
above.
Scrollbar
5. Select the “Position” parameter. Use the VALUE DIAL (or
Use the scrollbar to browse the event through the list. You can
touch the parameter again to open the numeric keypad) to
also scroll by using the SHIFT + DIAL combination.
change the event’s position.
6. Select the “Type” parameter and use the VALUE DIAL to
change the event type. Select the “Value 1 and 2” parame-
ters and use the VALUE DIAL (or touch the parameter
again to open the numeric keypad) to modify the selected
value.
194 Sequencer mode
Event Edit: Filter

7. In the case of a Note event, select the Length parameter, Pa Controls Controls exclusive to Pa900, like the Scale set-
and use the VALUE DIAL (or touch the parameter again to tings. These controls are recorded to the Master
open the numeric keypad) to change the event’s length. Track, and saved as System Exclusive data.
• While the sequencer is not running, you may touch the
Go/Catch button in the display to go to a different measure
(see “Go/Catch” above)
Song Edit: Quantize
• While the sequencer is running, you may use the Go/
Catch button in the display to see the currently playing
event in the display (see “Go/Catch” above). The quantize function corrects any rhythm error after recording.

• Use the PLAYER 1 transport controls to listen to the

Song.
8. Touch the Insert button in the display to insert an event at
the Position shown in the display (a Note event with default
values will be inserted). Touch the Delete button in the dis-
play to delete the selected event.
9. When the editing is complete, you may select a different
track (go to step 4).
10. When finished editing the whole Song, select the Save Song
command from the page menu to save the Song to a storage
device. See “Save Song window” on page 199 for more After setting the various parameters, touch Execute to start the
information on saving a Song. operation.

Track
Use this parameter to select a track.
Event Edit: Filter All Quantize will apply to all tracks.
Track 1…16 Quantize will apply only to the selected track.
This page is where you can select the event types to be shown in
the Event Edit page. Resolution
This parameter sets the quantization value. For example, when
you select a 1/8-note, all notes are moved to the nearest 1/8 divi-
sion. When you select 1/4, all notes are moved to the nearest 1/4
division.
No quantiza-
tion

1/8

Turn On the filter for all event types you do not wish to see in 1/4
the Event Edit page.
Note/RX Noise
(1/32)… (1/4)
Notes and RX Noises.
Grid resolution, in musical values. A “b…f ” char-
Program Program Change events. acter added after the value means swing-quanti-
Control Control Change events. zation. A “3” means triplet.
Tempo/Meter Tempo and Meter (time signature) changes (Mas- Start / End Tick
ter Track only).
Use these parameters to set the starting and ending points of the
After Touch Mono (Channel) Aftertouch events. range to be quantized.
Poly After Touch If you wish to select a four-measure sequence starting at the
Poly Aftertouch events. beginning of the Song, the Start will be positioned at 1.01.000,
and the End at 5.01.000.
Pitch Bend Pitch Bend events.
 Sequencer mode 195
Song Edit: Transpose

Bottom / Top Note

Use these parameters to set the bottom and top note of the key- Song Edit: Velocity
board range to quantize. If you select the same note as the Bot-
tom and Top parameters, you can select a single percussive Here you can change the Velocity value for the notes. An
instrument in a Drum track. Advanced mode is available, allowing you to select a velocity
Note: These parameters are available only when a Drum track is curve for the selected range. This is useful to create fade-ins or
selected. fade-outs.

Song Edit: Transpose

Here you can transpose the Song, a track or a part of a track.

After setting the various parameters, touch Execute to start the

operation.

Track
Use this parameter to select a track.
All All tracks selected.
After setting the various parameters, touch Execute to start the
operation. Track 1…16 Selected track.

Track Value

Use this parameter to select a track. Velocity change value.

All All tracks selected (apart for Drum tracks). Start / End Tick
Track 1…16 Selected track. Use these parameters to set the starting and ending points of the
range to edit.
Value
If you wish to select a four-measure sequence starting at the
Transpose value (±127 semitones). beginning of the Song, the Start will be positioned at 1.01.000,
and the End at 5.01.000.

Reference
Start / End Tick
Use these parameters to set the starting and ending points of the Bottom / Top Note
range to transpose. Use these parameters to set the bottom and top of the keyboard
If you wish to select a four-measure sequence starting at the range to edit. If you select the same note as the Bottom and Top
beginning of the Song, the Start will be positioned at 1.01.000, parameters, you can select a single percussive instrument in a
and the End at 5.01.000. Drum track.

Bottom / Top Note Advanced

Use these parameters to set the bottom and top of the keyboard When this checkbox is checked, the “Intensity”, “Curve”, “Start
range to transpose. If you select the same note as the Bottom and Velocity Value” and “End Velocity Value” parameters can be
Top parameters, you can select a single note, or a single percus- edited.
sive instrument in a Drum track.
Intensity
(Only available in Advanced mode). Use this parameter to specify
the degree to which the velocity data will be adjusted toward the
curve you specify in “Curve”.
0…100% Intensity value. With a setting of 0 [%], the veloc-
ity will not change. With a setting of 100 [%], the
velocity will be changed the most.
196 Sequencer mode
Song Edit: Cut/Insert Measures

Curve
(Only available in Advanced mode). Use this parameter to select Song Edit: Delete
one of the six curves, and to specify how the velocity will change
over time. This page is where you can delete MIDI events from the Song.
Start Value = 0%, End Value = 100%
Curve 1 Curve 2 Curve 3
127 127 127

Velocity Velocity Velocity

1 1 1
Start End Start End Start End
Value Value Value Value Value Value

Curve 4 Curve 5 Curve 6

127 127 127

Velocity Velocity Velocity RANDOM

1 1 1
Start End Start End Start End
Value Value Value Value Value Value

After setting the various parameters, touch Execute to start the

operation.
Start / End Vel. Value
(Only available in Advanced mode). Velocity change at the start- Track
ing and ending ticks of the selected range. Use this parameter to select a track.
0…100 Velocity change in percentage. All All tracks selected.
Track 1…16 Selected track.
Master Master track. This is where the Tempo, Scale and
Song Edit: Cut/Insert Measures Effect events are recorded.

In this page you can cut or insert measures from the Song. Event
Type of MIDI event to delete.
All All events. Measures will not be removed from
the Song, and will remain empty.
Note All notes in the selected range.
Dup.Note All duplicate notes. When two notes with the
same pitch are encountered on the same tick, the
one with the lowest velocity is deleted.
After Touch After Touch events.
Pitch Bend Pitch Bend events.
After selecting the Start and Length parameters, touch Execute Prog.Change Program Change events, excluding the bundled
to start the operation. Control Change #00 (Bank Select MSB) and #32
(Bank Select LSB).
After the Cut, the following measures are moved back, to fill the
cut measures. Ctl.Change All Control Change events, for example Bank
Select, Modulation, Damper, Soft Pedal…
After the Insert, the following measures are pushed forward to
accommodate the inserted measures. CC00/32…CC127
Single Control Change events. Double Control
Start Change numbers (like 00/32) are MSB/LSB bun-
dles.
First measure where to begin cutting/inserting.
Start / End Tick
Length
Use these parameters to set the starting and ending points of the
Number of measures to be cut/inserted.
range to edit.
Meter If you wish to select a four-measure sequence starting at the
Meter (time signature) of the measures to be inserted. beginning of the Song, the Start will be positioned at 1.01.000,
and the End at 5.01.000.

Bottom / Top Note

Use these parameters to set the bottom and top of the keyboard
range to delete. If you select the same note as the Bottom and
 Sequencer mode 197
Song Edit: Copy

Top parameters, you can select a single note, or a single percus-

sive instrument in a Drum track. Song Edit: Move
Note: These parameters are available only when the All or Note
options are selected. Here you can shift a track forward or backward by just a few
ticks or whole measures.

Song Edit: Copy

Here you can copy tracks or phrases.

After setting the various parameters, touch Execute to complete

the operation.

Track
Use these parameters to select the track you want to move.
After setting the various parameters, touch Execute to start the
operation. Track 1…16 Selected track.

Note: If you copy too many events on the same “tick”, the “Too Start / End Tick
many events!” message appears, and the copy operation is aborted.
These parameters set the starting and ending point of the range
Mode to move.

Use this parameter to select the Copy mode. To Tick

Merge Copied data are merged with the data at the tar- This parameter allows you to set the target starting point of the
get position. moved track.
Overwrite Copied data replace all data at the target position.
Warning: Deleted data cannot be recovered!
Song Edit: RX Convert
From Track… To Track

Reference
Use these parameters to select the source and target track to
You can use the RX Convert page to convert notes of the midifile
copy.
into RX Noises, and vice-versa. This will help programming
All All tracks. The target track cannot be selected. Songs on an external sequencer.
Track 1…16 Selected source and target tracks.

Start Measure… End Measure

These parameters are the starting and ending measure to copy.
For example, if From Measure=1 and To Measure=4, the first
four measures are copied.

To Measure
This parameter is the first of the target measures.

Repeat Times
After having chosen a track to convert, touch Execute to com-
Number of times the copy must be executed. Copies will be con-
plete the operation.
secutive.
Track
Use these parameters to select the track containing the notes or
RX Noises you want to convert.

RX Note Velocity
Use this parameter to adjust the volume level of the RX Noises in
the selected track(s).
198 Sequencer mode
Page menu

Add RX Noises to Guitar track

Use this parameter to automatically analyze the Standard MIDI Page menu
File, and add RX Noises to Guitar tracks. This command scans a
single track or the whole Standard MIDI File, looking for guitar Touch the page menu icon to open the menu. Touch a command
strumming played by nylon, steel or electric guitars. to select it. Touch anywhere in the display to close the menu
After scanning, a suitable Guitar sound will be automatically without selecting a command.
assigned to the relevant tracks, and RX Noises automatically
added where needed.

Convert RX Noises to MIDI Notes

Use this parameter to convert the RX Noises contained in the
selected track to ordinary MIDI Notes.

Convert MIDI Notes to RX Noises

Use this parameter to convert all the relevant MIDI Notes in the
selected track to RX Noises. Load Song
Select this command to open the Song Select window, and load a
Song to the sequencer. (See “Song Select window” on page 199).

Save Song
Select this command to save the new or edited Song to a storage
device as a Standard MIDI File. The file is automatically added
the “.MID” extension. After selecting this command, the Save
Song page appears (see “Save Song window” on page 199).
Warning: Turning the instrument off will delete the Song from
memory. Save your Song to a storage device to avoid losing it.
Warning: The Song is also lost when switching from Sequencer to
Style Play or Song Play mode, without previously saving the Song
to a storage device.

Undo
When selecting this command, the latest operation is canceled,
and data are reverted to the previous situation.

Overdub Step Recording

Only available in Record mode. Select this command to enter
Overdub Step Record mode. This recording mode lets you enter
events one at a time, adding events to the existing events. (See
“Record mode: Step Record page” on page 182).

Overwrite Step Recording

Only available in Record mode. Select this command to enter
Overwrite Step Record mode. This recording mode lets you
enter events one at a time, overwriting all existing events. (See
“Record mode: Step Record page” on page 182).
 Sequencer mode 199
Song Select window

Delete Song Press EXIT to cancel saving and go back to the main page of the
Sequencer operating mode.
Select this command to delete the Song and create a new, blank
Song. Directory

Delete Current Track

Select this command to delete the track currently selected in the
Track area (see “Track volume/status area” on page 181).

Solo Track
Select the track to be soloed, and check this item. You will hear
only the selected track, and the ‘Solo’ warning will flash on the
page header. Song
path
Uncheck this item to exit the Solo function.

Keep the SHIFT button pressed and touch one of the

tracks to solo it. Do the same on a soloed track to deactivate the
Storage device
Solo function.

Copy/Paste FX Song path

Use this command to copy a single effect, or both effects of an This line shows the path of the location where you are saving the
FX group (A or B). See “Copy/Paste FX” on page 127 for detailed Song.
instructions.
Directory
Exit from Record
This is the list of the selected device’s content.
Only available in Record mode. Select this command to exit the
Record mode, and go back to the Main page of the Sequencer File status File size
Play mode (see “Sequencer Play - Main page” on page 177).

Song Select window

This window appears when you select the “Load Song” com-
mand from the page menu, or press the SELECT button in the
PLAYER 1 section of the control panel. See “Song Select win-
dow” on page 103 for details. Type of the File or folder Modification

Reference
file or folder name date

Detailed information about this type of page can be read in

Save Song window “Song Select window” on page 103.

Storage device
The recorded Song is lost when the instrument enters standby.
The Song is also lost when you overwrite it in Record mode, Use this menu to select one of the available storage devices.
or if you confirm the warning message when switching to the
Style Play or Song Play mode. You must save to a storage device Device Type
any Song you wish to preserve.
DISK Internal memory
This window appears when you select the “Save Song” command SD Optional device inserted in the microSD slot
from the page menu.
USB Optional device connected to the USB Host port

The actual name (label) of the device appears within square

brackets ([]).

Open
Opens the selected folder (item whose icon looks like this: ).

Close
Closes the current folder, returning to the parent (“upper”)
folder.
200 Sequencer mode
Save Song window

Locate Master Transpose saved with the Song

Touch this button to see the Song assigned to the Sequencer. When saving a Song, the Master Transpose value is saved with
This is useful to quickly locate it, after you have browsed the Song. Since this value is saved as System Exclusive data, it is
through long directories and “dug” into different folders. preserved also when playing back the Song in Song Play mode.
Save Hint: Since the Master Transpose is a global parameter, loading a
Song with a non-standard transposition may result in unwanted
Touch this button to open the Save Song dialog box, and save the
transposing when loading other Songs that do not contain their
Song to the current directory.
own transposition data. To transpose a Song it is advisable to use
the Transpose function in the Edit section of the Sequencer mode
(see “Song Edit: Transpose” on page 195).
You may also lock the Master Transpose, to avoid unwanted trans-
position. See “General Controls: Lock” on page 249 of the Global
chapter.
As a general rule, you should use the Master Transpose (TRANS-
POSE buttons on the control panel) when you need to transpose
Keyboard tracks together with the Song. You should use the Edit
• If no file has been selected in the display, prior to touching mode Transpose function (see “Song Edit: Transpose” on page 195)
Save, the “NewSong” default name will be automatically assigned when only the Song has to be transposed.
to the Song. Note: The Master Transpose value is always shown on the page
Note: If a file is selected, just touch the storage device name to header:
deselect it.
• If a file has been selected in the display, prior to touching Save,
the name of the selected file will be automatically assigned to the
Song. Save Song procedure
1. If you are in Record mode, stop the sequencer and exit
In any of the above situations, touch the (Text Edit) button
from the Record mode. Then go back to the main page of
to edit the Song name. the Sequencer Play mode (see “Sequencer Play - Main
Warning: If a file with the same name is already in the current page” on page 177).
directory, a message will warn you. If you confirm, the existing file 2. Select the Save Song command from the page menu. The
will be overwritten. Select a file before saving only if you want to Save Song page appears.
overwrite it (i.e., in case you are saving changes to an existing file).
3. Select the folder where you want to save the Song into. Use
the Open and Close commands to browse open or close
Empty measure at the beginning of the Stan- folders. Use the scrollbar to browse through the files.
dard MIDI File 4. When you are in the directory where you want to save your
When saving a Song as a Standard MIDI File, an empty measure Song to, touch the Save button in the display.
is automatically inserted to the beginning of the Song. This mea- • To overwrite an existing file, select it before touching
sure contains various Song initialization parameters. Save.
• To create a new file, do not select any file before touching
Play/Mute status saved with the Song Save. The “NewSong” (“NEWSONG.MID” on a storage
When saving a Song, the Play/Mute status is saved with the device) name will be automatically assigned to the Song.
Song. This status is preserved also when playing back the same 5. After touching the Save button, the Save Song dialog box
Song in Song Play mode. will appear.

6. If you like, touch the (Text Edit) button to edit the

name.
7. Touch OK to confirm saving, or Cancel to stop the Save
operation.
 Sound mode 201
The MIDI channel

Sound mode
The Sound operating mode is where you can listen to individual Note: Notes pointing to special Drum Kit features are marked by
Sounds, and edit them. In this mode, the selected Sound can the icon.
always be played across the full keyboard range.
Details on how to select a Sound are included in the “Selecting
elements” chapter (see “Sound Select window” on page 101).
While in a different operating mode, you can easily select the
Main page
Sound to be edited when switching to the Sound mode. Just
select the track the Sound to be edited is assigned to, then keep Here is the main page of the Sound operating mode.
the SHIFT button pressed while pressing the SOUND button.
Page header Page menu icon
Hint: This is also useful to see the Bank Select/Program Change
numbers when programming a Song on an external sequencer. Soun
d Info
area

The MIDI channel Realtime

Controls
area
In Sound mode, Pa900 receives and transmits on the same chan-
nel of the Upper 1 track. If the Global channel is assigned, notes
can also be received on this channel. See “MIDI: MIDI In Chan-
nels” on page 260 and “MIDI: MIDI Out Channels” on page 261
for more information.
FX area Voice Assign Mode area

How to select oscillators Page header

This line shows the current operating mode and transposition.
While in an edit page requiring an oscillator to be selected
for editing, use the vertical row of buttons on the right
(1…24 max) to select one of the available oscillators. The
Operating mode Master Transpose (in
number of available oscillators depends on the “Oscillators
semitones)
Count” parameter (see page 205).
If you cannot see the desired oscillator, touch the scroll
Operating mode name

Reference
arrow, until the hidden oscillator is shown in the display.
Name of the current operating mode.
When oscillators cannot be select, since the parameter
contained in the current page are global and valid for the
Master transpose
whole Sound, these buttons are greyed out, and cannot be
selected. Master transpose value in semitones. This value can be changed
using the TRANSPOSE buttons on the control panel.

Page menu icon

Sounds, Drum Kits, Digital Drawbars
Touch the page menu icon to open the menu. See “Page menu”
on page 227 for more information.
Pa900 features three different types of Sounds:
• Ordinary Sounds. These are normal instrument Sounds,
like pianos, strings, basses.
Sound Info area
• Drum Kits. These are drum and percussion kits, where
each note of the keyboard is a different percussive instru- This is where basic details for the Sound are shown. Touch any-
ment. You can find Drum Kits in the Drum & SFX and where in this area to open the Sound Select window.
User Dk banks.
Sound name
• Digital Drawbars. These are Sounds with a very complex
structure, and a special usage, whose settings are saved into Name of the Sound assigned to the corresponding Keyboard
a Performance. See “Digital Drawbars page” on page 203 track.
for more information.
Bank
Before pressing MENU to access the edit pages, you should
select a Sound of the type you wish to edit or create. Bank the current Sound belongs to.
202 Sound mode
Main page

Bank Select / Program Change sequence Voice Assign Mode

Bank Select MSB / Bank Select LSB / Program Change numbers,
in the form “CC00.CC32.PC”. Poly

CC00 This section shows the value of the Control The Sound will play polyphonically, allowing you play chords.
Change (CC) 00 message (or Bank Select MSB)
for the selected Sound. Mono

CC32 This section shows the value of the Control The Sound will play monophonically, producing only one note at
Change (CC) 32 message (a.k.a. Bank Select LSB) a time.
for the selected Sound.
Legato
PC This section shows the value of the Program
This parameter is available when the Mono option is selected.
Change (PC) message for the selected Sound.
Values are in the standard 0-127 MIDI number- Note: If “Legato” is On, certain multisamples or keyboard locations
ing format. may produce an incorrect pitch.
Note: Some manufacturers could use the 1-128 On Legato is on. When multiple note-on’s occur, the
numbering system; when connecting your Pa900 to first note-on will retrigger the sound, and the sec-
an instrument of this kind, increment the PC value ond and subsequent note-on’s will not retrigger.
by 1 unit. When legato is on, multiple note-on’s will not
retrigger the voice. If one note is already on and
Octave Transpose icon
another note is turned on, the first voice will con-
Octave transpose value. Use the UPPER OCTAVE buttons to tinue sounding. The oscillator sound, envelope,
change this value. and LFO will not be reset, and only the pitch of
the oscillator will be updated. This setting is
Realtime Controls area effective for wind instrument sounds and analog
synth-type sounds.
Controls in this area allow you to edit the main parameters of the
Off Legato is off. Notes will always be retriggered
Sounds assigned to each track. Touch one of them, and modify
when note-on occurs.
its value by using the VALUE DIAL controls (or moving your
finger). When legato is off, multiple note-on’s will retrigger
the voice at each note-on. The oscillator sound,
Note: All values refer to the original values of the Sound.
envelope, and LFO will be reset (and retriggered)
Note: When selecting the Write Sound command from the page according to the settings of the Sound.
menu, current parameter values, after editing the Realtime Con-
trols, are saved with the Sound. After saving, Realtime Controls are Hold
set back to the default position. Use this parameter to keep the notes sustained even after releas-
Note: After selecting a different Sound, Realtime Control values ing the keys.
are automatically set to zero. Note: Please remember the Hold must be On before playing the
Attack Attack time. This is the time during which the note to be held.
sound goes from zero (at the moment when you
strike a key) to it’s maximum level. FX Area
Decay Decay time. Time to go from the final Attack level
In Sound mode, two Master effect processors (MFX1 and MFX2)
to the beginning of the Sustain.
are available.
Release Release time. This is the time during which the
sound goes from the sustaining phase, to zero. On/Off
The Release is triggered by releasing a key. Use this button to turn on or off the corresponding effect.
Cutoff Filter cutoff. This sets the sound brightness.
Selected Effect
LFO Depth Intensity of the Vibrato (LFO).
Non editable. This shows the effect assigned to the correspond-
LFO Speed Speed of the Vibrato (LFO). ing FX processor. To select a different effect, see “Effects: “B” FX
LFO Delay Delay time before the Vibrato (LFO) begins, after Config” on page 226.
the sound starts.
Send
Resonance Use the Filter Resonance to boost the cutoff fre-
quency. Use this knob to adjust the level of the dry sound sent to the cor-
responding effect.

Amount
Volume of the effect that is added to the dry (non-effected) sig-
nal.
 Sound mode 203
Digital Drawbars page

Mode (Percussion Mode)

Digital Drawbars page This parameters lets you decide if the percussion sound has to be
triggered on the first note of a group of held notes, or to all notes.
DIGITAL DRAWBARS are different from ordinary Sounds. All The percussive attack is played on all notes of a
Their parameters are not saved as a new Sound, but can be saved chord.
to a Performance. Therefore, when entering the Digital Draw-
1st The percussive attack is played only on the first
bars page, the MENU button is disabled.
note of a chord or a group of held notes. Release
Note: In Style Play and Backing Sequence mode, only a Digital all notes to trigger the percussion again.
Drawbar Sound is available for the Keyboard tracks, and one for
the Style tracks. Save them to a Performance (see “Write Perfor- Volume (Percussion Volume)
mance dialog box” on page 128). Level of the percussive sound.
Note: In Song Play mode, there is a Digital Drawbars Sound for 0…99 Level.
the Keyboard tracks, one for Song tracks 1-8, another one for Song
tracks 9-16. Length (Percussion Length)
Note: In Sequencer mode there is a Digital Drawbars Sound for Decay speed of the percussive sound.
Song tracks 1-8, one for Song tracks 9-16.
0…99 Decay time.
When you select the special DRAWBARS Sound in the Organ
Sound bank, the Drawbars Setting page appears, and the current Rotor On/Brake
setting is assigned to the selected track.
Touch this button to start or stop the rotating speaker.

Speed Slow/Fast
Touch this button to switch the rotating speaker’s speed (from
slow to fast, or vice-versa).
Note: The “Rotor On/Brake” and “Speed Slow/Fast” parameters
are only available when a Rotary effect has been assigned to one of
the FX slots (effects #63 or #133).

Tone/Noise tab
Tone is the timbre of the sound. Noises are mechanical noises
To edit the Drawbars, drag the virtual sliders in the display. As from the keyboard and the tonewheels.
an alternative, touch a slider and drag it on the display, or use the
VALUE DIAL controls to change its value.
Each foot refers to the pipe length in a pipe organ, in which the

Reference
sound is produced by pipes of different length. Longer pipes
mean a lower sound; therefore, the 16’ drawbar produces the
lowest pitched sound, while the 1’ drawbar produces the highest
pitched sound. Wave (Drawbar Wave)

Percussion/Rotary tab Tone

Waveshape of the drawbars, producing the base timbre.
Percussion adds a percussive sound to the attack segment of the
organ sound. Rotary adds the effect of a rotating speaker. Mellow A mellow-sounding synthetic wave.
Hard A harder-sounding synthetic wave.

Leakage
Leakage from adjacent tonewheels, making the sound richer.

Key On
On/Off Noise of the keypress.
Use this parameter to turn percussion on or off.
Key Off
Foot Noise of the key release.
Use this parameter to select a percussion register.
4’ Percussion added to the 4’ foot.

22/3’ Percussion added to the 22/3’ foot.

204 Sound mode
Edit menu

Edit menu Edit page structure

From any page, press the MENU button to open the Sound edit All edit pages share some basic elements.
menu. This menu gives access to the various Sound edit sections. Page menu
Operating mode Edit section icon
When in the menu, select an edit section, or press EXIT or
SOUND to exit the menu and return to the main page. To return
to the main page, you can also select the Main Page menu item.
Selected
When in an edit page, press EXIT or the SOUND button to oscillator
return to the main page of the Sound operating mode.
• When an ordinary Sound is selected: Parame-
ters area

Tabs

Operating mode
This indicates that the instrument is in Sound mode.

Edit section

• When a Drum Kit is selected, the “Basic” section is This identifies the current edit section, corresponding to one of
replaced by the “DrumKit” section: the items of the edit menu (see “Edit menu” on page 204).

Page menu icon

Touch this icon to open the page menu (see “Page menu” on
page 227).

Selected oscillator
Use these buttons to select the oscillator to edit.

Parameters area
Each page contains various parameters. Use the tabs to select
one of the available pages. For detailed information on the vari-
Each item in this menu corresponds to an edit section. Each edit ous types of parameters, see sections starting from page 204.
section groups various edit pages, that may be selected by touch-
ing the corresponding tab on the lower part of the display. Tabs
Use tabs to select one of the edit pages of the current edit section.

Basic: Sound Basic

Here you can make basic settings for the Sound, such as basic
oscillator settings, the oscillator count, and the polyphonic
mode.
 Sound mode 205
Basic: Sound Basic

Oscillator Count Legato

This parameter is only available when the selected mode is
Oscillators Count Mono. It is the same found on the main page of the Sound mode.
Use this box to specify the number of oscillators (up to 24) the See “Legato” on page 202 for information on this parameter.
Sound is based on.
The total amount of polyphony varies depending on the number Priority
of oscillators used by the Sound (a maximum of 128 with only 1 This parameter is available when the selected mode is Mono. It
oscillator per voice). specifies which note will be given priority to play when two or
Note: When editing the Grand Piano sound, keep in mind Oscilla- more notes are played simultaneously.
tors 10~15 can only be heard when the Damper pedal is depressed. Low Lowest note will take priority.

Low priority High Highest note will take priority.

Use this parameter to decide if the highest-numbered oscillators Last Last note will take priority.
must be turned off when more polyphony voices are needed.
Hold
Keep in mind that, with a dense polyphony, missing oscillators
might not even be heard. Use this parameter to keep the notes sustained even after releas-
ing the keys.
0 No oscillator will be turned off in any case.
1 The highest-numbered oscillator will be turned
off, if needed.
Legato as OSC Trigger
2 The two highest-numbered oscillators can be The parameters included in this section are to be considered
turned off, one after the other, if needed. when a note is played ‘legato’, i.e., with no gap with the previous
note. These parameters are valid for the whole Sound (all oscilla-
[n]…24 The n-numbered oscillators (up to 24) can be tors).
turned off, one after the other, if needed.
Max Time
Transpose Range This delay allows notes to be considered Legato, even if there is a
small gap before them. This is useful to avoid some notes in a
Top/Bottom Key chord are played Legato, and some others Staccato.
Use these parameters to set a range for transposition. Inside this 1…999 ms Notes played with a small gap are still considered
range notes are transposed. Outside this range, they are not Legato notes. A value of approx. 15 ms is usually
transposed. This is useful to avoid RX Sounds being transposed considered effective when playing chords.
when transposing a Sound.
Max Range
Note: Set these (general) values so that all RX Noises assigned to
any Oscillator fall out of the Transpose Range. For example, if you This is the range (in semitones) within the Legato is considered.
assigned an RX Noise to a G7 on OSC1, and an RX Noise to an A7 If you play a wider interval, the note is considered Staccato. This

Reference
on OSC2, set the “Top Key” value no higher than F#7 (just below is typical of some acoustic instruments, where legato is only pos-
the lowest RX Noise). sible within a small interval, but not on wider ones.
As an example, please try the Sound “Nylon Guitar DNC”, where
Voice Assign Mode the Max Range is 5 semitones. Play legato with intervals smaller
than 5 semitones, and you will hear how smoother legato notes
Poly/Mono will become. Play legato with wider intervals, and legato
smoothing will be lost.
This is the polyphonic mode of the Sound.
1…127 st Max range in semitones.
Poly The Sound will play polyphonically, allowing you
to play chords.
Mono The Sound will play monophonically, producing
only one note at a time.

Single Trigger
This parameter is available when the selected mode is Poly.
On When the same note is played repeatedly, the pre-
vious note will be silenced before the next note is
sounded, so that the notes do not overlap.
Off When the same note is played repeatedly, the pre-
vious note will not be silenced before the next
note is sounded.
206 Sound mode
Basic: OSC Basic

1st…6th The sound will begin from the offset location pre-
Basic: OSC Basic determined for each sample.
No Attack The initial portion of the multisample is ignored.
The multisample(s) on which the Sound will be based can be AMS Activates the Alternate Modulation Source (see
selected here for each of the sixteen oscillators. Each oscillator below).
can use 1 or 2 multisamples, each one assigned to the High or
PseudoRandom
Low layer.
(Only works when more than one Offset point is
available in the multisample). Randomly selects
one of the available Offset points (including
Attack and Off).

Level
These parameters specify the level of each multisample.
0…127 Multisample level.
Note: Depending on the multisample, high settings of this parame-
ter may cause the sound to distort when a chord is played. If this
occurs, lower the level.

OSC Multisample Octave

Use this parameter to adjust the pitch of the selected oscillator in
High/Low Bank/Num
octave units. The normal octave of the multisample is “0”.
Use these parameters to select a different multisample for each of
-2…+1 Octave transposition.
the High and Low layers. You can use velocity to switch between
the two multisamples. Offset and Level can be adjusted indepen- Transpose
dently for the High and Low multisamples.
Use this parameter to adjust the pitch of the selected oscillator in
The High and Low pop-up menus is where you select the bank semitone steps over a range of ±1 octave.
(ROM or RAM), while the numeric field under it is for selecting
the multisample inside the selected bank. The Sound name -12…+12 Transposition in semitones.
appears on its right.
Tune
The multisample you select for the High layer will be triggered
by velocities higher than the value of the “Velocity Multisample Use this parameter to adjust the pitch of the sample in one-cent
Switch Low-High” parameter (see page 206). If you do not wish steps (a semitone is 100 cents) over a range of ±1 octave.
to use velocity switching, set the switch to a value of 001, and -1200…+1200
select only the High multisample.
Fine-tune value in cents.
ROM The Factory bank. The Factory area of the inter-
nal memory contains 834 different multisamples Velocity Multisample Switch Low-High
(preset multisamples), supplied by Korg as stan- This is the velocity value dividing the High and Low layers for
dard. the selected oscillator. Notes struck harder than this value will be
RAM RAM multisample, read from the RAM. These played by the High multisample.
are user-loaded multisamples.
AMS / Offset Intensity by AMS
Note: If you create a new Sound based on a RAM
multisample, the RAM samples must be loaded (Only available when the AMS option is selected in the “Offset”
from the internal memory or from a connected parameter.) Alternate Modulation Source for the Offset. See
USB pen driver. “AMS (Alternate Modulation Source) list” on page 229.

In case samples are not loaded, no sound will be When the “Offset Intensity by AMS” parameter has a positive
heard, even if the Sound can be selected and its value, the selected Offset point will depend on the AMS value.
name appears in the display. For example, if the selected AMS is the Velocity, when playing
softly you will select the Off or 1st Offset, when playing loudly
Note: Each multisample has an upper note range limit, and cannot you will select the 6th or No Attack Offset.
produce sound when played above that limit.
When the “Offset Intensity by AMS” parameter has a negative
Offset value, the selection will happen in reverse (higher-numbered
Offsets will be selected before the lowest-numbered ones).
These parameters specify the point where the multisample(s)
will begin to play. For some multisamples this parameter will not
be available. OSC Trigger Mode
Off The sound will start from the beginning of the OSC Trigger parameters are used to set the condition to trigger
multisample waveform. the selected Oscillator. For example, a Normal Oscillator will
 Sound mode 207
Basic: OSC Basic

always play, while a Legato Oscillator will only play when a note Cycle 2 As the above, for use with a different (and paral-
is played Legato. lel) group of Oscillators. Having two Cycle Trig-
ger Modes allows for cycling stereo multisamples.
Mode
Random As the above, but with a random selection of
This is the trigger that allows the selected Oscillator to play. Oscillators within the assigned group.
Normal The Oscillator always plays when a key is pressed After Touch Trigger On
(unless the “OSC Off when Sound Controllers are
The Oscillator starts playing when an After
On” parameter is checked).
Touch message with a value of at least 90 is
Legato The Oscillator only plays when the note is played received. The Velocity value is the same as the lat-
‘legato’. The delay and pitch interval from the pre- est Note On message. The Oscillator will stop
vious note are also to be considered, as set in the playing when the After Touch value falls back to
Sound > Basic page (see “Legato as OSC Trigger” zero.
above).
Hint: This (like the following Triggers) is especially
Staccato The Oscillator only plays when the note is NOT useful to trigger harmonics or growls when a note
played legato (it is the opposite of the above is already playing.
choice).
Y+ Trigger On
Sound Controller 1
As the above, but with the Joystick, assigned as
The Oscillator only plays after a switch or foot- the Sound Controller, pushed at least half-way
switch programmed as the Sound Controller 1 forward (value 64). The controller is turned off
has been pressed. Press and release it, and the when the Joystick is released. This control is
next note will also trigger the selected Oscillator. equivalent to a CC#01 (Modulation) Control
If you keep it pressed, the Oscillator will continue Change message.
to be triggered until you release the controller.
Y- Trigger On
Note: In Sequencer and Sound mode, the Assign-
As the above, but with the Joystick, assigned as
able Switch 1 is automatically assigned to Sound
the Sound Controller, pulled at least half-way
Controller 1.
back (value 64). The controller is turned off when
Hint: This (like the following Sound Controllers) is the Joystick is released. This control is equivalent
especially useful to enable a different nuance to the to a CC#02 (Breath Controller) Control Change
following note(s). message.
Sound Controller 2 Legato Up Like Legato, but is only activated when the sec-
As the above, but with a switch or footswitch pro- ond note is out of the “Max Range” value (see
grammed as the Sound Controller 2. page 205) and it is higher than the first one.

Note: In Sequencer and Sound mode, the Assign- Legato Down Like Legato, but is only activated when the sec-
able Switch 2 is automatically assigned to Sound ond note is out of the “Max Range” value (see

Reference
Controller 2. page 205) and it is lower than the first one.

Sound Controller Y+ Delay

As the above, but with the Joystick, assigned as This parameter sets a delay time from the note-on to the real
the Sound Controller, pushed at least half-way beginning of the sound. With a setting of KeyOff, the sound will
forward (value 64). The controller is turned off begin when note-off occurs. This is useful to create sounds such
when the Joystick is released. This control is as the “click” that is heard when a harpsichord note is released.
equivalent to a CC#01 (Modulation) Control In this case, set the “Sustain” parameter to 0 (see page 220).
Change message.
0…5000ms Delay time in milliseconds.
Sound Controller Y-
Key Off The sound will begin when the note is released.
As the above, but with the Joystick, assigned as The note velocity is read from the Key On Veloc-
the Sound Controller, pulled at least half-way ity.
back (value 64). The controller is turned off when
Key Rel Key Release. The sound will begin when the note
the Joystick is released. This control is equivalent
is released. The note velocity is read from the Key
to a CC#02 (Breath Controller) Control Change
Off Velocity.
message.
Nat Rel Natural Release. The sound will begin when the
Cycle 1 All Oscillators with this same trigger mode
note is released. The note starts from the current
assigned will play in cycle. For example, if Oscil-
volume of the sound. If the sound’s volume is
lators 1, 2 and 4 are assigned the Cycle 1 trigger
already at zero, this oscillator is not retriggered.
mode, the following note will trigger Oscillator 1,
then 2, then 4, then 1 again.
OSC Off when Sound Controllers are On
Hint: This is especially useful to trigger different
This ‘mirrors’ the way Sound Controllers work. With this param-
sound nuances or create vector-like sound
eter checked, the current Oscillator will not play when one of the
sequences.
208 Sound mode
Basic: Vel/Key Zone

Sound Controllers (Sound Controller 1, Sound Controller 2,

Sound Controller Y+, Sound Controller Y-) is activated. It Basic: Damper Mode
should be applied to Oscillators with Normal, Legato, Staccato,
Cycle 1, Cycle 2, Random, After Touch Trigger On, Y+ Trigger
On, Y- Trigger On, Legato Up and Legato Down trigger modes, Here you can program how the Damper pedal works, the Reso-
that can be turned off by using a switch, footswitch, or the Joy- nance/Halo effect, and the range within the Note Off message is
stick, programmed as a Sound Controller. not sent to the selected Oscillator:

Basic: Vel/Key Zone

Here you can set a note and velocity range “window” for the
selected oscillator.

Damper Mode
Here you can program the Damper Mode for each Oscillator.

Damper Mode
This parameter determines how the Damper pedal works.
Normal The Damper pedal works as usual: by keeping it
Velocity Zone pressed, the note decay is lengthened, to simulate
Here you can specify the velocity range for the selected oscillator. the longer note decay of an acoustic piano.
Note: You cannot set the Bottom Velocity higher than the Top Damper Off The Damper pedal is deactivated for the selected
Velocity, nor the Top Velocity lower than the Bottom Velocity. Oscillator.
0…127 Assigned velocity. Hint: Set the Damper to Damper Off, if you plan to
use the selected Oscillator in the Damper Trigger
Keyboard Range page to trigger sounds. Check the Sound “Harmon-
ica DNC”, and see how the Damper Trigger is
Here you can specify the note range for the selected oscillator.
used.
Note: You cannot set the Bottom Key higher than the Top key, nor
Resonance/Halo
the Top Key lower than the Bottom key.
The Damper pedal enables a multisample, nor-
C-1…G9 Assigned note.
mally used for the Piano Resonance/Halo effect.
Scaled Velocity If the pedal is pressed when the note is already
playing, the speed at which the multisample
Use these parameters to scale velocity values received by the appears and disappears, and the volume it can
oscillator. By using the “Velocity Zone” function (see above), an reach, depend on the “Resonance/Halo” parame-
oscillator may be limited to a restricted range (say, 10 to 20), that ters programmed below.
may result in weak dynamics when the associated sample is trig-
gered. Hint: This Damper mode is much more realistic
than the Normal mode, but also ‘steals’ more notes
By assigning a different value to these parameters, the restricted from the overall polyphony, and is especially sug-
range will be converted to a wider range (for example, the lowest gested for solo piano playing.
range value of 10 may be converted to a Scaled Velocity value of
0, and the highest range value of 20 may be converted to a Scaled Note: Half-pedaling, as well as Damper messages
Velocity value of 127). All values included between the mini- received via MIDI (as Control Change #64), con-
mum and maximum value are scaled accordingly. trol the level of the Resonance/Halo effect.

As a consequence, you can create an RX Sound of guitar, by

assigning the guitar fret noise to the 10~20 velocity range. When
a dynamics value between 10~20 is received, the real velocity
value is scaled to the Scaled Velocity values, and plays louder.
0…127 Assigned velocity value.
 Sound mode 209
Basic: Damper Trigger

Repedaling This mode acts as the Normal mode, but also

enables the Damper pedal effect when the pedal Basic: Damper Trigger
is pressed after the note has been released (Note
Off). In this case, the Damper effect starts from
the current Release level, and decays slowly. Here you can set the notes triggered by pressing and releasing
the Damper Pedal. The parameters in this page have effect on
Warning: Do not use Sounds with the “Repedal- the Sound as a whole, and not on a single Oscillator.
ing” assigned to any Oscillator in a Style, or the
sustained sound could cause unwanted disso-
nances. The “Grand Piano RX” Sound is an exam-
ple of this kind of Sounds to be avoided in a Style
track.

Resonance/Halo
Here you can program the Resonance/Halo effect that is enabled
by the “Resonance/Halo” Damper Mode (see above). These
parameters only affect the Resonance/Halo that is enabled when
pressing the Damper pedal down when a note is already playing.
As warned by the message on the lower area of the display, these
Attack Time parameters have no effect if the assigned note falls inside of the
Time needed to the Resonance/Halo to reach the maximum level Transpose Range programmed in the “Basic: Sound Basic” page
after the Damper pedal has been pressed. (see “Transpose Range” on page 205). Please either choose a note
out of that range, or modify the Transpose Range, so that the
0…99 Attack time as a value relative to the current Amp
note is either higher or lower than that range.
Env Attack value.

Release Time Transpose Range

Time needed to the Resonance/Halo to extinguish after the

Damper pedal has been released.
0…99 Release time as a value relative to the current
Amp Env Release value.
Damper Trigger Sample
Volume Scaling
Volume of the Resonance/Halo effect, relative to the current
level of the sound (as determined by the sum of the Multisample Damper On Trigger
Volume, Velocity value and current Amp Env value). Pressing down the Damper pedal (Damper On) can play a spe-
0% No volume at all. cial sample assigned to a particular note (for example, pedal

Reference
down squeaking in the Sound “Grand Piano RX”, breathing in in
1…100% Volume expressed as a percentage of the current the Sound “Harmonica DNC” …).
sound level.
Note
No Note Off Range Note where the special Damper On sample is located.

From Note Velocity

Like in an acoustic piano, the dampers can only dampen strings Fixed velocity of the special Damper On sample.
up to a certain pitch. Starting from that pitch, it is as if the
Damper was always pressed down. Note Off on Damper Off
Note: This parameter only affects the Normal Damper mode. It If checked, the special Damper On sample stops playing when
has no effect on the Resonance/Halo mode. the Damper pedal is released.
C#-1…G9 Note starting from which the Damper is always
pressed down. In an acoustic piano, this is usually Damper Off Trigger
set to G6.
Releasing the Damper pedal (Damper Off) can play a special
sample assigned to a particular note (for example, Damper pedal
release noise in the Sound “Grand Piano RX”).

Note
Note where the special Damper Off sample is located.

Velocity
Fixed velocity of the special Damper Off sample.
210 Sound mode
Basic: EQ

Basic: EQ DrumKit: Sample Setup (Drum Kits)

In this page, you can set the semi-parametric three-band equal- This page appears when you edit a Drum Kit. Here you can
izer for the selected oscillator. select a different percussive sample for each key and layer.
Drum Kits use only one oscillator.

Selected
Layer

Velocity
Switches

Enable
Check this box to activate the equalizer on the selected oscillator.
Key
TRIM
Key
This knob allows you to limit the level of the signal passing
through the equalizer. Extreme equalization values can overload Key in edit. To select a key, you can press a key on the keyboard
the audio circuits and lead to distortion. This control lets you set while this parameter is selected.
equalization as desired, and at the same time avoid overloading.
Layers
0…99 Limiting value. The higher, the most effective it
Number of layers assigned to the selected key. Depending on the
is.
number of selected layers, you can have a different number of
Low Gain velocity switches.

Low frequencies equalization. This is a shelving curve filter. Val- Assign

ues are shown in decibels (dB).
Use this parameter to turn the sample on/off.
-18…+18dB Low gain value in decibels.
On The sample is assigned to the selected key.
Mid (Middle) Gain Off The sample is not assigned. The sample assigned
Middle frequencies equalization. This is a bell curve filter. Values to the next highest assigned key is used instead.
are shown in decibels (dB).
-18…+18dB Middle gain value in decibels. Layer Selector & Velocity Sample Switch

Mid (Middle) Freq Selected Layer

Centre frequency of the middle frequencies equalization. Use these radio buttons to select the layer to edit. The available
layers depends on the “Layers” parameter.
-0.100…+10 kHz
Centre frequency in kHz. Velocity Switches
Each of these values separates the two adjacent layers for the
Hi (High) Gain
selected sample/key. Notes stricken harder than a velocity switch
High frequencies equalization. This is a shelving curve filter. will be played by the layer on the right, while notes stricken
Values are shown in decibels (dB). softer are played by the layer on the left.
-18…+18dB High gain value in decibels. The first and last values are not editable, and are always 001 and
127 (respectively).

Drum Sample
Bank/Num/Name
Use these parameters to select a different Drum Sample for each
layer. You can use velocity to switch between the available sam-
ples. Offset and Level can be adjusted independently for the var-
ious drum samples.
 Sound mode 211
DrumKit: Sample Setup (Drum Kits)

The pop-up menu is where you select the bank (ROM or RAM), AMS / Int(ensity)
while the numeric field under it is for selecting the sample inside
(Only available when the AMS option is selected in the “Offset”
the selected bank. The sample name appears on its right.
parameter.) Alternate Modulation Source for the Offset. See
The sample you select for the current layer will be triggered by “AMS (Alternate Modulation Source) list” on page 229.
velocities higher than the value of the “Velocity Switches”
When the “Intensity” parameter has a positive value, the selected
parameter (see page 210). If you do not wish to use velocity
Offset point will depend on the AMS value. For example, if the
switching, assign just one layer to the selected key, and assign a
selected AMS is the Velocity, when playing softly you will select
sample only to Layer 1.
the Off or 1st Offset, when playing loudly you will select the 6th
ROM The Factory bank. The internal Factory area of or No Attack Offset.
the Flash-ROM memory contains 1065 different
When the “Intensity” parameter has a negative value, the selec-
samples (preset samples), supplied by Korg as
tion will happen in reverse (higher-numbered Offsets will be
standard.
selected before the lowest-numbered ones).
RAM RAM sample, read from the RAM. These are
user-loaded samples. Level
Note: If you create a new Drum Kit based on RAM This parameter specifies the level of the sample. For more infor-
samples, the RAM samples must be loaded from mation, see “Level” on page 206.
the internal memory or from a device connected to
the USB Host port. Attack

In case samples are not loaded, no sound will be This parameter is an offset to the selected sample’s EG Attack.
heard, even if the Drum Kit can be selected and its
name appears in the display. Decay

Note: Each sample has an upper note range limit, and may not This parameter is an offset to the selected sample’s EG Decay.
produce sound when played above that limit.
Cutoff
Rev (Reverse) This parameter sets the cutoff frequency for the filter applied to
The sample will be played in reverse. In the case of Factory the selected sample.
(Flash-ROM) or User (RAM) samples that were originally speci-
Resonance
fied to loop, the sample will be played back in “one-shot” reverse
mode. If the sample was originally set to reverse, it will playback This parameter sets the resonance for the filter applied to the
without change. selected sample.
On The sample will playback in reverse. Transpose
Off The sample will play back normally. This parameter transposes the selected sample. Use it to change
the pitch of the selected key.
Ofs (Offset)
0 No transposition applied.

Reference
These parameters specify the point where the sample will begin
to play. For some samples this parameter will not be available. -64…+63 Transpose value in semitones.
Off The sound will start from the beginning of the Tune
sample.
Use this parameter to fine-tune the assigned sample.
1st…6th The sound will begin from the offset location
pre-determined for each sample. 0 Original tuning.

NoAtk The initial portion of the multisample is ignored. -99…+99 Fine-tuning value in cents (1/100 of a semitone).

AMS Activates the Alternate Modulation Source (see

below).
PseudoRandom
(Only works when more than one Offset point is
available in the multisample). Randomly selects
one of the available Offset points (including
Attack and Off).
212 Sound mode
DrumKit: EQ (Drum Kits)

DrumKit: EQ (Drum Kits) DrumKit: Voice Mixer (Drum Kits)

This page appears when you edit a Drum Kit. In this page, you This page appears when you edit a Drum Kit. Here you can set
can set the semi-parametric three-band equalizer for the various parameters for the different percussive sample assigned
selected key, layer and Drum sample. to the selected key and layer.

Key Key
See “Key” on page 210. See “Key” on page 210.

Layer Selector & Velocity Sample Switch Voice Assign Mode

See “Layer Selector & Velocity Sample Switch” on page 210.
Single Trigger
Use this parameter to set the sample as a single-triggered one.
Drum Sample Equalizer
On When the same key (note) is played repeatedly,
Enable the previous note will be stopped before the new
note is triggered, so that they will not overlap.
Check this box to activate the equalizer on the selected oscillator.
Off When the same key (note) is played repeatedly,
TRIM the previous note will not be stopped before the
new note is triggered.
This knob allows you to limit the level of the signal passing
through the equalizer. Extreme equalization values can overload Exclusive Group
the audio circuits and lead to distortion. This control lets you set
equalization as desired, and at the same time avoid overloading. Exclusive Groups are sets of mutually exclusive keys, stopping
each other. For example, if the Open Hi-Hat and Closed Hi-Hat
0…99 Limiting value. The higher, the most effective it is. are assigned the same Exclusive Group, playing an Open Hi-Hat
will stop the Closed Hi-Hat playing.
Low Gain
None No Exclusive Group assigned. The selected key
Low frequencies equalization. This is a shelving curve filter. Val-
will not be stopped by any other key.
ues are shown in decibels (dB).
1…127 Exclusive Groups assigned to the selected key.
-18…+18dB Low gain value in decibels.
When you play this key, all other keys assigned to
Mid (Middle) Gain the same Exclusive Group will be stopped, and
this key will be stopped by other keys assigned to
Middle frequencies equalization. This is a bell curve filter. Values the same Exclusive Group.
are shown in decibels (dB).
-18…+18dB Middle gain value in decibels. Enable Note On Receive
Use this parameter to enable/disable the reception of the Note
Mid (Middle) Freq On (Key On) message.
Centre frequency of the middle frequencies equalization. On The Note On message is normally received.
-0.100…+10 kHz Off The Note On message is not received. Therefore,
Centre frequency in kHz. the corresponding key is muted.

Hi (High) Gain Enable Note Off Receive

High frequencies equalization. This is a shelving curve filter. Use this parameter to enable/disable the reception of the Note
Values are shown in decibels (dB). Off (Key Off) message.

-18…+18dB High gain value in decibels. On The sound will stop as soon as you release the
key.
 Sound mode 213
Pitch: Pitch Mod

Off The sound will continue playing up to the end of

the sample. The Note Off message is ignored. Pitch: Pitch Mod
Mixer Here you can make pitch settings for each oscillator. These set-
tings specify how keyboard location will affect the pitch of each
Pan oscillator, and select the controllers that will affect the oscillator
This parameter sets the position in the stereo panorama of the pitch and specify the depth of control. You can also specify the
selected key. amount of pitch change produced by the Pitch EG and by LFO1
and LFO2, switch portamento on/off and specify how it will
Send to MFX1, MFX2 apply.
These parameters set the MFX1 or MFX2 send level for the
selected key.

Pitch
Pitch Slope
Normally you will leave this parameter at +1.0. Positive (+) val-
ues will cause the pitch to rise as you play higher notes, and neg-
ative (–) values will cause the pitch to fall as you play higher
notes.
With a value of 0, there will be no change in pitch, and the C4
pitch will sound regardless of the keyboard location you play.
The diagram shows how the Pitch Slope and pitch are related:
Pitch
+2

+1

Reference
2oct
1oct 0
1oct

–1

C4 C5 Key

-1.0…+2.0 Pitch slope value.

Pitch Bend Mode

The Pitch Bend can work in different ways, depending on the
selected option.
Normal Linear bending.
Fixed Scale When this parameter is turned on on an oscilla-
tor, Pitch Bend and Sub Scale have no effect on its
tuning. The relevant parameters are greyed out
and non-selectable. This is useful when assign-
ing to the oscillator a noise (like the breath noise
of a reed) with a fixed frequency, that must not
change on different notes and different pitches.
Highest Pitch Bend only
On this oscillator, Pitch Bend is only activated on
the highest note currently playing on the key-
board.
214 Sound mode
Pitch: Pitch Mod

Lowest Pitch Bend only -12.00…+12.00

On this oscillator, Pitch Bend is only activated on Parameter value.
the lowest note currently playing on the key-
board. Pitch EG AMS (Alternate Modulation Source)
This parameter selects the source that will modulate the pitch
Ribbon to Pitch
EG of the selected oscillator. See “AMS (Alternate Modulation
Pitch Bend range assigned to the Ribbon Controller message Source) list” on page 229).
(CC#16). The Ribbon Controller message can be received from
MIDI or contained in a Standard MIDI File. Pitch EG Intensity
-12…0…+12 Maximum bending, when touching the extreme This parameter specifies the depth and direction of the effect
left or right of the Ribbon Controller. that “AMS” will have. For example, if you set “AMS” to Velocity
and set this value to +12.00, the velocity will control the range of
JS (+X) pitch change produced by the pitch EG in a range of ±1 octave.
As you play more softly, the pitch change will draw closer to the
This parameter specifies how the pitch will change when the joy-
pitch EG levels.
stick is moved all the way to the right. A setting of 12 produces 1
octave of change. Pitch change (level)

Note-on Note-on Note-on

For example if you set this to +12 and move the joystick all the Note-off Note-off Note-off

way to the right, the pitch will rise one octave above the original
pitch.
-60…+12 Maximum pitch change in semitones.
Softly played Strongly played with Strongly played with a
(Intensity (Pitch EG) setting) a positive (+) value negative (–) value
JS (–X)
This parameter specifies how the pitch will change when the joy- Note: “Intensity” (Pitch EG) and AMS will be added to determine
stick is moved all the way to the left. A setting of 12 produces 1 the depth and direction of the pitch modulation applied by the
octave of change. pitch EG.
For example, if you set this to -60 and move the joystick all the
way to the left, the pitch will fall five octaves below the original Portamento
pitch. This can be used to simulate the downward swoops that a
guitarist produces using the tremolo arm. Enabled
-60…+12 Maximum pitch change in semitones. This parameter turns the portamento effect (smooth change in
pitch from one note to the next) on/off, and specifies how it will
AMS (Alternate Modulation Source) be applied.
This parameter selects the source that will modulate the pitch of Note: Portamento will also be switched when CC#65 (Portamento
the selected oscillator. See “AMS (Alternate Modulation Source) SW) is received.
list” on page 229.
On Portamento will be applied.
Intensity Off Portamento will not be applied.
This parameter specifies the depth and direction of the effect
Fingered
produced by “AMS”. With a setting of 0, no modulation will be
applied. With a setting of 12.00, the pitch will change up to one This parameter specifies whether the portamento effect restarts
octave. or not with each note played.
For example, if you set “AMS” to After Touch and apply pressure On Portamento will restart with each note.
to the keyboard, the pitch will rise if this parameter is set to a Off Portamento will not restart with each note.
positive (+) value, or fall if this parameter is set to a negative (–)
value. The range is a maximum of one octave. Time
-12.00…+12.00 This parameter sets the portamento time. Increasing the value
Parameter value. will produce a slower change in pitch.
000…127 Portamento time in MIDI value.
Pitch EG
The Pitch EG (Envelope Generator) is unique to all oscillators. LFO 1/2

Velocity Intensity LFO1/2 Int

This parameter specifies the depth and direction of the modula- Intensity of the corresponding LFO.
tion that the pitch EG specified on “Pitch: Pitch EG” will apply to -12…0…+12 Parameter value. Negative values invert the LFO
the pitch. With a setting of 12.00, the pitch will change a maxi- shape.
mum of ±1 octave.
 Sound mode 215
Pitch: Pitch EG

JS+Y
Intensity of the corresponding LFO when the joystick is pushed Pitch: Pitch EG
forward.
-12…0…+12 Parameter value. Negative values invert the LFO Here you can make settings for the pitch EG, which creates time-
shape. variant changes in the pitch of the oscillators. The depth of pitch
change produced by these EG settings on the oscillators is
AMS / Intensity adjusted by the “Intensity (AMS1/2 Intensity)” parameter (see
Alternate Modulation Source for the LFO. See “AMS (Alternate page 216).
Modulation Source) list” on page 229. Use the “Intensity”
parameter to set the intensity of the modulation.

Diagram
The diagram on top of the page shows the Pitch envelope line.

Level
These parameters specify the amount of pitch change. The actual
amount of pitch change will depend on the “Intensity (AMS1/2
Intensity)” parameter (see below). For example, with an “Inten-
sity” setting of +12.00, a “Level” setting of +99 would raise the
pitch one octave, and a “Level” setting of –99 would lower the
pitch one octave.
Time-varying pitch settings (when Pitch EG Intensity = +12.00)

+99 = approximately 1 octave Attack Level

Note-on Note-off

0 = pitch when
key is held Time

Reference
(sustained) Start Level Release Level
Attack Decay
Time Time
Release Time
–99 = approximately 1 octave

Start Level
Specifies the amount of pitch change at note-on.
-99…+99 Parameter value.

Attack Level
Specifies the amount of pitch change when the attack time has
elapsed.
-99…+99 Parameter value.

Release Level
Specifies the amount of pitch change when the release time has
elapsed.
-99…+99 Parameter value.

Time
These parameters specify the time over which the pitch change
will occur.
See diagram above.
216 Sound mode
Pitch: Pitch EG

Attack Time At (Attack Level Swing)

Specifies the time over which the pitch will change from note-on This parameter specifies the direction of change in “Attack
until it reaches the pitch specified as the attack level. Level” caused by “AMS1/2”. If “Intensity” is a positive (+) value, a
setting of + will raise the EG level, and a setting of – will decrease
0…99 Parameter value.
it. With a setting of 0 there will be no change.
Decay Time
Specifies the time over which the pitch will change after reaching Time Modulation
the attack level until it reaches the normal pitch. Pitch EG changes (Time) (AMS = Velocity, Intensity = positive (+) value)

Note-on Note-on Note-on

0…99 Parameter value. Note-off Note-off Note-off

Release Time
Specifies the time over which the pitch will change from note-off
until it reaches the pitch specified as the release level. A note played softly with A note played strongly with A note played strongly with
Attack Time Swing set to + Attack Time Swing set to + and Attack Time Swing set to – and
0…99 Parameter value. and Decay Time Swing set to Decay Time Swing set to + Decay Time Swing set to –

Level Modulation AMS (Alternate Modulation Source)

Pitch EG change (level) (AMS=JS-Y/Velocity, Intensity= positive (+) value This parameter selects the source that will control the “Time”
Note-on Note-on Note-on parameters of the pitch EG (see “AMS (Alternate Modulation
Note-off Note-off Note-off
Source) list” on page 229).

Intensity (AMS Intensity)

This parameter specifies the depth and direction of the effect
A note played softly with A note played strongly with A note played strongly with
Start Level Swing set at 0, Start Level Swing set to 0, Start Level Swing set to 0,
that “AMS” will have on the “Time” parameters. With a setting of
Attack Level Swing set to +,
the Joystick pulled on
Attack Level Swing set to +,
the Joystick pulled on
Attack Level Swing set to –,
the Joystick pulled on
0, the pitch EG times will be just as specified by the “Time” set-
tings.

AMS1/2 (Alternate Modulation Source 1/2) The alternate modulation value at the moment that the EG
reaches each point will determine the actual value of the EG time
These parameters select the source that will control the pitch EG that comes next.
“Level” parameters (“AMS (Alternate Modulation Source) list”
on page 229). For example, the decay time will be determined by the alternate
modulation value at the moment that the attack level is reached.
Intensity (AMS1/2 Intensity) When this parameter is set to values of 16, 33, 49, 66, 82, or 99,
These parameters specify the depth and direction of the effect the specified EG times will speed up as much as 2, 4, 8, 16, 32, or
applied by “AMS1”. With a setting of 0, the levels specified by 64 times respectively (or slowed down to 1/2, 1/4, 1/8, 1/16, 1/32,
“Level” will be used. or 1/64 of the original time).

For example, if “AMS1” is Joystick Y+, moving the Joystick in the For example if “AMS” is set to Velocity, increasing the absolute
upper direction to turn it on will change the “Level” parameters value of “Intensity” will allow strongly-played notes to increase
of the Pitch EG. As the absolute value of “Intensity” is increased, the changes in pitch EG “Time” values. The direction of the
the pitch EG levels will change more when the Joystick is change is specified by “At (Attack Time Swing)” and “Dc (Decay
released. The direction of the change is specified by “St (Start Time Swing)”. As you play more softly, the pitch EG times will
Level Swing)” and “At (Attack Level Swing)”. When the Joystick more closely approach the actual settings of the pitch EG.
is released, the pitch EG levels will return to their own settings. -99…+99 Parameter value.
If “AMS1” is set to Velocity, increasing the absolute value of
“Intensity” will produce increasingly wider change in pitch EG At (Attack Time Swing)
levels for strongly-played notes. The direction of the change is This parameter specifies the direction in which “AMS” will affect
specified by “St (Start Level Swing)” and “At (Attack Level the “Attack Time” parameter. With positive (+) values of “Inten-
Swing)”. As you play more softly, the pitch change will draw sity”, a setting of + will cause the time to be lengthened, and a
closer to the pitch EG levels. setting of – will cause the time to be shortened. With a setting of
-99…+99 Parameter value. 0 there will be no change.

St (Start Level Swing) Dc (Decay Time Swing)

This parameter specifies the direction of change in “Start Level” Specify the direction in which “AMS” will affect the “Decay
caused by “AMS1/2”. If “Intensity” is a positive (+) value, a set- Time”. With positive (+) values of “Intensity”, a setting of + will
ting of + will raise the EG level, and a setting of – will decrease it. cause the time to be lengthened, and a setting of – will cause the
With a setting of 0 there will be no change. time to be shortened. With a setting of 0 there will be no change.
 Sound mode 217
Filter: Filter Type

Resonance (Resonance A)
Filter: Filter Type The resonance emphasizes the overtone components that lie in
the region of the cutoff frequency specified by “Frequency”, pro-
Here you can make settings for the filters that will be used by the ducing a more distinctive sound. Increasing this value will pro-
oscillators. You can select either a 24 dB/octave low pass filter duce a stronger effect.
with resonance, or a series connection of a 12 dB/octave low pass 00…99 Resonance value.
filter and a 12 dB/octave high pass filter.
Res. Mod. by AMS (Resonance modulated by AMS)
Selects the source that will control the “Resonance” level. See
“AMS (Alternate Modulation Source) list” on page 229.
The effect of resonance

Low Pass
Level

Low resonance value High resonance value

Filter Type Intensity (AMS Intensity)

This parameter selects the type of filter (Low Pass Resonant, Low This parameter specifies the depth and direction of the effect
Pass & High Pass) for the selected oscillator. that “Res. Mod. by AMS (Resonance modulated by AMS)” will
have on the resonance level specified by “Resonance (Resonance
Low Pass Resonance
A)”.
When the Low Pass filter type is selected, only fil-
For example if Velocity has been selected, changes in keyboard
ter A will be activated.
velocity will affect the resonance.
With positive (+) values, the resonance will increase as you play
more strongly, and as you play more softly the resonance will
Low Pass & High Pass approach the level specified by the “Resonance” setting.
When the Low Pass & High Pass filter type is With negative (–) values, the resonance will decrease as you play
selected, the filter B will be activated. more strongly, and as you play more softly the resonance will
approach the level specified by the “Resonance” setting.
The resonance level is determined by adding the “Resonance”
and “Intensity (AMS Intensity)” values.
Trim
-99…+99 Parameter value.

Reference
Use this parameter to adjust the level at which the audio signal
output from the selected oscillator is input to filter A.
Note: If this value is raised, the sound may distort if Resonance is
Filter B
set to a high value or when you play a chord.
Frequency (Cutoff Frequency B)
00…99 Trim level.
This parameter specifies the cutoff frequency of filter B. This
parameter will be displayed when “Filter Type” is set to Low Pass
Filter A & High Pass.
High Pass
Frequency (Cutoff Frequency A) Level
This filter cuts the low-frequency range that
This parameter specifies the cutoff frequency of filter A. lies below the cutoff frequency. By cutting
the lower overtones, it lightens the tone.
This is a filter that cuts the 12dB/oct
Low Pass high-frequency region above the cutoff
frequency. Frequency
Level
This is the most common type of filter,
12dB/oct and is used to cut part of the overtone
components, making an originally bright 00…99 Cutoff frequency value.
24dB/oct timbre sound more mellow (darker).
When the “Filter Type” is Low Pass
Frequency Resonance, the cutoff will have a
steeper slope.

00…99 Cutoff frequency value.

218 Sound mode
Filter: Filter Mod

Tracking to A/B
Filter: Filter Mod These parameters specify the note numbers at which keyboard
tracking will begin to apply, and set the “Intensity to A” and
These settings let you apply modulation to the cutoff frequency “Intensity to B” parameters to specify the depth and direction of
(“Frequency”) of the filter for the selected oscillator to modify the change applied to filters A and B.
the tone. For the range of notes between “Key Low” and “Key High”, the
cutoff frequency will change according to the keyboard location
(pitch).
-99…+99 Parameter value.

Filter EG
hanges in cutoff frequency
Note-on Note-on Note-on
Note-off Note-off Note-off

When “Filter Type” is Low Pass Resonance, parameters for filter oftly played Strongly played Strongly played
Setting to + Setting to –
B will not be editable (greyed out).

Keyboard Tracking Velocity to A

Key Low/High This parameter specifies the depth and direction of the effect
that velocity will have on the time-varying changes created by
These settings specify keyboard tracking for the cutoff frequency the filter EG (as set on “Filter: Filter EG”) to control the filter A
of the filter for the selected oscillator. The way in which the cut- cutoff frequency.
off frequency is affected by the keyboard location you play can
be specified by the “Key Low”, “Key High”, “Ramp Low” and With positive (+) values, playing more strongly will cause the fil-
“Ramp High” parameters. ter EG to produce greater changes in cutoff frequency. With neg-
ative (–) values, playing more strongly will also cause the filter
Keyboard tracking will apply to the range below the specified EG to produce greater changes in cutoff frequency, but with the
Low note number, and above the specified High note number. polarity of the EG inverted.
C–1…G9 Lowest/Highest note in the range. 99…+99 Value of the Velocity to A parameter.

Ramp Low/High Velocity to B

These parameter specifies the angle of keyboard tracking. This parameter specifies the depth and direction of the effect
If “Intensity to A” and “Intensity to B” are set to +50, “Ramp that velocity will have on the time-varying changes created by
Low” is set to –62 and “Ramp High” is set to +62, the angle of the the filter EG to control the filter B cutoff frequency (see “Veloc-
change in cutoff frequency will correspond to the keyboard loca- ity to A”).
tion (pitch). This means that the oscillation that occurs when 99…+99 Value of the Velocity to B parameter.
you increase the “Resonance (Resonance A)” will correspond to
the keyboard location. Int to A (Intensity to A)
If you set “Ramp Low” to +43 and “Ramp High” to –43, the cut- Specifies the depth and direction of the effect that the time-vary-
off frequency will not be affected by keyboard location. Use this ing changes created by the filter 1 EG will have on the filter A
setting when you do not want the cutoff frequency to change for cutoff frequency.
each note.
With positive (+) settings, the sound will become brighter when
-99…+99 Angle value. the EG levels set by Filter EG “Level” and “Time” parameters are
Here is how cutoff frequency is affected by keyboard location in the “+” area, and darker when they are in the “–” area.
and the Ramp setting (“Intensity to A” and “Intensity to B” = With negative (–) settings, the sound will become darker when
+50): the EG levels set by Filter EG “Level” and “Time” parameters are
Cutoff frequency High Ramp=+99
in the “+” area, and brighter when they are in the “–” area.
High Ramp=+62 -99…+99 Parameter value.
High Ramp=0
Int to B (Intensity to B)
High Ramp=–43
Low Ramp=+99 Specifies the depth and direction of the effect that the time-vary-
High Ramp=–99
Low Ramp=+43 ing changes created by the filter EG will have on the filter B cut-
Low Ramp=0 off frequency (see “Int to A (Intensity to A)”).
Low Ramp=–62 Key
Low Key High Key -99…+99 Parameter value.
Low Ramp=–99
 Sound mode 219
Filter: Filter LFO

AMS (EG Alternate Modulation Source)

Selects the source that will control the depth and direction of the Filter: Filter LFO
effect that the time-varying changes produced by the filter EG
will have on the cutoff frequency of filters A and B. See “AMS Here you can use the filter LFO to apply cyclic modulation to the
(Alternate Modulation Source) list” on page 229. cutoff frequency of the filter (for the selected oscillator) to create
cyclical changes in tone.
Int to A (Intensity to A)
Specifies the depth and direction of the effect that “AMS” will
have on filter A. For details on how this will apply, refer to “Int to
A (Intensity to A)”.

Int to B (Intensity to B)
Specifies the depth and direction of the effect that “AMS” will
have on filter B. For details on how this will apply, refer to “Int to
A (Intensity to A)”.
Note: The sum of the settings for “Velocity to A/B”, “Intensity to A/
B”, and “(AMS) Intensity to A/B” will determine the depth and
direction of the effect produced by the filter EG.
LFO 1
Filter A/B Modulation
Intensity to A
AMS1 (Alternate Modulation Source 1 for filter A/B) Specifies the depth and direction of the modulation that LFO1
Selects the source that will control modulation of the filter A (set on “LFO: LFO1”) will have on the cutoff frequency of filter
cutoff frequency. See “AMS (Alternate Modulation Source) list” A. Negative (–) settings will invert the phase.
on page 229. Change in cutoff

Note: The filter B parameters will be displayed when “Filter Type”

on page 217 is Low Pass & High Pass.

Intensity (Intensity to AMS1)

Low setting High setting
Specifies the depth and direction of the effect that “AMS1” will
have.
-99…+99 Parameter value.
When “AMS1” is JS X, a positive (+) value for this parameter will
cause the cutoff frequency to rise when the joystick is moved Intensity to B
toward the right, and fall when the joystick is moved toward the Specify the depth and direction of the modulation that LFO1
left. With a negative (–) value for this parameter, the opposite will have on the cutoff frequency of filter B (see “Intensity to A”).

Reference
will occur.
-99…+99 Parameter value.
This value is added to the setting of the Filter A “Frequency”.
JS (Joystick) –Y Intensity to A
AMS2 (Alternate Modulation Source 2 for filter A/B)
By moving the joystick in the Y direction (toward yourself), you
Selects the source that will control modulation of the filter A can control the depth at which LFO1 modulates the cutoff fre-
cutoff frequency (see “AMS (Alternate Modulation Source) list” quency of filter A. This parameter specifies the depth and direc-
on page 229). tion of the control.
Intensity (Intensity to AMS2) Higher settings of this parameter will produce greater increases
in the effect of LFO1 on the filter when the joystick is moved
Specifies the depth and direction of the effect that the selected
toward yourself.
source will have (see “Intensity (Intensity to AMS1)” on
page 219). -99…+99 Parameter value.

JS (Joystick) –Y Intensity to B
By moving the joystick in the Y direction (toward yourself), you
can control the depth at which LFO1 modulates the cutoff fre-
quency of filter B. This parameter specifies the depth and direc-
tion of the control (see “JS (Joystick) –Y Intensity to A”).

AMS (Filter LFO1 Alternate Modulation Source)

Select a source that will control the depth and direction of cutoff
frequency change for both filters A and B. See “AMS (Alternate
Modulation Source) list”.
220 Sound mode
Filter: Filter EG

Intensity to A Start
Specifies the depth and direction of the effect that “AMS” will This parameter specifies the change in cutoff frequency at the
have on filter A. time of note-on.
For example if “AMS” is Joystick Y+, higher settings of this -99…+99 Level value.
parameter will allow greater change to be applied to LFO1 when
you move the Joystick up in the Y axis. Attack
-99…+99 Parameter value. This parameter specifies the change in cutoff frequency after the
attack time has elapsed.
Intensity to B
-99…+99 Level value.
Specifies the depth and direction of the effect that “AMS” will
have on filter B (see “Intensity to A”). Break (Break Point)
This parameter specifies the change in cutoff frequency after the
LFO 2 decay time has elapsed.

Adjusts the depth of the cyclic modulation applied by LFO2 (set -99…+99 Level value.
on “LFO: LFO2”) to the cutoff frequency of filters A and B. For
Sustain
more information on the parameters see “LFO 1” above.
This parameter specifies the change in cutoff frequency that will
be maintained from after the slope time has elapsed until note-
off occurs.
Filter: Filter EG -99…+99 Level value.

Here you can make settings for the EG that will produce time- Release
varying changes in the cutoff frequency of filters A and B for the This parameter specifies the change in cutoff frequency that will
selected oscillator. The depth of the effect that these settings will occur when the release time has elapsed.
have on the filter cutoff frequency is determined by the “Veloc-
ity” and “Intensity” parameters. -99…+99 Level value.

Time
These parameters specify the time over which the filter change
will occur.

Attack
This parameter specifies the time over which the level will
change from note-on until the attack level is reached.
0…99 Time value.

Decay
Diagram This parameter specifies the time over which the level will
change from the attack level to the break point level.
The diagram on top of the page shows the Filter envelope line.
0…99 Time value.

Filter envelope Slope

Note-off
Attack Level Sustain Level This parameter specifies the time over which the level will
Note-on Release
change after the decay time has elapsed until the sustain level is
Break
Level reached.
Point
The specified Level Time 0…99 Time value.
cutoff
frequency
Start
Level Attack Decay Slope Release Release
Time Time Time Time
This parameter specifies the time over which the level will
change after note-on occurs until the release level is reached.
Level 0…99 Time value.
These are the envelope segment levels. The result will depend on
the filter that was selected in “Filter Type”. For example, with the
Low Pass Resonance filter, positive (+) values of EG Intensity
will cause the tone to be brightened by positive (+) levels, and
darkened by negative (–) levels.
 Sound mode 221
Filter: Filter EG

Level Modulation Time Modulation

Filter 1 EG changes (level) (AMS = Velocity, Intensity = a positive (+) value) Filter 1 EG changes (Time) (AMS = Velocity, Intensity = a positive (+) value)
Note-on Note-on Note-on Note-on Note-on Note-on
Note-off Note-off Note-off Note-off Note-off Note-off

Softly played note with Start Level Strongly played note with Start Strongly played note with Start Softly played note with Attack, Strongly played note with Strongly played note with
Swing, Attack Level Swing, and Level Swing, Attack Level Swing, Level Swing, Attack Level Swing, Decay, Slope and Release Attack, Decay, Slope and Attack, Decay, Slope and
Break Level Swing set to + and Break Level Swing set to + and Break Level Swing set to – Level Swings set to + Release Level Swings set to + Release Level Swings set to –

AMS (Alternate Modulation Source) AMS1/2

This parameter selects the source that will control the “Level” Use this parameter to select the source that will control the
parameters of the filter EG (“AMS (Alternate Modulation “Time” parameters of the filter EG. See “AMS (Alternate Modu-
Source) list” on page 229). lation Source) list” on page 229.

Intensity (AMS Intensity) Int (AMS Intensity)

This parameter specifies the depth and direction of the effect This parameter specifies the depth and direction of the effect
applied by “AMS”. With a setting of 0, the levels specified by that “AMS1/2” will have.
“Frequency (Cutoff Frequency A)” will be used.
For example, if “AMS1/2” is set to FltKTr +/+, the EG “Time”
For example, if “AMS” is Velocity, and you set “St (Start Level parameters will be controlled by the Keyboard Tracking settings.
Swing)”, “At (Attack Level Swing)” and “Br (Break Level Swing)” With positive (+) values of this parameter, positive (+) values of
to + and set “Intensity” to a positive (+) value, the EG levels will “Ramp Low/High” will lengthen the EG times, and negative (–)
rise as you play more strongly. If “Intensity” is set to a negative values of “Ramp Low/High” will shorten the EG times. The
(–) values, the EG levels will fall as you play more strongly. direction of change is specified by “At (Attack Time Swing)”, “Dc
-99…+99 Intensity value. (Decay Time Swing)”, “Sl (Slope Time Swing)”, and “Rl (Release
Time Swing)”.
St (Start Level Swing) With a setting of 0, the times specified by “Frequency (Cutoff
This parameter specifies the direction in which “AMS” will affect Frequency A)” will be used.
“Start”. When “Intensity” has a positive (+) value, a setting of + If “AMS1/2” is set to Velocity, positive (+) values of this parame-
for this parameter will allow “AMS” to raise the EG level, and a ter will cause EG times to lengthen as you play more strongly,
setting of – will allow “AMS” to lower the EG level. With a setting and negative (–) values will cause EG times to shorten as you
of 0 there will be no change. play more strongly.
At (Attack Level Swing) -99…+99 Intensity value.
This parameter specifies the direction in which “AMS” will affect At (Attack Time Swing)
“Attack”. When “Intensity” has a positive (+) value, a setting of +

Reference
for this parameter will allow “AMS” to raise the EG level, and a This parameter specifies the direction in which “AMS1/2” will
setting of – will allow “AMS” to lower the EG level. With a setting affect the attack time. With positive (+) values of “Intensity”, set-
of 0 there will be no change. ting this parameter to + will allow AMS to lengthen the time,
and setting this parameter to – will allow AMS to shorten the
Br (Break Level Swing) time. With a setting of 0 there will be no change.
This parameter specifies the direction in which “AMS” will affect Dc (Decay Time Swing)
“Break (Break Point)”. When “Intensity” has a positive (+) value,
a setting of + for this parameter will allow “AMS” to raise the EG This parameter specifies the direction in which “AMS1/2” will
level, and a setting of – will allow “AMS” to lower the EG level. affect the decay time. With positive (+) values of “Intensity”, set-
With a setting of 0 there will be no change. ting this parameter to + will allow AMS to lengthen the time,
and setting this parameter to – will allow AMS to shorten the
time. With a setting of 0 there will be no change.

Sl (Slope Time Swing)

This parameter specifies the direction in which “AMS1/2” will
affect the slope time. With positive (+) values of “Intensity”, set-
ting this parameter to + will allow AMS to lengthen the time,
and setting this parameter to – will allow AMS to shorten the
time. With a setting of 0 there will be no change.

Rl (Release Time Swing)

This parameter specifies the direction in which “AMS1/2” will
affect the release time. With positive (+) values of “Intensity”,
setting this parameter to + will allow AMS to lengthen the time,
222 Sound mode
Amp: Amp Level/Pan

and setting this parameter to – will allow AMS to shorten the as you play higher), and toward the left as the note numbers
time. With a setting of 0 there will be no change. decrease (i.e., as you play lower). Negative (–) values of this
parameter will have the opposite effect.
-99…+99 Parameter value.
Amp: Amp Level/Pan
These parameters control the volume and pan of the selected Amp: Amp Mod
oscillator.
These settings allow you to apply modulation to amp (for each
oscillator) to modulate the volume.

Amp Level
Volume of the selected oscillator.
Note: The volume of a Sound can be controlled by CC#7 (volume) Keyboard Tracking
and #11 (expression). The resulting level is determined by multi-
plying the values of CC#7 and #11. The Global MIDI channel is These parameters let you use keyboard tracking to adjust the
used for control. volume of the selected oscillator. Use the “Key” and “Ramp”
parameters to specify how the volume will be affected by the
0…127 Volume level. keyboard location that you play.
Pan Key Low/High
Pan (stereo position) of the selected oscillator. These settings specify the note number at which keyboard track-
This parameter is not available when editing a Drum Kit. ing will begin to apply. The volume will not change between
Use the individual Pan control for each key (see “Pan” on “Key Low” and “Key High”.
page 213). Keyboard tracking will apply to the range below the specified
Random The sound will be heard from a different location Low note number, and above the specified High note number.
at each note-on. C–1…G9 Lowest/Highest note in the range.
L001 Places the sound at far left.
Ramp Low/High
C064 Places the sound in the center.
These parameters specify the angle of keyboard tracking.
R127 Places the sound to far right.
With positive (+) values of the “Ramp Low” parameter, the vol-
Note: This can be controlled by CC#10 (panpot). A CC#10 value of ume will increase as you play notes below the “Key Low” note
0 or 1 will place the sound at the far left, a value of 64 will place the number. With negative (–) values, the volume will decrease.
sound at the location specified by the “Pan” setting for each oscilla-
tor, and a value of 127 will place the sound at the far right. This is With positive (+) values of the “Ramp High” parameter, the vol-
controlled on the global MIDI channel. ume will increase as you play notes above the “Key High” note
number. With negative (–) values, the volume will decrease.

Pan modulation -99…+99 Angle value.

Here is an example of volume changes produced by keyboard
AMS (Alternate Modulation Source) location and “Ramp” settings:
Selects the source that will modify pan (see “AMS (Alternate Volume

Modulation Source) list” on page 229). This change will be rela-

tive to the “Pan” setting.
Ramp Low=+99 Ramp High=+99

Intensity Ramp Low=0 Ramp High=0

Specifies the depth of the effect produced by “AMS”. For exam-

Ramp Low=—99 Ramp High=—99
ple, if “Pan” is set to C064 and “AMS” is Note Number, positive
(+) values of this parameter will cause the sound to move toward Key
Key Low Key High
the right as the note numbers increase beyond the C4 note (i.e.,
 Sound mode 223
Amp: Amp EG

Amp Modulation Diagram

These parameters specify how the volume of the selected oscilla- The diagram on top of the page shows the Amplitude envelope
tor will be affected by velocity. line.

Velocity Intensity
Level
With positive (+) values, the volume will increase as you play
more strongly. With negative (–) values, the volume will decrease These parameters are the level of the envelope segment.
as you play more strongly. Amplifier EG
Attack Level Note-off
Volume change (with positive (+) values of this parameter) Note-on Break Point
Note-on Note-on Volume
Note-off Note-off

Sustain
Level
Start
Level Time

Softly played Strongly played

Attack Decay Slope Release Time

Time Time Time
-99…+99 Intensity value.

AMS (Alternate Modulation Source) Start

Selects the source that will control the volume of the amp for the This parameter specifies the volume level at note-on. If you want
selected oscillator (See “AMS (Alternate Modulation Source) the note to begin at a loud level, set this to a high value.
list” on page 229). “Velocity” cannot be selected. 0…99 Level value.
Intensity Attack
This parameter specifies the depth and direction of the effect This parameter specifies the volume level that will be reached
that “AMS” will have. The actual volume will be determined by after the attack time has elapsed.
multiplying the value of the changes produced by the amp EG
with the values of Alternate Modulation etc., and if the levels of 0…99 Level value.
the amp EG are low, the modulation applied by Alternate Modu-
lation will also be less. Break

For example, if “AMS” is set to Joystick Y+, positive (+) values of This parameter specifies the volume level that will be reached
this parameter will cause the volume to increase when you move after the decay time has elapsed.
the Joystick up in the Y axis. However if the EG settings etc. have 0…99 Level value.
already raised the volume to its maximum level, the volume can-
not be increased further. Sustain
With negative (–) values of this parameter, the volume will This parameter specifies the volume level that will be maintained

Reference
decrease when pressure is applied to the keyboard. from after the slope time has elapsed until note-off occurs.
-99…+99 Intensity value. 0…99 Level value.

Time
Amp: Amp EG These parameters specify the time over which the volume
change will occur.
These parameters let you create time-varying changes in the vol- Attack
ume of the selected oscillator.
This parameter specifies the time over which the volume will
change after note-on until it reaches the attack level. If the start
level is 0, this will be the rise time of the sound.
0…99 Time value.

Decay
This parameter specifies the time over which the volume will
change from when it reaches the attack level until it reaches the
break point level.
0…99 Time value.
224 Sound mode
Amp: Amp EG

Slope Time Modulation

This parameter specifies the time over which the volume will These parameters let you use an alternate modulation source to
change from when it reaches the break point level until it reaches modify the amp EG times that were specified in “Time” on
the sustain level. page 223.
0…99 Time value. Amp 1 EG changes (Time)
(AMS=Amp KTrk +/+, Intensity = a positive (+) value)
(When Amp Keyboard Track “Low Ramp”= a positive (+) value, and
Release “High Ramp” = a positive (+) value)
Note-on Note-on Note-on
This parameter specifies the time over which the volume will Note-off Note-off Note-off
change after note-off until it reaches 0.
0…99 Time value.
Low-pitched note played with High -pitched note played with
Level Modulation Attack, Decay, Slope, and
Release Time Swing at +
Attack, Decay, Slope, and
Release Time Swing at –

Amp 1 EG changes (Level) (AMS=Velocity, Intensity = a positive (+) value) Amp 1 EG changes (Time) (AMS=Velocity, Intensity= a positive (+) value)

Note-on Note-on Note-on Note-on Note-on Note-on

Note-off Note-off Note-off Note-off Note-off Note-off

Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level Softly played note with Strongly played note with Strongly played note with
Swing=0 and Attack Level Swing Swing=0 andAttack Level Swing and Swing=0 andAttack Level Swing and Attack, Decay, Slope and Attack, Decay, Slope and Attack, Decay, Slope and
and Break Level Swing are set to + Break Level Swing are set to + Break Level Swing are set to + Release Time Swing at + Release Time Swing at + Release Time Swing at –

AMS (Alternate Modulation Source) AMS1 (Alternate Modulation Source 1 - Time)

This parameter specifies the source that will control the “Level” This parameter specifies the source that will control the “Time”
parameters of the amp EG. See “AMS (Alternate Modulation parameters of the amp EG (see “AMS (Alternate Modulation
Source) list” on page 229. Source) list” on page 229). With a setting of Off, there will be no
modulation.
Intensity
Intensity
This parameter specifies the depth and direction of the effect
that “AMS” will have. For example, if “AMS” is Velocity, setting This parameter specifies the depth and direction of the effect
“St (Start Level Swing)”, “At (Attack Level Swing)” and “Br that “AMS1” will have. For example, if “AMS1(T)” is Amp KTrk
(Break Point Level Swing)” to + and setting “Intensity” to a posi- +/+, the (Amp) Keyboard Track settings (see “Keyboard Track-
tive (+) value will cause the amp EG volume levels to increase as ing” on page 222) will control the EG “Time” parameters. With
you play more strongly. Setting “Intensity” to a negative (–) val- positive (+) values of this parameter, positive (+) values of
ues will cause the amp EG volume levels to decrease as you play “Ramp (Ramp Setting) will cause EG times to be lengthened,
more strongly. With a setting of 0, the levels will be as specified and negative (–) values of “Ramp (Ramp Setting)” will cause EG
on “Amp: Amp EG”. times to be shortened. The direction of the change is specified by
“At (Attack Time Swing)”, “Dc (Decay Time Swing)”, “Sl (Slope
-99…+99 Intensity value. Time Swing)”, and “Rl (Release Time)”.
St (Start Level Swing) When “AMS1(T)” is Velocity, positive (+) values will cause EG
times to lengthen as you play more strongly, and negative (–)
This parameter specifies the direction in which “AMS” will
values will cause EG times to shorten as you play more strongly.
change “Start”. If “Intensity” is set to a positive (+) value, setting
With a setting of 0, the EG times will be as specified by the
this parameter to + will allow AMS to increase the EG level, and
“Level” parameters (see page 223).
setting this parameter to – will allow AMS to decrease the EG
level. With a setting of 0, no change will occur. At (Attack Time Swing)
At (Attack Level Swing) This parameter specifies the direction of the effect that “AMS1”
will have on “Attack”. With positive (+) values of “Intensity”, set-
This parameter specifies the direction in which “AMS” will
ting this parameter to + will allow AMS1 to lengthen the time,
change “Attack”. If “Intensity” is set to a positive (+) value, set-
and setting it to – will allow AMS1 to shorten the time. With a
ting this parameter to + will allow AMS to increase the EG level,
setting of 0 there will be no effect.
and setting this parameter to – will allow AMS to decrease the
EG level. With a setting of 0, no change will occur. Dc (Decay Time Swing)
Br (Break Point Level Swing) This parameter specifies the direction of the effect that “AMS1”
will have on “Decay”. With positive (+) values of “Intensity”, set-
This parameter specifies the direction in which “AMS” will
ting this parameter to + will allow AMS1 to lengthen the time,
change “Break”. If “Intensity” is set to a positive (+) value, setting
and setting it to – will allow AMS1 to shorten the time. With a
this parameter to + will allow AMS to increase the EG level, and
setting of 0 there will be no effect.
setting this parameter to – will allow AMS to decrease the EG
level. With a setting of 0, no change will occur.
 Sound mode 225
LFO: LFO1

Sl (Slope Time Swing) Frequency

This parameter specifies the direction of the effect that “AMS1” Set the LFO frequency. A setting of 99 is the fastest.
will have on “Slope”. With positive (+) values of “Intensity”, set-
00…99 Frequency rate.
ting this parameter to + will allow AMS1 to lengthen the time,
and setting it to – will allow AMS1 to shorten the time. With a Offset
setting of 0 there will be no effect.
This parameter specifies the central value of the LFO waveform.
Rl (Release Time) For example, with a setting of 0 as shown in the following dia-
gram, the vibrato that is applied will be centered on the note-on
This parameter specifies the direction of the effect that “AMS1”
pitch. With a setting of +99, the vibrato will only raise the pitch
will have on “Release”. With positive (+) values of “Intensity”,
above the note-on pitch, in the way in which vibrato is applied
setting this parameter to + will allow AMS1 to lengthen the time,
on a guitar.
and setting it to – will allow AMS1 to shorten the time. With a
setting of 0 there will be no effect. When “Waveform” is set to Guitar, the modulation will occur
only in the positive (+) direction even if you set “Offset” to 0.
AMS2 (Alternate Modulation Source 2)
Here are offset settings and pitch change produced by vibrato:
This is another alternate modulation source for the Amp EG. See Pitch offset = –99 offset = 0 offset = +99
above “AMS1” parameters.
Pitch at note-on

LFO: LFO1 -99…+99 Offset value.

In this and the next page you can make settings for the LFO that Key Sync
can be used to cyclically modulate the Pitch, Filter, and Amp of This parameter specifies if the LFO is synchronized to key
each oscillator. There are two LFO units for each oscillator. By strokes.
setting the LFO1 or LFO2 Intensity to a negative (–) value for
On The LFO will start each time you play a note, and
Pitch, Filter, or Amp, you can invert the LFO waveform.
an independent LFO will operate for each note.
Off The LFO effect that was started by the first-
played note will continue to be applied to each
newly-played note. (In this case, Delay and Fade
will be applied only to the LFO when it is first
started).

Fade
This parameter specifies the time from when the LFO begins to
apply until it reaches the maximum amplitude. When “Key

Reference
Sync.” is Off, the fade will apply only when the LFO is first
started.
Waveform Here is how “Fade” affects the LFO (when “Key Sync” is On):
This parameter selects the LFO waveform. The numbers that
Note-on Note-off
appear at the right of some of the LFO waveforms indicate the Fade
phase at which the waveform will begin.
Triangle 0 Step Triangle – 4
Delay
Triangle 90 Triangle wave Step Triangle – 6

Triangle Phase will change

randomly at each key-in Step Saw – 4 00…99 Fade rate.
Random

Saw 0 Step Saw – 6

Delay
Sawtooth down Ø
Saw 180 Random1 (S/H):
Conventional sample & hold (S/H) in which the This parameter specifies the time from note-on until the LFO
Square Square wave
level changes randomly at fixed intervals of
time
effect begins to apply. When “Key Sync” is Off, the delay will
Sine Sine wave
Random2 (S/H): apply only when the LFO is first started.
Both the levels and the time intervals will
change randomly.
Guitar Guitar vibrato Random3 (S/H): 0…99 Delay time.
The maximum level and minimum level will
alternate at random intervals of time (i.e., a
Exponential square wave with random period).
Triangle
Random4 (Vector)
Frequency Modulation
Exponential
Saw Down Random5 (Vector)
Exponential
Random6 (Vector) You can use two alternate modulation sources to adjust the
These types cause Random 1–3 to change
Saw Up
smoothly. They can be used to simulate the speed of the LFO1 for the selected oscillator.
instability of acoustic instruments etc.
226 Sound mode
LFO: LFO2

AMS1 (Alternate Modulation Source1)

Selects the source that will adjust the frequency of the selected LFO: LFO2
oscillator LFO1 (see “AMS (Alternate Modulation Source) list”
on page 229). LFO1 can be modulated by LFO2. Here you can make settings for the LFO2, which is the second
LFO that can be applied to the selected oscillator. See “LFO:
Intensity (AMS1 Intensity)
LFO1” for more information on the parameters value.
This parameter specifies the depth and direction of the effect
However in “Frequency Modulation”, the LFO cannot be
that “AMS1(F)” will have. When this parameter is set to a value
selected as a modulation source in “AMS1” or “AMS2.”
of 16, 33, 49, 66, 82, or 99, the LFO frequency being can be
increased by a maximum of 2, 4, 8, 16, 32, or 64 times respec-
tively (or decreased by 1/2, 1/4, 1/8, 1/16, 1/32, or 1/64 respec-
tively).
Effects: “B” FX Config
For example, if “AMS1(F)” is Note Number, positive (+) values
of this parameter will cause the oscillator LFO to speed up as you
This page allows you to select the effects for the Sound (B
play higher notes. Negative (–) values will cause the oscillator
Group). The effect types and the FX matrix are the same seen for
LFO to slow down as you play higher notes. This change will be
the Style Play mode (see “Effects: A/B FX Configuration” on
centered on the C4 note.
page 119 of the User’s Manual).
If “AMS1(F)” is set to JS +Y, raising the value of this parameter
will cause the oscillator LFO1 speed to increase as the joystick is
moved away from yourself. With a setting of +99, moving the
joystick all the way away from yourself will increase the LFO
speed by approximately 64 times.
-99…+99 Intensity value.

AMS2 (Alternate Modulation Source2)

Intensity (AMS2 Intensity)
Make settings for a second alternate modulation source that will
adjust the frequency of the oscillator LFO1 (see above “AMS1 (Alter-
nate Modulation Source1)” and “Intensity (AMS1 Intensity)”).
FX Name

Frequency MIDI/Tempo Sync Use this pop-up menu to choose one of the available effects. For
a list of the available effects, see “Effects” on page 351.
MIDI/Tempo Sync
FX parameters
This parameter enables/disables the LFO synchronization with
All other parameters in this page are the same seen for the Style
Sequencer 1 Tempo.
Play mode (see “Effects: A/B FX Configuration” on page 119 in
On The LFO frequency will synchronize to the the User’s Manual).
tempo (MIDI Clock) of Sequencer 1. In this case,
the values you specified for “Frequency” (see Send to Master
page 225) and “Frequency Modulation” (see
Use these parameters to set the level of the Sound signal going
page 225) will be ignored.
from the Insert FX to the Master FXs.
Base Note 0…127 Level of the sent signal.
When “MIDI/Tempo Sync” is On, these parameters set a note
Dry
length relative to “q (Tempo)” and the multiple (“Times”) that
will be applied to it. These parameters will determine the fre- Use this checkbox to mix the dry, direct Sound signal to the effects.
quency of the LFO1. For example if “Base Note” is q (quarter
note) and “Times” is 04, the LFO will perform one cycle every
four beats.
Even if you change the “q (Tempo)” setting of Sequencer 1, the
LFO will always perform one cycle every four beats.
This parameter is not available when editing a Drum Kit.
Note Note value.

Times
This parameter is not available when editing a Drum Kit.
1...16 Beats before restarting the cycle.
 Sound mode 227
Effects: Master 1 / Reverb

Effects: Master 1 / Reverb Page menu

In this page you can edit the effect assigned to the Master FX 1 Touch the page menu icon to open the menu. Touch a command
effect processor (usually Reverb). See “Effects” on page 357 for to select it. Touch anywhere in the display to close the menu
more information. without selecting a command.

Effects: Master 2 / Chorus

In this page you can edit the effect assigned to the Master FX 2
effect processor (usually Chorus). See “Effects” on page 357 for
more information.

Write Sound
Select this command to open the Write Sound dialog box, and
save all editing parameters to a Sound.
See “Write Sound dialog box” on page 228 for more information.

Solo Oscillator
Select this command to solo the selected oscillator, and mute the
other oscillators. Select it again to unmute the other oscillators.
When this function is activated, the “Solo OSC [n]” indicator (n
= oscillator number) blinks on the page header. While in this sit-
uation, you can select a different oscillator to be soloed.

Swap LFO
Select this command to replace LFO1 with LFO2, and vice-versa.

Copy Oscillator

Reference
Select this command to copy all settings between oscillators. See
“Copy Oscillator dialog box” on page 228 for more information.

Copy/Paste FX
Use this command to copy a single effect, or both effects of an
FX group (A or B). See “Copy/Paste FX” on page 127 for detailed
instructions.

Copy Drum Kit

Select this command to copy the Drum Kit from a different
Drum Kit. See “Copy Drum Kit dialog box” on page 228 for
more information.

Init Sound
Select this command to delete all parameters, and set them to a
default value.

Compare
When this command is checked, original Sound parameter values
are temporarily recalled, to compare them with edited parameters.
You cannot edit the Sound while you are in Compare mode.
While this function is on, the Compare indicator blinks on the
page header.
228 Sound mode
Write Sound dialog box

Write Sound dialog box Copy Oscillator dialog box

Open this window by selecting the Write Sound item from the Open this window by selecting the Copy Oscillator item from
page menu. Here, you can save all Sound parameters to a Sound the page menu. Here, you can copy all settings between oscilla-
location in memory. tors.
Warning: If you write over an existing Sound, the Sound will be
deleted and replaced by the one you are saving (“overwrite”).
Please save on a storage device any User Sound you don’t want to
lose.
Note: Drum Kits cannot be written over standard Sounds, nor vice
versa.
Note: To save over a Factory Sound location, unckeck the “Factory
Sound Protect” command in the Global > Mode Preferences >
Media page (see page 254).
From Sound
Warning: When replacing a Factory Sound, please be warned
that all Performance, STSs, Styles and Songs making use of it Touch this button to open the Sound Select window, and select
will be modified as well. Use this feature with great care! the source Sound.

To restore the original data, please use the “Factory Restore” com- From Oscillator
mand in the Utility page of the Media mode (see page 291 for more
information). Select the source oscillator to copy from.

To Oscillator
Target oscillator where to copy the source settings to.

Copy Drum Kit dialog box

Open this window by selecting the Copy Drum Kit item from
the page menu. Here, you can copy settings from a range of keys
Name of a Drum Kit.
Name of the Sound to be saved. Touch the (Text Edit) but-
ton next to the name to open the Text Edit window.

Sound Bank
Target bank of Sounds. Use the VALUE controls to select a dif-
ferent bank.

Sound
Target Sound location in the selected bank. Use the VALUE con-
trols to select a different location. From Drum Kit
Touch this button to open the Sound Select window, and select
Select… the source Drum Kit.
Touch this button to open the Sound Select window, and select a
target location. From Key
Select the source range of keys to copy from.

To Key
Target key. Settings are copied starting from this key, and
upwards.
 Sound mode 229
AMS (Alternate Modulation Source) list

AMS (Alternate Modulation Source) list

Off Do not use Alternate Modulation
Pitch EG Pitch EG
Filter EG Filter EG within the same oscillator
Amp EG Amp EG within the same oscillator
LFO1 LFO1 within the same oscillator
LFO2 LFO2 within the same oscillator
Flt KTrk +/+ (Filter Keyboard Track +/+) Filter keyboard tracking within the same oscillator
Flt KTrk +/– (Filter Keyboard Track +/) Filter keyboard tracking within the same oscillator
Flt KTrk 0/+ (Filter Keyboard Track 0/+) Filter keyboard tracking within the same oscillator
Flt KTrk +/0 (Filter Keyboard Track +/0) Filter keyboard tracking within the same oscillator
Amp KTrk +/+ (Amp Keyboard Track +/+) Amp keyboard tracking within the same oscillator
Amp KTrk +/ (Amp Keyboard Track +/) Amp keyboard tracking within the same oscillator
Amp KTrk 0/+ (Amp Keyboard Track 0/+) Amp keyboard tracking within the same oscillator
Amp KTrk +/0 (Amp Keyboard Track +/0) Amp keyboard tracking within the same oscillator
Note Number Note number
Velocity Velocity
Poly AT (Poly After Touch) Polyphonic After Touch (received/transmitted via MIDI or contained in Standard MIDI Files)
Channel AT (Channel After Touch) After Touch (Channel After Touch) (received/transmitted via MIDI or contained in Standard MIDI Files)
Joystick X Joystick X (horizontal) axis
Joystick +Y Joystick +Y (vertical upward) direction (CC#01)
Joystick Y Joystick Y (vertical downward) direction (CC#02)
JS+Y & AT/2 (Joy Stick +Y & After Touch/2) Joystick +Y (vertical upward) direction and After Touch (received/transmitted via MIDI or contained in Stan-
dard MIDI Files)
JS–Y & AT/2 (Joy Stick Y & After Touch/2) Joystick Y (vertical downward) direction and After Touch (received/transmitted via MIDI or contained in
Standard MIDI Files)
Assign. Pedal Assignable foot pedal (CC#04)
Ribbon Ctl. Ribbon controller (CC#16) (received/transmitted via MIDI or contained in Standard MIDI Files)
CC#18 CC#18
CC#17 CC#17
CC#19 CC#19
CC#20 CC#20
CC#21 CC#21
Damper Damper pedal (CC#64)

Reference
CC#65 Portamento switch (CC#65)
Sostenuto Sostenuto pedal (CC#66)
CC#80 CC#80
CC#81 CC#81
CC#82 CC#82
CC#83 CC#83
Tempo Tempo (tempo data from Sequencer 1 clock or external MIDI clock)
Velocity Plus Key On and Key Off Velocity are used
Velocity Exp Velocity with Exponential curve (higher velocity notes are even louder)
Velocity Log Velocity with Logarithmic curve (higher velocity notes are weaker than with the linear Velocity)

Flt KTrk +/+ (Filter Keyboard Track +/+) Amp KTrk 0/+ (Amp Keyboard Track 0/+)

Flt KTrk +/– (Filter Keyboard Track +/) Amp KTrk +/0 (Amp Keyboard Track +/0)
+/+ The direction of the effect will be determined by
Flt KTrk 0/+ (Filter Keyboard Track 0/+)
the sign (positive or negative) of the “Ramp Low”
Flt KTrk +/0 (Filter Keyboard Track +/0) or “Ramp High” setting.
+/– The direction of the effect will be determined by
Amp KTrk +/+ (Amp Keyboard Track +/+) the sign of the “Ramp Low” setting, and by the
opposite sign of the “Ramp High” setting (50 for a
Amp KTrk +/– (Amp Keyboard Track +/–) setting of +50, and +50 for a setting of 50).
230 Sound mode
AMS (Alternate Modulation Source) list

0/+ “Ramp Low” will have no AMS effect. The sign of JS +Y & AT/2 (Joy Stick +Y & After Touch/2)
the “Ramp High” setting will determine the direc-
The effect will be controlled by the joystick +Y (vertically
tion of its effect.
upward) and by after touch. In this case, the effect of after touch
+/0 The sign of the “Ramp Low” setting will deter- will be only half of the specified intensity.
mine the direction of its effect. “Ramp High” will
have no AMS effect. JS Y & AT/2 (Joy Stick –Y & After Touch/2)
The effect will be controlled by the joystick Y (vertically down-
example of Amp
Amp ward) and by after touch. In this case, the effect of after touch
Keyboard Track settings
will be only half of the specified intensity.
Ramp Low Ramp High
= +50 = +50

Key Low Key High Note Number

AMS = Amp KTrk +/+ + max

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

AMS = Amp KTrk +/— + max

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

AMS = Amp KTrk 0/+ + max

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max

AMS = Amp KTrk +/0 + max

AMS Intensity = positive (+) value

zero

Depth and direction of modulation

- max
 Sampling mode 231
Entering and exiting the Sampling mode

Sampling mode
The Sampling mode allows you to create new Samples, new Mul-
tisamples and new synced Audio Grooves. You can load Sam- Creating new Sounds from the Samples
ples, Multisamples, Sounds and banks of Sounds from various
formats.
Here is how to create a new Sounds from new Samples and Mul-
Pa900 can read common file formats, like WAV, AIFF and SF2 tisamples.
files, and load data from Korg Trinity and Triton files.
1. Create new Samples with the procedures described in the
To be used, Samples must be assigned to a Multisample or a following pages.
Drum Kit. A Multisample allows you to arrange samples into
separate zones of the keyboard. Drum Kits allows you to assign a 2. Select the Write command from the page menu to save the
different sample to each note of the keyboard, with up to six Sample in edit. The Write Sample dialog box will appear
dynamic layers per note. (see “Write Sample dialog box” on page 243). Assign a
name to the new Sample, and confirm saving.
Multisamples can then be assigned to Sounds. Sounds created
with this function can be used as any ordinary Sound, and 3. After saving, you can load other files to create additional
assigned to any track. Samples.
Another powerful feature of the Sampling mode is the Time 4. When you have created and saved all the needed Samples,
Slice, that lets you add realism to MIDI tracks by creating Audio press the MENU button and go to the “Multisample” sec-
Grooves. tion, to assign the Sample(s) to a Multisample. Assign each
Sample to a different keyboard zone of the Multisample.
Warning: When loading a “.SET” folder containing User PCM
Samples, all existing User PCM Samples are deleted from memory. 5. When finished editing the Multisample, select the Write
Save them before loading the folder, by selecting the “PCM” option command from the page menu. The Write Multisample
during a Save All operation (see “Saving the full memory content” dialog box will appear (see “Write MultiSample dialog box”
on page 285 of the User’s Manual). on page 243). Assign a name to the new Multisample, and
save it to the internal memory.
To see if a “.SET” folder contains User PCM Samples, open it and
look for a “PCM” folder. 6. Press RECORD to exit the Sampling mode and return to
the Sound mode.
Hint: If you want to load new User PCM Samples without deleting
the ones already contained in memory, load single Sounds instead 7. Select an ordinary Sound similar to the one you want to
of a “.SET” folder. create.
8. Press MENU and go to the “Basic: OSC Basic” page (see
page 206). Select one of the available layers, then select the
RAM bank of Multisamples. Finally, select the new Multi-
Entering and exiting the Sampling mode sample.

Reference
9. Select the Write Sound command from the page menu, and
• While in Sound mode, press the RECORD button to enter in save the Sound to an empty User location.
Sampling mode.
10. If you want so, assign the new Sound to a track, then select
• While in Sampling mode, press the RECORD button to exit the the “Write Performance”, “Write Current Style Settings” or
Sampling mode, and return to the Sound mode. “Write STS” command from the page menu, to save the
Sound to a Performance, Style Settings or STS.
232 Sampling mode
Creating new Drum Kits from the Samples

Creating new Drum Kits from the Samples Creating new Sounds from an Audio
Groove
Here is how to create a new Drum Kits from new Samples.
1. Create new Samples with the procedures described in the
following pages. Creating an Audio Groove
2. Select the Write command from the page menu to save the After loading an Audio Groove, you must “slice” it to create a series
Sample in edit. The Write Sample dialog box will appear of separate percussive Samples, a Multisample and a MIDI Groove.
(see “Write Sample dialog box” on page 243). Assign a
name to the new Sample, and confirm saving. 1. Go to the Time Slice page. After creating a series of slices,
use the Extend function to refine your groove.
3. After saving, you can load other files to create additional
Samples. 2. Select the Write command from the page menu, to save the
sliced Samples, a Multisample, a Sound and the MIDI
4. When you have created and saved all the needed Samples, Groove. Choose one of the User Sound locations. The
press RECORD to exit the Sampling mode and return to Sound, Multisample, MIDI Groove and sliced Samples are
the Sound mode. saved to the internal memory.
5. Select a Drum Kit similar to the one you want to create. 3. Press RECORD to exit the Sampling mode and return to
6. Press MENU and go to the “DrumKit: Sample Setup the Sound mode.
(Drum Kits)” page (see page 210). Select a key and a layer,
then select the RAM bank of Samples. Finally, select the Assigning an Audio Grooves to a Sound
new Samples.
You can use the new Multisample and sliced Samples generated
7. Select the Write Sound command from the page menu, and
from the Audio Groove in a new User Sound.
save the Drum Kit to an empty User DK location.
1. To access the new Multisample for use in a Sound, go to the
8. If you want so, assign the new Drum Kit to a track, then
Sound mode.
select the “Write Performance”, “Write Current Style Set-
tings” or “Write STS” command from the page menu, to 2. Select an ordinary Sound. Press MENU and go to the
save the Drum Kit to a Performance, Style Settings or STS. “Basic: OSC Basic” page (see page 206). Select one of the
available layers, then select the RAM bank of Multisamples.
Hint: Drum Kits are better suited for the Drum or Percussion
Finally, select the new Multisample.
track. Assign them to the Style Settings.
3. Select the Write Sound command from the page menu, and
save the Sound to an empty User location.

Assigning the Audio Groove to Styles or Pads

Sounds based on the Audio Groove can be used in Styles or
Pads.
1. Assign the new Sound to a Style track (preferably, the
Drum or Percussion track) or to a Pad track, then select the
“Save Current Style Perf.” or “Write Pad” command from
the page menu, to save the Style Settings or the Pad.
2. Use the “Import: Import Groove” function in the Style/Pad
Record mode (see page 157) to import the generated MIDI
Groove to the Style track you assigned the new Sound to.
By playing this MIDI Groove with the new Sound, you’ll be
able to play the original audio groove on the keyboard.
Warning: Generated MIDI Grooves will be deleted when
turning the instrument off. Import them to a Style track
before turning the instrument off.
 Sampling mode 233
Edit menu

Edit menu Sampling: Edit

From any page of the Sampling mode, press the MENU button This page allows you to cut, trim or normalize a sample, as well
to open the Sampling edit menu. This menu gives access to the as edit the loop points. The sample can played on the full key-
various Sampling edit sections. board.
When in the menu, select an edit section, or press EXIT to exit
the menu and return to the Sample Edit page. To return to this
page, you can also select the Sample Edit menu item.

SM (Sample)
Selected sample.
Each item in this menu corresponds to an edit section. Each edit
section groups various edit pages, that may be selected by touch-
ing the corresponding tab on the lower part of the display. Waveform display
This is the graphical display of the selected sample waveform,
i.e., the one you can hear when playing the keyboard. The area
included between the Start and End points is highlighted (dark
background).

Parameters
Start (Sample Start)
This is the sample start point (in samples). You may edit this
point, as well as the End point, to shorten the sample. Changing
the Sample Start cuts out the attack portion of the sound.
Note: When moving the “Start” point forward, and reach the

Reference
“Loop Start” point, this latter is also moved forward.
Warning: When saving the edited sample (Write Sample opera-
tion), the segments exceeding the Start and End points are perma-
nently removed.

Loop Start
Note: This parameter has no effect, unless you don’t turn the loop
on. Use the “Loop On” parameter on the “Sampling: Loop Edit”
page to turn the loop on (see page 235).
Use this parameter to adjust the Loop Start point. When you
adjust this parameter, an audible click may appear, due to a pitch
and/or level mismatch between the starting and ending points of
the loop. Move the Loop Start and Loop/Sample End point, so
that the click can no longer be heard.
234 Sampling mode
Sampling: Loop Edit

When editing audio grooves, the Loop Start should match the Changing the sample length and finding
Sample Start point. This parameter usually differs from the Sam-
good-sounding loop points
ple Start in ordinary sounds (i.e., a guitar, a piano, a voice…).
Loop Start (L) Loop End (E)
To adjust the sample length and loop points, check the “Loop
On” parameter, then use the “Start”, “Loop Start” and “End”
Loop
parameters to create a fine sounding cycling loop.
For example, you may have sampled an audio groove of an
exceeding length. Use the “End” parameter to cut the exceeding
portion at the end of the sample, and adjust the starting point of
the loop using the “Start” or “Loop Start” parameters.
Length
Usually, checking the “Use Zero” parameter is a big help, to avoid
Sample Start (S) Sample End (E) the loop clicks due to level mismatches.

End (Sample/Loop End)

This is the sample and loop end point (in samples). You may edit
this point, to shorten the sample.
Sampling: Loop Edit
Warning: When saving the edited sample (Write Sample opera-
The loop is a cycling portion of a sampled sound. It is a tech-
tion), the segments exceeding the Start and End points are perma-
nique used to reduce the sampling time, cycling a portion of the
nently removed.
sound to create the sustain phase of the sound. After the attack
Use Zero stage, most sounds repeat the same waveform during their sus-
tain stage. You may adjust the Loop Start point with the “Loop
If this parameter is turned on, when you move the Start, Loop Start” parameter, and the Loop End point (always matching the
Start and End points, the selection fall on the nearest zero-cross- Sample End point) using the “End” parameter.
ing point (i.e., points where the waveform crosses the x-axis, and
goes from negative to positive, or from positive to negative val- This page lets you fine tune the loop points, by watching at the
ues). This will make loops more accurate, and will reduce the Loop End and Loop Start points matching at the center of the
risk of “clicks”. diagram. A good-sounding loop is shown as a continuous, non-
breaking line.
OrigNote (Original Note)
Original pitch of the sampled note. While this parameter has no
effect on sound, it will be useful to identify the original pitch of
the sample and when assigning a sample to the multisample.
For example, if you sample a C4, set this parameter to “C4”.
When the sample will be assigned to a keyboard zone of the mul-
tisample, it will be transposed (if needed) according to this
parameter, to avoid a change of the original pitch.

Zoom
Use these buttons to change the size of the waveform shown in
the diagram. When a button is greyed-out, it means the maxi- SM (Sample)
mum or minimum value has been reached. Selected sample.
Increase the vertical size.
Loop diagram
Decrease the vertical size. This diagram shows the “End” (Loop End) point on the left half,
and the “Loop Start” point on the right half of the screen. Use the
Increase the horizontal size. “End” and “Loop Start” parameters to adjust the loop.

Decrease the horizontal size.

Parameters
Full zoom in.
Start
Full zoom out. See “Start (Sample Start)” on page 233.

Loop Start
See “Loop Start” on page 233.

End
See “End (Sample/Loop End)” on page 234.
 Sampling mode 235
Sampling: Sampling Info

Use Zero When you touch the Crossfade button, the Crossfade Loop dia-
log box appears:
See “Use Zero” on page 234.

Loop Lock
This fixes the length of the loop being edited.
Off The “Loop S.” and “End” parameters can be
edited separately.
On When the “Loop S.” or “End” parameter is edited,
the other one will be automatically adjusted so
that the distance between them (i.e., the loop Crossfade Length
length) does not change. This is convenient when
In “Crossfade Length,” specify the length of the sample that you
you are creating a rhythm loop to match a spe-
wish to crossfade. You can enter it either as the number of sam-
cific tempo.
ples, or a percentage (%). If you set this as a percentage, the
Loop On number of samples will be calculated automatically.

Use this parameter to turn the loop on or off. If you set this to 50%, crossfade will be performed on the second
half of the region between loop start and loop end.
On The loop is turned on, and the portion of sound
included between the Loop Start and Loop End The “Crossfade Length” cannot be greater than the smaller
points will cycle until a key is kept pressed. If the length between the Sample Start – Loop Start points, or the Loop
“Loop Start” point matches the “Start” point, the Start – Sample End points.
whole sample is cycled.
Curve
When the loop is turned on, a vertical yellow line,
Set “Curve” to specify how the volume will change in the cross-
showing the loop point, appears in the waveform
faded region.
display.
Linear The volume will change linearly.
Off The loop is turned off. The sound will play from
the Sample Start to the Sample End point only Power The volume will change non-linearly. Sometimes
once, even if you keep a key pressed on the key- a setting of Linear will produce the impression
board. that the volume has dropped in the middle of the
crossfade curve. In such cases, use Power.
Crossfade
When looping the pitched sample of a complex sound such as
strings or woodwinds to make the sound sustain, it is necessary Sampling: Sampling Info
to create a long loop to preserve the rich character of the sound.
Crossfade Loop can be used to minimize the difference in pitch
Use this page to see detailed info on the sample in edit. General

Reference
and level between the beginning and ending of the loop region,
information for the RAM memory is also available.
to create a natural-sounding loop. In order to solve such prob-
lems, Crossfade Loop causes the sound to change gradually from
the end to the beginning of the loop.
In practice, here is how it works. A specific length (the “Cross-
fade Length” value) of the waveform immediately before the
beginning of the loop is taken and mixed with the end portion.
At this time, the waveform level of the portion immediately
before the end (the length specified by “Crossfade Length”) will
gradually decrease, and the waveform level immediately before
the beginning of the loop will gradually increase as the two are
mixed.
When the “Loop On” parameter is checked, and the “Start” and
“Loop S.” parameters have different values, the “Crossfde” button
SM (Sample)
becomes available.
Selected sample.

Sampling Info
Samples
Number of samples in memory.
236 Sampling mode
Time Slice

Drum Samples Within the generated multisample, a separate sample is assigned

to a different note on the keyboard, starting from C#3. By play-
Number of drum samples in memory.
ing an ascending chromatic scale with this multisample, you
Multisamples could recreate the original audio groove.

Number of multisamples in memory. A MIDI Groove will also be created, containing a sequence of
notes triggering the sliced percussive samples in the same order
as in the original audio groove (i.e., it plays an ascending chro-
Available Memory matic scale starting from C#3).

RAM Bank When you will import this MIDI Groove to the percussive track
of a Style (see “Import: Import Groove” on page 157 of the User’s
Pa900 comes with 192MB of Sample RAM. This is the maximum Manual), this sequence will let you adjust the groove’s tempo
amount of Sample data that can be loaded or recorded. without affecting the pitch of the percussive samples.
Mono Time In addition to changing the groove’s tempo without affecting its
pitch, this lets you do the following:
Remaining sample memory (in seconds). This value is given for
mono samples. With stereo samples, this time has to be halved. • change the order in which notes are played
• change the timing
Bytes
• edit the pattern notes to freely recreate a new rhythm loop.
Remaining memory for sampling (in Bytes). This value is given
for mono samples. With stereo samples, this time has to be Saving. After the slicing, you can select the Write command
halved. from the page menu, to save the Sound based on sliced samples,
and the MIDI Groove containing the corresponding MIDI
sequence.
Sample Info
• The Sound will be saved to the selected location in the User
Selected Samples area of the internal memory. You will be able to select it as an
ordinary Sound, and assign it to the Drum or Percussion track of
Size of the selected sample (in samples). a Style.
Samples • The Multisample will be automatically saved to the next free
available location.
Total size of the samples in memory (in samples).
• Samples will be permanently saved to the internal memory.
Sampling Frequency
• The MIDI Groove will be temporarily saved to the internal
Sampling frequency of the selected sample (in Hertz). memory, and will be available only when using the Import func-
tion of the Style Record mode (see “Import: Import Groove” on
page 157 of the User’s Manual).
Warning: All MIDI Grooves will be delete each time the Pa900 is
Time Slice turned off.

The Time Slice function lets you transform a rhythm audio

groove in a series of single percussive samples, to be assigned to
the Drum or Percussion track of a Style or a Song.

How timeslice works

Analyzing and processing. This function detects the attacks (e.g.,
kick and snare) inside a rhythm audio groove (a sample that
loops a drum pattern), and automatically divides the audio
groove into individual percussive samples.
The divided percussive samples will be automatically assigned to
different keys in a multisample, and the multisample to a Sound.
 Sampling mode 237
Time Slice

Ex.1 - Generating samples and MIDI Groove data: Ex.3 - Recombining MIDI notes and samples
Original rhythm sample

120BPM

Kick Snare Kick Kick Snare

Original pattern Edit the MIDI data

Execute the Time Slice command

Sample1 Sample2 Sample3 Sample4 Sample5

Note: To recombine notes inside the generated MIDI sequence, you
must first import the MIDI data in Style or Pad Record mode, by using
the “Import” function. Then, use the Event Edit to change the note
order.

A multisample, a program and MIDI Groove

data will be created automatically Sample diagram
C3 This diagram shows the sample waveform and the slices. Here is
how the sample diagram appears before the Slice:
Play in Style Play mode
120BPM

Generated MIDI Groove

Note: Sliced samples and MIDI data are saved with a Write operation.

… and the same diagram after the Slice:

Ex.2 - Varying the groove’s tempo

150BPM

Played closer together,

90BPM but pitch is unchanged

Reference
Played further apart, but pitch is unchanged

Note: To vary the groove’s tempo, you must first import the generated
MIDI data into the Percussion track (Import function of the Style and
Pad Record mode), and assign the new generated Sound to the Per-
cussion track.
Gaps between sliced samples, when slowing down the tempo, can be
automatically filled by the Extend function, smoothing each sample’s
tail.
238 Sampling mode
Time Slice

Metronome Information Slices

This (non-editable) parameter shows the number of generated
Meter slices, i.e. generated samples and notes in the midifile. To change
Use this parameter to specify the Meter of the original sample. this value, edit the Release and Threshold parameters.
Note: You can have a maximum of 100 slices.
Measures
Use this parameter to specify the number of measures of the Slice
original sample. Usually, you will load a groove 1- or 2-measures Select this command to execute the Slice after entering the Time
long. Slice page, or changing the Release value. This command is
“ghosted” (i.e., non-selectable) if no sample has been recorded of
BPM loaded yet.
This parameter specifies the tempo (in Beats Per Minute) of the The Time Slice operation is executed on the sample, from the
original sample. Pa900 automatically calculates this value based “Start” to the “End” point set in the Sample Edit / Sample Record
on the Start, End (see page 233), Meter and Measures parame- section.
ters.
The BPM can be only adjusted to values lower than the one auto-
matically calculated. This can be useful, for example, when the Extend
actual sample is shorter than the entered Meter and Measures See “The Extend procedure” on page 240 for more information.
values.
When using a sliced groove with a tempo slower than the origi-
Meas.1 Meas.2 nal, an annoying gap may be heard between a sample and the
following one. The Extend function allows you to fix this prob-
lem by adding a “tail” to all samples, making their decay
smoother and more musical.
In the above example, the actual groove lasts only up to the first
Before extending…
half of Measure 2. The recognized tempo is 130, while the real Added “tail”
tempo is 100. Set the BPM value to 100, and a rest will be added
to the end of the groove, to allow it to loop seamlessly.

Time Slice
See “The Time Slice procedure” on page 239 for more information.

Release
Adjust the value of this parameter to change the number of rec-
…and after extending…
ognized attacks, by varying the speed needed to the Slice engine
to start working again. For example, in the following example, if
the Release value is too high (i.e., too long), the second attack Note: You can use the Extend function only after a Time Slice
may be lost: operation.
Note: The Extend function increases the original sample size.

By
Use this parameter to set the length of the “tail” added to the
samples (in percentage). The higher this value, the greater the
size of the samples. A setting of 20-30% is usually suitable to
Note: After changing the Release value, you must select the Slice
most grooves.
command again.
Caveat: With higher “By” values, the Extend function may add
Threshold audible artifacts.
This parameter varies the threshold over which the attacks are
Mode
recognized (i.e., the Time Slice sensitivity). If it is too low, weaker
attacks may be ignored. This parameter specifies if the added “tail” must decay in a linear
way, or sustain for a longer time and then fall suddenly.
Note: After changing the Threshold value, you are not obliged to
select the Slice command again. The Slices value is immediately Normal This option is most suitable for percussive sound
changed. with a short (but not immediate) decay. The “tail”
envelope is linear, and the level decays fast.
Attacks
This (non-editable) parameter shows the number of attacks rec-
ognized. More than one attack may be recognized in a single
slice. Adjust the Release and Threshold parameters to change the
number of recognized attacks.
 Sampling mode 239
The Time Slice procedure

Long This option is most suitable for cymbals, whose A MIDI Groove with the original pattern will also be
sound should be sustained up until the next note. generated. The screen will change, to show slices sepa-
The “tail” envelope is sustained and falls slowly, rated by vertical lines:
then falls suddenly next to the end.

4. Test the generated sliced drum kit on the keyboard.

Extend • To test the full pattern at different speed, play a note from
Touch this button to execute the Extend command. After you C2 (half speed) to C3 (original speed). See table above.
select it, it will return “ghosted”, meaning that you can’t select it • To test the single sliced samples, play notes from C#3 and
again. If you change any of the parameters in this page, it will be above. If you play a full chromatic scale, the original pat-
available again. tern will be sounded.
Hint: If too many samples have been generated, and the key-
board can’t fit them all, use the OCTAVE buttons to trans-
The Time Slice procedure pose the keyboard, and listen to samples exceeding the upper
limit.
5. If the Slice didn’t produce satisfactory results, adjust the
Before executing a Slice operation, you must record or load a
Release parameter. If this does not produces good results,
sample. Then, you may edit the sample on “Sampling: Edit”, then
try adjusting the Threshold parameter, too. After adjusting
execute the Slice operation on this sample.
the Release parameter, you must execute the Time Slice
1. After recording or loading a sample, go to the Time Slice again.
page.
6. Since a tempo value rounding happens when making a
2. Pa900 automatically calculates the BPM parameter, based Time Slice operation, and the loop may not be accurate,
on the given Meter and Measures values. If you know these you may need to adjust both the “Start” and “End” parame-
data, set the Meter, Measures and BPM (Beats Per Minute) ters of the “Sampling: Edit” page, to make the groove loop
parameters. This would make the slicing more accurate. flawlessly. After editing these parameters, you must execute
3. Select the “Slice” command. the Time Slice again.

The original sample will be sliced, and each generated sam- Go on experimenting different settings! Editing an audio
ple assigned to a different key: groove is a pure matter of experimentation.
7. When the Slice is completed, you can save the sliced sam-
ples and the MIDI Groove, or use the Extend function to
improve the quality of the slices.

Reference
Select the Write command from the page menu. The Write
C2…B2: Full pattern at a Separate sliced samples
Slice dialog box will appear (see “Write Slice dialog box” on
slower speed C3: Full pattern at the page 244). Assign a name to the new Sound, and save it to
original speed
an User Sound location.
A MIDI Groove with the same name will also be saved to
Key Assigned sample/pattern Speed % the internal memory. Be warned, that this area will be
deleted when turning the instrument off. Convert it to an
C2 Full pattern cycling at half the speed 50%
internal Style pattern, by using the Import function of the
C#2 53% Style or Pad Record mode, before turning the instrument
D2 56% off.
D#2 60% • To improve the quality of the slices, use the Extend func-
E2 63% tion (see “Extend” below).
F2 67%
8. After saving, you may press RECORD to exit the Sampling
F#2 Full pattern cycling at various speeds 71% mode.
G2 75%
9. After exiting the Sampling mode, you may load the gener-
G#2 80% ated MIDI Groove by using the Import function of the
A2 84% Style Record mode (see “Import: Import Groove” on
A#2 89% page 157 of the User’s Manual for more information).
B2 94%
C3 Full pattern cycling at the original speed 100%
C#3 and –
Separate sliced samples
above
240 Sampling mode
The Extend procedure

The Extend procedure Multisample: Edit MS

1. Set the By parameter, according to the tempo of the groove The Multisample is a way of organizing several samples on the
you will use. If you will slow down the groove very much, keyboard. Each sample is assigned to a Keyboard Zone (or
assign higher values to this parameter, otherwise you may Index), with a higher and a lower limit.
assign lower values.
A Multisample is then assigned to a Sound (see “Basic: OSC
2. Select the Extend Mode. “Long” is more suitable for cym- Basic” on page 206), where it is enriched with several perfor-
bals. mance parameters, like Amplitude Envelope, LFO, Filters, etc…
3. Select the Extend command.
4. After the Extend operation is complete, test the full pattern
at different speed, by playing notes from C2 (half speed) to
C3 (original speed). See table on page 239.
5. If the Extend didn’t produce satisfactory results, change the
settings. Any previously made change will be deleted.
6. When the Extend is completed, you can save the sliced and
extended samples and the resulting MIDI Groove to the
internal memory.
Select the Write command from the page menu. The Write
Slice dialog box will appear (see “Write Slice dialog box” on
page 244). Assign a name to the new Sound, and save it to MS (MultiSample)
an User Sound location. Touch this area to open the Choose Multisample window, and
A MIDI Groove with the same name will also be saved to a select one of the available multisamples in memory.
reserved area of the internal memory. Be warned, that this
area will be deleted when turning the instrument off. Con- Keyboard diagram
vert it to an internal Style pattern, by using the Import
function of the Style Record mode, before turning the This diagram shows the selected Index/Zone (highlighted), and
instrument off. its Original Note (in red). Use the big “–” and “+” button on its
side to scroll the diagram one octave lower or upper.
7. After saving, you may press RECORD to exit the Sampling
mode.
8. After exiting the Sampling mode, you may load the gener-
Multisample Setup
ated MIDI Groove by using the Import function of the
Index
Style or Pad Record mode (see “Import: Import Groove” on
page 157 of the User’s Manual for more information). Index number of the selected Zone of the multisample / total
number of Zones in the multisample. A Zone always corre-
sponds to a single sample.
When you play a note on the keyboard, the corresponding index
number is automatically selected.

Sample Number / Name

Number / name of the sample assigned to the selected zone of
the multisample.

Original Note
Use this parameter to automatically transpose the assigned sam-
ple on the keyboard. When you play this note, the sample sounds
exactly as it was recorded.
At first, it matches the “OrigNote (Original Note)” value
assigned when editing the sample (see page 234). This will speed
up the programming.
The note set with this parameter is also shown in red in the vir-
tual keyboard diagram.

Level
Relative level of the selected zone. This value can only be nega-
tive.
 Sampling mode 241
Multisample: Key Assign

Pitch
Fine tuning of the selected sample in cents (1 cent = 1/100 of a Page menu
semitone).
Touch the page menu icon to open the menu. Touch a command
From … To
to select it. Touch anywhere in the display to close the menu
Range of the selected Zone (or Index). The minimum size is one without selecting a command.
key. When reducing the range of a zone, the adjacent one is auto-
matically increased to fill the gap.
Hint: To create a silent zone, create it and assign no sample to it.

Buttons
Insert
Touch this button to split the current zone in half, and create a
new zone (Index) on the left of the selected one.
Write
Add
Select this command to open the Write Sample, Write Multisam-
Touch this button to add a new zone (Index) after the last one. ple or Write Slice dialog box (depending on the page you are in),
and do the following:
Delete
• Write Sample: Saves the sample to the internal memory. See
Touch this button to delete the selected Zone/Index. The zone
“Write Sample dialog box” on page 243, for more information.
on the right of the deleted one is automatically extended to fill
the gap. • Write Multisample: Saves the multisample to the internal
memory. See “Write MultiSample dialog box” on page 243 for
more information.
• Write Slice: After a Time Slice opration, saves the Sound, Mul-
Multisample: Key Assign tisample and the sliced Samples to the internal memory. See
“Write Slice dialog box” on page 244 for more information.
Use this page to see and edit the samples assigned to each Key-
board Range/Index in the multisample. This page gives a better Delete
display of the assigned samples and their range on the keyboard. Select this command to open the Delete Sample or Delete Multi-
Sample dialog box (depending on the page you are in):
• Delete Sample: Deletes one or all Samples and Multisamples
from the internal memory. See “Delete Sample dialog box” on
Sample page 244 for more information.

Reference
list
• Delete MultiSample: Deletes a Multisample, or all Samples and
Multisamples from memory. See “Delete Multisample dialog
box” on page 244 for more information.

Normalize
Select this command to automatically rescale the level of the
selected sample. Peaks will be raised to -0dB (i.e., maximum vol-
Keyboard ranges
ume before clipping), while the remaining parts of the sample
will be proportionally raised.
MS (MultiSample) Normalization optimizes the sample’s level relative to other sam-
ples, making all samples sound more uniformly. It also helps
See “MS (MultiSample)” on page 240. optimizing signal/noise ratio, by preventing further stages of
amplification from increasing any residual noise.
Sample list
Cut
List of samples assigned to the selected multisample. Use the big
Select this command to cut the selected part of the sample
button with an arrow on top and to the bottom of the list to
(inside the “Start” and “End” points).
scroll the list up or down.
Trim/Crop
Keyboard ranges Select this command to cut all parts of the sample out of the
Next to each sample name the low and high Zone limits appear. selected range (i.e., out of the “Start” and “End” points).
Edit these values to change the Zone range. The Original Note is
shown in red.
242 Sampling mode
Page menu

Select All Import

Use this command to select the whole sample. Use the Import command to import Sounds and Multisamples
(including the contained Samples) in formats other than the
Init Multisample native Pa-Series format.
Only available in the Multisample page. Select this command to
create a new, blank multisample. Only one Zone will be avail-
able, with no sample assigned.

Load Sample
Use this command to load single samples (mono or stereo), in
KSF, AIFF or WAVE format.
Warning: By loading new samples, the sample currently in edit
will be lost if not saved. Before loading, use the Write command to
save the sample in edit, if not yet saved, to the internal memory.

With this command, you can import the following formats:

• “PCG” is Korg’s native Program format, used by the Triton
series of workstations. The file name has the “.PCG” exten-
sion. Note that Drum Kits cannot be imported.
When importing a PCG file, you can choose between a sin-
gle Program or a whole bank:

The samples are loaded to the editor. Before leaving the Sam-
pling mode, use the Write command to save any unsaved sample
to the internal memory as a New Sample.
• “KSF” is Korg’s native sample format, used by the Trinity
and Triton series of workstations, as well as the Pa-series
arrangers. The file name must have the “.KSF” extension. Choose Program to choose a single Program (correspond-
• “AIFF” is the Apple Mac’s preferred format for audio. The ing to a Pa-Series Sound); touch the Program number and
file name must have the “.AIF” extension. dial in the corresponding number. Choose a target Sound
location where to load the imported Program.
• “WAVE” is the Microsoft Windows preferred format for
audio. The file name must have the “.WAV” extension. Choose Bank to import all the Programs from the selected
bank. Touch the Sound Bank name to choose a target bank
Note: You can only load samples in a 8 or 16-bit resolution, and a where to load the imported Programs.
sampling frequency rate from 11,025 to 48,000Hz. Loaded samples
always preserve their original resolution. • “KMP” is Korg’s native multisample format, used by the
Trinity and Triton series of workstations. The file name has
Note: If the sample exceeds the maximum size allowed by the the “.KMP” extension.
Pa900 (1,048,576 samples, corresponding to 1 Megasample, either
mono or stereo), it will be truncated. A warning will appear in the • “SF2” is a sound bank format by Creative Labs. The file
display. name has the “.SF2” extension. Multisample data are
imported. Due to the deep differences with Korg’s own fomat,
Hint: While in this window, you can use the Search function, some Instruments from the SF2 file could not be imported
allowing for searching a Sample file in the various media. (for example, Instruments with overlapping zones).
When importing an SF2 file, you can choose between a sin-
gle Multisample or the whole bank:
 Sampling mode 243
Write Sample dialog box

Choose MultiSample to choose a single Multisample (i.e.,

SF2 Instruments); touch the Multisample number and dial Write Sample dialog box
in the corresponding number.
Choose Complete bank to import all the Multisamples Open this dialog box by selecting the Write command from the
from the selected bank. page menu, while in the Sample Edit / Sample Record section. In
Check Override Sample Names if you want to assign the this dialog box you can save the sample to the internal memory,
Sample names a progressive number. In this case, when so that it will be preserved when Pa900 is turned off.
importing a Multisample whose name is, for example,
“Piano”, you will have all Samples renamed as “Piano_001”,
“Piano_002”, and so on.
Hint: If you get a messages warning there isn’t enough mem-
ory to load all Samples or resources, return to the main Sam-
pling page and choose the Delete command to clean the
Sample memory, then retry. Please note that importing single
Multisamples is the safest way to avoid filling the memory
with unnecessary data.
Imported Sounds and Multisamples are automatically stored in
the internal memory, and will not be lost when turning the To assign a different name to the sample, touch the (Text
instrument off. Edit) button to open the Text Edit window.
Note: While Pa900 and Triton share most of their internal Multi- In case you are saving a percussive sample, choose a Drum Sam-
samples, some of them may differ. While reading a PCG file, Pa900 ple family to be assigned to.
tries to use exactly the same Multisamples as in Triton. If this is Select an option to choose a memory location where to save the
not possible, it looks for a similar Multisample. If this too is not sample:
possible, an <empty> Multisample will be selected. Enter the
Sound mode, and select a Multisample suitable for the imported • Select “Save as a new Sample” to save to a new location.
Program. • Select “Save to” to overwrite an existing location. Warning:
Note: Not all Triton’s PCG data are imported. Insert FX, EQ, The older sample at the same location will be deleted!
Arpeggio, Combi, Global and Drum Kit data are not loaded.
Note: You cannot import Drum Kits.
Note: Multisample may contain various Samples. They are Write MultiSample dialog box
assigned to the same keys as in the original file.
Hint: When importing a KMP file, take note of the selected Multi- Open this dialog box by selecting the Write command from the
sample name; you will need it in Sound mode, when assigning the page menu, while in the Multisample section. In this dialog box
Multisample to a new Sound. you can save the multisample to the internal memory. Multisam-
ples are a way to organize samples on the keyboard, and are used

Reference
Hint: While in this window, you can use the Search function,
by Sounds as their basis.
allowing for searching a Sample file in the various media.

Export
Depending on wheter you are in the “Sample Edit / Sample
Record” or “Multisample” section, this command allows you to
export a sample in one of two popular computer audio file for-
mats (WAVE and AIFF), or a multisample in a Korg “.KMP” file.
See “Export Sample page” on page 245, or “Export Multisample
page” on page 245 for more information.

Exit from Record

To assign a different name to the multisample, touch the
Choose this command to exit from the Sampling mode. (Text Edit) button to open the Text Edit window.
Select an option to select a memory location where to save the
sample:
• Select “Save as a new MultiSample” to save to a new loca-
tion.
• Select “Save to” to overwrite an existing location. Warning:
The older multisample at the same location will be deleted!
244 Sampling mode
Write Slice dialog box

Write Slice dialog box Delete Sample dialog box

Open this dialog box by selecting the Write command from the Open this dialog box by selecting the Delete command from the
page menu, while in the Time Slice page. In this dialog box you page menu, while you are in any page of the Sample Edit/Sample
can save the Sound, sliced Samples and Multisample generated Record section.
by the Time Slice function, together with the generated MIDI
Groove.
The Sound will be saved to the selected User bank location in the
internal memory. The Multisample will be saved to a free loca-
tion in the same memory. Samples will be saved to the internal
memory.
Note: The MIDI Groove is automatically saved in a reserved, tem-
porary location, and is automatically deleted when turning the
instrument off. So, import it (by using the “Import: Import Groove” Selected
function in Style or Pad Record mode, see page 157), before turn-
ing the instrument off. Select this command, and select a sample number, to delete just
one of the samples from the internal memory.
Warning: The older Sound at the target location will be deleted!
Not assigned to any Multisample/Drumkit
Select this command to delete only samples not yet assigned to a
Multisample or Drum Kit.
Note: Use this option with care, since you may delete samples you
would like to preserve, that have not yet been assigned to a multi-
sample or drumkit. Use it only when you are sure all desired sam-
ples have been assigned to a multisample or drumkit.

All Samples, Multisamples, Drum Samples

Name Select this command to delete all samples, multisamples and
drum samples from the internal memory. This operation com-
To assign a different name to the Sound, touch the (Text pletely resets the RAM, and may be used to “clean-up” any trou-
Edit) button to open the Text Edit window. ble.

Sound Bank
Target bank of Sounds. Each bank corresponds to one of the
SOUND buttons. You can use the VALUE dial to select a differ-
Delete Multisample dialog box
ent bank.
Open this dialog box by selecting the Delete command from the
Sound page menu, while you are in any page of the Multisample sec-
Target Sound location in the selected bank. You can use the tion.
VALUE dial to select a different location.

Select…
Touch this button to open the Sound Select window, and select a
target location.

• Select “Selected”, then a multisample number, to delete just

one of the multisamples from memory.
Check the “Delete Unassigned Samples” option, to also
delete all samples not assigned to a different multisample.
By checking this option, all samples assigned to the multi-
sample you are deleting, and all samples not assigned to a
different multisample, will be deleted.
Note: Use this option with care, since you may delete samples
you would like to preserve, that have not yet been assigned to
a multisample or drumkit. Use it only when you are sure all
 Sampling mode 245
Export Sample page

desired samples have been assigned to a multisample or

drumkit. Export Multisample page
• Select “MultiSamples” to delete all multisamples. No sam-
ples will be deleted, including those associated with the Open this page by selecting the Export command from the page
deleted multisamples. menu, while you are in any page of the Multisample section.
• Select “All Samples, Multisamples, Drum Samples” to delete First of all, select the target location where to export the multi-
all samples, multisamples and drum samples from the sample:
internal memory. This operation completely resets the
RAM, and may be used to “clean-up” any trouble.

Export Sample page

Open this page by selecting the Export command from the page
menu, while you are in any page of the Sample Edit/Sample
Record section.
First of all, select the target location where to export the sample:
Then touch the Save button to see the Export MultiSample dia-
log box:

Then touch the Save button to see the Export Sample dialog box:
By using this function, you can export from the internal memory
the Multisample in edit in the Multisample section, and all
linked samples. The Export operation generates a “.KMP” file
(Korg’s proprietary file format for multisamples), and a folder
containing a series of “.KSF” files (Korg’s proprietary file format
for samples) inside the same directory.

Reference
Note: When exporting a stereo multisample, be careful to assign a
different name to the Left and Right channel files, to avoid over-
writing. A “-L” and “-R” suffix is usually added after the name of
this kind of files.
Original Name
Name of the sample being exported.
Merging Samples from various sources
File Name
Name of the generated file on the storage device. When you load a .SET folder, all User Samples in memory are
deleted. To merge samples from several sources, do the follow-
File Type ing.
Either of the file types you can choose as the file format. 1. Load a .SET folder containing samples you want to merge
WAV Microsoft Wave format, very common on Win- with other samples.
dows PCs. 2. Load single Sounds from other .SET folders.
AIFF Apple’s Audio Interchange File Format, standard 3. Load or import Samples from other sources (Trinity, Tri-
on the Mac. ton, Wav, Aiff files).
4. Save the .SET folder, over the same or a new .SET folder.
246 Global mode
Overview on the Global mode

Global mode
The Global mode is where you can set global functions. This When in a page, press EXIT to go back to current operating
mode overlaps the current operating mode (Style Play, Song mode in the background (Style Play, Song Play, Sequencer,
Play, Sequencer, Sound). Sound).

Overview on the Global mode

The Global mostly contains a series of global parameters applied
to the whole instrument (or to each separate operating mode) as
a whole, that are automatically written to memory after editing.
Examples of global parameters are the Master Tuning or the
Power Management.
Global mode also contains parameters that are applied to the
instrument as a whole, but can be saved as a “preset”, that can Each item in this menu corresponds to an edit section. Each edit
later be loaded to change all parameters at once. Examples of this section groups various edit pages, that may be selected by touch-
kind of parameters are the MIDI channel assignment, saved into ing the corresponding tab on the lower part of the display.
the MIDI Presets, or the Master EQ settings, saved into the Mas-
Note: The Global mode is not available while in Record mode
ter EQ Presets.
(Style Record, Pad Record, Song Record, Sampling).
Parameters in the Global mode, either automatically memorized
or saved to a preset, are opposed to “local” parameters that you
can access in the other operating modes. Examples of local
parameters are the Sounds assigned to a track or the function Edit page structure
assigned to an Assignable Switch, both saved into a Performance
or STS (two types of preset containing musical data relevant to
All editing pages share some basic elements.
the selected operating mode).
Page menu
Note: Saving or loading a “.SET” folder may also save or load the Edit mode Edit section icon
Global file. Parameter changing may be avoided by turning the
Lock on for any single parameter (or groups of parameters in the
Lock page of the Global mode, see “General Controls: Lock” on
page 249).

Parame-
ters area
Main page
There is no main page in the Global edit mode. When pressing
EXIT, you exit the Global mode, and the underlying operating Tabs
mode in the background is recalled.
Edit mode
This indicates that the instrument is in Global mode.
Edit menu
Edit section

From any page of the Global mode, press the MENU button to This identifies the current edit section, corresponding to one of
open the Global edit menu. This menu gives access to the vari- the items of the edit menu (see below).
ous Global edit sections.
Page menu icon
When in the menu, select an edit section, or press EXIT to exit
Touch this icon to open the page menu (see below).
the Global mode.
Parameters area
Each page contains various parameters. Use the tabs to select
one of the available pages. For detailed information on the vari-
ous types of parameters, see sections starting below.

Tabs
Use tabs to select one of the edit pages of the current edit section.
 Global mode 247
General Controls: Basic

Fade In/Out Time

General Controls: Basic These parameters allows you to set the speed for the Fade In/Out
function.
This page contains various general parameters, setting the status
of the keyboard, the fade in/out, and the accelerando/ritardando. Fade In Time
Time for a full fade in (from zero to maximum volume), after
you press the FADE IN/OUT button.
5…20 Fade time (in seconds).

Fade Out Time

Time for a full fade out (from maximum volume to zero), after
you press the FADE IN/OUT button.
5…20 Fade time (in seconds).

Accelerando/Ritardando
These parameters lets you adjust the speed of the Accelerando
Metronome and Ritardando functions.
Mode Step
Use this parameter to activate the metronome’s type of accent. Speed of the Tempo change (from 1 to 6). With higher values,
Normal No accent can be heard. the step change is greater, and the speed will change faster. With
lower values, the step change is smaller, and the speed will
Accent The first beat of each measure is accented.
change more slowly.
Bell A bell sound is heard at the first beat of each mea-
sure. Curve
Accelerando/ritardando curves (from 1 to 3). Experiment the
Volume
various options, to see the one that best fit your taste.
Use this parameter to set the volume of the metronome.
0…127 Volume level. Glide
Meter Glide is a function you can assign to a footswitch. When the
pedal is pressed, affected notes on Upper tracks are bent down,
Use this parameter to choose the meter (time signature) of the according to settings for the Pitch Bend on the same tracks.
Metronome. When the pedal is released, notes return to the normal pitch, at
the speed defined by the “Time” parameter.

Reference
1/1…16/16 Selected Meter.
To change Pitch Bend values for each Upper track, see the “PB
Global Reverb Sensitivity” parameter in the Style Play mode (see page 116)

Reverb Offset Time

This is the master offset for all reverbs. Use it to adjust reverb Time needed to notes affected by the Glide to return to the nor-
tails to the room where you are playing. Use negative values mal pitch.
when you are in a very reverberant room, positive values if the
room is too dry.
By using this global control, you are not obliged to change the
reverb time in each single Performance, STS, Style Settings, or
Song.
-50 Less reverb.
0 Standard reverb.
+50 More reverb.
248 Global mode
General Controls: Interface

Program Change
General Controls: Interface
Show

This page contains parameters related to user interface. Check this parameter to show Program Change numbers next to
Sound names in the Sound Select window. By default, this
parameter is turned on.

Note: Program Change numbers are always shown in the various

Track Info areas.

Track Activity
Show
Language Use this parameter to turn on/off the Track Activity display.
When it is turned on, you can monitor events coming from the
Language tracks or the MIDI inputs. Incoming events are shown by the
color changing on each track’s label.
Use this pop-up menu to select one of the available languages for
the on-screen keyboard.
Note: Some of the characters can only be used when editing Song-
Book Entry names.

Change button
To apply the selected language to the onscreen keyboard, touch Auto Select
this button and restart the instrument as described below.
Style
How to select a language
When this parameter is checked, the latest selected Style is
1. Since Pa900 must be restarted at the end of this procedure,
immediately selected when pressing the STYLE button corre-
be sure to first save all unsaved data.
sponding to the bank.
2. While in this page, select a language from the pop-up
This way, you can assign your preferred Style to each control
menu.
panel’s button, and select it just with a single press.
3. The “Change” word will start flashing in red. Touch it.
However, the Style Select window still appears when you press
4. A message will ask you to reboot the Pa900. Touch OK to one of the STYLE buttons corresponding to the bank, so you can
close the message window. select a different item if desired.
5. Set Pa900 to standby, then on again.
Performance
When this parameter is checked, the latest selected Performance
Background Color selected in a bank is immediately selected when pressing the
PERFORMANCE button corresponding to the bank.
Color
This way, you can assign your preferred Performance to each
Use this parameter to choose a different color scheme for the
control panel’s button, and select it just with a single press.
display.
However, the Performance Select window still appears when you
press one of the PERFORMANCE buttons corresponding to the
Display Hold bank, so you can select a different item if desired.
On/Off Save
When this parameter is checked, if you open a temporary win- Touch this button to save the current Style and Performance
dows (like the Sound Select window), it remains in the display assignment. You will find the saved assignment when turning
until you press EXIT or an operating mode button. When it is the instrument on again.
not checked, any temporary window closes after a certain time.
 Global mode 249
General Controls: Lock

turning the SPLIT button on (Split keyboard

General Controls: Lock mode) the Upper tracks Octave Transpose will be
automatically set to “-1”.

This page, split in more panes that can be selected by means of

the corresponding side tabs, contains all the available locks. Control pane
Locks prevent parameter values to be changed when choosing a
different Performance, Style or STS.

Locks
All the available locks, listed below. Lock them to prevent
changes due to selecting different elements. These locks are also
found in various other pages, next to the locked parameter.
Hint: To save the status of parameters that have to remain
unchanged, set them and save the MY SETTING Performance
(automatically selected when turning the instrument on). After
having saved the startup Performance, go to these pages and lock
the parameters that must remain unchanged. Assignable Switches
When locked, selecting a Performance or STS
Tuning pane will not change the functions assigned to the
Assignable Switches.
(See “Pad/Switch: Switch” on page 125).
Upper 1 FXs In Sound mode, you can assign a Sound to the FX
B Group. When you assign a new Sound to the
Upper 1 track, the FX B settings and Master FX
send levels saved with that Sound can be auto-
matically selected, overriding Performance/STS
settings for this track. Whether Sound or Perfor-
mance/STS effect parameters will be considered,
it depends on the status of this lock.
• If the Upper 1 FX Lock is turned on, when
Master Transpose assigning a new Sound to the Upper 1 track, Per-
When this lock is closed, Master Transpose is not formance/STS parameters are left untouched;
automatically changed when selecting a different selected effects, and FX Send values, are not
Performance or Style, or a different SongBook changed.
Entry. Also, this lock prevents a Standard MIDI • If the Upper 1 FX Lock is turned off, when

Reference
File generated with an instrument of the Korg Pa- assigning a new Sound to the Upper 1 track,
Series to change the Master Transpose. Sound parameters are considered; selected
(See “Master transpose” on page 107). effects, and FX Send values, are changed accord-
ing to the Sound’s stored data.
Sub Scale/Quarter Tone
Note: If the effects associated to the selected Sound
When locked, selecting a Performance or STS, or are not compatible with the effects already assigned
a SongBook Entry, will not change the Sub-Scale to the FX B block, the Master FX Send values on
or Quarter Tone value. the other Keyboard tracks will be automatically set
(See “Sub-Scale panel” on page 112). to zero.
SubScale/Quarter Tone from STS For example, assume a chorus effect is assigned to
the Master 2 FX processor. If the new Sound
When locked, selecting an STS will not change
assigns a distortion effect to the Master 2 FX pro-
the Sub-Scale or Quarter Tone settings. The STS
cessor, the Master 2 FX Send value on the Upper 2,
will change sounds and effects but not the scale.
Upper 3, and Lower tracks will be set to zero, to
(See “Sub-Scale panel” on page 112). avoid these tracks sound in the wrong way. This
way, the Upper 1 track (usually the most important
Auto Octave Depending on the status of this lock, the Upper
one for solo playing) will sound with the needed
tracks can be automatically transposed when
effect, while the other Keyboard tracks will just
turning the SPLIT on and off.
sound dry.
• If locked, turning the SPLIT on or off will not
Pad When locked, selecting a Style or SongBook
change the Upper tracks transposition.
Entry will not change the Pad assignment.
• If unlocked, when turning the SPLIT button off
(See “Pad/Switch: Pad” on page 125).
(Full keyboard mode) the Upper tracks Octave
Transpose will be automatically set to “0”. When
250 Global mode
General Controls: Lock

Lower When this lock is closed, the Lower track remains Style pane
unchanged when a different Style, Performance
or STS is selected.
This is useful if, for example, you prefer to always
play with the left hand muted and reserved only
to the chords.
Hint: If you want the same Lower settings to be
used during all your shows, save your preferred
Lower settings to the MY SETTING Performance
(automatically selected on startup).
Keyboard Mode (Split)/Accompaniment
When this lock is closed, the status of the SPLIT
Style Tracks Volume
button (therefore of the keyboard mode) and the
ACCOMP. button remains unchanged when a When this lock is closed, the Style tracks’ volume
different Performance or STS is selected. do not change when a different Style is selected.
This is useful if, for example, you prefer to always This is useful when you create your own User
play in Full Keyboard, with chords recognized on Styles, and prefer to dynamically adjust the vol-
the whole keyboard range. ume by using the sliders as in a mixer. It is not
recommended with Factory Styles, each one
Hint: If you want the same Keyboard Mode and
already mixed at its best right at the factory.
Lower Scanning settings to be used during all your
shows, save your preferred settings to the MY SET- Style Tracks Play/Mute Lock
TING Performance (automatically selected on When this lock is closed, selecting a Style does
startup), then close this lock. not cause the Play/Mute status of the Style tracks
to be changed. This way, you can, for example,
turn the bass track off during a whole show, to
allow your bassist to play the part live. Also, you
could mute all Acc tracks, to only play with the
Drum and Bass tracks.
Style Element When this lock is closed, the selected Style Ele-
ment (Variation, Intro…) will not change when
choosing a different Style.
This lock has no effect on the Styles automatically
selected when choosing a SongBook Entry. The
Style Element memorized in the SongBook Entry
is always selected.
Bass Inversion
When locked, selecting a Performance or STS
will not change the Bass Inversion status.
(See “BASS INV. (Bass Inversion)” on page 11).
Manual Bass When locked, selecting a Performance or STS
will not change the Manual Bass status.
 Global mode 251
General Controls: Clock & Power

Auto Power Off

General Controls: Clock & Power Pa900 can automatically enter standby after two hours of being
unused, to save power and help preserving the environment.

Date & Time On

Pa900 includes a battery-backed system calendar and clock. This When this parameter is checked, a few minutes before automatic
allows for automatically adding a time-stamp to the files when standby a message will warn you that the instrument is going to
they are created or edited. be put in standby. All unsaved data currently in editing or
recording will be lost.

At this message, you can let the instrument enter standby, or you
Note: When you edit a resource file (Sounds, Styles…), all items in can touch the display, press any button on the display, or play the
the same bank have their modification date changed. For example, keyboard to leave it turned on and continue using it.
if you edit a single Style in the “Pop” bank, all Styles in that bank
will take the new modification date.

Month
Use this pop-up menu to choose a month.

Day
Use this numeric field to input the day of the month.

Year
Use this numeric field to input the year.

Time
Use these numeric fields to input the time, in the “hour:min-

Reference
ute:second” format.

Apply
After having edited all calendar and time fields, touch this but-
ton to apply the changes.
252 Global mode
Mode Preferences: Style

Fingered (3 Notes)
Mode Preferences: Style Always play three or more notes for a chord to be
recognized.
In this page you can set various general parameters for the Style Expert With the Lower chord scan mode, play two or
Play mode. more notes for a chord to be recognized. With the
Full or Upper chord scan mode, play at least three
notes.
If you play just one note, a unison will be played.
If you play a fifth, a “root+5th” chord will be
played.
With this mode, you can play rootless and slashed
chords, often used in jazz, fusion, modern pop
and light music. This type of chord recognition is
very useful to play piano chords typical of jazz
piano players. You don’t always need to play the
root note, doubling the note already played by the
bass track.
Split Point
Use this parameter to select the global split point. This point is Velocity Control
independent of any Performance or STS.
Set this parameter to trigger one of the following functions sim-
See “Split panel” on page 112 for more information. ply by playing louder with your left hand. When playing with a
velocity value higher than the value set by the “Velocity Control
Chord Recognition Value” parameter (see page 252), the selected function will be
This parameter defines how chords are recognized by the auto- activated.
accompaniment engine. This function only works when the SPLIT LED is turned on.
Depending on the status of the CHORD SCAN section, the Off The function is turned off.
Chord Recognition mode is automatically set as in the following
Break When playing with a velocity higher than the
table:
trigger value on the Lower track, the Break is
automatically triggered.
Chord Recognition Mode
Start/Stop You can start or stop the Style by playing harder
CHORD SCAN = UPPER/FULL on the keyboard.
CHORD SCAN = LOWER
KEYBOARD (LOWER+UPPER)
Bass Inversion When playing with a velocity higher than the
One Finger Fingered (3 Notes)
trigger value, the Bass Inversion function will be
Fingered (1 Note) Fingered (3 Notes) activated or deactivated.
Fingered (3 Notes) Fingered (3 Notes)
Memory When playing with a velocity higher than the
Expert Expert
trigger value, the Memory function will be acti-
vated or deactivated.
One Finger You can compose a chord using a simplified
chord playing technique: Velocity Control Value
• Play a single note for a Major chord to be recog- Use this parameter to set a velocity threshold over which to auto-
nized. matically trigger the Style Start/Stop or select one of the other
• Play the root note, plus a white key on the left, functions (see “Velocity Control” above).
for a 7th. For example, play C3 + B2 for a C7.
Scale Mode
• Play the root note, plus a black key on the left,
This parameter defines which tracks are affected by the selected
for a Minor chord. For example, play C3 + Bb2
alternative scale (see “Scales” on page 356).
for a C minor.
Keyboard Tracks
• Play the root note, plus a white and a black key
on the left, for a Minor 7th. For example, play C3 The scale will affect all Keyboard tracks.
+ B2 + Bb2 for a C min 7. Upper Tracks The scale will only affect Upper 1-3 Keyboard
Fingered (1 Note) tracks.
With the Lower chord scan mode, play one or All Tracks The scale will affect all tracks (Keyboard, Style,
more notes to compose a chord. A full Major Pads).
chord will be recognized when a single note is
played.
With the Full or Upper chord scan mode, play at
least three notes to compose a chord.
 Global mode 253
Mode Preferences: Song & Sequencer

Memory Mode
This parameter sets the way the MEMORY button works. Mode Preferences: Song & Sequencer
Chord When the MEMORY LED is on, recognized
chords are kept in memory even when raising In this page, you can set various general parameters for the Song
your hand from the keyboard. When the LED is Play and Sequencer modes.
off, chords are reset when raising your hand.
Chord + Lower
When the MEMORY LED is on, recognized
chords are kept in memory, and the Lower sound
is held until the next note or chord is played.
When the LED is off, both the chord (and there-
fore the accompaniment) and Lower sound are
cut when raising the hand from the keyboard.
Fixed Arr. + Lower
When the MEMORY LED is on, recognized
chords are kept in memory, and the Lower sound
is held until the next note or chord is played. SMF Melody Track

When the MEMORY LED is off, the Lower sound This parameter lets you select the Song’s Melody track for Stan-
is cut when raising the hand from the keyboard; dard MIDI Files. This track can then be muted by using the
on the contrary, the chord is kept in memory (so “Song Melody - Mute” function, assignable to an Assignable
that the accompaniment can continue to play). Switch or Footswitch.

Bass & Lower Backing Drum & Bass Mode - Drum

With this function, you can play a simple accompaniment with This parameter lets you select the Song’s Drum track. This track
your left hand. For this to work, the SPLIT LED must be turned is left set to play (together with the Bass track) when selecting
on, and the Style must not be running. By default, this function the “Drum&Bass” function, assignable to an Assignable Switch
is turned on. or Footswitch.

On When the Style is not running, and you play a Drum & Bass Mode - Bass
chord with your left hand, the chord is played by
the Lower Sound (even if it is muted), while the This parameter selects the Song’s Bass track. This track is left set
chord root is played by the Bass Sound. When to play (together with the Drum track) when selecting the
you start the Style, the normal behavior is “Drum&Bass” function, assignable to an Assignable Switch or
restored. Footswitch.

When the Bass & Lower Backing Fast Play

Reference
function is active, the Backing
When checked, this function allows to skip any empty setup
icon appears in the Lower track Sound’s area.
beats at the beginning of a Standard MIDI File, and immediately
Off No Bass Sound is added when the Style is not start from the first note. While the beats are skipped, setup data
running. The Lower track can be heard only if it they may contain are read and considered.
is not muted.
Please note that, being audio data, any empty space at the begin-
Style Tracks Global Volume ning of an MP3 file cannot be skipped.

In Style Play mode, the volume of the grouped Style tracks is a Note: When Pa900 is driving an external musical instrument, the
global offset of the values memorized in the Style. When you fast transfer of MIDI data to the MIDI OUT or USB port may
choose a different Style, this offset will not change, and the aver- cause a delay to the Song’s start. Therefore, we suggest to turn this
age volume of the Style tracks remains the same. function off when Pa900 is hooked to other instruments.

These controls allows you to globally set the balance between the Save Trk & FX
Drum/Percussion, Bass and Accompaniment tracks. For exam-
Touch this button to save the global parameters for the Song Play
ple, if you prefer Drums and Bass to be prominent to make them
mode.
have more ‘punch’, you can lower the grouped Accompaniment
tracks. When touching this button, you are saving the following param-
eters:
Changes are not memorized to a Performance or to the current
Style Settings. Instead, they are memorized as a global parame- • Play/Mute status of the Song tracks
ter. • Default effect settings
0…127 Volume level. • EQ settings for the Song tracks
• Internal/External status of the Song tracks
254 Global mode
Mode Preferences: Media

When Off, you can load or save User Styles or Pads into the Fac-
Mode Preferences: Media tory Style banks and Factory Pad banks. This way, you can cus-
tomize your Factory Style and Pad banks. A Save All procedure
also saves the Favorite and User Style, and the User Pad banks.
This page includes various settings for the Media mode.
Note: This parameter is automatically set to On when the instru-
ment enters standby.
Note: Should you accidentally delete some Factory Data, reload
the Backup data or use the Factory Restore procedure (Media >
Utility).

Factory Sound Protect

When On, this parameter prevents writing edited Sounds from
the Sound mode into the Factory locations (Factory, Legacy, GM
banks). When Off, you can freely save edited Sounds either in
the Factory or User Sound area.
Warning: Use this feature with great care! Reorganizing the Fac-
Media Preferences tory Sounds may make both Styles and Standard MIDI Files play
with the wrong Sounds!
Media Protect Note: This parameter is automatically set to On when the instru-
When on, this parameter protects the internal “KORG [KORG ment enters standby.
DISK]” disk unit from writing. Note: Should you accidentally delete some Factory Data, reload
the Backup data or use the Factory Restore procedure (Media >
Global Protect Utility).
When on, this parameter protects the global parameters from
changes when loading data from disk. Hide Unknown Files
Note: Global data from other Pa-Series models are not loaded even When this option is checked, non-proprietary files are hidden
without protection. when using Media operations, therefore making browsing direc-
tories easier.
Factory Style and Pad Protect
When On, this parameter protects the Factory Styles and Fac- Show Columns
tory Pads (named “Hit”, “Sequence” and “Local” in the Pad Select
window) from being overwritten when loading data from a Size
device. Furthermore, you can’t access these banks when saving
When checked, the Size column is shown in the File Selector
data.
when using Media operations.
Also, when this option is checked, you cannot write any STS
(Single Touch Setting) or Style Settings onto the Factory Styles. Date
The “Write Single Touch Setting” and “Write Current Style Set- When checked, the Date column is shown in the File Selector
tings” command in the page menu are greyed out and cannot be when using Media operations.
selected. All original settings of the Factory Styles will be left
untouched.
 Global mode 255
Controllers: Hand Controllers

Controllers: Hand Controllers Controllers: Foot Controllers

In this page you can program those controls you can operate This page lets you select a function to the Assignable Pedal/Foot-
with your hands. switch, and select the polarity for the Damper and Assignable
Pedal/Footswitch.

Keyboard Settings The following (optional) Korg pedals are compatible with Pa900:

Velocity Curve Type Model

This parameter sets the sensitivity of the keyboard to your touch. Continuous EXP-2, XVP-10
(Volume/Expression)
Fixed No dynamic control available. Dynamic values Switch PS-1, PS-3
are fixed, as in classic organs. When this option is
Damper DS-1H (supporting half-pedalling)
chosen, you can set the fixed velocity value:

Pedal/Footswitch
Soft1 … Hard3
Function
Curves, from the lightest one to the hardest one.
Function assigned to a continuous (i.e., volume/expression)
pedal, or to a footswitch, connected to the ASSIGNABLE
Balance Control PEDAL connector. See page 354 for a list of the assignable func-
tions. The first functions are switch-type functions, while the
Balance Slider remaining (starting from Master Volume) are continuous-like
functions.
The BALANCE knob can either be used to mix between the

Reference
Keyboard and Accompaniment/Song tracks, or to control the Calibration
Accompaniment/Song Volume without changing the Keyboard
tracks. This is always a relative control, whose effective maxi- Use this button to calibrate and choose the polarity of the pedal/
mum value is determined by the MASTER VOLUME slider footswitch.
position. 1. Connect the pedal or footswitch to the ASSIGNABLE
Note: The BALANCE knob only works in the Style Play and Song PEDAL connector on the back of the instrument.
Play modes. 2. Go to this page, and touch the “Calibration” button in the
Acc/Song - Kbd Balance display. The following dialog box appears:
While in Style Play and Song Play mode, the
BALANCE knob balances the volume of the Key-
board (Kbd) tracks against the Style (Accompani-
ment), Song and Pad tracks.
Acc/Song Volume
While in Style Play and Song Play mode, the
BALANCE knob controls the volume of the Style
(Accompaniment), Song and Pad tracks.
3. You are asked to set the pedal to the maximum value. Press
the footswitch, or press the pedal to the maximum position
(usually front pressed).
256 Global mode
Tuning: Basic

4. Touch the “Push” button in the display to confirm the max-

imum value. The following dialog box appears: Tuning: Basic
This is the general tuning of the instrument.

5. You are now asked to set the pedal to the minimum value.
Release the footswitch, or press the pedal to the minimum
position (usually back pressed).
6. Touch the “Push” button in the display to confirm the min-
imum value.
7. Check if the pedal or footswitch is working properly, and Global Tuning
assign it a function.
Note: After loading a new Operating System, an older Global file, Master Tuning
a “SET” folder containing a Global file, or a Backup file, you might This is the master tuning of the instrument (in cents of a semi-
need to re-calibrate the pedal/footswitch. tone). Use it to adapt your keyboard tuning to an acoustic instru-
ment, for example an acoustic piano.
Damper -100 Lowest pitch (half-semitone down).

Calibration 0 Standard pitch (A4=440Hz).

Use this button to calibrate the action of the Damper pedal, and +100 Highest pitch (half-semitone up).
set its polarity. See above for details about the procedure.

Tuning: Transpose Control

This page is where you can select to which tracks the Master
Transpose is applied to, and adjust some related parameter.

Transpose Control
Transpose applies to Style and Kbd tracks
Use this parameter to turn the Master Transpose on or off, and
define the way it is applied, to Style and Keyboard tracks.
Off No Master Transpose is applied to Style and Key-
board tracks. Chords shown in the Lyrics page
are, however, transposed.

In Sync When you press either the TRANSPOSE [ ] or

[ ] buttons, the new transpose setting will not
take effect until the first beat of the next measure
is reached.
 Global mode 257
Tuning: Scale

In Realtime When you press either the TRANSPOSE [ ] or Standard MIDI File and chord transpose
[ ] buttons, the new transpose setting will occur When changing the Master Transpose, chord abbreviations con-
when the next note is played for both the Style tained in a Standard MIDI File are transposed and correctly
and Keyboard tracks individually. shown in the display. Master Transpose must be activated on the
The next key or chord you press will sound with Players, but not on the Keyboard.
the new transpose setting applied. (Note that if
you play a Keyboard track prior to a new chord,
the Keyboard track will play in the new key as the
Style will continue to play in the old key until a
new chord is entered).

Transpose applies to Player

This checkbox lets you turn the Master Transpose on or off for
the onboard Player.

Transpose applies to Midi In notes

This checkbox lets you turn the Master Transpose on or off for Note: Chords contained in a linked TXT file or shown when load-
Note messages received from MIDI IN. ing a CDG file are not transposed.

Position Drum Kits and transpose

Drum Kits are never transposed. If you want that any Sound is
Scale and Transpose position
not transposed as well, assign them to a track set to the Drum
The Scale and Transpose Position allows you to define the rela- mode in Style Play/Song Play > Track Control > Mode (see
tion between the Scale and the Master Transpose. “Type” on page 120).
Post-KB/Pre-Scale
When this option is selected, notes will be trans-
posed immediately after they leave the keyboard. Tuning: Scale
The Scale will be applied to the transposed notes.
For example, if you altered an E, and then set the
Master Transpose to +1, the E key will play F, and This page lets you select the main scale of the instrument.
the altered key will be E (that will play an
altered E).

Tone
Transpose Scale
generator

Reference
Post-KB & Scale
When this option is selected, all notes are trans-
posed immediately before they enter the internal
tone generator, or are sent to the MIDI OUT, but
after the Scale. For example, if you altered an E,
and set the Master Transpose to +1, the altered
key will still be E (that will play an altered F). Main Scale
Tone
Scale Transpose generator
Main Scale
This parameter lets you set the main scale for the whole instru-
ment, apart for those tracks where a different sub-scale has been
selected by a Performance or STS (see “Scale” on page 117, Style
Play mode).
See “Scales” on page 356 for a list of the available scales.
Note: You cannot select a User scale in Global mode.

Key
This parameter is needed by some scales to set the preferred key.
258 Global mode
MIDI: General Controls

User Quarter Tone SubScale

This section is where you can program the Quarter Tone scale,
MIDI: General Controls
and save up to four Quarter Tone Scale (SC) Presets.
This page allows you to select a MIDI Preset and set global
SC Preset buttons parameters for the MIDI communication.
Touch these buttons to recall the corresponding presets. Each pre-
set contains a custom detuning of each note of the scale (shown in
the upper scale diagram). It also memorizes the selected degree(s)
of the scale (shown in the lower scale diagram).
When no preset is selected, the default scale is automatically
recalled. This scale assigns a -50 cent value to all notes, and turns
all scale degrees off.
You can also select an SC Preset by assigning the relevant func-
tion to an Assignable Switch or Assignable Footswitch.
To save the current scale programming to a preset, while in this
page choose the “Write Quarter Tone SC Preset” command from
the page menu, then select one of the preset locations where to MIDI Preset
save the current settings (see “Write Quarter Tone SC Preset” on
page 274).
Preset
Upper scale diagram MIDI channels can be automatically configured by selecting a
MIDI Preset. Each of them lets you automatically assign a value
Use this diagram to set the detuning of each note of the scale.
to various MIDI parameters, to allow an easier connection with
-99…0…+99 Note detuning in cents. Zero is no detuning, ±50 a particular MIDI controller.
is a full quarter tone up or down, ±99 is nearly
For detailed information about the preloaded MIDI Presets, see
one whole semitone up or down.
“MIDI Preset” on page 353.
Lower scale diagram After selecting a MIDI Preset, you can apply any changes to each
Use this scale to turn detuning on or off. Applied detuning will channel’s settings. To store the changes in memory, select the
depend on the programming set with the Upper scale diagram, “Write Midi Preset” command in the page menu to save it to
or recalled by selecting one of the SC Presets. memory (see “Write Midi Preset dialog box” on page 275).

When a note is detuned, a black dot appears in the correspond- Hint: You can restore the original MIDI Presets by using the “Fac-
ing note of the diagram. tory Restore” command and choosing the “Global” option (page
“Utility” of the Media mode, see page 291). Please consider this
will reset all the Global data.

General Controls
Use these parameters to set MIDI Clock and Local Off.

Clock Send
Use this parameter to turn the clock information on the MIDI
OUT or USB Device port on or off.
Note: This parameter is automatically set to On when the instru-
ment enters standby.
Off The Pa900 does not send the MIDI Clock signal.
You cannot slave another instrument to the
Pa900, even when connected to the MIDI OUT
or USB Device port.
On The Pa900 sends the MIDI Clock signal. You can
slave another instrument to the Pa900 Tempo,
Start/Stop and Play/Stop commands. Connect the
other instrument to the Pa900 MIDI OUT or
USB Device port.
 Global mode 259
MIDI: MIDI In Controls

Clock Source
This parameter selects the MIDI Clock source for the Style Play MIDI: MIDI In Controls
and Sequencer modes.
Note: In Song Play mode, the Internal clock is always used. This page lets you program parameters for the MIDI IN and
USB Device port, like the Chord Recognition channel. All these
Note: This parameter is always set to “Internal” when the instru-
parameters can be saved into a MIDI Preset.
ment enters standby.
Internal Internal, i.e. the clock generated by the Pa900
Arranger and Player internal metronome.
External MIDI External from the MIDI IN port. In Style Play or
Sequencer mode, the Pa900 is slaved to an exter-
nal device connected to its MIDI IN port. The
Start/Stop and Play/Stop commands, as well as
the metronome tempo, cannot be selected from
the control panel of the Pa900. Use the external
device to set the tempo and start or stop the
sequencer or arranger.
External USB As the above, but referred to the USB Device port.
See “Installing the Korg USB MIDI Driver” on Midi In Controls
page 428 for information on how to configure your
computer for MIDI Over USB communication. Midi In Octave Transpose

Local Control On Use this parameter to determine if notes received on the MIDI
IN or USB Device ports have to be transposed.
The Local parameter turns the keyboard on or off.
On Notes received on the MIDI IN or USB Device
Note: This parameter is automatically set to On when the instru- port are transposed according to the Octave
ment enters standby. Transpose setting for each track.
On When you play the keyboard, MIDI data is sent Off Data received on the MIDI IN or USB Device
to the internal sound generator. If tracks are port are not transposed.
assigned to a MIDI OUT channel, data is also
sent to the MIDI OUT or USB Device port. Track Mute Active
Off The keyboard is connected to the MIDI OUT or Use this parameter to determine if data received on the MIDI IN
USB Device port, but cannot play the internal or USB Device port can be played by muted tracks.
sound generator.
On No data received on the MIDI IN or USB Device
This is very useful when working with an exter- port can play on a muted track.
nal sequencer, to send notes and various MIDI

Reference
messages from the integrated keyboard and con- Off Data received on the MIDI IN or USB Device
trollers to the external sequencer, and then let the port can play on a muted track.
sequencer send them back to the sound genera-
Chord 1 Midi Channel
tor, without overlapping. See the MIDI chapter.
Chord 2 Midi Channel
Note to RX Noise Notes entering these channels on the MIDI IN or USB Device
RX Noises are special sounds that allow Sounds to be more real- port, are sent to the Arranger.
istic. They are usually located above C7, depending on the There are two separate Chord channels. This is very useful when
Sound. you have to send chords to Pa900 over two different channels
When this parameter is turned on, notes received from MIDI, or (something very common on MIDI accordions).
performed by the internal Player, in the RX Noises range, are Off Data received on the MIDI IN or USB Device
recognized and converted to RX Noises. When off, notes are not port are not sent to the Arranger.
recognized.
1…16 Data received on these channels via the MIDI IN
Note: This parameter is automatically turned on when the instru- or USB Device port are sent to the Arranger.
ment is set to standby.
Upper Octave Transp (Transpose)
Octave transposition of data received on the MIDI IN or USB
Device port for the Upper tracks. For example, if you select the
+1 value, a C4 received via MIDI will play a C5 on the Pa900.
This parameter may be useful to many MIDI accordion players,
whose MIDI interface may transmit on an unexpected octave.
-2…+2 Octave transpose value.
260 Global mode
MIDI: MIDI In Channels

Lower Octave Transp (Transpose)

Octave transposition of data received on the MIDI IN or USB MIDI: MIDI In Channels
Device port for the Lower track. For example, if you select the +1
value, a C4 received via MIDI will play a C5 on the Pa900. In this page, you can assign Pa900 tracks to any of the MIDI
This parameter may be useful to many MIDI accordion players, channels received on the MIDI IN and USB Device ports. All
whose MIDI interface may transmit on an unexpected octave. these parameters can be saved into a MIDI Preset.
-2…+2 Octave transpose value.

Midi In Velocity Value

Use this parameter to set a fixed velocity (dynamics) value for all
received MIDI notes. This is useful when playing the Pa900 with
an organ or a MIDI Accordion.
Normal Received velocity values are left unchanged.
40…127 All received velocity values are converted to the
selected value.

Voice Processor Midi controls Channels

Midi In Channel You can assign to each channel one of the following tracks:

Notes received on this channel are sent to the Harmony section Off No track assigned.
of the Voice Processor. Lower Keyboard’s Lower track.
Off No data is sent to the Voice Processor. Upper 1…3 One of the Keyboard’s Upper tracks.
1…16 Data received on this channel via the MIDI IN or Pad 1…4 One of the Pad tracks.
USB Device port is sent to the Voice Processor.
Drum Style’s Drum track.
Octave Transpose In Percussion Style’s Percussion track.
Octave transpose for all notes received via MIDI by the Har- Bass Style’s Bass track.
mony section of the Voice Processor.
Acc 1…5 One of the Style’s Auto-accompaniment tracks.
-2…+2 Octave transpose value.
Ply 1/2 Tr 01…16
In Note Range-High One of the Players’ tracks.
This is the highest note that can be received by the Harmony sec- Global Special channel to simulate the Pa900’s integrated
tion of the Voice Processor. Notes received over this note are not controls (keyboard, pedals, joystick) with an
recognized. external keyboard or controller. MIDI messages
B-1…G9 Highest note. coming on this channel are seen as if they were
generated by Pa900’s integrated controllers.
In Note Range-Low Control On this special channel, the Pa900 receives MIDI
This is the lowest note that can be received by the Harmony sec- messages to remotely select Styles, Performances,
tion of the Voice Processor. Notes received under this note are STS, Style Elements and SongBook Entries. See
not recognized. tables on page 430 and following for more infor-
mation on the received data
C-1…G#8 Highest note.
 Global mode 261
MIDI: MIDI Out Channels

MIDI: MIDI Out Channels MIDI: Filters

In this page, you can assign Pa900 tracks to any of the MIDI Use this page to set up to 8 filters for the MIDI data received or
channels sent to the MIDI OUT and USB Device ports. All these sent by the Pa900 on the MIDI and USB Device ports. All these
parameters can be saved into a MIDI Preset. parameters can be saved into a MIDI Preset.

Channels Midi In Filters

You can assign to each channel one of the following tracks: Selected MIDI IN filters. Filters are applied to all MIDI channels
at the same time.
Off No track assigned.
Off No filter.
Lower Keyboard’s Lower track.
Pitch Bend Pitch Bend.
Upper 1…3 One of the Keyboard’s Upper tracks.
MonoTouch Mono (or Channel) After Touch.
Pad 1…4 One of the Pad tracks.
PolyTouch Poly After Touch.
Drum Style’s Drum track.
PrgChange Program Change.
Percussion Style’s Percussion track.
SysExcl System Exclusive.
Bass Style’s Bass track.
All CC All Control Change messages.
Acc 1…5 One of the Style’s Auto-accompaniment tracks.
0…127 Control Change message #0…127. See “MIDI
Ply 1/2 Tr 01…16
Data” on page 430 for a list of available Control
One of the Players’ tracks. Change messages.
Chord Use this channel to send notes recognized by the Notes Note events.
Chord Recognition engine to the MIDI OUT and

Reference
USB Device port. This is useful, for example, to Midi Out Filters
control an external Harmonizer from the Pa900,
Selected MIDI OUT filters. See above for information on each
using the Lower track to play chords, even if the
filter type.
track is muted.
Control When this special channel is assigned to one of
the MIDI OUT channels, MIDI messages are sent
on this channel when choosing a SongBook
Entry. The messages sent when selecting a Song-
Book Entry are the following:
• An initialization strings, made of the NRPN
Control Change messages #99 (MSB, with value
2) and #98 (LSB, with value 64) in fast succession.
• A selection string, made of the two Control
Change messages CC#06 (Data Entry MSB) for
the thousands and hundreds, and CC#38 (Data
Entry LSB) for the tens and units. The range of
the Data Entry controls, in this case, is 0~99
(instead of the typical 0~127).
This type of data can be used by external editors
to receive informations from the SongBook.
262 Global mode
Audio & Video: MP3 / Speakers

Audio & Video: MP3 / Speakers Audio & Video: Limiter

This page lets you define various parameters for the MP3 player The Limiter allows for an increased loudness of the MIDI tracks
and the speakers. (Styles and Songs), by compressing the signal exceeding a
defined threshold. MP3 files are not affected by the Limiter
(since they are usually already “produced”, and do not need to
pass through the Limiter again).
All these parameters can be saved into a Limiter Preset,

MP3 Player
Volume
Use this parameter to set the maximum volume for the MP3 Limiter Preset
Player. This control lets you balance MP3 files against SMF
Songs and Styles. Use this pop-up menu to choose one of the available Limiter
Presets, and automatically reconfigure the EQ parameters.
0…100 Max volume in percentage.
On/Off
Speakers This is the on/off switch for the Limiter section.

Speakers On/Off Ratio

Use this checkbox to turn the integrated speakers on or off. Sets the signal compression ratio. Compression is applied only
when the signal level exceeds the Threshold value. 1.0:1 means
no compression.

Threshold
Sets the level above which compression is applied. 0dB means no
signal processed.

Attack
Sets the attack time. A higher attack time will cause the compres-
sion to be applied more slowly, and not react fast enough for
notes with faster transients.

Release
Sets the release time. A higher release time will cause the com-
pression to be released more slowly; this may help sustaining
longer notes.

Gain Adjust
Sets the output gain. Use it to compensate for the gain loss
caused by compression.

Diagram
Use these indicators to check the level of the audio entering and
coming out of the Limiter.
• If the input level is too high, decrease the level of the Sounds,
Styles and/or Songs that are playing.
• If the output level is too high, decrease the level of the “Gain
Adjust” control.
 Global mode 263
Audio & Video: Master EQ

• Look at the gain reduction indicator, to understand the amount • If the output level is too high, decrease the level of the “Gain”
of limiting going on. Excessive limiting may dramatically change controls.
the quality of the musical program.
• Keep in mind that boosting the Gain is not always the best way
of making your sound appear louder; cutting the Gain of some
band may make the other bands appear louder.
Audio & Video: Master EQ Input Trim
Use this knob to adjust the level of the signal entering the EQ.
In this page you can access the fully parametric Master EQ. This Excessive amount of signal may cause distortion when boosting
EQ is placed at the end of the audio path, just before the audio the EQ bands.
outputs. Both MIDI tracks (Styles and Songs) and MP3 files are
equalized. Q
This is a full spectrum frequency equalization, positioned at the ‘Quality’ of the EQ filter; higher values correspond to narrower,
end of the signal chain, just before the Left & Right audio out- more accurate filters. Use higher values for near-surgical correc-
puts. It gives you the power to design EQ curves and shape your tion on isolated frequencies, lower values for more musical,
sound. Master EQ features four fully programmable bands with softer equalization.
fully adjustable gain, frequency, and Q parameters.
All these parameters can be saved into a Master EQ Preset. Band Value

All Bands 0.5…10

Freq
Center frequency of the corresponding band. Center it on the
problematic frequency, or the harmonics you want to emphasize
or attenuate.

Band Value

Low 20Hz…1kHz
Mid-Low 50Hz…10kHz
Mid-High 300Hz…10kHz
EQ Preset
High 500Hz…20kHz
Use this pop-up menu to choose one of the available EQ Presets,
and automatically reconfigure the EQ parameters. Gain

On/Off Gain of the corresponding band. Use it to make the frequencies

stronger or weaker.
This is the on/off switch for the EQ section.

Reference
Diagram Band Value

All Bands -18…0…+18dB

Use these indicators to check the EQ curve, and the level of the
audio entering and coming out of the Master EQ.
• If the input level is too high, decrease the level of the “Input
Trim” parameter.
264 Global mode
Audio & Video: Video Out

Audio & Video: Video Out Audio & Video: Audio In

Use this page to adjust the Video Out parameters. This page lets you route the Audio Inputs to the Voice Processor
and/or the audio outputs.

System Microphone (Left In) to Voice Processor

Selects the video standard (PAL or NTSC).
PAL Used in most European, South American, Asian
and African Countries. This setting can be used
also with SECAM TV sets (used in France, Rus-
sia, and some Countries of Africa); in this latter
case, however, the picture is shown in black &
white.
NTSC Used in North America, Central America and
part of South America. It is also used in Japan,
Korea, Taiwan, Philippines and Burma.

Colors
Microphone off, L-R Line In
Selects a color set for the lyrics and background.
1…5 Color set. Try them to find the one you feel most
Input Routing
comfortable with.
Use this pop-up menu to choose the routing of the Audio Input
External Video signals.
Reset to Text Only at startup. Use this parameter to decide what Left In to Voice Processor
to show in the monitor connected to the Video Out port.
The Left audio input goes to the Voice Processor,
Text Only Only Lyrics and Chords (if any) are shown in the then to the audio outputs. The Right audio signal
external display. is replicated on both Audio Outs. Both inputs are
Mirror The internal display of the Pa900 is duplicated recorded when recording an MP3 Song.
(“mirrored”) to the external display. Audio Ins to Direct Out
The Left and Right audio inputs go to the final
mix, together with the sounds generated by the
Pa900. No Voice Processor effect is applied.
 Global mode 265
Mic: Preset

Master On/Off
Mic: Preset These are “switches” for the various Voice Processor sections.

The Voice Processor applies effects and three-part harmony to Lead

your voice. The dedicated controllers in the MIC SETTING sec- This checkbox allows turning the Lead voice on or off. This is
tion on the control panel allows you to quickly access the most useful in creating Presets where you want to hear harmony
often used functions. voices only.
In addition, in these pages you can edit the various effects and
harmony styles, and save them into a Voice Processor Preset (VP Harmony
Preset). With the latest two pages, you can edit the general set- This checkbox allows the enabling/disabling of the Harmony
tings for the singer’s voice. module.
This page allows you to select a VP Preset, as well as turning on
Effects
or off the various Voice Processor modules.
This checkbox allows the enabling/disabling of the Voice Proces-
sor Effects module.

Mic: Harmony
In this page you can define general parameters for the Harmony
module.

Preset
Current Voice Processor Preset
Use this parameter to select a Voice Processor Preset. A VP Pre-
set is the programming of all Voice Processor’s harmony and
effect parameters. The Current Voice Processor Preset is the VP
Preset that is currently selected and can be edited.
A VP Preset can be recalled by a Style, a Performance, a Song-
Book Entry, or can be manually selected by pressing the PRESET Harmony
button in the MIC SETTING on the control panel. This Preset is

Reference
alternative to the Global VP Preset (see “Global Voice Processor Harmony On/Off
Preset” on page 269) that is used when no selection is saved in a
Style, Performance or SongBook Entry. This checkbox allows enabling/disabling of the Harmony mod-
ule. It is the same control found in the “Preset” page.
If you wish to save your VP Preset settings, keep the PRESET
button pressed for about one second, or select the “Write Voice Harmony Mode
Processor Preset” command from the page menu (see page 274).
The saved Preset will appear in the list of the available Presets. This parameter changes the Preset’s harmony mode. The avail-
able options are: Scalic, Chord, Shift, and Notes. See “Harmony
and Tuning with the Voice Processor” on page 270 for a full
Harmony Voices On/Off description of each harmony mode.
These are “switches” for the voices generated by the Harmony
Root
section.
(Only available in Scalic mode). In Scalic presets this sets the
V1…V3 scale root.
These checkboxes allow turning each of the three Harmony
Type
Voices on or off.
In Scalic presets this sets the scale type. If the selected type is
This is the same as the “Voice On/Off ”checkbox in the “Mic:
Custom, a Custom Map can be used (see “Custom Voice Map-
Harmony Voices” page (see page 267).
ping” on page 267).

PB Assign
Pitch Bend control assignment. Allows assignment of the pitch
bend to Pitch (applicable in Notes and Chord harmony modes).
266 Global mode
Mic: Harmony

Note: For this to work, a value other than zero must be assigned to Source
the “Pitch Bend Range” in the “Mic: Global Setup” page (see
This is the harmony notes source for the Style Play mode. It is
page 269).
the harmony notes source for the Song Play mode, when the
“Song Control” parameter is set to Keyboard.
Note Octave Transpose
Note: When the Harmony Mode is Chord, the Source is always the
This transposes the harmony voices in Notes mode; the value
Chord Scanning area.
corresponds to octaves (±4). When receiving notes from MIDI,
this value is summed to the value of the “Octave Transpose In” Hint: To continue playing harmony notes on the keyboard when
parameter, found in the “MIDI: MIDI In Controls” page (see switching between Style Play and Song Play modes, set Source =
page 259). Chord Scan, Song Control = Keyboard.
This is useful when used in conjunction with the “In Note Chord Scan Notes are received from the same chord scanning
Range-High” and “In Note Range-Low” parameters, also found area dedicated to the Arranger. For example, if
in the “MIDI: MIDI In Controls” page, that limit the note input the Lower chord scanning mode is selected on
to a particular range, that could result too low or too high for the the control panel, harmony notes are received
harmony notes (see page 260). from the Lower area of the keyboard.
Lower Notes are received from the Lower area of the
Portamento
keyboard.
This is defined in milliseconds as the time to reach a target note
Upper Notes are received from the Upper area of the
when a harmony voice needs to change pitch.
keyboard.
Full Keyb. Notes are received from the full range of the key-
Harmony Voices Envelope
board.
The envelope lets you set a different Attack and Release time for
the harmony voices. Song Control
Note: The envelope can only work in Notes mode. This is the harmony notes source for the Song Play mode.
Off Notes are not received when in Song Play mode.
Attack
Ply 1+2 Track [n]
Sets the envelope attack time for harmony voices. Available only
in Notes mode. Notes are received from the selected track from
either Player.
Release Keyboard Notes are received from the Keyboard. The range
Sets the envelope release time for harmony voices. Available only is the one defined by the “Source” parameter (see
in Notes mode. above).

Harmony Note Input Level

When the Harmony Mode is Chord, harmony notes are always Level knob
received from the Chord Scanning area.
Sets the overall harmony voices level.
When the Harmony Mode is set to Notes, harmony notes can be
received from a source different than the Chord Scanning area.
This way, you can continue sending chords to the Arranger with
your left hand, while, for example, sending notes to the Har-
mony module with your right hand.
 Global mode 267
Mic: Harmony Voices

voicing) which give the lowest note received. Root2 and Bass2
Mic: Harmony Voices are the higher pitch Root and Bass settings.
Shift Mode Presets
The Voice Processor can add up to three Harmony Voices to the In this mode the voices are shifted relative to the input note. The
Lead voice. Here you can adjust parameters for each individual values range from -24 semitones to +24 semitones.
voice.
Notes Mode Presets
In this mode there is no selectable voicing, since harmony voices
exactly play received notes.

Voice Smooth
Select
buttons Sets how much of the input pitch nuance is applied to the output
voice.

Pan/Level
Level knob
Sets the output level of the selected voice. Please note that there
Voice Select buttons is also a master harmony voice level found in the “Harmony”
page.
V1…V3
Use these buttons to select one of the three available voices for Pan knob
editing. Adjusts the pan for the selected voice. L64 (panned fully left) to
R63 (panned fully right).
Individual Voice Basic
Custom Voice Mapping
Voice On/Off
This area is only available in Scalic Mode, when Type is Custom
This checkbox allows enabling/disabling of the selected Har- (see “Mic: Harmony” on page 265).
mony Voice. It is the same control found on the “Preset” page.
Scale mode harmonies are basically pitch maps. For each input
Gender note in a scale you can define a resulting harmony note. The
Voice Processor has pre-defined pitch maps for all the offered
This parameter sets the formant of the Harmony Voice. Use it to scale roots, types, and intervals.
alter the character of the voice ranging from -50 (a big person
with a deep voice) to 0 (no change) to +50 (mice/alien sound). The Custom voicing feature allows you to create your own pitch
maps. For example, you could define a pitch map so that a C

Reference
Voicing input produces an E output and a D input produces an A output.
The best way to work with custom voicing is as follows:
This parameter is used to set the voicing of the selected voice.
This parameter means different things depending on the har- • For a given harmony voice, select the scale root, type, and
mony mode of the preset. interval that most closely matches the desired voicing.
Scalic Mode Presets • Go to the “Note In” parameter and select the input note that
requires a different harmony note.
In this mode the Voicing parameter specifies the interval of the
harmony note with respect to the input note in the scale. The • Go to the “Note Out” parameter and change the harmony note
range of values goes from --8, which is 2 octaves below the input as desired.
note, to ++8 which is two octaves above the input note. For • Select various other input notes and remap as desired. Repeat
example, a setting of +3 will result in a harmony voice a third the above steps for each harmony voice. You can also copy a map
above the input voice, related to the current scale. from a voice to other voices.
Chord Mode Presets • The custom map can be transposed under the Harmony page
In this mode the Voicing parameter specifies the relation of the by changing the “Root” parameter.
harmony note to the input note with respect to the current
chord. In Chord mode presets, the harmony voices are always Note In
notes in the chord. A setting of Up1 will result in the harmony Incoming note.
voice being the next note above the input voice in the chord. For
instance, if the chord was C Major and the input note was an E, C…B Original note.
an Up1 setting would produce a G harmony voice, just above the
Note Out
input E.
Resulting note when applying the custom map.
The range of values goes from Down 5 to Unison to Up6. Addi-
tional values are Root1 and Root2 which give the root of the rec- ±24 Number of semitones above or under the
ognized chord as the harmony voice, and Bass1 and Bass2 (bass received note.
268 Global mode
Mic: Effects

UNI Unison. The same note received on the input is Mono Mono delay.
sent to the output.
Stereo Maintains the panning of the sends.
NC No Change. The harmony voice will keep its pre-
PingPong1 Sends the lead voice to the left effect end only.
vious pitch until the lead voice pitch changes to a
non “NC” note. PingPong2 Sends the lead voice to the sends depending on
the lead pan setting.
Copy to… button
Delay
Use this button to copy the current custom map to other voices.
When you touch the button, the Copy Custom Voice Mapping Only available when Src = Manual (see below). Use this parame-
dialog box appears: ter to fine adjust (in milliseconds) the current delay time.

Feedback
Delay feedback amount.

Src (Source)
Use this parameter to set the source of the tempo for the delay.
MIDI Tempo is received from MIDI.
Manual The delay time is set using the “Delay” parameter.
Check all desired target voices, then touch OK to confirm the
R (Ratio)
copy.
Sets the ratio between the tempo and the resulting delay. For
example, “1:2” means that for each quarter note at the current
tempo, the delay plays two notes. A value of “1:4” means that for
Mic: Effects each quarter note at the current tempo, the delay plays four
notes, and so on.
This page allows to adjust the various effect parameters for the Hi Freq Damp (High Frequency Damping)
Voice Processor.
High Frequency Damping.

Reverb
Type
The list of reverb types includes the following acoustic simula-
tions.

Hall Smooth Hall

Wet Plate Dry Plate
Room Bright Room
Early Reflections
FX Mix
Pre Delay
Lead to Delay knob
Reverb Pre-delay time. Sets the delay time prior to the reverb
Lead to Delay effects send.
output. Large rooms typically have reverbs that start much later
Harmony to Delay knob than the initial signal.

Harmony to Delay effects send. Reverb Time

Reverb Level knob Reverb Decay Time. Length or the Reverb.

Sets the overall volume of the Reverb effect. Pre LEQ Gain

FX Level knob Reverb pre-equalization of the low frequencies. Specifies the

characteristics of the reverbs low frequencies.
Sets the overall volume of the Delay effect.
Pre HEQ Gain
Delay Reverb pre-equalization of the high frequencies. Specifies the
characteristics of the reverbs high frequencies.
Type
Use this parameter to select a Delay type.
 Global mode 269
Mic: Global Setup

Talk
Mic: Global Setup
The Talk function can be used when having to address the audi-
ence, speaking over the background music.
In this page you can select a Voice Processor Preset, and set some
general parameters for your voice. These parameters are general Mic Talk button
setting, that will not change when a different Preset is selected.
On/off switch for the Talk function. This is the same switch you
can find in the Mic panel of the Style Play and Song Play modes.
This parameter is automatically set to off when turning the instru-
ment on.
Note: When you deactivate the Talk function, the Voice Processor
Preset is recalled. Any unsaved change to the Preset will be lost.

Auto (AutoTalk)
When this parameter is checked, the Talk function automatically
engages when the Player or Arranger is stopped. This way, you
can talk to the audience between two songs, without the need to
touch the Mic Talk button.
Setup
Master Volume Attenuation knob
Global Voice Processor Preset Use this knob to set the volume level reduction of the back-
This VP Preset will be chosen when selecting a Performance or ground music when the Talk function is engaged. 0dB corre-
STS making use of the global VP Preset, instead of a “local” one. sponds to no level reduction.
The use of a global VP Preset is shown in the Mic panel of the
main screen.
Mic: Global Dynamics / EQ
Lead Setting
Low Cut Frequency In this page you can adjust parameters for the Compressor/Gate
and Equalizer, applied to the Lead and Harmony voices.
A low-cut filter can be activated on the Lead Voice. This filter
allows for a cleaner signal from the microphone, by “cutting out”
pops, room rumble and mic handling noise.
Off No low-cut filter applied.
60, 80, 120Hz Filter set to different frequencies. The frequencies

Reference
below the set value are cut out.

Pan/Volume
Pan knob
Adjusts panning for the Lead voice. L64 (panned fully left) to
R63 (panned fully right).
Assign
Level knob
Dyn
This parameter sets the Lead voice level.
Compressor/Gate assignment. The options are Off, Lead + Har-
Off Lead voice is turned off.
mony, Harmony or Lead. The compressor has auto-makeup
-30dB … 0dB Lead voice level. gain, so there are no output levels problems when selecting a dif-
ferent option.
Harmony Settings
Dynamics
Pitch Bend Range
The Voice Processor has dynamics processing optimized for
Sets the range (in semitones) that pitch bend will alter the pitch vocals.
of the harmonies in Notes mode.
Threshold knob
Compressor Threshold. Range: 0 to -60 dB.
270 Global mode
Harmony and Tuning with the Voice Processor

Ratio knob
Compression ratio. Range: 1.1:1 to 64:1. Harmony and Tuning with the Voice
Gate knob Processor
Gate Threshold. Range: Off, -70dB to 0dB

Harmony
EQ
Here's where we can go into a little more depth about harmonies.
The Voice Processor has an extremely flexible 3-band EQ with We've tried to keep it practical, focusing on what Voice Proces-
frequency and gain-adjustable high and low shelving bands, as sor can do for you.
well as a fully parametric band with Q control.
Harmony Modes
Low Frequency
The Voice Processor has four different harmony modes, which
Low Shelving Frequency center frequency. Range: give four unique methods of creating harmony. Once we get into
80Hz…16kHz. describing the more complex harmony modes, we’ll be showing
you examples based on the C major scale. If you are unfamiliar
Low Gain knob
with this scale we’ve shown C major here.
Low Shelving Frequency cut/boost. Range: ±12 dB.

Mid Q knob
Resonance of the midband. Range is .1 (wide band) to 10 (very
narrow band).
Notes Mode
Mid Frequency In this mode, you provide the Voice Processor with specific note
Mid Band Frequency center frequency. Range: 80Hz…16kHz. information to determine the pitch of the harmony voices. This
is the most direct and flexible way of creating harmonies, allow-
Mid Gain knob ing you to weave complex melodies and counter harmonies irre-
spective of your lead vocal.
Mid Band Frequency cut/boost. Range: ±12 dB.
Shift Mode
High Frequency
Also known as “Fixed Interval”, this takes the pitch of your lead
High Shelving Frequency center frequency. Range:
voice and creates harmonies a set number of semitones away,
80Hz…16kHz.
based on that pitch. The method of creating harmonies, using a
High Gain knob fixed number of semitones relative to an input note or pitch, is
called chromatic harmony, the theory of which we’ll go into later.
High Shelving Frequency cut/boost. Range: ±12 dB. We consider this type of harmonizing to be non-intelligent
because Voice Processor is not set to any particular key or scale.
These are pure, parallel harmonies. The most common shift har-
mony voices are the 5th (7 semitones) and octave (12 semi-
tones), ranging from two octaves below the input to two octaves
above the input pitch.
Below is the C Major scale, showing third above chromatic scale
harmony, as used in Voice Processor Shift Mode.

Black = Lead, Grey = Harmony

 Global mode 271
Harmony and Tuning with the Voice Processor

Chord (Chordal) Mode You might have noticed that each harmony note can cover more
than one input note, or that each input note doesn’t necessarily
Chordal harmonies take your chord information to create intelli-
have a unique harmony note. For instance, C and D both have E
gent, diatonic harmonies based on your voice. To make Chordal
as the 3rd above, E and F share G, and so on. This gives a more
harmonies, you need to input in real time the chords of the song.
stepped sound to the harmony as the changes are both greater in
This may be done either by playing on the keyboard, via MIDI or
magnitude and less frequent than when using other harmony
through a programmed sequence of chords included in the Har-
methods (shift mode for example). The benefit of this method is
mony Track of a Song.
that it is very easy to integrate vocal harmonies into your songs if
In Chordal mode the Voice Processor will only create harmony you already know their chord progressions! The following lists
voices that fall on the notes of the chord. Chordal harmonies are the chords available with respect to the root of “C”:
“intelligent” because they decipher the chord you’re playing and
the note you’re singing to produce musically pleasing harmonies. Major C E G
When one note above is defined as a harmony voice (Up1), the
next note from the chord above the input note is output for that 6 C E G A
harmony voice.
Maj7 C E G B
The subsequent illustration shows the harmony notes for the C
M7sus4 C F G B
major scale with a voicing selection of a C major chord and a
single “one above”. min C Eb G
Root: C, Chord Type: Maj, Voicing: Up1
min6 C Eb G A

min7 C Eb G Bb

min7b5 C Eb Gb Bb

Black = Lead & Grey = Harmony dim C Eb Gb [Bbb (= A)]

7 C E G Bb

7b5 C E Gb Bb

aug C E G#

aug7 C E G# Bb

sus4 C F G

sus2 C D G

7sus4 C F G Bb

Reference
272 Global mode
Harmony and Tuning with the Voice Processor

Scale (Scalic) mode create a custom scale or pitch map see the parameter description
under “Custom Voice Mapping” on page 267.
Harmonies use key and scale information to create musically
correct, diatonic harmonies. Most popular music uses a single It is also tricky to pick out the key in some songs. An example is
scale, so you usually only have to input the information at the “Sweet Home Alabama”. Listening, you might think this song is
beginning of your song. “Scalic” harmonies are more dynamic in the key of “D”, as that’s the first chord, but the harmonies actu-
than the chordal harmonies because there are unique harmony ally work best in the key of “G” – try running the song through
notes for each input note. The subsequent illustration shows the Voice Processor to hear for yourself.
harmony notes for the C major scale with a voicing selection of a
Setting the scale can also take a bit of practice: for songs centered
C major scale and a single “third above” harmony voice. You can
around the third or root of the scale it might not sound like
see from the next diagram that the “Scalic” harmonies are intelli-
there’s any noticeable differences between the three major or
gent and closely follow your lead voice for a tighter sound.
three minor scales. This is because your song doesn’t hit any of
the scale’s altered notes. A melody centered around the fifth of
the scale, (such as B in the key of E), highlights the differences
between the scales. Try the “Sha Lala Lala … La Tee Daa” chorus
of Van Morrison’s “Brown Eyed Girl” (key: E, scale: major, 3rd
Black = Lead, Grey = Harmony above voicing) with each major scale to hear the audible differ-
ence between them. For the minor scales, Santana’s “Evil Ways”
Under the Harmony page, is a parameter called “Smooth”. When
(key: G, scale: minor, 3rd above voicing) highlights the differ-
set to 100% the harmony voices follow your input pitch, errors
ences between the three minor scales.
and all, but when set to 0% the harmonies will jump directly to
the scalic harmony notes, kind of like a hard pitch correction on The following table illustrates the third and fifth above for a
the harmony voice. Setting the Smooth parameter between 0 and given input note to illustrate the differences between the six dif-
100% is like having variable amounts of pitch correction on the ferent scales. “nc” means no change, in that the harmony voice
harmonies. Voice Processor has five preprogrammed harmony will simply keep its previous pitch until the lead voice pitch
scales: three major, three minor and one custom per preset. To changes to a non “nc” note.

Lead Voice C C# D Eb E F F# G G# A Bb B
MAJ1 3rd above E nc F nc G A nc B nc C D D
5th above G nc A nc B C nc D nc E F F
MAJ2 3rd above E nc F nc G A nc C nc C D D
5th above G nc A nc C C nc E nc E F F
MAJ3 3rd above E nc F nc G A nc Bb nc C D D
5th above G nc A nc Bb C nc D nc E F F
MIN1 3rd above Eb nc F G nc Ab nc Bb C nc D nc
5th above G nc Bb Bb nc C nc D Eb nc F nc
MIN2 3rd above Eb nc F G nc A nc Bb C nc D nc
5th above G nc A Bb nc C nc D Eb nc F nc
MIN3 3rd above Eb nc F G nc Ab nc B C nc D nc
5th above G nc A Bb nc C nc D Eb nc F nc
 Global mode 273
Harmony and Tuning with the Voice Processor

Diatonic and Chromatic Shifting, which uses the chromatic, 12 semitone scale, changes
the input pitch by a fixed number of semitones:
We've described scalic and chordal harmonies as diatonic, and
shift harmonies as chromatic; but what do those words mean?
Look at a piano keyboard. Between middle “C” and the next “C”
there are twelve keys – 7 white keys and 5 black keys. Each of
those keys are pitched one semitone apart for a total of, you
guessed it, 12 semitones. The chromatic scale uses all twelve Chordal, which uses the root, third, fifth and sometimes seventh
semitone notes opposed to the diatonic scales. Thus there is only of the many diatonic scales, pitches the harmony voice to the
one chromatic scale, but 12 each of the major, minor, etc. dia- closest note contained within the chord:
tonic scales (C major, C# major, D major, etc). Most of us have
grown up hearing the traditional “doh ray me fah so la tee doh”
diatonic scale, so that harmonies based on the diatonic scale
sound correct.
What does this mean, harmony-wise? Diatonic scale harmonies
can only use notes within specified scale or chord, so a “third Scalic, which uses one of many diatonic scales, pitches the har-
above” harmony voice actually varies between three and four mony voice to the nearest note contained within the scale:
semitones above the lead note where the chromatic harmony
would stay exactly four semitones (a major 3rd) above each note.
To recap: we have three different harmony modes that use chro-
matic or diatonic scales.
Theory aside, the best way to get great sound is to experiment
with all of Voice Processor' possible harmony modes. Not only
will you develop an intuitive sonic sense of what works best
where, but by investigating different permutations and combina-
tions you could discover some delightful sounds you might oth-
erwise have missed.

Reference
274 Global mode
Touch Panel Calibration

Touch Panel Calibration Page menu

From time to time (for example, after loading a new operating Touch the page menu icon to open the menu. Touch a command
system), calibrating your Color TouchView™ display may be nec- to select it. Touch anywhere in the display to close the menu
essary to make pointing more precise. If so, use this page. without selecting a command.

Note: In each Global page, the only available Write Global options
from the page menu are the ones relevant to the content of the cur-
rent page. All other Write Global options are greyed out.
1. When in this page, first touch exactly inside the set of
arrows in the upper left corner of the display. Write Quarter Tone SC Preset

2. The arrows will subsequently move to the other corners of Choose this command to open the Write SC Preset dialog box,
the display. Touch exactly inside them. and save the current scale settings in one of the four available SC
Presets.
3. Finally, touch Save to confirm the new calibration.
See “Write Quarter Tone SC Preset dialog box” on page 275 for
more information.

Write Midi Preset

Select this command to open the Write Midi Preset dialog box,
and save the current MIDI settings into one of the available
MIDI Presets.
See “Write Midi Preset dialog box” on page 275 for more infor-
mation.

Write Limiter Preset

• In case you want to exit and cancel the calibration, press Choose this command to save the Limiter settings to one of the
EXIT before completing the procedure. available Limiter Presets.
Hint: To quickly reach this page from any other page, keep the See “Write Limiter Preset dialog box” on page 275 for more
GLOBAL button pressed until this page appears. information.

Write Master EQ Preset

Choose this command to save the Master EQ settings to one of
the available Master EQ Presets.
See “Write Limiter Preset dialog box” on page 275 for more
information.

Write Voice Processor Preset

Choose this command to save the Voice Processor settings to
one of the available Voice Processor Presets.
See “Write Voice Processor Preset dialog box” on page 276 for
more information.
 Global mode 275
Write Quarter Tone SC Preset dialog box

Write Quarter Tone SC Preset dialog box Write Limiter Preset dialog box
Open this dialog box by selecting the Write Quarter Tone SC Open this dialog box by selecting the Write Limiter Preset item
Preset item from the page menu. Here, you can save the current from the page menu. Here, you can save current settings for the
scale settings in one of the four available SC Presets. Limiter edit section (see starting from page 262).

To Name
One of the four available SC Preset locations, where to save cur-
Name of the Limiter Preset to be saved. Touch the (Text
rent scale settings.
Edit) button next to the name to open the Text Edit window and
modify the name.

Limiter Preset
Write Midi Preset dialog box
One of the available locations, where to save current Limiter set-
tings.
Open this dialog box by selecting the Write Midi Preset item
from the page menu. Here, you can save all MIDI settings to a
MIDI Preset.
Write Master EQ Preset dialog box
Open this dialog box by selecting the Write Master EQ Preset
item from the page menu. Here, you can save current settings for
the Master EQ edit section (see starting from page 263).

Reference
Name

Name of the MIDI Preset to be saved. Touch the (Text Edit)

button next to the name to open the Text Edit window and mod-
ify the name.

Midi Preset Name

One of the available MIDI Preset locations, where to save cur-
Name of the Master EQ Preset to be saved. Touch the (Text
rent MIDI settings.
Edit) button next to the name to open the Text Edit window and
modify the name.

Master EQ Preset
One of the available locations, where to save current Master EQ
settings.
276 Global mode
Write Voice Processor Preset dialog box

Write Voice Processor Preset dialog box

Open this dialog box by keeping the PRESET button in the MIC
SETTING section pressed for about one second, or by selecting
the Write Voice Processor Preset item from the page menu. Here,
you can save current settings for the VP Preset in the Mic edit
section (see starting from page 265).

Name

Name of the VP Preset to be saved. Touch the (Text Edit)

button next to the name to open the Text Edit window and mod-
ify the name.

Voice Preset
One of the available locations, where to save the current VP Pre-
set settings.
 Media mode 277
Storage devices and internal memory

Media mode
The Media mode is where you can manage files. This mode
overlaps the current operating mode (Style Play, Song Play, Supported device
Sequencer, Sound).

Pa900 supports external devices, like hard disks or USB memory

sticks, formatted in FAT16 or FAT32 with long file names. NTSF
Storage devices and internal memory (Windows NT/2000/XP/Vista/7), HFS (Mac OS 9) and HFS+
(Mac OS X) formats are not supported.

User-accessible storage devices

During a Media operation, files are usually exchanged between a Selecting and deselecting files
storage device and the internal memory. You can access the fol-
lowing mass storage device types: While a file list is shown in the display, you can select any item
by touching it. The selected item is highlighted.
Name Media type
You can deselect all items in any of the following ways:
DISK [KORG DISK] User-accessible area of the internal memory. This is
where you can store Songs and other files.
• Touch an empty area in the file list (if available).
SD [KORG SD] Optional microSD card inserted into the rear slot. • Touch the Device pop-up icon, and select the current
SD [KORG SD2] Optional microSD card inserted into the rear slot device again.
(second partition).
USB USB memory device (like a memory stick) connected
to the rear USB Host port.
Searching files
A device can be selected by using the Device pop-up menu,
shown in the lower left corner of most Media pages: By using the Search function, you can search files and musical
resources in all internal and external devices. For more informa-
Device pop- tion, see the relevant chapter.
up menu

Preferences

Reference
You can change some global preferences of the Media mode in
the Global > Mode Preferences > Media page (see page 254).

Device
name
278 Media mode
File types

Pa900 can also read (but not write) the following types of data.
File types
Extension File type

The following tables describe all the file and folder types the PKG Operating System and Musical Resource files
Pa900 can manage. Here are the files you can read or write with KAR Karaoke file
the Pa900. CDG CD+Graphics file
PCG Korg Triton Programs
Extension File/folder type KSF Korg Trinity/Triton Sample
SET All the User data. (This is a folder containing other fold- SF2 SoundFont 2 Bank
ers)
BKP Backup file, created with the “Full Resource Backup”
function of the Media > Utility page
GBL Global Setup
VOC Voice Processor Presets
QTP Quarter Tone Scale Presets
MPR MIDI Presets
AUD Limiter and Master EQ Presets
PRF Performance
PCG Sound (Korg Pa-Series)
KMP Multisample
PCM Sample
AIF AIFF audio files
WAV WAVE audio files
STY Style
PAD Pad
SBD SongBook
SBL SongBook’s Custom List
JBX Jukebox
MID Standard MIDI File, SMF
MP3 MP3 file
TXT Plain text file
 Media mode 279
Media structure

Media structure
Each device (and the internal memory) can contain files and folders. Data in the Pa900 is slightly more rigidly structured than in a com-
puter, due to the pre-configured type of data inside the instrument’s memory. The diagram below shows the global structure of a Pa900
device.
Note: Factory Styles and Pads can be seen in Media mode only when the “Factory Style and Pad Protect” parameter is set to Off (see
page 254), and only when loading or saving a single Style bank, or when erasing something.

MYDIR.SET

GLOBAL
SETUP.GBL STYLE PAD
LIMITER.AUD
MASTEREQ.AUD BANK01.STY BANK01(…10).PAD (Hit)
MIDI.MPR 1-1 Pop 1 1 Cowbell 1
QTPRESET.QTP … …
VPPRESET.VOC 1-40 Pop 40 32 Drumkit F

BANK….STY BANK11(…20).PAD (Sequence)

PERFORM
1 Military 1
BANK15.STY …
BANK01.PRF
15-1 Contemp. 1 32 Circus 2
1-1 Grand Piano …
… 15-40 Contemp. 40
1-40 Full Strings LOCAL01.PAD
L1-1 Local 1
BANK….PRF FAVORITE01.STY …
1 Favorite 1 L1-32 Local 32
BANK8.PRF …
40 Favorite 40 LOCAL….PAD
8-1 Rock Brass
…
8-40 Rock Strings FAVORITE….STY LOCAL08.PAD
L8-1 Local 1
FAVORITE12.STY …
SONGBOOK L8-32 Local 32
1 Favorite 1
…
SONGDB.SBD
40 Favorite 40
USER01.PAD

Reference
LISTDB.SBL
U1-1 User 1
USER01.STY …
U1-1 User 1 U1-32 User 32
SOUND
…
U1-40 User 40 USER….PAD
USER01.PCG
1 Piano 1 USER10.PAD
USER02.STY
…
128 SynBrass22 U2-1 User 1 U10-1 User1
… …
U2-40 User 40 U10-32 User 32
USER04.PCG
USER03.STY
1 SopranoSax
… U3-1 User 1
128 Noise …
U3-40 User 40
USERDK.PCG
1 Standard Kit
…
128 Orchestral Kit
280 Media mode
Main page

Scrollbar
Main page Use the scrollbar to scroll the list. Touching the arrows will scroll
one step at a time, while touching the bar will scroll one page at a
There is no main page in the Media mode. When pressing EXIT, time.
you exit the Media mode, and the underlying operating mode in Touching the arrows while SHIFT is kept pressed jumps to the
the background is recalled. previous or next alphabetical section, or file/folder type
(depending on the selected display order).

Device pop-up menu

Page structure Use this menu to select one of the available storage devices.

All pages share some basic elements. Commands

Page menu Commands may be different depending on the shown page.
Mode icon They are detailed in each relevant section.

Tabs
Use tabs to select one of the pages of the current section.
List of
files

Scrollbar
Navigation tools
Path
Com- When in a Media page, you can use any of the following com-
mands mands to browse through the files and folders.

Tabs Scrollbar
Device menu
See “Scrollbar” above.

Mode VALUE DIAL

This indicates that the instrument is in Media mode. Use the VALUE DIAL to scroll the list up or down.

Page menu icon Device pop-up menu

Touch this icon to open the page menu (see “Page menu” on See “Device pop-up menu” above.
page 293).
Load/Save/Copy/Delete button
Path Executes the media operation.
Full path of the directory currently shown in the display.
Open button
List of files Opens the selected folder or directory (whose name begins with
This area shows the files and folder contained in the selected the “ ” icon).
device.
You can touch one of the heading labels above the list to change Close button
the order in which files are shown. For example, by touching the Closes the current folder or directory, returning to the parent
“Name” label, the list is alphabetically re-ordered according to (“upper”) level.
the file names. The selected label appears highlighted, showing
the currently selected ordering.

If you touch the highlighted label again, the alphabetic order

changes from ascending to descending, or vice-versa. The small
arrow next to the label name shows the selected order.
 Media mode 281
Load

Loading all the User data

Load You can load all the User data with a single operation.
1. If loading from an external device, connect the device to
In this page you can load User data files (Performances, User the USB Host port.
Sounds, User Styles, the SongBook, the Global) from an internal
or external storage device to the internal memory. 2. Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the
display.
3. If the folder you are looking for is inside another folder,
select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
4. Select the “.SET” folder containing the data you wish to
load, and touch Load to confirm the selection.
To create a new .SET folder with PCM samples from different
sources, see “Merging Samples from various sources” on
page 294.

Note: While in this page, only data allowed for loading are shown.
All other files are hidden. Loading all data of a specified type
You can load all data of a specified type with a single operation.
Merging data 1. If loading from an external device, connect the device to
When loading all User data, or all data of a specified type, most the USB Host port.
data loaded from a storage device are merged with data already 2. Use the Device pop-up menu to select the source device.
existing in memory. For example, if there is data in all three When the device is selected, its content will appear in the
USER Style banks in memory (USER01, USER02, USER03), and display.
there is only the USER01 Style bank in the storage device, the
3. If the folder you are looking for is inside another folder,
USER01 bank will be overwritten, while USER02 and USER03
select the latter and touch the Open button to open it.
banks will be left unchanged.
Touch the Close button to go back to the parent folder.
As a result, there will be a STYLE folder in memory containing
4. Select the “.SET” folder containing the data you wish to
the USER01 bank you just loaded, and the old USER02 and
load, and touch Open to open the “.SET” folder. A list of
USER03 banks.
User data appears (Global, Performance, SongBook,
Sounds, Style…).

Reference

5. Select the folder containing the type of data you are looking
for, and touch Load to confirm your selection.
282 Media mode
Load

Loading a single bank 7. Select the target bank, and touch OK to load the source
bank.
You can load a single bank of data (Sounds, Styles, Perfor-
mances) with a single operation. Each bank corresponds to each Warning: After confirming, all User data contained in mem-
of the side tabs in the various Select windows (Style Select, Per- ory are deleted.
formance Select…). Note: You can save space for loading new data by deleting all
1. If loading from an external device, connect the device to unused PCM Samples from memory. When Sounds or Drum
the USB Host port. Kits based on external PCM Samples are deleted, you no lon-
ger need the now unassigned PCM Samples. Use the “Not
2. Use the Device pop-up menu to select the source device. assigned to any Multisample/Drumkit” Delete option in the
When the device is selected, its content will appear in the Sampling mode to delete all the unassigned Samples (see
display. page 244).
3. If the folder you are looking for is inside another folder, Note: If you are loading a bank of Sounds, and one or more
select this latter and touch the Open button to open it. Sounds or Drum Kits use external PCM Samples, the Sam-
Touch the Close button to go back to the parent folder. ples are automatically loaded (unless they are already in
4. Select the “.SET” folder containing the data you wish to memory).
load, and touch Open to open the “.SET” folder. A list of
User data appears (Global, Performance, SongBook, Loading a single item
Sounds, Style…).
You can load a single item with a single operation.
1. If loading from an external device, connect the device to
the USB Host port.
2. Use the Device pop-up menu to select the source device.
When the device is selected, its content will appear in the
display.
3. If the folder you are looking for is inside another folder,
select this latter and touch the Open button to open it.
Touch the Close button to go back to the parent folder.
4. Select the “.SET” folder containing the data you wish to
5. Select the folder containing the type of data you are looking load, and touch Open to open the “.SET” folder. A list of
for, and touch Open to open the selected folder. A list of User data appears (Global, Performance, SongBook,
Favorite/User banks appears. Sounds, Style…).

6. Select the bank file you are looking for, and touch Load to 5. Select the folder containing the type of data you are looking
confirm the selection. A dialog box appears, asking you to for, and touch Open to open the selected folder. A list of
select one of the available User (or Favorite/User Style) banks appears.
banks in memory.

In the example above, the previously selected Style bank

will be loaded into the bank USER 1 in memory. The Styles
already existing in memory will be deleted and overwritten.
 Media mode 283
Load

6. Select the bank file you are looking for, and touch Open to Loading Pa600 data
open it. A list of items appears.
You can load Pa600 data exactly as if they were Pa900 data, apart
for the Global data. Due to the different order in memory, Styles
must be reassigned to SongBook Entries by using the SongBook
Editor software (freely available on www.korg.com).

Loading Pa2X/Pa800 data

You can load Pa2X/Pa800 data exactly as if they were Pa900 data,
apart for the Global data. Due to the different order in memory,
Styles must be reassigned to SongBook Entries by using the
SongBook Editor software (freely available on www.korg.com).
It is not possible to load Pa900 data into a Pa2X/Pa800.
7. Select the item you are looking for, and touch Load to con-
firm the load. A dialog box appears, asking you to select
one of the available locations in memory. Loading Pa1X data
You can load Pa1X data exactly as if they were Pa900 data, apart
for the Global data. Due to the different order in memory, Styles
must be reassigned to SongBook Entries by using the SongBook
Editor software (freely available on www.korg.com).
It is not possible to load Pa900 data into a Pa1X.

Loading Pa500/588 data

You can load Pa500/588 data exactly as if they were Pa900 data,
In the dialog box above, the Style you select from disk will apart for the Global data. Due to the different order in memory,
be loaded into location 01 of the bank Usr01 in memory. Styles must be reassigned to SongBook Entries by using the
Any existing Style at the same location will be deleted and SongBook Editor software (freely available on www.korg.com).
overwritten.
It is not possible to load Pa900 data into a Pa500/588.
Empty locations are named “- - - “.
8. Select the target location, and touch OK to load the source Loading Pa80/60/50/50SD data
file.
You can load Pa80/60/50/50SD data exactly as if they were Pa900
Warning: After confirming, the item you are overwriting in data, apart for the Global data. The only difference is that the
memory will be deleted. “SOUND” folder of Pa900 is called “PROGRAM” in the Pa80/
Note: You can save space for loading new data by deleting all 60/50/50SD. Therefore, to load Sounds from Pa80/60/50/50SD

Reference
unused PCM Samples from memory. When Sounds or Drum disks, you must accomplish one of the following operations,
Kits based on external PCM Samples are deleted, you no lon- either:
ger need the now unassigned PCM Samples. Use the “Not • Rename the “PROGRAM” folder “SOUND” (by using a
assigned to any Multisample/Drumkit” Delete option in the personal computer) before loading a “.SET” folder; or
Sampling mode to delete all the unassigned Samples (see
page 244). • First load the “.SET” folder, then separately load the “.PCG”
file from the “PROGRAM” folder.
Note: If you are loading a Sound or Drum Kit making use of
external PCM Samples, the Samples are automatically
loaded (unless they are already in memory). Loading i-Series data
Pa900 is compatible with the Styles of the older i-Series instru-
Loading Global data from other Pa-Series ments. You can load them as if they were ordinary Pa900 data.
instruments 1. Copy the old i-Series data into an USB device, or transfer
them to the internal storage memory of the Pa900.
Global data (Global, Voice Processor, Limiter, EQ, etc.) cannot
be loaded from other Pa-Series instruments. 2. Press MEDIA to go to the Media mode. Select the Load
page if needed.
Loading Pa3X data 3. While in the Load page, select the device containing the i-
Series data from the Device pop-up menu.
You can load Pa3X data exactly as if they were Pa900 data, apart
for the Global data. Sounds and Effects can be a bit different. 4. If you are reading an i30 file, select the “.SET” folder and
Due to the different order in memory, Styles must be reassigned touch the Open button in the display.
to SongBook Entries by using the SongBook Editor software 5. Select the “.STY” folder.
(freely available on www.korg.com).
6. At this point, you can load the whole “.STY” folder, or open
it and select a single Style.
284 Media mode
Save

• To load the whole folder, touch the Load button in the

display. If it contains more than 40 Styles, they will be Save
loaded into the USER banks sequentially, otherwise you
will be prompted to select one of the USER Style banks or
the FAVORITE Style banks in memory. Once the target In this page, you can save User data from the internal memory to
bank is selected, touch Load to load the bank. The “Are you a mass storage device (like an hard disk or an USB memory
sure?” message will appear. Touch OK to confirm, or Can- stick). You can save single files, banks, or all the User and Favor-
cel to abort. ite Style files of the internal memory.
• To load a single Style, touch Open in the display to open
the “.STY” folder. Since a conversion will be started at this
point, please wait some seconds for the operation to be
completed.
Select the Style to load, then touch Load. You will be
prompted to select a target location in memory. Once the
target location is selected, touch Load to load the Style. The
“Are you sure?” message will appear. Touch OK to confirm,
or Cancel to abort.
Note: Loading a whole “.SET” folder from an i30 file may
take some time due to format conversion.
Note: While in this page, only data allowed for saving are shown.
7. Go to the Style Play mode, and select (one of) the loaded All other files are hidden.
Style. Adjust the Tempo value, then select the “Write Cur-
Here are the various types of files contained in the internal
rent Style Settings” to write changes. Touch OK twice to
memory:
confirm.
8. Due to the difference in Sounds, you will probably want to The file/folder …and will create on the
make some adjustments to the old Styles, once they are …contains…
type… target device…
loaded in Pa900 (changing the Sound, Volume, Pan,
All All the User data in memory A .SET folder
Tempo, Drum Mapping, Wrap Around…).
Style The FAVORITE 01-12 Styles A STYLE folder inside a
9. To make the Sound assignment to the Style tracks effective, and the USER 01-03 Styles .SET folder
be sure the “Original Style Sounds” parameter is not Sound The USER Sounds and Drum A SOUND folder inside a
checked (see page 110). Kits .SET folder

10. Save the Style Settings again. Select the “Write Current Pad The USER Pads A PAD folder inside the
.SET folder
Style Settings” to write changes. Touch OK to confirm.
Perform (Perfor- The Performances A PERFORM folder inside
mances) a .SET folder
SongBook The SongBook database A SONGBOOK folder
inside a .SET folder
PCM All the Multisamples con- A PCM folder inside a
tained in the internal stor- .SET folder
age memory, and the PCM
Samples contained in RAM
Global All global parameters. MIDI A GLOBAL folder inside a
Presets, SC Presets, Limiter .SET folder. Inside the
Presets, Master EQ Presets GLOBAL folder other
and VP Presets are also folders will be created, to
saved. contain the MIDI, SC,
Limiter, Master EQ Pre-
sets and VP Presets.
 Media mode 285
Save

Creating a new “.SET” folder Saving the full memory content

Pa900 proprietary data must be saved in special folders with the You can save the full memory content with a single operation.
“.SET” extension. These special folders can be saved inside ordi- Depending on the status of the “Factory Style and Pad Protect”
nary folders. parameter, you may or may not see the Factory Style and Pad
banks (see “Factory Style and Pad Protect” on page 254).
When saving, you can save onto existing “.SET” folders, or you
can create a new folder of this type. Here is how to do it. 1. If saving to an external device, connect the device to the
USB Host port.
1. When the directory of the target device is shown in the dis-
play, the “New SET” button appears among the buttons 2. The full content (“All”) of the internal memory is already
below the file list. shown. Select it, and touch Save to confirm the selection.
The list of files in the target device is shown.

2. Touch the New SET button. A dialog box appears, asking

you to enter a name for the new “.SET” folder.

3. If needed, use the Device pop-up menu to select a different

target device. When the target device is selected, its content
will appear in the display.
3. Touch the (Text Edit) button to open the Text Edit
4. At this point, you can:
window. Enter the name, then touch OK to confirm and
close the Text Edit window. Note: The “.SET” file name • Touch the New SET button and create a new “.SET” folder
extension is added automatically. (see “Creating a new “.SET” folder” on page 285), or

4. Touch OK to create the new folder and exit the dialog box. • Select an existing “.SET” folder.
5. Touch Save to confirm. A dialog box appears, asking you to
select the type of data to save:

Reference
Save All dialog with the Factory Style and
Pad Protect option turned on

Save All dialog with the Factory Style and

Pad Protect option turned off

In the dialog box above, check all data type you wish to save
to a storage device.
6. Touch OK to confirm, or Cancel to abort.
286 Media mode
Save

Warning: After confirming, all data of the selected type in the Saving a single bank
target folder is deleted.
You can save a single User bank with a single operation. Each
bank corresponds to each of the side tabs in the various Select
Saving all data of a specified type windows (Style Select, Performance Select…).
In addition to the above, you can save all data of a specified type 1. If saving to an external device, connect the device to the
by selecting the corresponding folder. USB Host port.
1. If saving to an external device, connect the device to the 2. The full content (“All”) of the internal memory is already
USB Host port. shown. Select it, and touch Open to open it. A list of User
2. The full content (“All”) of the internal memory is already data types appear (each type is a separate folder).
shown. Select it, and touch Open to open it. A list of User
data types appear (each type is a separate folder).

3. Select the folder containing the type of data you wish to

save, and touch Open to open it. The list of contained bank
3. Select the folder containing the type of data you wish to files is shown.
save, and touch Save To to confirm the selection. The list of
files of the target device is shown.

4. Select the bank file to be saved, and touch Save To to con-

firm the selection. The list of files of the target device is
4. If needed, use the Device pop-up menu to select a different shown.
target device. When the target device is selected, its content
will appear in the display.
5. At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 285), or
• Select an existing “.SET” folder, and touch Save to con-
firm.
Warning: After confirming, all data of the selected type in the
target folder is deleted.

5. If needed, use the Device pop-up menu to select a different

target device. When the target device is selected, its content
will appear in the display.
6. At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 285), or
• Select an existing “.SET” folder, and touch Save to con-
firm.
 Media mode 287
Save

7. A dialog box appears, asking you to select one of the avail- 4. Select the desired bank file, and touch Open to gain access
able User (or Favorite/User Style) locations inside the to the single items.
folder:

In the above dialog box, the previously selected bank of

Styles will be saved to bank User 01 inside the selected 5. Once you have selected the file that you want to save, touch
folder. Three User banks are available. Save To to confirm the selection. The list of files of the tar-
8. Touch OK to confirm, or Cancel to abort. get device is shown.
Warning: After confirming, the same bank in the target
folder is deleted.

Saving a single item

You can save a single User item with a single operation.
1. If saving to an external device, connect the device to the
USB Host port.
2. The full content (“All”) of the internal memory is already
shown. Select it, and touch Open to open it. A list of User
data types appear (each type is a separate folder). 6. If needed, use the Device pop-up menu to select a different
target device. When the target device is selected, its content
will appear in the display.
7. At this point, you can:
• Touch the New SET button and create a new “.SET” folder
(see “Creating a new “.SET” folder” on page 285), or
• Select an existing “.SET” folder, and touch Save to con-
firm.

Reference
8. A dialog box appears, asking you to select one of the avail-
able User (or Favorite Style) locations inside the selected
folder
3. Select the folder containing the type of data you wish to
save, and touch Open to open it. The list of contained bank
files is shown.

In the above dialog box, the previously selected Style will be

saved to location 01 inside the bank Usr01 inside the
selected folder.
9. Touch OK to confirm, or Cancel to abort.
Warning: After confirming, the same item in the target folder
is deleted.
288 Media mode
Copy

During Copy, a dialog box shows the progress of the opera-

Copy tion.

In this page you can copy files and folders. Folders can be
generic or “.SET” folders. In addition, you can copy the content
of the generic folder you are in. You can copy inside the same
device, or from a device to a different one (both devices must be
connected to the Pa900 during the copy operation).
To preserve data structure integrity, during Copy operations you Copying a single file or folder
can’t open “.SET” folders and copy only one of the files it con-
tains. You can only open and go inside generic folders. You can copy a single file or folder, from the root or a generic
folder to a different one. You can’t copy single files or folders
from inside a “.SET” folder.
1. If copying from or to an external device, connect the device
to the USB Host port.
2. Select the source device, by using the Device pop-up menu.
3. Select the folder containing the file or folder you wish to
copy. If it is contained in another folder, touch the Open
button to open it. Touch Close to go back to the previous
hierarchic level.
4. Touch Open to open the folder containing the file or folder
Contrary to the Load and Save pages, in this page you may see all to be copied.
types of files, and not only Pa-Series supported files (assuming 5. Select the file or folder to be copied, then touch Copy To to
the “Hide Unknown Files” option is turned off, see page 254). confirm its selection. The target device appears.
Note: If the selected device is not available, the “Device not
Copying a folder’s content found, or unknown format” message will appear. A different
If nothing is selected while a folder is open in the display, you device will be automatically selected.
can copy the folder’s content, without copying the folder itself. 6. If needed, select the target device, by using the Device pop-
Note: During the Copy procedure, you can’t open a “.SET” folder. up menu.
You can, however, open any generic folder. 7. When the target device content appears in the display,
1. If copying from or to an external device, connect the device select the target folder. Touch Open to open a folder, or
to the USB Host port. Close to close it.

2. Select the source device, by using the Device pop-up menu. 8. Once the target is selected, touch Copy.

3. If the folder you are looking for is inside another folder, If a file or folder with the same name of the source data
select this latter and touch the Open button to open it. already exists at the target location, the “Overwrite” dialog
Touch the Close button to go back to the parent folder. box will appear (see “Overwriting existing files or folders”
below).
4. To copy the current folder’s content, without copying the
folder itself, do not select anything in the display.
Multiple file selection
5. Touch Copy To to confirm. The target device appears.
While in the Copy and Delete pages of the Media mode, you can
Note: If the selected device is not available, the “Device not select several files or folders at the same time before executing
found, or unknown format” message will appear. A different the operation. Files or folders can be selected consecutively (i.e.,
device will be automatically selected. in a row), or discontinuously (i.e., with other files or folders in
6. If needed, select the target device, by using the Device pop- the middle).
up menu. To choose either to select files in a consecutive or discontinue
7. If you want to select a different folder, use the Open and way, use the Mode button on the right of the page command but-
Close buttons to move through the directories. tons, to choose an option for the SHIFT button:
• To copy into an existing generic folder (not a “.SET”
folder), select that folder. Choose this option to select files or folders con-
secutively (i.e., in a row).
• To copy into the current folder, do not select anything.
Choose this option to select files or folders dis-
8. Once the target is selected, touch Copy.
continuously (i.e., with other files or folders in
If a file or folder with the same name of the source data the middle).
already exists at the target location, the “Overwrite” dialog
box will appear (see “Overwriting existing files or folders”
on page 289).
 Media mode 289
Delete

To select more files or folders consecutively:

1. Touch the Mode button to choose the option for the

Delete
SHIFT button.
2. Select the first file or folder to be selected. The Delete function lets you delete files and folders from the
devices.
3. Press and keep the SHIFT button pressed.
4. Select the last file or folder to be selected.
5. Release the SHIFT button.

To select more files or folders discontinuously:

1. Touch the Mode button to choose the option for the

SHIFT button.
2. Select the first file or folder to be selected.
3. Press and keep the SHIFT button pressed.
4. Select a second file or folder to be selected. Contrary to the Load and Save pages, in this page you may see all
5. While keeping the SHIFT button pressed, continue select- types of files, and not only Pa-Series supported files (assuming
ing the other files or folders to be selected. the “Hide Unknown Files” option is turned off, see page 254).
6. Release the SHIFT button.
Delete procedure
To deselect the files or folders:
1. If erasing from an external device, connect the device to
• To deselect one or more file or folder, without deselecting one of the USB Host ports.
everything, keep SHIFT pressed and touch the file or folder
to be deselected. 2. If needed, select a different device, by using the Device
pop-up menu.
• To deselect everything, select any other file or folder. All
selected files and folders will be deselected. 3. If the file or folder you are looking for is inside another
folder, select this latter and touch the Open button to open
it. Touch the Close button to go back to the parent folder.
Overwriting existing files or folders
4. Select the file or folder to erase.
When copying files, a file or folder with the same name of a
5. Touch Delete to delete the selected item.
source element might be found in the target device. In this case,
Pa900 asks you if you want to overwrite it. During erase, a dialog box shows the progress of the opera-
tion.
When a duplicate file or folder is met, the following dialog box
appears:

Reference
Multiple file selection
See “Multiple file selection” on page 288 for information on how
to select more files or folders to be erased at the same time.

Cancel The procedure is interrupted.

No The file or folder is not overwritten. The source
file or folder is not copied. The procedure will
continue with the other files and folders.
Yes The file or folder is overwritten. The procedure
will continue with the other files and folders.
Yes (to) All The file or folder is overwritten. Any following
duplicate file or folders will be overwritten as
well, without this dialog box appearing again.
The procedure will continue with the other files
and folders.
290 Media mode
Format

Format Utility
The Format function lets you initialize a device. Pa900 uses a This page includes a set of backup and restore utilities. The
PC-compliant device format (DOS FAT16 and FAT32): Backup command should be used for archiving purpose only,
since you will not be able to load individual data from a backup
file. To save data that must remain accessible with the normal
Media > Load operations, for example to load User data after
updating the Musical Resources, use the Media > Save opera-
tions instead.

Warning: When formatting a device, all data it contains is lost for-

ever!

Volume Label
Use this parameter to assign a name to an external device to be
formatted. Full Resource Backup
Note: You cannot rename the label (name) of the internal volume. This command allows you to make a full backup of all the inter-
When formatting the internal disk, the label cannot be edited. nal data on a target device. A “.BKP” file will be created.

Touch the (Text Edit) button to open the Text Edit window. Hint: This command cannot be used to save single items (like a
single Style, a bank of Performances…). To do that, use the Save
Enter the name, then touch OK to confirm and close the Text
operations instead.
Edit window.
1. In case you are making the backup on an external USB
Note: When changing the name to a device containing Standard
device, connect the device to one of the USB Host ports.
MIDI Files or MP3 files used in the SongBook, the links are bro-
ken. We suggest to give the device the same name it had before for- Be sure there is enough free space in your target device, or
matting. In case you changed the name, please use SongBook the Backup procedure will not be completed.
Editor (freely available on www.korg.com) to edit the links. 2. Select the “Full Resource Backup” command, then touch
Warning: It is not possibile to change the label (name) of the inter- the Execute button in the display. The target device
nal disk when Pa900 is connected to a PC through the USB port. If appears.
you try to do it, the original name is restored by Pa900.

Execute button
Touch this button, after having assigned a name to the volume,
to execute the Format command.

Format procedure
Here is how to format a device.
1. If formatting an external device, connect the device to the
USB Host port.
2. Choose the device to be formatted by using the Device 3. If needed, select a different device, by using the Device
pop-up menu in the lower-left corner of the display. pop-up menu.
3. Touch the Execute button in the display to confirm format- 4. If you wish to save data inside another folder, select this lat-
ting. ter and touch the Open button to open it. Touch the Close
4. The “If you confirm, all data in the media will be lost. Are button to go back to the parent folder.
you sure?” message appears in the display. Touch Yes to 5. Select the folder where to save data, and touch Backup to
confirm, or No to cancel. save it. If nothing is selected, data will be saved to the cur-
Note: When formatting the hard disk or an external USB rent directory.
device, an additional warning appears, to avoid accidental
data loss.
 Media mode 291
Utility

After touching Backup, a dialog box will appear, asking you Factory Restore
to assign a name to the backup file.
In case you want to erase all changes to your Factory and User
data, and restore your Pa900 to the same condition it was when it
was new, you can use the Factory Restore procedure.
Warning: This command deletes all data from memory (including
your custom data).
1. Select the Factory Restore command, then touch Execute.
2. A dialog box will appear, with a list of types of data to be
restored. Only check the types of data you want to restore.

Touch the (Text Edit) button to open the Text Edit

window. Enter the name, and confirm by touching OK.
6. Touch OK to start the backup.
7. When finished, save the (removable) storage device in a
safe place.

Full Resource Restore

This command restores data from a backup of the internal Fac- Warning: This command will delete from the internal mem-
tory and User data, created with the “Full Resource Backup” ory all types of data selected in this dialog box (including
command. your custom data).
Hint: This command cannot be used to load single items (like a 3. When done, a message appears asking you to restart the
single Style, a bank of Performances…). You can only load all data, instrument (“Data Restored. Please switch off ”). Set the
or full data types. Backups are compact archives, that can only be instrument to standby mode, then turn it on again.
restored as a full package.
Note: Loading a backup file created with other Pa-Series and OS Version Number
i-Series instruments is not allowed. This line shows the installed Operating System version. From
Warning: Don’t play the keyboard while restoring data, and stay time to time, check our web site (www.korg.com), to see if a
in the Media mode. Wait until the “Wait” message disappears. newer, free version has been released.

1. In case you are restoring from an external USB device, con-

nect the device to the USB Host port.
2. Select the Restore Resources command, then touch Exe-
cute. The source device appears.

Reference
3. If needed, select a different device, by using the Device
pop-up menu.
4. Browse through the files to find the backup file.
5. When the backup file (“.BKP” file) is in the display, select it
and touch the Restore command.
6. A dialog box will appear, with a list of types of data to be
restored. Only check the types of data you want to restore.

Warning: This command will delete from the internal mem-

ory all types of data selected in this dialog box (including
your custom data).
7. When done, a message appears asking you to restart the
instrument (“Data Restored. Please switch off ”). Set the
instrument to standby mode, then turn it on again.
292 Media mode
USB

HD Connection
USB Usually, the USB Device port is not enabled for file transfer on
the Pa900 (it is always on, however, for MIDI connection).
Use this page to enable or disable the USB Device port for file Touch the Enable button to turn it on, or the Disable button
transfer. (with all the caveats) to turn it off.
1. Connect Pa900 to a personal computer by using a standard
USB cable
2. Touch the “Enable” button to enable file transfer. Pa900
becomes the B USB device (called Device or Slave), while
the personal computer becomes the A USB device (called
the Host or Master).
When finished, the icon of the internal memory of Pa900
will appear among the other storage devices connected to
the computer.
Caveat: Do not modify the structure of the “.SET” folders, or
you will no longer be able to use them on the Pa900. Only use
The USB Device port allows you to access the internal storage
the USB connection for data exchange purpose, or to modify
memory from a personal computer, by just connecting the Pa900
ordinary folders.
to the computer’s USB interface. This way, you can exchange files
between the user-accessible area of the internal storage memory Note: After starting the USB connection, accessing Pa900
of the Pa900 (DISK device), the microSD card (SD devices), and data from the computer may take some time, depending on
a personal computer. the size of the hard drive and the data contained in the hard
drive.
Note: The drivers supplied in the Accessory Disc are only for MIDI
Over USB connection. 3. When all data has been transferred, disconnect USB com-
munication from the computer. On a PC, you usually select
Note: While USB file transfer is enabled, you cannot access other
the dedicated command by clicking on the USB device icon
functions on the Pa900. MIDI Over USB is also disabled.
with the right mouse button. On the Mac, select the USB
Warning: It is not possibile to change the label (name) of the inter- device icon, then select the Eject command or drag it to the
nal disk or microSD card when Pa900 is connected to a PC eject icon in the Dock.
through the USB port. If you try to do it, the original name is
4. When the Pa900 icon disappears from the computer’s desk-
restored by Pa900.
top, touch the “Disable” button on the display of Pa900.
Caveat: Do not disconnect the USB communication before
the personal computer has really finished transferring files.
Sometimes, the on-screen indicator tells the procedure has
been completed BEFORE it has really finished.
Disconnecting USB communication (or disconnecting the
USB cable) before data transfer has been completed may
cause data loss.
 Media mode 293
Page menu

Object(s) info
Page menu Select this command to see the size of any selected file or folder.
Also, the number of files and directories (folders) it contains are
Touch the page menu icon to open the menu. Touch a command shown.
to select it. Touch anywhere in the display to close the menu
without selecting a command.

Note: The single file size is always shown to the right of the file
name in any file list (assuming the “Size” parameter is turned on,
see page 254):
Create New Folder
This command lets you create a new generic folder. You can’t
create a “.SET” folder with this command, since this type of
folder is reserved to the Save operations (and can be created with
the New SET button in any Save page). Device Info
Select this command to see various info on the selected device.
To select a different device, use the Device pop-up menu on the
lower left corner of most Media pages.

By touching the (Text Edit) button you can open the Text
Edit window. Enter the name, then touch OK to confirm and
close the Text Edit window.

Rename By touching the (Text Edit) button you can open the Text
Edit window. Enter the name (label) of the selected device, then
Available only when an item is selected in a file list.

Reference
touch OK to confirm and close the Text Edit window.
Use this function to change the name of an existing generic file
Warning: If you change the name of a device connected to the USB
or folder. To preserve consistency through the data structure,
Host port, and it contains files used by some SongBook Entries,
you cannot rename folders and files inside a “.SET” folder. Also,
these entries will no longer be able to find the linked resources con-
you cannot change the 3-character extension of files and “.SET”
tained in the device. In this case, either restore the original device
folders, since they are used to identify the type of file or folder.
name, or use the SongBook Editor software (freely available on
www.korg.com) to edit the links.
Note: You cannot change the name of the internal storage memory
or the internal microSD card.

Protect
Select this command to protect the selected file or folder from
writing/erasing. The lock icon will appear next to the file or
folder name.

Touch the (Text Edit) button to open the Text Edit window.
Enter the new name, then touch OK to confirm and close the
Text Edit window. Unprotect
Select this command to unprotect the selected file or folder – if
protected.
294 Media mode
Care of mass storage devices

Care of mass storage devices Merging Samples from various sources

The Pa900 can save most of the data contained in memory to the When you load a .SET folder, all User PCM Samples in memory
internal memory, or to external devices (like hard drives or USB are deleted. So, there is no way to merge different samples by
memory sticks) connected to the USB Host port. Here are some loading complete .SET folders.
precautions when handling these devices.
To merge samples from several sources, you must load single
Sounds or Drum Kits based on User PCM Samples.
Internal memory write protection
You can protect your internal memory from writing, by using Delete all samples and multisamples
the software protection found in Global mode (see “Media Pro-
1. If you want to delete all Samples and Multisamples already
tect” on page 254).
in memory, press the SOUND button to access the Sound
mode, then press the RECORD button to access the Sam-
Precautions pling mode.
• Do not remove a device or move the instrument while the 2. While in Sampling mode, choose the “Delete” command
device is operating. from the page menu. Choose the “All Samples, MultiSam-
ple, DrumSamples” option, and touch OK to delete all
• In order to avoid losing data in case of damage, make a Samples and Multisamples.
backup copy of the data contained in a device. You can
backup your data to a personal computer, and from there to Warning: Before deleting, be sure to have a copy of any
a backup unit. You can transfer data from the internal important data you don’t want to lose.
memory of Pa900 (DISK unit) to a personal computer by 3. To exit from the Sampling mode, choose the “Exit from
using the USB Device connection. Record” command from the page menu.
• Do not leave an USB device connected to the USB ports
while carrying the instrument, or it may be damaged. Create a new .SET of samples
• Keep the memory devices or the instrument away from
1. Press the MEDIA button to access the Media mode. Go to
sources of magnetic fields, for example televisions, refriger-
the Load page.
ators, computers, monitors, speakers, cellular phones and
transformers. Magnetic fields can alter the contents of the 2. Open a first .SET folder containing some of the PCM Sam-
devices. ples to merge. Open the SOUND folder, then one of the
USER banks, and choose the first of the Sounds or Drum
• Do not keep memory devices in very hot or wet places, do
Kits based on samples you would like to load. Touch Load,
not expose them to direct sunlight and do not store them
and choose a target User location in memory.
without use in dusty or dirty places.
The Sound or Drum Kit is loaded, together with the PCM
• Do not place heavy objects on top of the devices.
Samples it is based on.
• Regular care is recommended with your devices. Defrag-
3. Do the same with any subsequent Sound or Drum Kit
menting and repairing internal devices can be made with
whose Samples you would like to load.
any computer utility while the Pa900 is connected via USB.
4. When finished loading, save a new .SET folder, being sure
the PCM option is checked in the Save All dialog (see “Sav-
Possible problems ing the full memory content” on page 285, or “Saving all
• Magnetic fields, dirt, humidity and usage can damage data data of a specified type” on page 286).
in a device. You can try to recover the data with disk repair
utilities for personal computers. It is, however, advisable to
always make a backup copy of your data.
 SongBook 295
Book

SongBook
The SongBook is a musical database that allows you to organize List Header
songs and automatically recall the associated “musical resources”
(Style, Standard MIDI Files, KAR files, and MP3 files). The List Header may change, depending on the type of data
associated with the selected entry.
The SongBook overlaps the Style Play and Song Play operating
modes. When you select an entry from the full database or a cus- • When a Style is associated to the entry, the currently
tom list, the Style Play or Song Play mode is automatically selected entry’s name is shown on the left (“N:”), and the
selected, depending on the type of file associated with the entry. associated Style is shown on the right (“Style:”):

In addition to helping you organize your shows, the SongBook

allows you to associate a Voice Processor Preset, four Pads, and
• When a Standard MIDI File or MP3 file is associated to the
up to four STSs to each Style, Standard MIDI File or MP3 file, to
entry, the list header is split into two parts, with the left half
recall a complete set of Keyboard tracks for realtime playing over
referring to Player 1, and the right one referring to Player 2.
a Song. You can also link a separate text file containing lyrics to
an entry. Information for the selected entry’s name (“N:”) and the
associated Standard MIDI File or MP3 file (“P1:” or “P2:”)
Note: SongBook Entries do not include actual data; they are just
is given for each player:
pointers to a Style, a Standard MIDI File an MP3 or a TXT file.
When you copy a SongBook file, referenced files are not copied
with it.
Note: If you select a different Style or Standard MIDI File or MP3
Hint: Use the SongBook Editor software (freely available from our file, the entry’s name field (“N:”) returns blank (---), meaning the
web site) to edit your SongBook on a PC. entry has been modified.
Warning: If you load a SongBook file from a storage device, the
existing one in memory (including the custom lists) is deleted. Save Full list
your old SongBook file before loading a new one.
This is the full list of the SongBook database. Use the scrollbar
(or the VALUE DIAL) to browse through the list.
You can touch one of the heading labels above the list to change
Book the order in which entries are shown. For example, by touching
the “Name” label, the list is alphabetically re-ordered according
The Book page contains the full database of song entries. While to the entry names. The selected label become highlighted,
in this page, you can select an entry, and touch the Select button showing the currently selected ordering.
in the display to load it. Then, press the PLAY or START button
to start the Song or Style.
List Header

Reference
Full list By touching the label again, the order of the files switches
between ascending and descending. The small arrow next to the
Scroll- label name shows the selected order.
bar

Scrollbar
Use the scrollbar (or the VALUE DIAL) to scroll the entries. You
Com- can keep the SHIFT button pressed while touching the scrollbar,
mands
to quickly jump to the next/previous section.

Each entry of this database may include the song’s author, name, Commands
genre, original key, tempo and meter (time signature). When
selecting one of the entries, the associated Style, Standard MIDI Filtered
File or MP3 file is automatically recalled, together with any TXT
lined to the entry. Also, a Voice Processor Preset, the STSs and When this box is checked, only entries matching the selected fil-
Pads may be recalled. ter criteria are shown in the full list. The box is automatically
checked when you exit from the Filter dialog box by touching
OK (see below).
296 SongBook
Book

Filter… To see the numbers while in the Book page, select the “Show
Song Numbers (now Key)” command from the page menu:
Touch this button to open the Filter dialog box, and select one or
more filter criteria, to show a restricted set of entries in the main
list.

After you select this command, the “Num” column appears:

Touch the (Text Edit) button next to the search criteria you
want to edit (Name, Genre, or Artist). You can also select a
Meter, or a range of Tempo values.
Touch the Clear button next to the search criterion you want to
delete or set to a default value.
Touch Clear All to reset all search criteria.
Note: You can also find items in the SongBook database by press- To see the “Key” column again, select the “Show Key (now Song
ing the SEARCH button, and using the Search function. However, Numbers)” command from the page menu.
the Filter function allow for a more refined search. To select a SongBook Entry by entering its number, press the
SONGBOOK button again while you are in any page of the
Add to list SongBook mode. The numeric keypad will appear, allowing you
If the “Enable List Edit” command is selected in the page menu, to enter the number corresponding to the desired entry.
the “Add to list” button becomes available, to let you add entries Hint: You can export a list of SongBook Entries as a TXT file,
to the selected Custom List. including the assigned selection number. You can print this list on
Select an entry, then touch this button to add the selected entry paper as a memo. (See “Export as text file” on page 302).
to the current Custom List (see “Custom List” on page 297).
Selecting SongBook Entries via MIDI
Select
Touch this button to confirm selection of the highlighted entry SongBook Entries can be selected via MIDI (through the special
in the full list. After touching this button, the name of the Control channel), by using the dedicated NRPN Control Change
selected entry appears in the left upper side of the display (“N:”). messages #99 (MSB, with value 2) and #98 (LSB, with value 64).
See “Selecting SongBook Entries via MIDI” on next page.
When you highlight a song in any of the SongBook lists, its name
appears in reversed text, over a green-blue background. While in Setting the special Control MIDI channel
this situation, the song is highlighted, but not yet loaded.
A special MIDI channel used as the “Control” channel is needed
to send MIDI messages to select the SongBook Entries.
First of all, choose a MIDI Preset to quickly configure the Con-
When you touch the Select button in the display, the song will be
trol channel. Go to the Global > MIDI > General Controls page
loaded. The background turns to light green, and the text is
and choose a MIDI Preset where to save your settings.
turned to boldface, to show the Song has been loaded and ready
to play. Then, choose a MIDI channel as the “Control” channel. Go to
the Global > MIDI > Midi In Channel page, and assign the Con-
trol option to one of the sixteen available MIDI channels (usually
To start playback of the Song or Style, press (respectively) either one of the higher-numbered ones, for example 16).
the PLAY or START button. When done, save this setting to the current MIDI Preset by
choosing the “Write Midi Preset” command from the page
Numeric selection of entries menu.

When in SongBook mode, you can select a SongBook Entry by Selecting SongBook Entries via MIDI
means of an unique number. Numbers associated with each
When you are ready to remotely select SongBook Entries, switch
entry can be programmed in the Book Edit 2 page (see “Book
to the Style Play or Song Play mode.
Edit 3” on page 301).
At this point, Pa900 must receive on the special Control channel
the NRPN Control Change messages #99 (MSB, with value 2)
and #98 (LSB, with value 64) in fast succession, as an initializa-
tion string. This string must be sent only once, unless another
 SongBook 297
Custom List

NRPN control is sent on the same MIDI channel before selecting

a different SongBook Entry. Custom List
After the initialization string has been sent, you must send the
selection string, made of two Control Change messages: CC#06 Use this page to select and use one of the available Custom Lists.
(Data Entry MSB) for the thousands and hundreds, and CC#38 Custom Lists are lists made of entries extracted from the full
(Data Entry LSB) for the tens and units. The range of the Data SongBook list (as seen in the Book page). They allow the use of
Entry controls, in this case, is 0~99 (instead of the typical smaller, customized SongBook lists, suitable for a single gig or
0~127). your own music tastes.
The following examples show some typical situations.
List Header
• Send the following string to select SongBook Entry #77:

Custom
list
Initialization string (CC#99, 98)
Scrollbar
Thousands and hundreds (00xx)

Tens and units (xx77)

• Send the following string to select SongBook Entry #100: Com-

mands

Initialization string (CC#99, 98)

Hint: You can jump to this page by keeping SHIFT pressed, and
Thousands and hundreds (01xx) pressing the SONGBOOK button.
Tens and units (xx00)
List header
• Send the following string to select SongBook Entry #2563: See “List Header” on page 295.

Custom list
Initialization string (CC#99, 98)
List of files contained in the selected Custom List. Use the scroll-
Thousands and hundreds (25xx) bar to browse through the list. As an alternative, use the VALUE
Tens and units (xx63) DIAL.

Scrollbar

Reference
Use the scrollbar (or the VALUE DIAL) to scroll the entries.

Commands
List pop-up menu
Use this pop-up menu to select one of the available lists.

Next
Touch this button to select the next entry in the list.
Hint: You can assign this command to an Assignable Switch or
Assignable Footswitch.

Select
Touch this button to confirm selection of the highlighted entry
in the list. After touching this button, the name of the selected
entry appears on the left upper side of the display (“N:”).
Hint: This command is useful to browse through the list, and select
an entry different than the one following in the list.
298 SongBook
List Edit

Commands
List Edit
Move

This page is only available after checking the “Enable List Edit” Use these buttons to move the selected song entry up or down in
command in the page menu (see page 302). the list.

Use this page to edit the available Custom Lists. A Custom List is Del Song
a set of SongBook Entries, created by selecting items from the
full list in the Book page. Touch this button to delete the selected song entry from the list.

To add entries to a Custom List, first create or select the list to be New List
edited in this page. Then, go to the Book page, select the entry to
Touch this button to create a new, empty Custom List.
be added, and touch the “Add to list” button. When finished add-
ing entries, return to this page and edit the selected list. Note: The maximum number of Custom Lists in a SongBook file is
256 lists.
List Name
Warning: Any unsaved Custom List is lost when creating a new
list using this command.
Custom
list Del List

Scrollbar
Touch this button to delete the current list.

Write
Touch this button to save changes to the selected Custom List.
Com-
mands

List Name
Name of the selected list. To select a Custom List, go to the “Cus-
tom List” page and use the List pop-up menu.

Custom list To assign a different name to the selected list, touch the
List of songs contained in the selected Custom List. Use the scroll- (Text Edit) button to open the Text Edit window.
bar or the VALUE DIAL to browse through the list. Select an option to save the edited Custom List:
• Select Rename/Overwrite to overwrite an existing list,
Scrollbar optionally changing its name. Warning: The older list will
be deleted!
Use the scrollbar (or the VALUE DIAL) to scroll the entries.
• Select New List to save a new Custom List in memory. This
list will be available in the “Custom List” page.
 SongBook 299
Book Edit 1

Entry will no longer point to the right data. Be careful not to delete
Book Edit 1 or move a Style or a file associated with a SongBook Entry from
the original location.

The Book Edit 1 page is where you link a “musical resource” Write Current
(Style or Song) to the SongBook Entry, and choose to save STSs
When checked, the currently selected musical resource (whose
and a Voice Processor Preset to the Entry.
type and name is shown on the right) is saved to the entry.
Hint: Use the Filter in the Book page, to quickly find an entry to be
You can select a different resource by returning to the Style Play
edited.
or Song Play mode, and selecting a different Style or Song from
The Book Edit 1 page with a Style-based entry: there. Then, press the SONGBOOK button to return to the Book
Edit 1 page.
What is saved when touching Write depends on the type of asso-
ciated resource:
• When you are saving a Style-based entry, a reference to the
latest selected Style, whose name is shown on the right of
this parameter, is saved.
A reference to the selected Pads (whose name you can see
by touching the Pad tab in the main page of the Style Play
mode) is also saved. Unless changed, Pads are contained
into the selected Style.
The Style Settings and the Pad Settings for the referenced
The Book Edit 1 page with a Song-based entry:
Style and Pads are saved. If you edited these Settings (by
changing Sounds, Effects, Transpose…), the modified data
will be saved instead of the original.
• When you are saving a Song-based entry, a reference to the
MID, KAR or MP3 file assigned to Player 1, whose name is
shown on the right of this parameter, is saved.
A reference to the selected Pads (whose name you can see
by touching the Pad tab in the main page of the Song Play
mode) is also saved.
The Pad Settings for the referenced Pads are saved. If you
edited these Settings, the modified data will be saved
instead of the original.
Header When this parameter is left unchecked, no new resource will be

Reference
saved with the entry. The original resources associated with the
Name entry will be preserved when touching Write.
Name of the selected entry. The name is assigned after you touch When touching New Song, or keeping the SONGBOOK button
the Write button to save the entry to the SongBook list. pressed for about one second to create a new entry, this parame-
ter is automatically checked and cannot be modified. A reference
Number (Song Selection Number)
to the associated resource will be saved with the new entry.
Here you can select a unique number (up to 9,999) to be associ-
ated to the current SongBook Entry. By typing this number (by
STS
using the Numeric Keypad) after pressing the SONGBOOK but-
ton again, you will be able to quickly recall an entry from the
Write Current
Book page (see “Numeric selection of entries” on page 296).
When saving a SongBook Entry, and this parameter is checked,
Assigning a number is not mandatory, but may help you to orga-
you can save the STSs of the associated Style into the entry, or
nize your entries. For example, you can use the different 100s to
the current Keyboard track settings into a new STS.
create a different way of categorizing your entries by genre or
age. All STS All four STSs are saved to the current SongBook
Entry. The source STSs are those contained in the
Style currently selected in Style Play mode. If you
Resource selected a Performance, its Keyboard track set-
tings will be saved as STS #1.
Entry
When you touch Write and choose the Rename/
Style, Standard MIDI File or MP3 file associated with the saved
Overwrite option, all STSs are overwritten at
entry.
once.
Warning: If you replace this resource with a different one, using
Single STS The current Keyboard track settings are saved to
the same Style location number or Song file path, the SongBook
the chosen SongBook STS.
300 SongBook
Book Edit 2

When you touch Write and choose the Rename/

Overwrite option, only the new STS is overwrit- Book Edit 2
ten, while the others are left untouched.
• STS Name: Name of the current STS. Touch the The Book Edit 2 page is where you enter information on the
(Text Edit) button to open the Text Edit win- Genre, Artist, Key, etc. to the SongBook Entry.
dow, and modify the name. The Book Edit 2 page with a Style-based entry:
• To STS Location: One of the four STS available
for each entry, where you can save the current
Keyboard track settings.

Voice Processor Preset

Entry
Voice Processor Preset associated with the saved entry.

Write Current
When checked, the currently selected VP Preset is saved to the
entry. The Book Edit 2 page with a Song-based entry:

Global
When checked, the Global VP Preset is used.

Buttons
New Song
Touch this button to create a new entry with the current settings.
Settings are copied from the selected Style, Standard MIDI File
or MP3 file. Also, the selected VP Preset, Pads, STSs and Split
Point will be saved. The current Keyboard track settings will be
saved as STS #1. Any TXT file loaded in the Lyrics pages will be
saved as a linked file. Header
This are includes the same Name, Number and Entry Resource
Del Song fields found in the “Book Edit 1” page (see above).
Touch this button to delete the current entry.

Write
Database
Touch this button to open the Write Song dialog box, and save Genre
the current entry to the main list of the SongBook.
Music genre associated with the entry.
Note: The maximum number of entries in a SongBook file is 3,000
entries. Artist
Name of the artist of the song associated with the entry.

Key Info
Original key of the entry. The first field is the key name, the sec-
ond one is the mode (major or minor).

Tempo/BPM
Basic tempo of the Style, or starting tempo of the Standard MIDI
File associated with the entry. This may change, if a Tempo
To assign a different name to the entry, touch the (Text Change event is included with the associated resource.
Edit) button to open the Text Edit window. You can change this value by using the TEMPO buttons on the
control panel. Any change will be shown after saving the Entry.
Select an option to add the new entry to the SongBook:
Note: The starting value of a Standard MIDI Files is always con-
• Select Rename/Overwrite to overwrite an existing entry,
sidered, and overrides this value.
optionally changing its name. Warning: The older entry will
be deleted! Note: You can edit this value even if an MP3 is associated to the
SongBook Entry. However, this is just an indicative value.
• Select New Song to save a new entry to the SongBook database.
 SongBook 301
Book Edit 3

Meter Info Synchro Start / Synchro Stop / Memory

Basic meter (time signature) of the Style, or starting meter of the The status of these functions can be memorized in a SongBook
Standard MIDI File associated with the entry. This may change, Entry.
if a Meter Change event is included with the associated resource.
Note: If the SongBook Entry is based on a Song, Synchro Start and
Synchro Stop are greyed out and cannot be modified, since they
M.Transp. (Master Transpose)
have no effect on a Song.
Master Transpose. When the entry is selected, the Master Trans-
Unchanged When selecting this SongBook Entry, the status
pose of the whole instrument is automatically changed. The
of the corresponding function is left unchanged.
Master Transpose value saved in the SongBook Entry overrides
any Master Transpose setting contained in the referenced Song. Off When selecting this SongBook Entry, the status
of the corresponding function is turned off.
You can change this value by using the TRANSPOSE buttons on
the control panel. Any change will be shown after saving the On When selecting this SongBook Entry, the status
Entry. of the corresponding function is turned on.
Note: If the Master Transpose is locked (Global > General Controls
Linked .TXT
> Lock), the Master Transpose will not change.
You can select a text (.TXT) file, and link it to the Style or Song
associated with the current SongBook Entry. When you select
this entry, the text file will be automatically loaded.
Book Edit 3 Text files can be seen on the display. Since there is no automatic
synchronization between this kind of lyrics and the associated
This page is where you select the Synchro and Memory options songs, you must scroll them manually. This can be accomplished
to be memorized, link a “.TXT” file. in either of two ways:
The Book Edit 3 page with a Style-based entry: • When a “.TXT” file is selected, a special vertical scrollbar
appears in the “Lyrics” page. Touch it to scroll through the
text during the performance. See the “Lyrics, Score, Mark-
ers” chapter on page 304.
• Scrolling is also possible by means of the Text Page Down/
Up command, that can be assigned to a Footswitch or
Assignable Switch.
This section of the Book Edit 3 page contains two buttons:
Reset Touch this buttons to unlink the text file from the
entry.
Browse Touch this button to open a standard File Selec-
tor, and select a “.TXT” file to be linked to the
The Book Edit 3 page with a Song-based entry:

Reference
current SongBook Entry.
After selection, the name of the linked text file
appears above the two buttons.

Linked text file

302 SongBook
Info

Info Page menu

Use the Info page to see the name of the selected entry, the asso- Touch the page menu icon to open the menu. Touch a command
ciated resource(s), the total number of Songs in the SongBook, to select it. Touch anywhere in the display to close the menu
the number of filtered entries, the number of available Custom without selecting a command.
Lists, and the number of Songs in the current list.
• In case of an entry based on a Style:
Selected entry Associated resource

Show Artist/Genre
Select this command to toggle between the Artist and Genre col-
umn on the SongBook list, appearing in the “Book” and “Cus-
tom List” pages.

Show Number/Key
Select this command to toggle between the Number and Key col-
• In case of an entry based on a Song in Standard MIDI File umn on the SongBook list, appearing in the “Book” and “Cus-
or MP3 format: tom List” pages.
Entries assigned
to the Players Associated resources Enable List Edit
Select this command, and make the checkmark appear, to make
the List Edit page available.

Export as text file

Only available when the Book or Custom List pages are selected. Select
this command to open the Export dialog box, and save the Song-
Book or Custom List as a text file. The selected filtering will be
applied to the exported list, assuming the Filter button is checked.
The dialog box is a little different, depending on the page where
you selected this command.
• Selected from the “Book” page:

Selected entry
This parameter shows the currently selected entry. If it is blank
(---), the latest selected entry has been modified, or no entry has
been selected.

Associated resource
Style, Standard MIDI File or MP3 file associated to the selected
entry.

Songs • Selected from the “Custom List” page:

Total number of entries in the SongBook list.

Songs after filtering

This parameter shows the number of entries shown in the
“Book” page, after applying the selected filter. If no filter is
selected, this matches the total number of entries in the Song-
Book list (see previous parameter).

Custom Lists
This parameter shows the number of available Custom Lists. Touch the (Text Edit) button to open the Text Edit window
and assign a name to the text file to be saved to a storage device.
Songs in the Current List
Then, select either the internal storage memory to save the file.
Number of entries in the selected Custom List.
 SongBook 303
Page menu

• Touch OK to confirm.

Init SongBook
Select this command to erase the SongBook list and start with a
new, blank list.
Warning: Before initializing the SongBook list, save the older one
with one of the Media > Save operations.

Reference
304 Lyrics, Score, Markers
Selected Player

Lyrics, Score, Markers

By pressing the LYRICS button, you can see lyrics in Style Play file loaded at any time after selecting a Song (see “On-the-
mode, lyrics and chord abbreviations in Style Play and Song Play fly TXT loading” below).
modes. The SCORE button will let you see a traditional score in
This is the priority of lyrics data shown in the display:
the Song Play mode. Pressing both MARKER buttons will give
you access to the markers in the Song Play mode. i) CDG file contained in the same folder as the MP3 file, over-
riding…
ii) TXT file linked to a SongBook Entry, overriding…
iii) TXT file contained in the same folder as the Standard
Selected Player MIDI File or MP3 file, recalled by a SongBook Entry, over-
riding…
You can always use the Player 1 and Player 2 buttons in the top iv) Lyrics events contained in the Standard MIDI File or MP3 file.
right corner of the display to select a Player whose Song to show.
Player 1 is orange, while Player 2 is blue. Hint: If you do not want to see the TXT file or the CDG file, and
prefer to see the Lyrics data, rename or delete the TXT or CDG file,
or move it to a different folder.

Viewing lyrics with the Styles

When moving the X-FADER, the shown score may change.
When the X-FADER is fully moved to the left, the score for Lyrics can be associated to a Style as a “.TXT” file. When in this
Player 1 is shown; when the X-FADER is fully moved to the page, you can see:
right, the score for Player 2 is shown instead.
• Lyrics contained in a “.TXT” file linked to the latest-selected
Note: You can have Player 2 selected in the Main page of the Song Style-based SongBook Entry (see “Linked .TXT” on page 301).
Play mode, and Player 1 selected in the Lyrics page, or vice-versa.
• Lyrics contained in a “.TXT” file loaded after selecting a Style
This way, you can select a Song whose lyrics, score or markers to
(see “On-the-fly TXT loading” below).
display on the external video monitor, while selecting a different
player for editing operations.
The Lyrics page in detail
Lyrics will be shown only if they are compatible with a standard
Lyrics page format that Pa900 can understand.
Song name Master Transpose
Current measure
Open the Lyrics page by pressing the LYRICS button. This page Song chords Current beat Display option
shows the lyrics in Style Play mode, lyrics and chord abbrevia-
tions in the Song Play mode.

Viewing lyrics and chords with Songs

You can see the following types of lyrics and chords:
• Lyrics contained in a Standard MIDI File or Karaoke™ file
as Lyrics events, or in an MP3 file with Lyrics (in ID3 for-
mat – see www.id3.org).
• Lyrics contained in a “.CDG” file, loaded with an MP3 file
with the same name. When a “.CDG” file exists in the same
directory as an MP3 file, and shares exactly the same name, STS
it will be loaded with the “MP3” file.
• Lyrics contained in a “.TXT” file, loaded with a Standard While the Song is playing, Lyrics contained in a Standard MIDI
MIDI File, Karaoke or MP3 file with the same name. When File or MP3 file scroll in the display. Chord abbreviations (if any)
a “.TXT” file exists in the same directory as a Standard will appear above the lyrics, in time with the music (depending
MIDI File or MP3 file, and shares exactly the same name, it on the status of the “Chord” button). Lyrics at the current posi-
is loaded with the “.MID” or “MP3” file (see “Text files tion are highlighted.
loaded with Standard MIDI Files and MP3 files” on
If the text has been loaded as a “.TXT’ file, it will not scroll auto-
page 305).
matically while the Song is playing back. You must scroll it with
• Lyrics contained in a “.TXT” file linked to the latest- the VALUE DIAL or the vertical scrollbar. As an alternative, you
selected SongBook Entry (see “Linked .TXT” on page 301). can use an assignable switch or footswitch, with the Text Page
• When no lyrics data is contained in the Song, or linked to a Up or Text Page Down functions assigned, to scroll (respec-
SongBook Entry, you can see lyrics contained in a “.TXT” tively) to the previous or next text page.
 Lyrics, Score, Markers 305
Lyrics page

To exit from this page, press either the LYRICS or the EXIT but- Text files loaded with Standard MIDI Files and
ton.
MP3 files
Song chords When a “.TXT” file with the same name exists in the same direc-
Chords contained in the Standard MIDI File (if any). This indi- tory as a Standard MIDI File or MP3 file, it will be loaded with
cator may be easier to read than chords shown within the lyrics. the “.MID” or “MP3” file, and can be seen in the Lyrics page.

When changing the Master Transpose, chord abbreviations con- As an example, if the file “MYSONG.TXT” exists in the same
tained in a Standard MIDI File are transposed, and correctly directory as the “MYSONG.MID” or “MYSONG.MP3” file, it is
shown in the display. Master Transpose must be activated on the loaded together with the matching “.MID” or “.MP3” file.
Player, but not on the Keyboard. However, unlike ordinary Lyrics, the text will not scroll automat-
ically while the Song is playing back. You must scroll it with the
scrollbar or the VALUE DIAL. As an alternative, you can use an
assignable switch or footswitch, with the Text Page Up or Text
Page Down functions assigned, to scroll (respectively) to the pre-
vious or next text page.
Text files must be formatted with non-proportional fonts (like
Courier, Courier New, Monaco, or any other “monospaced”
font). Up to 24 characters can fit a single line of text when using
the bigger font size, 41 when using the smaller font size (see
“ABC” above).
Note: When a “.TXT” file is loaded with the Song, it overrides any
Master Transpose included Lyrics data.

Master transpose value in semitones. This value can be changed

using the TRANSPOSE buttons on the control panel. On-the-fly TXT loading
When a Song does not contain any Lyrics metadata or isn’t
Current beat
linked to any “.TXT” file, the “No lyrics. Press SHIFT and touch
Standard MIDI Files only. Currently playing beat. here to load a TXT file” message appears in the display when you
press the LYRICS button.
Current measure
Standard MIDI Files only. Current measure number.

STS
Name of the four selected Single Touch Settings (STS). Touch
one of them to select it.

Reference
Chord
If this button is depressed, chords are shown above lyrics in the
display – provided the Standard MIDI File contains them.

ABC The same happens while in Style Play mode.

Size of the fonts. You can choose between a smaller and a bigger
font.

CGD
Touch this button to show the lyrics contained in the associated
CDG file.

Text in MP3+CGD files

When a “.CDG” file with the same name exists in the same direc-
tory as an MP3 file, it will be loaded with the “MP3” file, and can
be seen in the Lyrics page.
When this message appears, and you want to load a “.TXT” file,
As an example, if the file “MYSONG.CDG” exists in the same keep the SHIFT button pressed and touch the center of the dis-
directory as the “MYSONG.MP3” file, it is loaded together with play. A standard file selector will appear, and will let you look for
the matching “.MP3” file. a “.TXT” file to be loaded.
Text will scroll automatically while the Song is playing back. Hint: You can use the Search function to search a “.TXT” file in the
Note: When a “.CDG” file is loaded with the Song, it overrides any various storage devices. See the relevant chapter.
included Lyrics data.
306 Lyrics, Score, Markers
Score page

Currently selected staff marker

Score page This red vertical line shows the approximate position of the play-
back, by indicating the current staff in play.
When you are in Song Play mode, and you are playing a Stan-
Current measure indicator
dard MIDI File, you can open the Score page by pressing the
SCORE button. This red triangle shows the current measure in play.

Lyrics button
Song title Chord symbols Tempo
Measure
number Touch this button to make the lyrics (if available) appear or dis-
appear.

Currently Chord button

selected
Touch this button to make the chord symbols (if available)
staff (in
red) appear or disappear. Chords are shown either according to the
Current
English or Italian system, depending on the selected language
measure (see “General Controls: Interface” on page 248).
indicator
Note button
Lyrics
Touch this button to make the note name appear or disappear
next to each note. Note names are shown either according to the
Touch
Touch here to turn Clef English or Italian system, depending on the selected language
here to
turn lyrics chord symbols on/ Play/Mute
(see “General Controls: Interface” on page 248).
on/off off
Selected track Clef
Touch here to turn note
names on/off Touch here to open a pop-up menu, where to choose a clef from.
Available clefs are:
To exit from this page, press either the SCORE or the EXIT but-
Treble Standard Treble clef ( ).
ton.
Note: Master or Track Transpose do not affect the Score display. Treble+8 Treble clef with transposition one octave upper.
Treble-8 Treble clef with transposition one octave lower.
Song title
Bass Standard Bass clef ( ).
Name of the Song.
Bass-8 Bass clef with transposition one octave lower.
Tempo
Play/Mute
Current Tempo of the Song (in BPM, Beats Per Minute).
Use this button to let the selected track play, or to mute it. If the
Staff track is muted, the score is still shown, so that you can play or
sing it.
The selected track is shown as traditional music notation.
Depending on the content of the track, either notes or chords are Hint: The “Melody Mute” function, that can be assigned to an
shown. Pa900 takes care for you of ‘cleaning-up’ the score, so that assignable switch or footswitch, allows for muting the melody track
it is always easy to read. of a Song (default: Track 4, see “SMF Melody Track” on page 253).
If your song has the melody part assigned to the same track, you
Several automatic operations are carried on to clean-up the
can mute or unmute it by using this button, or the assigned switch/
score: Pa900 automatically quantizes to 1/16 notes, detects trip-
pedal.
lets, avoids note overlaps, correctly notates syncopation, and
draws beams according to the time signature. In addition, spac- Selected track
ing and measure length are dynamic, and single, double and end
measure bars are automatically added. Touch here to open a pop-up menu where to chose the track to
be shown from.
If a KeySign (Key Signature) event is found at position
‘001.01.000’ of the Song’s Master track, the correct key signature Hint: The backing vocals are often assigned to Track 5.
is also shown.
 Lyrics, Score, Markers 307
Markers page

How to edit a marker:

Markers page 1. Touch the marker to be edited in the display.
2. Touch the Edit button in the display to set the marker to
Open the Marker page by pressing both the MARKER (that is, edit. The Edit Marker window will appear.
LYRICS+SCORE) buttons. This page shows the Song Markers in
the Song Play mode and in the SongBook.
Standard Song Markers contained in a Standard MIDI File can
be read with the Pa900, to quickly jump to a given position in the
Song. Additionally, you can set your own marker points on-the-
fly.

3. While in Edit Marker window, you can edit the name and
position of the marker being edited.
4. Save the markers (as described below).

How to delete a marker:

1. Touch the marker to be deleted in the display.
2. Touch the Delete button in the display to delete the selected
marker.
3. Save the markers (as described below).
To exit from this page, press the EXIT button.
How to save the markers:
How to add a marker:
Touch the “Save Mk” button in the display to save all markers.
1. Press the MARKER button to open the Markers page.
If you are not in the Lyrics/Score page, choose the “Save Song
2. Start the Song by pressing the PLAY/STOP button (how- Marker” command from the page menu. The markers will be
ever, markers can be added even while the player is not saved into the Standard MIDI File.
running).
3. When you reach the position you want to save as a marker, Auto Scroll
touch the Add button in the display. Check this parameter if you want the current marker to be
• If you touch Add within the first beats of the measure, the always visible in the display during playback, by making the list
beginning of the current measure is saved as a marker. of markers scroll automatically.

• If you touch Add within the last beat of the measure, the Don’t check this parameter, if you prefer to prevent the list from
beginning of the following measure is saved as a marker. scrolling. This is useful if you want a marker to remain in the

Reference
display, ready to be selected as soon as you want to jump to its
4. Do the same for any following marker. position, with no need to scroll the list to catch it out.
5. Stop the Song by pressing the PLAY/STOP button.
STS
How to jump to a saved marker: Name of the four selected Single Touch Settings (STS). Touch
1. If you like, start the Song again. one of them to select it.

2. When you want to jump to a saved marker (while the Song

is stopped or playing), touch it in the display. The Song will
jump to the saved position at the beginning of the next
measure.
308 MIDI
What is MIDI?

MIDI
together with Control Change 00 and 32, to remotely select
What is MIDI? Pa900 data from a sequencer or a master keyboard.
Control Change (CC) – This is a wide array of messages, con-
Here is a brief overview of MIDI, as related to the Pa900. If inter- trolling most of the instrument parameters. Some examples:
ested, you may find more information on the general use of • CC00, or Bank Select MSB, and CC32, or Bank Select LSB.
MIDI in the various specialized magazines and dedicated books. This message pair is used to select a Sound Bank. Together
with the Program Change message, they are used to select a
In general Sound.
• CC01, or Modulation. This is the equivalent of pressing up
MIDI stands for Musical Instruments Digital Interface. This
the joystick. A vibrato effect is usually triggered on.
interface lets you connect two musical instruments, or a com-
puter and various musical instruments. • CC07, or Master Volume. Use this controller to set the
channel’s volume.
From a software point of view, MIDI is a protocol that describes
messages for playing notes and controlling them. It is sort of a • CC10, or Pan. This one sets the channel’s position on the
grammar to let different instruments and computers speak the stereo front.
same language, and let the one tell the other what to do. • CC11, or Expression. Use this controller to set the relative
From a physical point of view, MIDI messages can travel across volume of tracks, with the maximum value matching the
two different types of connectors on the Pa900: current setting of the CC07 control.
• The MIDI interface, that is composed of two different connec- • CC64, or Damper Pedal. Use this controller to simulate the
tors. The MIDI IN receives data from another device; the MIDI Damper pedal.
OUT sends data to another device.
• The USB Device port, that replaces both the MIDI IN and Tempo
OUT connectors with a single port and cable. To use it for MIDI
Tempo is a global MIDI message, that is not tied to a particular
connection, it is advisable to install the KORG USB-MIDI
channel. Each Song includes Tempo data.
Driver supplied in the Accessory Disc, or downloadable from
our web site (www.korg.com).
Both these devices are active at the same time. So, you can con-
Lyrics
nect the Pa900 to a computer via the USB port, and connect Lyrics are non-standard MIDI events, intended to display text
another instrument’s MIDI IN port to the MIDI THRU port of together with the music. Pa900 can read many of the available
the Pa900. Lyrics format on the market.

Channels and messages

Basically, a MIDI or USB cable transmits 16 channels of data. What is MIDI Over USB?
Think to each MIDI channel as a TV channel: the receiver must
be set on the same channel of the transmitter. The same happens You can let the Pa900 communicate MIDI data with a computer
with MIDI messages: when you send a Note On message on using the USB Device port instead of the MIDI ports. This way,
channel 1, it will be received on channel 1 only. This allows for you can connect your Pa900 to a personal computer without the
multitimbricity: you can have more than one sound playing on need of a dedicated MIDI interface.
the same MIDI instrument.
Most Pa900 MIDI features can be used on a Windows or Mac
There are various messages, but here are the most commonly computer with no need of special software. However, for full and
used: easy use of all MIDI features, we suggest you to install the “KO-
Note On – This message instructs an instrument to play a note RG USB MIDI Driver”, a special software that you can find in the
on a specific channel. Notes have both a name (C4 standing for Accessory Disc that comes with your Pa900. Relevant instruc-
the center C) and a number (60 being the equivalent for C4). A tions come with the software itself. See “Installing the Korg USB
Note Off message is often used to say the note has been released. MIDI Driver” on page 428.
In some case, a Note On with value “0” is used instead.
Together with the Note On message, a Velocity value is always
sent. This value tells the instrument how loud the note must play.
Pitch Bend (PB) – You can generate this message acting on the
joystick (X direction). The pitch is translated up or down.
Program Change (PC) – When you select a Sound, a Program
Change message is generated on the channel. Use this message,
 MIDI 309
Standard MIDI Files

These notes will be combined with the ones of the special Chord
Standard MIDI Files 1 and Chord 2 channels.

Standard MIDI Files (a.k.a. SMF) are a practical way of exchang-

ing songs between different instruments and computers. Pa900 The Chord 1 and Chord 2 channels
uses the SMF format as its default song format, so reading a song
from a computer, or saving a song that a computer software can
read, is not a problem at all. You can set two special Chord channels (see page 260) to send
Pa900 notes for chord recognition. These notes will be combined
The internal Players are compatible with SMFs format 0 (all data with the notes that go through the channel set as Global (Global
in one track; it is the most common format) and 1 (multitrack). notes are recognized only under the split point, if the SPLIT LED
Pa900 can read SMFs in Song Play mode and modify/save them is lit up).
in Sequencer mode. It can save a Song in SMF format 0 from
Sequencer mode. The Chord channels are not affected by the split point. All the
notes – both above and below the split point – will be sent to the
When in Song Play mode, Pa900 can also display SMF lyrics in chord recognition.
Solton, M-Live (Midisoft), Tune1000, Edirol, GMX, HitBit, and
XF formats, and the chord abbreviations of SMF in Solton, M- However, the status of the SPLIT button has a particular effect
Live (Midisoft), GMX, and XF format. on the way chords are recognized on the Chord channels:

Note: The above trademarks are the property of their respective • When the SPLIT LED is turned on (Lower mode), the
holders. No endorsement is intended by their inclusion in this list. chord recognition mode will be set by the “Chord Recogni-
tion” parameter in the Global > Mode Preferences > Style
Standard MIDI Files usually have the “.MID” or “.KAR” filename page (see page 252). You can play a single note to play a
extension. Major chord.
• When the SPLIT LED is turned off (Full Upper mode), the
chord recognition mode will always be Fingered or Expert,
The General MIDI standard depending on the previous situation. You have to play at
least three notes in order for the chord to be detected.

Some years ago, the musical instruments world felt a need for These two channels are especially useful for accordion players,
some further standardization. Then, the General MIDI Standard that wish to assign a different Chord channel to the chords and
(GM) was born. This extension of the basic MIDI sets new rules the bass played with the left hand. This way, chords and bass will
for compatibility between instruments: both contribute to the formation of chords for the chord recog-
nition of the automatic accompaniment.
• A minimum of 16 MIDI channels was required.
• A basic set of 128 Sounds, correctly ordered, was mandatory.
• The Drum Kit had a standard order. The Control channel
• Channel 10 had to be devoted to the Drum Kit.

Reference
A most recent extension is the GM2, that further expands the You can set a MIDI IN channel as the Control channel (see
Sounds database. Pa900 is sound-compatible with the GM2 page 260), to select Styles and Performance from an external
standard. device. See the Appendix for a list of messages corresponding to
Pa900 internal data.

The Global channel

MIDI Presets
Any channels with the Global option assigned (see “MIDI: MIDI
In Channels” on page 260) can simulate the Pa900 integrated You can play Pa900 with an external controller, and use it simply
keyboard. When the Pa900 is connected to a master keyboard, as a powerful sound generator. To help you configure the MIDI
transmission should take place over the Global channel of the channels, we have provided a set of MIDI Presets that can be
Pa900. accessed in the Global > MIDI > General Controls page (see
“Preset” on page 258).
The MIDI messages received over a Global channel and not over
a standard channel are affected by the status of the SPLIT button, We recommend you to consider each MIDI Preset as a starting
as well from the split point. Therefore, if the SPLIT button LED point you can freely tweak. Once you have selected the most
is lit up, notes arriving to Pa900 over this channel will be divided appropriate MIDI Preset for the connection to be made, you can
by the split point into the Upper (above the split point) and modify the parameters as needed and save them into a MIDI
Lower (below the split point) parts. Preset (see “Write Midi Preset dialog box” on page 275).
Notes arriving to a Global channel are used for the chord recog-
nition of the automatic accompaniment. If the SPLIT LED is
turned on, only the notes below the split point will be used.
310 MIDI
Connecting Pa900 to a Master keyboard

Connecting Pa900 to a Master keyboard Connecting Pa900 to a MIDI accordion

You can control Pa900 with a master keyboard or any other There are various types of MIDI accordions, each one requiring
MIDI keyboard. You only need to connect the MIDI OUT con- different MIDI settings. Pa900 is provided with a series of
nector of the master keyboard to the MIDI IN connector of “Accordion” MIDI Setups, each one suitable for a different MIDI
Pa900. The master keyboard will become the integrated key- accordion (see page 258).
board of the Pa900 if it transmits over the same channel pro-
grammed as Global in Pa900.
Connection and settings
To connect the accordion to the Pa900 follow this procedure:
1. Connect the MIDI OUT connector of the accordion to the
MIDI IN connector of Pa900.
MIDI OUT

2. Select one of the available “Accordion” MIDI Preset param-

eter. You can do this by going to the “MIDI: General Con-
MIDI IN
trols” page of the Global mode. Note that this MIDI Preset
will be remain unchanged even when the instrument enters
standby.
Note: Settings may change when new Global data is loaded
from disk. To protect settings from loading, use the Global
Protect function (see “Global Protect” on page 254).
3. If needed, press one of the buttons in the MODE section to
If the master keyboard transmits over the Global channel of go to the desired operative mode.
Pa900, the split point and the status of the SPLIT button in the
control panel will affect the notes received from the master key-
board.

Connections and settings

To connect the master keyboard to Pa900 follow this procedure:
1. Connect the MIDI OUT connector of the master keyboard
to the MIDI IN connector of the Pa900.
2. Program the master keyboard to transmit over the Global
channel of Pa900 (see “MIDI: MIDI In Channels” on
page 260).
For information on programming the master keyboard,
please see the master keyboard’s own user manual.
3. Select the “Master Keyboard” MIDI Preset. You can do this
by going to the “MIDI: General Controls” page of the
Global mode. Note that this MIDI Preset will be remain
unchanged even when the instrument enters standby.
Note: Settings may change when new Global data is loaded
from disk. To protect settings from loading, use the Global
Protect function (see “Global Protect” on page 254).
4. If needed, press one of the buttons in the MODE section to
go to the desired operative mode.
 MIDI 311
Connecting Pa900 to an external sequencer

The Local Off

Connecting Pa900 to an external When Pa900 is connected to an external sequencer, we recom-
sequencer mend you to set the Pa900 in Local Off mode (see “Local Con-
trol On” on page 259) to avoid that the notes are simultaneously
played by the keyboard and by the MIDI events sent by the
You can program a new song on an external sequencer, using external sequencer.
Pa900 as a multi-timbral expander.
When Pa900 is in Local Off, the keyboard of Pa900 transmits
data to the external sequencer, but not to the internal sound gen-
Connections and settings eration. The sequencer will receive notes played on the keyboard
In order to connect Pa900 to a computer, you need a computer of Pa900 and will send them to the selected track of the song.
with either a MIDI interface or a USB port. The track will then transmit data to the internal sound genera-
tion of Pa900.
1. In case of an USB connection, install the Korg USB MIDI
Driver, as explained in “Installing the Korg USB MIDI Note: In order to send data to the sound generation of Pa900, the
Driver” on page 428. “MIDI Thru” function must be activated in the external sequencer
(normally active; the name may be different according to the type
2. Connect Pa900 and the computer either via the USB of sequencer). For more information refer to the instructions man-
Device port, or via the MIDI ports and a MIDI interface, as ual of the sequencer.
shown in the following diagram.

The Sounds
MIDI OUT The song that is played back by the sequencer can select Pa900
MIDI IN Sounds through the MIDI messages Bank Select MSB, Bank
Select LSB (bank selection, two messages), and Program Change
(Sound selection). For a list of Sounds and MIDI values, see
“Sounds” on page 318.
A suggestion for those who program songs on computer: even
though it is not mandatory, for a wider compatibility you should
set the bass on channel 2, melody on channel 4, drum kit on
channel 10, controls for an harmonizer on channel 5.
MIDI IN MIDI OUT USB Device

Reference
3. Activate the “MIDI Thru” function on the external
sequencer. Please refer to the sequencer’s user manual.
4. On Pa900, select the “Extern.Seq.” MIDI Preset. You can do
this by going to the “MIDI: General Controls” page of the
Global mode. Note that this MIDI Preset will be remain
unchanged even when the instrument enters standby.
5. Go to the “MIDI: General Controls” page, and uncheck the
“Local Control On” parameter (see page 259). This is called
the “Local Off status”.
Note: Settings may change when new Global data is loaded
from disk. To protect settings from loading, use the Global
Protect function (see “Global Protect” on page 254).
6. Press SEQUENCER to go to the Sequencer mode.
7. Play the keyboard. Notes played on the keyboard will go
from the MIDI OUT of Pa900 to the MIDI IN of the com-
puter/MIDI interface (or from the USB port of Pa900 to the
USB port of the computer).
Notes generated by the computer (i.e. a song played by its
sequencer) are sent through the MIDI OUT of the MIDI
interface to the MIDI IN connector of Pa900 (or from the
USB port of the computer to the USB port of Pa900).
312 MIDI
Playing another instrument with Pa900

The Player
Playing another instrument with Pa900 Any Player’s track can drive a channel on an external instru-
ment. To set each track’s MIDI output channel, see “MIDI: MIDI
You can use Pa900 as the master controller for your MIDI setup. Out Channels” on page 261.
1. Connect the MIDI OUT connector of Pa900 to the other To only hear the expander’s sounds, you can lower the MASTER
instrument’s MIDI IN. VOLUME control on the Pa900, or set the Song tracks to the
External status (see “Track Controls: Mode” on page 192).
2. Set the other instrument to the same channels you want to
play from Pa900. For example, if you wish to play the Select the “Player” MIDI Preset to set the channels as follows:
Upper 1 and Upper 2 tracks with sounds of the other
instrument, enable the other instrument to receive on the Track Out Channel
same channels Pa900 is transmitting from the Upper 1 and
Song 1…16 1…16
Upper 2 tracks (by default, channels 1 and 2).
3. Set the master volume of the other instrument with its own
volume controls. The Arranger
4. Mute/unmute any track right from the Pa900. Adjust each One of the most interesting aspect of MIDI, is that you can use
track’s volume by using the Pa900 (sliders on the display). your Pa900 to play an external instrument with its onboard
arranger. Yes, it’s hard to beat the audio quality of Pa900, but you
5. Play the keyboard of Pa900. could wish to use that old faithful synth you are still accustomed
to…
The Keyboard To assign some of the Style tracks of Pa900 to an external instru-
The keyboard of Pa900 can drive up to four tracks via the MIDI ment, set them to the External status (see “Track Controls:
OUT (Upper 1-3 and Lower). MIDI output channels are set in Mode” on page 192).
Global mode (see “MIDI: MIDI Out Channels” on page 261). Select the “Default” MIDI Preset to set the channels as follows
As per the default situation (“1-Default” MIDI Preset), each of (this is the default status of Pa900):
Pa900 Keyboard tracks transmit on the following channels:
Track Out Channel
Track Out Channel Bass 9
Upper1 1 Drums 10
Upper2 2 Percussion 11
Upper3 3 Acc1…5 12…16
Lower 4

When a track is muted, it cannot transmit any MIDI data to an

external expander or sequencer connected to the MIDI OUT of
Pa900.
To only hear the expander’s sounds, you can lower the MASTER
VOLUME control on the Pa900, or set the Keyboard tracks to
the External status (see “Track Controls: Mode” on page 192).
 Factory data 317
Style Elements

Style Elements
Note: You can remotely select the various Style Elements on the Pa900, by sending it Program Change messages on the Control channel (see
“MIDI: MIDI In Channels” on page 260).

PC Style Element PC Style Element PC Style Element PC Style Element PC Style Element

80 Intro 1 81 Intro 2 82 Intro 3/Count In 83 Variation 1 84 Variation 2

85 Variation 3 86 Variation 4 87 Fill 1 88 Fill 2 89 Fill 3
90 Fill 4 91 Break 92 Ending 1 93 Ending 2 94 Ending 3

Note: The above Program Change numbers are given according to the 0-127 numbering system.

Style and Player controls

Note: You can remotely send various commands to the Style and Player of the Pa900, by sending it Program Change messages on the Con-
trol channel (see “MIDI: MIDI In Channels” on page 260).

PC Style Element PC Style Element PC Style Element PC Style Element PC Style Element

95 Fade In/Out 96 STS Mode 97 Auto Fill 98 Memory 99 Bass Inversion

100 Manual Bass 101 Tempo Lock 102 Style Change 103 Start/Stop (Style) 104 Play/Stop (Player)

Note: The above Program Change numbers are given according to the 0-127 numbering system.

Single Touch Settings (STS)

Note: You can remotely select Single Touch Settings (STS) on the Pa900, by sending it Bank Select MSB (CC#0), Bank Select LSB (CC#32)
and Program Change messages on the Control channel (see “MIDI: MIDI In Channels” on page 260). If a Style is already selected, just send
the Program Change message.

CC#0 CC#32 PC STS PC STS PC STS PC STS

The same as the Style to which the STS belongs 64 STS 1 65 STS 2 66 STS 3 67 STS 4

Note: The above Control Change and Program Change numbers are given according to the 0-127 numbering system.

Appendix
 Factory data 331
DNC Sounds

DNC Sounds
The following table lists all Pa900 Factory DNC Sounds as they appear in the Sound Select window.
Note: When a Performance contains Sounds making use of Sound Controllers 1 & 2 (SC1, SC2), these controllers must be assigned to the
Assignable Switches, the Assignable Footswitch or an EC5 pedal.

Damper
Legato

Legato
Sound Name

(OoR)

SCY+
Page CC00 CC32 PC

SCY–
SC1

SC2
(Bank – Page)

(IR)
Bank: Electric Piano

EP+Damper1 DNC 3 121 25 4 Halo

EP+Damper2 DNC 3 121 26 4 Halo

Bank: Accordion

Jazz Harm. DNC 1 121 6 22 GU RD RU FD on KR

Sweet Harm. DNC 1 121 7 22 Bend Wah Smth Bright Breath
Harmonica 1 DNC 1 121 5 22 Bend Wah Smth Bright Breath
Harmonica 2 DNC 1 121 9 22 >±8st: RU/RD GU RD RU FD on KR
Harmonica 3 DNC 1 121 10 22 >±8st: RU/RD GU RD RU FD on KR
Melodica DNC 1 121 8 22 GU RD RU FD on KR

Bank: Guitar

Concert Gtr DNC 1 121 20 24 < ±5st: Smth Slide U Harm Body NZ
ClassicSteel DNC 1 121 36 25 < ±5st: Smth Slide U Harm Body NZ
Lead Guitar DNC 1 121 4 29 < ±3st: Smth AltAtk >C7: alt FX
E.Gtr Ch/Dly DNC 1 121 35 27 < ±5st: Smth Slide U Harm Mute
Dist. Gtr 1 DNC 1 121 13 30 < ±5st: Smth Slide U Harm Mute
Dist. Gtr 2 DNC 1 121 14 30 < ±5st: Smth Slide U Mute Harm Feedback Cut NZ
Classic 12Str DNC 2 121 38 25 Slide U Harm
Stra. Gtr 1 DNC 2 121 32 27 Mute Harm AltAtk
Stra. Gtr 2 DNC 2 121 33 27 Mute Harm AltAtk
Crunch Gtr DNC 2 121 3 29 < ±5st: Smth Slide U Mute Harm Feedback
Chorus Gtr DNC 2 121 34 27 < ±5st: Smth Slide U Mute Harm Feedback
Jazz Gtr 1 DNC 3 121 7 26 < ±4st: Smth Slide U Harm Bend
Jazz Gtr 2 DNC 3 121 8 26 < ±4st: Smth Slide U Harm Bend
E.Gtr Amp DNC 3 121 37 27 < ±5st: Smth Slide U Harm Mute
Nylon Guitar DNC 4 121 18 24 < ±5st: Smth Slide U Harm Body NZ
RealFolk Gtr DNC 4 121 34 25 < ±4st: Smth Slide U Harm Body NZ
Steel Gtr DNC 11 121 44 25 < ±5st: Smth Slide U Harm Mute Body NZ

Bank: Strings & Vocal

Violin DNC 1 121 9 40 < ±9st: Smth >±9st: Gliss U/D >G4: 8Gl U 8Gl D Stacc Mord
Real Violin DNC 1 121 7 40 < ±9st: Smth >±9st: Gliss U/D >G4: 8Gl U 8Gl D Stacc Mord
Violin Expr. DNC 1 121 5 40 < ±9st: Smth >±9st: Gliss U/D >G4: 8Gl U 8Gl D Spiccato Mord
Conc.Violin DNC 1 121 6 40 < ±5st: Smth Pizzicato Ens Vol
SopranoVox1 DNC 1 121 4 53 < ±6st: Smth >±6st: Gliss U/D >G4: 4th U <F5: 5th D
SopranoVox2 DNC 1 121 5 53 < ±11st: Smth >±11st: Gliss U/D Gliss U
Movie Str.1 DNC 2 121 7 49 Solo Pizzicato Tremolo Solo
Movie Str.2 DNC 2 121 8 49 Smth Pizzicato Tremolo Solo
SopranoChoir DNC 2 121 6 53 < ±6st: Smth >G4: 8Gl U <F5: 5th D
Appendix

Scat Voices DNC 2 121 20 52 < ±5st: Smth FD Smth Bright

Bank: Trumpet & Trbn

JazzTrumpet1 DNC 1 121 24 56 < ±6st: Smth Doit FD Shake FD on KR Breath

JazzTrumpet2 DNC 1 121 27 56 < ±4st: Smth >±4st: Shk/FD Doit FD Shake RD on KR Breath
332 Factory data
DNC Sounds

Damper
Legato

Legato
Sound Name

(OoR)

SCY+
Page CC00 CC32 PC

SCY–
SC1

SC2
(Bank – Page)

(IR)
JazzTrumpet3 DNC 1 121 28 56 < ±6st: Smth >±6st: RU/RD Doit FD Shake FD on KR Breath
Trumpet Expr.DNC 1 121 26 56 < ±6st: Smth Doit FD Shake FD on KR Breath
Jazz Trb.1 DNC 1 121 15 57 < ±12st: Smth Gliss U Gliss D Gliss U FD on KR Breath
Jazz Trb.2 DNC 1 121 14 57 < ±12st: Smth Gliss U FD Gliss U FD on KR Breath
Jazz Trb.3 DNC 1 121 18 57 < ±4st: Smth >±4st: Gliss U/D Gliss U Gliss D Gliss U FD on KR Breath
Soft Trb. DNC 1 121 16 57 < ±5st: Smth Gliss U Gliss D Gliss U FD on KR
JazzCornet 1 DNC 2 121 25 56 < ±12st: Smth Doit FD Gliss D RD on KR Breath
JazzCornet 2 DNC 2 121 29 56 < ±8st: Smth >±8st: RU/RD Doit FD Gliss D RD on KR Breath
Trb. Expr. DNC 2 121 17 57 < ±5st: Smth Gliss U FD Gliss U FD on KR
Trombone DNC 2 121 13 57 < ±12st: Smth Doit FD Bend Bright Breath

Bank: Sax

Jazz Sax 1 DNC 1 121 13 65 < ±12st: Smth GU FD RU FD on KR Breath

Jazz Sax 2 DNC 1 121 14 65 < ±12st: Smth GU RD RU FD on KR Breath
Jazz Sax 3 DNC 1 121 16 65 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
Tenor Sax 1 DNC 1 121 12 66 < ±12st: Smth Soft Straight Gliss D Bright Breath
Tenor Sax 2 DNC 1 121 13 66 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
Tenor Sax 3 DNC 1 121 14 66 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
Tenor Sax 4 DNC 1 121 15 66 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
Alto Sax 1 DNC 2 121 12 65 < ±12st: Smth Soft Growl Gliss D Breath
Alto Sax 2 DNC 2 121 17 65 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
SoftLatinSax DNC 2 121 18 65 < ±9st: Smth >±9st: RU/RD GU RD RU FD on KR Breath
Soprano Sax DNC 2 121 5 64 < ±9st: Smth >±9st: RU/RD GU RD Breath
JazzBaritone DNC 3 121 5 67 < ±9st: Smth >±9st: RU/RD GU GD FD on KR Breath

Bank: Woodwind

RealClarinet DNC 1 121 14 71 < ±12st: Smth Long RU Long FD Short RU FD on KR Breath
JazzClarinet DNC 1 121 15 71 < ±12st: Smth Long RU Long FD Short RU FD on KR Breath
SoloClarinet DNC 1 121 16 71 < ±5st: Smth Long RU Long FD FD on KR
Clarinet 1 DNC 1 121 13 71 < ±5st: Smth Bend Bend Soft Ensemble Breath
Clarinet 2 DNC 1 121 19 71 < ±8st: Smth >±8st: RU/RD Long RU Long FD Short RU FD on KR Breath
Clarinet 3 DNC 1 121 20 71 < ±8st: Smth >±8st: RU/RD Long RU Long FD Short RU FD on KR Breath
Jazz Flute 1 DNC 1 121 13 73 < ±5st: Smth RU RD Voice FD on KR Breath
Jazz Flute 2 DNC 1 121 14 73 < ±8st: Smth >±8st: Gliss U/D RU RD Frull FD on KR Breath
Orch. Flute DNC 2 121 12 73 < ±5st: Smth RU RD Voice FD on KR Breath
Flute DNC 2 121 11 73 < ±5st: Smth Voice Frull Harm Voice Breath
Whistle DNC 2 121 5 78 Soft GD FD Breath Breath
Panflute 1 DNC 2 121 2 75 < ±12st: Smth GU Mord Attack
Panflute 2 DNC 2 121 3 75 < ±12st: Smth GU Mord Attack

Bank: Synth Pad

Techno Stab DNC 1 121 3 93 Filter Straight Straight

Organ Stab DNC 3 121 4 101 Filter Straight Straight

Bank: Synth Lead

Next Dance DNC 5 121 14 87 Noise Filter Filter

Legend:
IR = In Range; OoR = Out of Range; RU = Riff Up; KR = Key Release; AltAtk = Alternate Attack; Smth = Smoother Attack; RD = Riff Down; FD = Fall Down; GU = Glide Up; Slide
U = Slide Up; Gliss U = Glissato Up; Gliss D = Glissato Down; 8Gl U = Octave Glissato Up; 8Gl D = Octave Glissato Down; Ens = Ensemble; Bend = Bending; Shk = Shake;
Stacc = Staccato; Mord = Mordente; Frull = Frullato (flutter tongue); Body NZ = Body Noise; Cut NZ = Cut Noise; Harm = Harmonics; Bright = Brightness; Det = Detune;
Vol = Volume.
 Factory data 353
MIDI Preset

MIDI Preset

Default Master Kbd Player Acc ordion 1 Acc ordion 2 Acc ordion 3 Tablet

1 Ply Tr 1 Global Ply Tr 1 Global Upper 1 Upper 1 -

2 Ply Tr 2 Control Ply Tr 2 Lower Lower Lower -
3 Ply Tr 3 - Ply Tr 3 Bass - Bass -
4 Ply Tr 4 - Ply Tr 4 - Upper 2 Upper 2 -
5 Ply Tr 5 - Ply Tr 5 - Upper 3 Upper 3 -
6 Ply Tr 6 - Ply Tr 6 - - - -
7 Ply Tr 7 - Ply Tr 7 - - - -

MIDI IN 8 Ply Tr 8 - Ply Tr 8 - - - -

Channel 9 Ply Tr 9 - Ply Tr 9 - Bass - -
10 Ply Tr 10 - Ply Tr 10 Drum Drum Drum -
11 Ply Tr 11 - Ply Tr 11 Percussion Percussion Percussion -
12 Ply Tr 12 - Ply Tr 12 Acc 1 Acc 1 Acc 1 -
13 Ply Tr 13 - Ply Tr 13 Acc 2 Acc 2 Acc 2 -
14 Ply Tr 14 - Ply Tr 14 Acc 3 Acc 3 Acc 3 -
15 Ply Tr 15 - Ply Tr 15 Acc 4 Acc 4 Acc 4 -
16 Ply Tr 16 - Ply Tr 16 Acc 5 Acc 5 Acc 5 Control
1 Upper 1 Upper 1 Ply Tr 1 Upper 1 Ply Tr 1 Ply Tr 1 -
2 Upper 2 Upper 2 Ply Tr 2 Upper 2 Ply Tr 2 Ply Tr 2 -
3 Upper 3 Upper 3 Ply Tr 3 Upper 3 Ply Tr 3 Ply Tr 3 -
4 Lower Lower Ply Tr 4 Lower Ply Tr 4 Ply Tr 4 -
5 - - Ply Tr 5 - Ply Tr 5 Ply Tr 5 -
6 - - Ply Tr 6 - Ply Tr 6 Ply Tr 6 -
7 - - Ply Tr 7 - Ply Tr 7 Ply Tr 7 -

MIDI OUT 8 - - Ply Tr 8 - Ply Tr 8 Ply Tr 8 -

Channel 9 - - Ply Tr 9 - Ply Tr 9 Ply Tr 9 -
10 - - Ply Tr 10 - Ply Tr 10 Ply Tr 10 -
11 - - Ply Tr 11 - Ply Tr 11 Ply Tr 11 -
12 - - Ply Tr 12 - Ply Tr 12 Ply Tr 12 -
13 - - Ply Tr 13 - Ply Tr 13 Ply Tr 13 -
14 - - Ply Tr 14 - Ply Tr 14 Ply Tr 14 -
15 - - Ply Tr 15 - Ply Tr 15 Ply Tr 15 -
16 - - Ply Tr 16 - Ply Tr 16 Ply Tr 16 Control

Chord 1 Chann. Off 1 Off 2 2 2 Off

Chord 2 Chann. Off Off Off 3 3 Off Off

MIDI IN Velocity Normal Normal Normal 110 110 Normal Normal

MIDI IN Oct. Trp. On On On On On On On

MIDI IN Track Mute - On – – – – On

Upper er Oct. Trp. 0 0 0 0 0 0 0

Lower Oct. Trp. 0 0 0 0 0 0 0

Appendix
354 Assignable parameters
List of Pedal/Footswitch functions

Assignable parameters
Function Meaning
List of Pedal/Footswitch functions STS Mode Same functions of the control panel buttons
with the same name
The following functions can be assigned to an Assignable Foot- STS1
switch or Pedal. STS2
STS3
Function Meaning STS4

Functions assignable to a Footswitch STS Up Selects the next STS

STS Down Selects the previous STS
Off No function assigned
Perform. Up Selects the next Performance
Style Start/Stop Same functions of the control panel buttons
with the same name Perform. Down Selects the previous Performance
Play Stop Player 1
Style Change Style number
Play Stop Player 2
Transpose (b) Same functions of the control panel buttons
Go to Beginning-Player 1
with the same name
Transpose (#)
Go to Beginning-Player 2
Upper Octave Up
Chord Seq. Record
Upper Octave Down
Chord Seq. Play
Punch In/Out Turns Punch Recording on/off
Synchro Start
Style-Upper1 Mute
Synchro Stop
Style-Upper2 Mute
Tap Tempo/Reset
Style-Upper3 Mute
Tempo Lock
Style-Lower Mute
Ritardando Progressively decreases the Tempo value
Style-Drum Mute
Accelerando Progressively increases the Tempo value
Style-Percussion Mute
Tempo Up Increases the Tempo value
Style-Bass Mute
Tempo Down Decreases the Tempo value
Style-Acc1 Mute
Intro 1 Same functions of the control panel buttons
with the same name Style-Acc2 Mute
Intro 2
Style-Acc3 Mute
Intro 3/Count In
Style-Acc4 Mute
Ending 1
Style-Acc5 Mute
Ending 2
Style-Acc1-5 Mute
Ending 3
Song-Melody Mute Mute of the Standard MIDI File’s track selected
Fill 1
as the Melody track (Global:Mode Prefer-
Fill 2 ence>Song & Seq.).
Fill 3 Vocal Remover Voice removal from the MP3 file
Fill 4 Song-Drum&Bass Mode Mute of all tracks, apart for track 2 (usually
Auto Fill Bass) and 10 (usually Drum). It doesn’t work on
MP3 files.
Break
Solo Selected Track
Variation 1
Damper Pedal
Variation 2
Soft Pedal
Variation 3
Sostenuto Pedal
Variation 4
Bass&Lower Backing When the Style is not playing and you are in
Variation Up Selects the next Variation Split mode, you can play the Lower track with
Variation Down Selects the previous Variation your left hand, while the Bass still plays the
chord root. See “Bass & Lower Backing” on
Fade In/Out Same functions of the control panel buttons
page 137 of the User’s Manual.
with the same name
Memory
Ensemble
Bass Inversion
QuarterTone Turns Quarter Tone on/off
Manual Bass
Global-Scale When the switch or footswitch is pressed, the
Split Global > General Controls > Scale is recalled in
Style Up Selects the next Style the display.

Style Down Selects the previous Style

 Assignable parameters 355
List of Assignable Knob functions

Function Meaning Function Meaning

SubScale Preset 1-SC1 Same functions of the SC Preset buttons in the MP3 Volume
display.
SubScale Preset 2-SC2 Joystick +X Joystick right
SubScale Preset 3-SC3 Joystick -X Joystick left
SubScale Preset 4-SC4 Joystick +Y Joystick forward
Chord Latch Holds the recognized chord until the pedal is Joystick -Y Joystick backward
released
Upper VDF Cutoff Filter cutoff (for Sounds assigned to the Upper
Chord Latch + Damper Holds the recognized chord until the pedal is tracks)
released, and sustains the tracks where the
Upper VDF Resonance Filter resonance (for Sounds assigned to the
Damper has been turned on
Upper tracks)
Glide When the pedal is pressed, affected notes on
Mic In Volume
Upper tracks are bent down, according to set-
tings for the Pitch Bend on the same tracks. Mic Lead Voice Level Continuous controls assigned to the Voice
When the pedal is released, notes return to Processor.
Mic Harmony Level
the normal pitch, at the speed defined by the
“Time” parameter (see “Glide” on page 202 of Mic Lead to Delay
the User’s Manual). Mic Harmony to Delay
Mic In Mute Mic Reverb Level
Mic Talk Turns all Voice Processor effects down, to let Mic FX Level
you address the audience. See “Voice Proces-
FX CC12 Ctl Standard FX controllers
sor Setup: Talk” on page 99.
FX CC13 Ctl
Mic Lead On/Off On/off switch controls assigned to the Voice
Processor. Press to activate, press a second
Mic Harmony On/Off
time to deactivate.
Mic FX On/Off
FX CC12 Switch Standard FX controllers
FX CC13 Switch
Rotary Spkr On/Off
Rotary Spkr Fast/Slow
Drawbar Perc On/Off
Text Page Down These options let you move to the previous or
next page, when reading a text file loaded
with a Song or Song Book entry (see “Text files
loaded with Standard MIDI Files and MP3 files”
on page 170 of the User’s Manual).
Text Page Up
SongBook Next Moves to the next SongBook entry in the
selected Custom List.
Pad 1 Same functions of the control panel buttons List of Assignable Knob functions
with the same name
Pad 2
Pad 3 The following functions can be assigned to the Assignable Knob.
Pad 4
Pad Stop Function Meaning
Sound Controller 1 To be used as triggers for two DNC parameter Off No function assigned
(transmit CC#80 or CC#81). When these func-
tions are assigned to the selected physical Keyboard Expression
controller, this latter becomes the corre- Pad Volume
sponding Sound Controller (Sound Controller
MP3 Volume
1 or Sound Controller 2). You can then use this
Sound Controller to control any of the DNC Joystick +X
parameters.
Joystick -X
Sound Controller 2
Joystick +Y
Functions assignable to a Pedal Joystick -Y
Master Volume Upper VDF Cutoff
Accompaniment Volume Upper VDF Resonance
Keyboard Expression Mic Lead Voice Level Continuous controls assigned to the Voice
Processor
Pad Volume With this function assigned, you can control Mic Harmony Level
Appendix

the proportional volume of all four Pads at the

Mic Lead to Delay
same time. Please note that the status of the
Pad’s volume, after having been modified with Mic Harmony to Delay
a pedal or slider, is made current, and will be FX CC12 Ctl
saved in a Performance or STS by using the rel-
evant Write procedure. FX CC13 Ctl
356 Assignable parameters
List of Assignable Switches functions

Function Meaning
List of Assignable Switches functions SongBook Next Moves to the next SongBook Entry in the
selected Custom List.
The following functions can be assigned to the Assignable Sound Controller 1 Controls assigned to selected Sounds parame-
Switches. Sound Controller 2 ters

Function Meaning

Off No function assigned

Ritardando Progressively increases the Tempo value
Accelerando Progressively decreases the Tempo value
Style Up Selects the next Style Scales
Style Down Selects the previous Style
Perform. Up Selects the next Performance
The following is a list of scales (or tunings) you can select in var-
Perform. Down Selects the previous Performance
ious operating modes.
Style-Upper1 Mute
Equal Equal tuning, the standard scale for modern
Style-Upper2 Mute
Western music. It is made of 12 identical semi-
Style-Upper3 Mute tones.
Style-Lower Mute
Pure Major Major chords in the selected key are perfectly
Style-Drum Mute
tuned.
Style-Percussion Mute
Pure Minor Minor chords in the selected key are perfected
Style-Bass Mute
tuned.
Style-Acc1 Mute
Arabic An arabic scale, using quarters of tone. Set the
Style-Acc2 Mute
Key parameter as follow:
Style-Acc3 Mute
Style-Acc4 Mute
C - for the “rast C/bayati D” scale
Style-Acc5 Mute D - for the “rast D/bayati E” scale
Style-Acc 1-5 Mute F - for the “rast F/bayati G” scale
Song-Melody Mute Mute the Standard MIDI File’s track selected as
G - for the “rast G/bayati A” scale
the Melody track (Global > Mode Preferences
> Song & Seq.) A# - for the “rast Bb/bayati C” scale
Vocal Remover Voice removal from MP3 Songs
Pythagorean Pythagorean scale, based on the music theories of
Song-Drum&Bass Mode Mute of all tracks, apart for track 2 (usually the great Greek philosopher and matematician. It
Bass) and 10 (usually Drum)
is most suitable for melodies.
Solo Selected Track
Werckmeister
Bass&Lower Backing Mutes all tracks, except for Bass and Lower
QuarterTone Turns Quarter Tone on/off Late Baroque/Classic Age scale. Very suitable for
Global-Scale
XVIII Century music.
SubScale Preset1-SC1 Kirnberger Harpsichord scale, very common during the
SubScale Preset2-SC2 Scale selection XVIII Century.
SubScale Preset3-SC3 Slendro Scale of the Indonesian Gamelan. The octave is
SubScale Preset4-SC4 divided in 5 notes (C, D, F, G, A). The remaining
Mic Talk Turns all Voice Processor effects down, to let
notes are tuned as in the Equal tuning.
you address the audience. See “Talk” on Pelog Scale of the Indonesian Gamelan. The octave is
page 269.
divided in 7 notes (all white keys, when Key is =
Mic Lead On/Off On/Off controls assigned to the Voice Proces- C). The black keys are tuned as in the Equal tun-
sor. Press to activate, press a second time to
Mic FX On/Off ing.
deactivate.
FX CC12 Switch Stretch Simulates the “stretched” tuning of an acoustic
Standard FX controllers piano. Basically an equal tuning, the lowest notes
FX CC13 Switch
are slightly lower, while the highest notes are
Rotary Spkr On/Off
slightly higher than the standard.
Rotary Spkr Fast/Slow
User User scale, i.e. scale programmed by the user for
Text Page Down These options let you move to the previous or
next page, when reading a text file loaded the Style Play, Backing Sequence and Song Play
Text Page Up
with a Song (see “Text files loaded with Stan- modes. The user scale can be saved to a Perfor-
dard MIDI Files and MP3 files” on page 305) or mance, Style Settings, STS or Song. You can’t
Song Book entry (see “On-the-fly TXT loading” select a User scale in Global mode.
on page 305).
 Effects 357
Dynamic Modulation sources

Effects
Pa900 is equipped with four powerful Effect Processors for the
internal MIDI tracks (Upper, Lower, Style, Song, Pads). Modulation source Note
Damper: #64
Prta.SW: #65 Portamento Switch

Dynamic Modulation sources Sostenu: #66 Sostenuto Pedal

MIDI(CC#67)

When the symbol is encoutered, a Dynamic Modulation MIDI(CC#80)

can be applied to the corresponding parameter. Dynamic Modu- MIDI(CC#81)
lation allows for realtime control of the effect. The following
MIDI(CC#82)
table shows the available modulation sources.
MIDI(CC#83)
MIDI(CC#85)
Modulation source Note
MIDI(CC#86)
Off No modulation
MIDI(CC#87)
Gate1
MIDI(CC#88)
Gate1+Dmpr
Tempo
Gate2
Gate2+Dmpr Some notes on the Gate parameters follow.
Note Nr Note Number
Gate1, Gate1+Dmpr (Gate1+Damper)
Velocity Note Velocity
The effect is at maximum during note-on, and will stop when all
Expo Velocity Exponential Note Velocity keys are released. With Gate1 + Dmpr, the effect will remain at
AfterTouch After Touch maximum even after the keys are released, as long as the damper
JS X Joystick Left/Right
(sustain) pedal is pressed.
Gate1,Gate1+Dmpr
Dmpr
JS+Y: CC#01 Joystick Forward Note
1 2 1 3 2 3

Damper Pedal
JS-Y: CC#02 Joystick Backward
On
Gate1 Off

MIDI(CC#04)
Gate1+Dmpr
MIDI(CC#12)
Time

MIDI(CC#13)
Ribb.(CC#16) Ribbon Controller
Gate2, Gate2+Dmpr (Gate2+Damper)
MIDI(CC#18)
This is essentially the same as for Gate 1 or Gate 1 + Dmpr. How-
MIDI(CC#17) ever when Gate 2 or Gate 2 + Dmpr are used as a dynamic mod-
MIDI(CC#19) ulation source for the EG, a trigger will occur at each note-on.
MIDI(CC#20)
(In the case of Gate 1 and Gate 1 + Dmpr, the trigger occurs only
for the first note-on.)
MIDI(CC#21) Gate2,Gate2+Dmpr
Dmpr
1 2 1 3 2 3
MIDI(CC#17+) Note
Damper Pedal
MIDI(CC#19+) On
Gate2 Off

MIDI(CC#20+)
Gate2+Dmpr

MIDI(CC#21+)
Time
Appendix
358 Effects
Dynamics (Dynamic)

Compressor - Sensitivity
Level
Dynamics (Dynamic) Wet
Sensitivity=100

Louder
Dry Sensitivity=40

0: No Effect
Select this option when you do not use any effects. Time

c: Attack
1: Stereo Compressor
This parameter controls the attack level.
This effect compresses the input signal to regulate the level and
Compressor - Attack
give a “punchy” effect. It is useful for guitar, piano, and drum Level

sounds. This is a stereo compressor. You can link left and right Attack=80
Attack=20
channels, or use each channel separately. Wet

Stereo In - Stereo Out Dry

Left
FX Amt
EQ Trim LEQ HEQ
Time
Compressor
Output Level
Envelope - Control
Envelope Select
Envelope - Control

Output Level
2: Stereo Limiter
Compressor
EQ Trim LEQ HEQ
Right
The Limiter regulates the input signal level. It is similar to the
FX Amt
Compressor, except that the Limiter compresses only signals that
exceed the specified level to lower unnecessary peak signals. The
L/R Mix, Determines whether the left and Limiter applies a peaking-type EQ to the trigger signal (which
Envelope
a L/R Individ- right channels are linked or used
Select ually separately controls the degree of the Limiter effect), allowing you to set any
b Sensitivity 1...100 Sets the sensitivity band width to be covered. This effect is a stereo limiter. You can
c Attack 1...100 Sets the attack level link left and right channels, or use each channel individually.
d EQ Trim 0...100 Sets the EQ input level
Low, Selects the cutoff frequency (low or
Pre LEQ Fc Stereo In - Stereo Out
Mid-Low mid-low) of the low-range equalizer Left
FX Amt
e Selects the cutoff frequency (high Gain Adjust
High,
Pre HEQ Fc Mid-High or mid-high) of the high-range Limiter
Side PEQ
equalizer
Envelope - Control Trigger Monitor
Pre LEQ Gain +
–15.0...+15.0 Sets the gain of the Low EQ Envelope - Control
[dB] Envelope Select
f Limiter
Pre HEQ Gain Envelope Source

[dB] –15.0...+15.0 Sets the gain of the High EQ Gain Adjust

Right
FX Amt
Output Level 0...100 Sets the output level of the
FX Control BUS 1
compressor
FX Control BUS 2
Selects the modulation source for
g Src Off...Tempo the compressor output level
Sets the modulation amount for the Selects from linking both channels,
Amt –100...+100 L/R Mix,
compressor output level controlling only from left channel,
Envelope L Only, R Only,
Dry, 1:99...99:1, Sets the Balance between the wet a only from the right channel, or
Wet/Dry Select L/R Individ-
Wet and dry signal controlling each channel individ-
ually
ually
Selects a modulation source for
h Src Off...Tempo Wet/Dry 1.0 : 1…
b Ratio 50.0 : 1, Sets the signal compression ratio
Sets the modulation amount for Inf : 1
Amt –100...+100
Wet/Dry
Sets the level above which the
c Threshold [dB] –40...0
compressor is applied
a: Envelope Select Attack 1...100 Sets the attack time
v
This parameter selects whether the left and right channels are Release 1...100 Sets the release time
Gain Adjust –Inf,
linked to control both signals simultaneously, or whether each [dB] –38...+24
Sets the output gain
channel is controlled independently. Selects the modulation source for
e Src Off...Tempo
the output gain
b: Sensitivity Amt –63...+63
Sets the modulation amount of the
output gain
g: Output Level
Toggles between on/off of the
Side PEQ Insert Off, On trigger signal’s EQ
The “Sensitivity” parameter sets the sensitivity of the compres- f
Trigger Switches between effect output
sor. If this parameter is set to a higher value, lower level sounds Monitor
Off, On
monitor and trigger signal monitor
will be boosted. With a higher Sensitivity, the overall volume Side PEQ Sets the EQ center frequency for the
20...12.00k
level is higher. To adjust the final volume level, use the “Output Cutoff [Hz] trigger signal

Level” parameter. Sets the EQ bandwidth for the

g Q 0.5...10.0
trigger signal
Sets the EQ gain for the trigger
Gain [dB] –18.0...+18.0
signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 359
Dynamics (Dynamic)

a: Envelope Select f: Side PEQ Insert

When L/R Mix is selected for this parameter, the left and right g: Side PEQ Cutoff [Hz]
channels are linked to control the Limiter using the mixed sig- g: Q
nal. If L Only (or R Only) is selected, the left and right channels g: Gain [dB]
are linked, and the Limiter is controlled via only the left (or These parameters are used to set the EQ applied to the trigger
right) channel. signal.
With L/R individually, the left and right channels control the The Limiter determines whether the compression is applied or
Limiter individually. not, based on the post-EQ trigger signal. Setting the equalizer
allows you to set the Limiter to respond to any frequency band.
b: Ratio
c: Threshold [dB]
e: Gain Adjust [dB] 3: Multiband Limiter
This parameter sets the signal compression “Ratio”. Compres- This effect applies the Limiter to the low range, mid range, and
sion is applied only when the signal level exceeds the “Thresh- high range of the input signal. You can control dynamics for each
old” value. range to adjust the sound pressure of the low range, mid range,
and high range in a different way from the EQ.
Adjust the output level using the “Gain Adjust” parameter, since
compression causes the entire level to be reduced. FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
Limiter - Threshold / Ratio FX Amt
Band-Pass Filters
Low
Limiter
Ratio=1.0 : 1
Envelope - Control
Output Level Mid Low Offset
+ Limiter
Ratio=2.0 : 1 Envelope - Control Gain Adjust
High Mid Offset
Threshold Ratio=4.0 : 1 Limiter
Envelope - Control
Ration=Inf : 1 Right
High Offset
FX Amt
Louder

1.0 : 1...50.0 : 1,
a Ratio Inf : 1
Sets the signal compression ratio
Louder
Input Level Sets the level above which the
b Threshold [dB] –40...0
compressor is applied
Level Dry Ratio=1.0 : 1 c Attack 1...100 Sets the attack time
Ratio=2.0 : 1
Ratio=4.0 : 1 d Release 1...100 Sets the release time
e Low Offset [dB] –40...0 Gain of the low-range trigger signal
Threshold
f Mid Offset [dB] –40...0 Gain of the mid-range trigger signal
Ratio=Inf : 1 g High Offset –40...0 Gain of the high-range trigger signal
[dB]
Time Gain Adjust –Inf,
Sets the output gain
[dB] –38...+24
Selects the modulation source for
d: Attack h Src Off...Tempo
the output gain
d: Release Sets the modulation amount of the
Amt –63...+63
output gain
These parameters set the attack time and release time. A higher Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
attack time will cause the compression to be applied more slowly. Wet signal
i Table , “Dynamic Modulation
Limiter - Attack / Release Src Off...Tempo
sources,” on page 357
Threshold Amt –100...+100 Amount of modulation source

Dry e: Low Offset [dB]

f: Mid Offset [dB]
g: High Offset [dB]
These parameters set the gain of the trigger signal.
Ratio=Inf : 1
Wet Attack=1 For example, if you do not want to apply compression to the high
Release=1
range, reduce the “High Offset” value down below the “Thresh-
old” level. In this way, the high range limiter will not respond,
and compression will not be applied.
Ratio=Inf : 1
Wet Attack=100
Release=100

Release

Attack
Appendix

f: Trigger Monitor
Setting this parameter On will cause the trigger signal to be out-
put, instead of the effect sound. Use this parameter to check the
trigger signal with EQ applied.
Usually, set this to Off.
360 Effects
Dynamics (Dynamic)

4: St.MasteringLimtr c: Threshold
(Stereo Mastering Limiter) d: Attack
d: Release
This is a stereo limiter that is optimized for mastering songs.
“Threshold” specifies the level at which gating occurs when
Stereo In - Stereo Out
“Envelope Select” is set to L/R Mix, L Only, or R Only.
Left
Out Ceiling
FX Amt
“Attack” and “Release” specify the attack time and release time of
Limiter the gate.
+ Envelope - Control
Gate - Threshold

Limiter Output Level

Out Ceiling
Right
FX Amt
Threshold

Sets the level above which the

Louder
a Threshold [dB] –30.0...0.0
compressor is applied
Out Ceiling
b –30.0...0.0 Sets the output gain
[dB] Louder
c Release [msec] 0.50...1000.0 Sets the release time Input Level

Dry, 1:99...99:1, Balance between the wet and dry Gate - Attack / Release
Wet/Dry
Wet signal
d Table , “Dynamic Modulation Threshold
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source Dry

5: Stereo Gate
This effect mutes the input signal when it falls below a specified Wet Attack=1
Release=1
level. You can also invert the on/off status of the gate, or use
note-on/off messages to turn the gate on/off directly.

Stereo In - Stereo Out Wet Attack=100

Left Release=100
FX Amt
Gain Adjust
Envelope Source Delay Gate Attack Release
Side PEQ
Envelope - Control Trigger Monitor
+
Envelope - Control
Envelope Select
c: Polarity
Delay Gate

Right
D-mod Gain Adjust This inverts the polarity of the gate on/off operation. With the
FX Control BUS 1
FX Amt
“–” setting, the gate will close when the input signal exceeds the
FX Control BUS 2 specified level. The direction in which the modulation source
opens or closes the gate will also be reversed.
Selects the source to control the
Envelope e: Delay Time [msec]
a D-mod, Input gate: D-mod control, or use the
Source
input signal as a trigger
L/R Mix, This sets the delay time for the input to the gate. When using
Envelope Selects the control signal: left and
Select
L Only,
right linked, left only, or right only shorter Attack Time settings, you can lengthen the Delay Time
R Only
b
Selects the source that will control
so that the sound is input after the gate opens.
Src Off...Tempo the gate when Envelope Src = D-
mod

Threshold 0...100 Sets the level at which gating is

c applied
Polarity +, – Switches the polarity of gating
Attack 1...100 Sets the attack time
d
Release 1...100 Sets the release time

e Delay Time 0...100 Sets the delay time for the gate
[msec] input
Switches the trigger signal equalizer
Side PEQ Insert Off, On
on/off
f
Trigger Switches between monitoring the
Off, On
Monitor effect output and the trigger signal
Side PEQ 20...12.00k Sets the center frequency of the
Cutoff [Hz] equalizer for the trigger signal
Sets the bandwidth of the equalizer
g Q 0.5...10.0
for the trigger signal

Gain [dB] –18.0...+18.0 Sets the gain of the equalizer for the
trigger signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 361
EQ and Filters (EQ/Filter)

b: Band1 Type
EQ and Filters (EQ/Filter) c: Band4 Type
Selects a filter type for Band 1 and 4.
Parametric 4EQ - Band1, Band4 Type

6: St.Parametric4EQ 3dB
+Gain
(Stereo Parametric 4-Band EQ) Band4 Type=Shelving High
Band4 Type=Peaking

This is a stereo 4-band parametric equalizer. You can select 0dB

peaking type or shelving type for Band 1 and 4. The gain of Band Band1 Type=Shelving Low
Band1 Type=Peaking
2 can be controlled by dynamic modulation. –Gain
3dB

Band1 Cutoff Band4 Cutoff

Stereo In - Stereo Out
Left
Band1 Band2 Band3 Band4 FX Amt
PEQ PEQ PEQ PEQ
Parametric 4EQ - Band2 Gain Mod
Trim
LEQ HEQ

+15dB D -mod

LEQ HEQ Band2 Cutoff

Trim
+6dB +6dB
PEQ PEQ PEQ PEQ
Right 0dB 0dB
FX Amt Band2 Cutoff

D-mod –9dB
D-mod
Band2 Gain[dB]= +6.0 Band2 Gain[dB]= +6.0
a Trim 0...100 Sets the input level Band2 Gain Mod Amount[dB]= +9.0 Band2 Gain Mod Amount[dB]= –15.0
Peaking, Selects the type of Band 1
b Band1 Type Shelving-Low
e, f, g, h: Q
c Band4 Type Peaking, Selects the type of Band 4
Shelving-High
These parameters set the bandwidth of each equalizer. The
Band2
Dynamic Gain Off...Tempo
Selects the modulation source of the higher the value, the narrower the band becomes.
Band 2 gain
d Src

Amt [dB] –18.0...+18.0

Sets the modulation amount of d: Band2 Dynamic Gain Src
Band 2 gain
d: Amt [dB]
Band1 Cutoff
20...1.00k Sets the center frequency of Band 1
[Hz]
e
You can control the gain of Band 2 using the modulation source.
Q 0.5...10.0 Sets the bandwidth of Band 1
Gain [dB] –18.0...+18.0 Sets the gain of Band 1
Band2 Cutoff
50...10.00k Sets the center frequency of Band 2
7: St. Graphic 7EQ
[Hz]
f
Q 0.5...10.0 Sets the bandwidth of Band 2
(Stereo Graphic 7-Band EQ)
Gain [dB] –18.0...+18.0 Sets the gain of Band 2 This is a stereo 7-band graphic equalizer. The bar graph of the
Band3 Cutoff 300...10.00k Sets the center frequency of Band 3 gain setting for each band gives you a clear, visual idea of fre-
[Hz]
g Q 0.5...10.0 Sets the bandwidth of Band 3 quency responses. You can select a center frequency setting for
Gain [dB] –18.0...+18.0 Sets the gain of Band 3 each band from twelve types, according to the sound.
Band4 Cutoff 500...20.00k Sets the center frequency of Band 4
[Hz] Stereo In - Stereo Out
h Left
Q 0.5...10.0 Sets the bandwidth of Band 4 FX Amt

Gain [dB] –18.0...+18.0 Sets the gain of Band 4

Trim
Dry, 1:99...99:1, Balance between the wet and dry Band1 Band2 Band3 Band4 Band5 Band6 Band7
Wet/Dry
Wet signal
i Table , “Dynamic Modulation Trim
Src Off...Tempo
sources,” on page 357
Band1 Band2 Band3 Band4 Band5 Band6 Band7
Amt –100...+100 Amount of modulation source Right
FX Amt

1:Wide 1, 2:Wide
2, 3:Wide 3,
4:Half Wide 1,
5:Half Wide 2,
6:Half Wide 3, Selects a combination of center
a Type
7:Low, frequencies for each band
8:Wide Low,
9:Mid, 10:Wide
Mid, 11:High,
12:Wide High
b Trim 0...100 Sets the input level
c Band1 [dB] –18.0...+18.0 Sets the gain of Band 1
d Band2 [dB] –18.0...+18.0 Sets the gain of Band 2
e Band3 [dB] –18.0...+18.0 Sets the gain of Band 3
f Band4 [dB] –18.0...+18.0 Sets the gain of Band 4
Appendix

g Band5 [dB] –18.0...+18.0 Sets the gain of Band 5

h Band6 [dB] –18.0...+18.0 Sets the gain of Band 6
i Band7 [dB] –18.0...+18.0 Sets the gain of Band 7
362 Effects
EQ and Filters (EQ/Filter)

Dry, 1:99...99:1, Balance between the wet and dry b: Emphasis Freq
Wet/Dry
Wet signal
j Table , “Dynamic Modulation This parameter sets the frequency to be emphasized. Higher val-
Src Off...Tempo
sources,” on page 357 ues will emphasize lower frequencies.
Amt –100...+100 Amount of modulation source
c: Enhancer Delay L [msec]
a: Type d: Enhancer Delay R [msec]
This parameter selects a combination of center frequencies for These parameters set the delay time for the Enhancer left and
each band. The center frequency of each band is shown in the right channel. Specifying a slightly different delay time for the
right of the screen. left and right channel will add a stereo image, depth, and width
You can configure a 21-Band Graphic EQ ranging from 80 Hz to to the sound.
18 kHz if you route three Graphic 7-Band EQ effects in series,
with a setting of 7:Low, 9:Mid, and 11:High for each EQ. 9: Stereo Isolator
This is a stereo effect that separates the input signal into low,
8: St.Exciter/Enhncr mid, and high-frequency bands, and controls the volume of each
(Stereo Exciter/Enhancer) band independently. For example you can separately boost or cut
This effect is a combination of the Exciter, which adds a punch the kick, snare, and hi-hat sounds from a drum signal in real-
to the sound and the Enhancer, which adds spread and presence. time.

Stereo In - Stereo Out

Stereo In - Stereo Out
Left Left
FX Amt Low FX Amt
LEQ HEQ
Exciter Mid
EQ Trim Delay Trim High
Depth
Isolator
EQ Trim Delay Low
Exciter
Enhancer Mid
Right Trim
FX Amt High
Right
D-mod FX Amt

D-mod
D-mod
Exciter Blend –100...+100
Sets the intensity (depth) of the D-mod
Exciter effect
Selects the modulation source of the
a Src Off...Tempo a Trim 0...100 Sets the input level
Exciter intensity
Sets the modulation amount of the Sets the frequency at which the low
Amt –100...+100 b Low/Mid [Hz] 100...500
Exciter intensity and mid bands are divided
Sets the frequency to be empha- Sets the frequency at which the mid
Emphasis Freq 0...70 c Mid/High [Hz] 2000...6000
sized and high bands are divided
Selects the modulation source of the –Inf,
b Src Off...Tempo Low Gain [dB] Sets the low-frequency gain
frequency to be emphasized –59...+12
Sets the amount of modulation of the Selects the source that will
Amt –70...+70 d Src Off...Tempo modulate low-frequency gain
frequency to be emphasized
Enhancer Sets the delay time for the Enhancer Amt –72...+72 Sets the amount by which the low-
c 0.0...50.0 frequency gain will be modulated
Delay L [msec] left channel
Enhancer Sets the delay time for the Enhancer Mid Gain [dB] –Inf, Sets the mid-frequency gain
d
Delay R [msec] 0.0...50.0 right channel –59...+12
Enhancer Sets the determines to what degree Selects the modulation source for
0...100 e Src Off...Tempo
Depth the Enhancer effect is applied mid-frequency gain
Selects the modulation source of the Sets the amount by which the mid-
e Src Off...Tempo Amt –72...+72 frequency gain will be modulated
Enhancer width

Amt –100...+100
Sets the modulation amount of the High Gain [dB] –Inf, Sets the high-frequency gain
Enhancer width –59...+12
f EQ Trim 0...100 Sets the 2-band EQ input level Selects the modulation source for
f Src Off...Tempo
high-frequency gain
Low, Selects the cutoff frequency (low or
Pre LEQ Fc Sets the amount by which the high-
Mid-Low mid-low) of the low-range equalizer Amt –72...+72 frequency gain will be modulated
g Selects the cutoff frequency (high or
High, Dry, 1:99...99:1, Balance between the wet and dry
Pre HEQ Fc mid-high) of the high-range Wet/Dry
Mid-High Wet signal
equalizer
Pre LEQ Gain g Table , “Dynamic Modulation
–15.0...+15.0 Gain of the Lo EQ Src Off...Tempo
[dB] sources,” on page 357
h Amt –100...+100 Amount of modulation source
Pre HEQ Gain
–15.0...+15.0 Gain of the High EQ
[dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo sources,” on page 357
Amt –100...+100 Amount of modulation source

a: Exciter Blend
This parameter sets the depth (intensity) of the Exciter effect.
Positive values give a frequency pattern (to be emphasized) dif-
ferent from negative values.
 Effects 363
EQ and Filters (EQ/Filter)

10: St. Wah/Auto Wah a: Frequency Bottom

(Stereo Wah/Auto Wah) a: Frequency Top
The sweep width and direction of the wah filter are determined
This stereo wah effect allows you to create sounds from vintage
by the “Frequency Top” and “Frequency Bottom” settings.
wah pedal simulation to auto-wah simulation, and much
broader range settings. Frequency Frequency
Sweep Mode=D-mod

Higher
Stereo In - Stereo Out Top=75 Wah
Left
FX Amt Bottom=60

Higher
Wah
Wah Woo
Envelope Sens Top=30
Sweep Mode Bottom=25 Woo
+ Envelope Shape
Auto
Response D-mod
D-mod LFO
Higher D-mod Higher D-mod
Zero Max Zero Max
LFO
Wah
Sweep Mode=Auto
Frequency Frequency
Right
FX Amt
Wah Bottom=75 Wah Wah
Top=75

Frequency Sets the lower limit of the wah

Higher

Higher
0...100 Envelope
Bottom center frequency
a Woo Woo
Sets the upper limit of the wah Bottom=25 Top=25
Frequency Top 0...100 center frequency Woo

Auto,
Selects the control from auto-wah, Envelope Time Envelope Time
Sweep Mode D-mod,
LFO modulation source, and LFO

b
Src Off...Tempo
Selects the modulation source for b: Sweep Mode
the wah when Sweep Mode=D-mod

Respon 0...100
Sets the response speed when This parameter changes the wah control mode. Setting “Sweep
Sweep Mode = Auto or D-mod Mode” to Auto will select an auto-wah that sweeps according to
Envelope Sens 0...100 Sets the sensitivity of auto-wah
c
envelope changes in the input signal level. Auto-wah is fre-
Envelope
Shape –100...+100 Sets the sweep curve of auto-wah quently used for funk guitar parts and clav sounds.
LFO Frequency 0.02...20.00
[Hz] Sets the speed of the LFO When “Sweep Mode” is set to D-mod, you can control the filter
Selects a modulation source for LFO directly via the modulation source in the same way as a wah
d Src Off...Tempo
speed pedal.
–20.00... Sets the modulation amount of LFO
Amt
+20.00 speed When “Sweep Mode” is set to LFO, the effect uses LFO to sweep
When this is on, the LFO speed is set in cycle.
MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency
MIDI, MIDI syncs to the system tempo; 40– c: Envelope Sens
BPM 40.00... 300 sets the tempo manually for this
e 300.00 individual effect This parameter sets the sensitivity of auto-wah. Increase the
Base Note r...w
Selects the type of notes that value if the input signal is too low to sweep. Reduce the value if
specify the LFO speed
the input signal is so high that the filter is stopped temporarily.
Sets the number of notes that
Times x1...x32
specify the LFO speed
Resonance 0...100 Sets the resonance amount
c: Envelope Shape
f Switches the wah low pass filter on This parameter determines the sweep curve for auto-wah.
Low Pass Filter Off, On
and off
Sets the output level of the effect Envelope Shape
Output Level 0...100 Level
sound

g Src Off...Tempo Selects the modulation source that

will control the effect output level Envelope
Sets the modulation amount of the
Amt –100...+100
effect output level
value = 0...+100
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry value = 0...–100
Wet signal
h Table , “Dynamic Modulation Time
Src Off...Tempo sources,” on page 357
Amt –100...+100 Amount of modulation source d: LFO Frequency [Hz]
e: MIDI Sync
When “MIDI/Tempo Sync”=Off, the LFO speed uses the LFO
Frequency parameter setting. When “MIDI/Tempo Sync”=On,
the LFO speed follows the “BPM”, “Base Note”, and “Times” set-
tings.

e: BPM
e: Base Note
e: Times
Appendix

One cycle of LFO sweep is obtained by multiplying the length of

a note (r…w) (selected for “Base Note”, in relation to the tempo
specified in “BPM”, or the MIDI Clock tempo if “BPM” is set to
MIDI) by the number specified in the Times parameter.
364 Effects
EQ and Filters (EQ/Filter)

11: St. Vintage Wah a: Mode

(Stereo Vintage/Custom Wah) b: Frequency Bottom
b: Frequency Top
This effect simulates the tonal character of a vintage wah pedal. c: Resonance Bottom
You can customize the tone and range settings. c: Resonance Top
Stereo In - Stereo Out If Mode=Preset, this simulates a vintage wah pedal. In this case,
Left
FX Amt internally fixed values are used for Frequency Bottom/Top and
Envelope Sens Sweep Mode
Wah Resonance Bottom/Top, and these settings will be ignored. The
+
Response
Auto Shape / Invert
Mode
settings for Frequency Bottom/Top and Resonance Bottom/Top
D-mod
D-mod LFO
Preset Setting
are valid if Mode=Custom.
LFO Custom Parameters
Wah

Right
FX Amt
12: St. Random Filter
(Stereo Random Filter)
Selects either preset or custom
Mode Preset, Custom This stereo band pass filter uses a step-shape waveform and ran-
settings
a
Shape –100...+100 Sets the curve of the sweep dom LFO for modulation. You can create a special effect from
Invert Off, On Inverts the polarity of the sweep filter oscillation.
Sets the lower limit of the wah
Frequency
0...100 center frequency when Mode =
Bottom
Custom Stereo In - Stereo Out
b
Sets the upper limit of the wah Left
FX Amt
Frequency Top 0...100 center frequency when Mode =
Custom Filter
Resonance Sets the lower limit of resonance
0...100 Filter
Bottom amount when Mode=Custom
c
Sets the upper limit of resonance Right
Resonance Top 0...100 FX Amt
amount when Mode=Custom LFO Phase

Auto, LFO: Step-Tri/Random

Selects the control from auto-wah,
Sweep Mode D-mod,
LFO modulation source, and LFO

d Src Off...Tempo
Selects the modulation source for LFO Waveform Step-Tri,
Random Selects the LFO Waveform
the wah when Sweep Mode=D-mod
a
Sets the center frequency when LFO Phase Sets the LFO phase difference
–180...+180
Manual 0...100 Sweep Mode=D-mod and [degree] between the left and right
Source=Off LFO Frequency
0.02...20.00 Sets the speed of the LFO
Envelope Sens 0...100 Sets the auto-wah sensitivity [Hz]
e Sets the speed of response when Selects the modulation source used
Response 0...100 b Src Off...Tempo for both LFO speed and step speed
Sweep Mode=Auto or D-mod
LFO Frequency Amt –20.00... Sets the modulation amount of LFO
[Hz] 0.02...20.00 Sets the speed of the LFO +20.00 speed
Selects a modulation source for LFO LFO Step Freq Sets the LFO step speed (speed that
f Src Off...Tempo 0.05...50.00
speed [Hz] changes in steps
c
–20.00... Sets the modulation amount of LFO –50.00... Sets the modulation amount of LFO
Amt Amt
+20.00 speed +50.00 step speed
When this is on, the LFO speed is set When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times, MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency instead of Frequency
MIDI, MIDI syncs to the system tempo; 40– MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this BPM 40.00... 300 sets the tempo manually for this
g 300.00 individual effect d 300.00 individual effect
Selects the type of notes that Selects the type of notes that
Base Note r...w Base Note r...w
specify the LFO speed specify the LFO speed
Sets the number of notes that Sets the number of notes that
Times x1...x32 Times x1...x32
specify the LFO speed specify the LFO speed
Sets the output level of the effect Selects the type of notes to specify
Output Level 0...100 Step Base Note r...w the LFO step speed
sound
Selects the modulation source that e
h Src Off...Tempo Sets the number of notes to specify
will control the effect output level
Times x1...x32 the LFO step speed
Sets the modulation amount of the
Amt –100...+100
effect output level
Manual 0...100 Sets the filter center frequency
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Selects the modulation source for
Wet signal Src Off...Tempo
f the filter center frequency
i Table , “Dynamic Modulation
Src Off...Tempo Sets the modulation amount for the
sources,” on page 357 Amt –100...+100
filter center frequency
Amt –100...+100 Amount of modulation source
Sets the modulation depth of filter
Depth 0...100
center frequency
a: Shape Selects the modulation source of
g Src Off...Tempo
filter modulation
This parameter specifies the sweep curve of the wah. It applies to
Sets the modulation amount of filter
all control via auto-wah, modulation source, and LFO, and lets Amt –100...+100
modulation
you adjust subtle nuances of the wah effect. h Resonance 0...100 Sets the resonance amount
-Wet, - Balance between the wet and dry
Wet/Dry 1:99...Dry...99:1 signal
, Wet
i
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 365
EQ and Filters (EQ/Filter)

a: LFO Phase [degree] 13: St. MultiModeFilter

Offsetting the left and right phases alters how modulation is (Stereo Multi Mode Filter)
applied to the left and right channels, creating a swelling affect.
This is a multi-mode filter with four types; low pass, high pass,
LFO Phase band pass, and band reject. You can use LFO or dynamic modu-
0 +90 +180 [degree] lation to vary the cutoff frequency or resonance.

Stereo In - Stereo Out

Left
FX Amt

Multimode Filter Driver

Trim Output
–180 –90 0 [degree]
LPF

HPF
Filter Type
BPF

BRF

Multimode Filter Driver

Trim Output

Right
FX Amt
a: LFO Waveform LFO Phase

b: LFO Frequency [Hz] LFO: Tri / Sine LFO Shape

c: LFO Step Freq [Hz]

LPF, HPF, BPF,
When “LFO Waveform” is set to Step-Tri, LFO is a step-shape, Type Selects the type of filter
a BRF
triangle waveform. The “LFO Frequency” parameter sets the Trim 0...100 Sets the input level
original triangle waveform speed. Changing the “LFO Step Freq” Cutoff 0...100
Sets the cutoff frequency (center
frequency)
parameter enables you to adjust the width of the steps.
b Src Off...Tempo Selects the modulation source of
the cutoff
When “LFO Waveform” is set to Random, the “LFO Step Freq”
Sets the modulation amount of the
parameter uses a random LFO cycle. Amt –100...+100
cutoff

Random Filter LFO

Resonance 0...100 Sets the resonance amount
LFO Frequency Selects the source that will
Src Off...Tempo
c modulate the amount of resonance
Sets the amount by which the
Amt –100...+100
resonance will be modulated
LFO Waveform Triangle, Sine Selects the LFO Waveform
Step Frequency
Sets the LFO phase difference
Step Frequency
d Phase [degree] –180...+180 between the left and right
Step-Tri Random
Sets the depth to which the LFO will
Depth 0...100
modulate the cutoff frequency
d: BPM LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]
e: Step Base Note Selects a modulation source for LFO
e Src Off...Tempo
e: Times speed

Amt –20.00... Sets the modulation amount of LFO

The width of an LFO step, or a cycle of random LFO, is obtained +20.00 speed
by multiplying the length of a note (r…w) (selected for “Step When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times,
Base Note”, in relation to the tempo specified in “BPM,” or the instead of Frequency
MIDI Clock tempo if “BPM” is set to MIDI) by the number MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
specified in the “Times” parameter. f 300.00 individual effect
Selects the type of notes that
i: Wet/Dry Base Note r...w
specify the LFO speed
Sets the number of notes that
The effect sound’s phase will be reversed when you set this Times x1...x32 specify the LFO speed
parameter in the negative range of values. Drive SW Off, On
Switches distortion on/off within
g the filter
Output Level 0...100 Sets the output level
Drive Gain 0...100 Sets the distortion amount
h
Low Boost 0...100 Sets the amount of low-range boost
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
366 Effects
EQ and Filters (EQ/Filter)

14: St. Sub Oscillator 15: Talking Modulator

(Stereo Sub Oscillator) This effect adds an unusual character, like a human voice, to the
This effect adds very low frequencies to the input signal. It is input signal. Modulating the tone via dynamic modulation, you
very useful when simulating a roaring drum sound or emphasiz- can create an interesting effect that sounds as if the guitar or syn-
ing powerful low range. This effect is different from the equal- thesizer is talking.
izer in that you can add very low range harmonics. You can also
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
adjust the oscillator frequency to match a particular note num- Left
FX Amt
ber, for use as an octaver.

Stereo In - Stereo Out + Talking Modulator A- I - U- E- O

Left
FX Amt
Envelope Shape
Envelope Sens Pre LPF
Right
Sine Oscillator FX Amt
Fixed
D-mod Fixed Frequency
OSC Mode Pitch
Sweep Mode Voice Top: A
Note No. Note Interval, Fine
D-mod D-mod
Voice Center: I
Voice Bottom: U
Note (Key Follow) LFO
LFO
Envelope Sens Pre LPF
Envelope Shape
Right Switches between modulation
FX Amt a Sweep Mode D-mod, LFO
source control and LFO control
Bottom, 1...49,
Manual Voice
Determines whether the oscillator Center, 51...99, Voice pattern control
Note (Key Control Top
a OSC Mode frequency follows the note number b
Follow), Fixed
or whether it is fixed Selects the modulation source that
Src Off...Tempo
Sets the pitch difference from the controls the voice pattern
Note Interval –48...0 note number when OSC Selects a vowel sound at the top
Mode=Note (Key Follow) c Voice Top A, I, U, E, O
b end of control
Fine adjustment of the oscillator Selects a vowel sound in the center
Note Fine –100...+100 d Voice Center A, I, U, E, O
frequency of control
Fixed Sets the oscillator frequency when Selects a vowel sound at the bottom
Frequency [Hz] 10.0...80.0 OSC Mode=Fixed e Voice Bottom A, I, U, E, O
end of control
Selects the modulation source for Sets the frequency to which the
Src Off...Tempo the oscillator frequency when OSC Formant Shift –100...+100
c effect is applied
Mode=Fixed f
Sets the Level of resonance of the
Sets the oscillator frequency Resonance 0...100
voice pattern
Amt –80...+80 modulation amount when OSC
Mode=Fixed LFO Frequency 0.02...20.00
Sets the speed of the LFO
[Hz]
Sets the upper limit of the frequency
d Envelope Pre 1...100 range for which very low harmonics Selects a modulation source for LFO
LPF g Src Off...Tempo
are added speed
Sets the sensitivity with which very Amt –20.00... Sets the modulation amount of LFO
Envelope Sens 0...100 +20.00 speed
low harmonics are added
e
Envelope Sets the oscillator’s volume When this is on, the LFO speed is set
Shape –100...+100 envelope curve MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
f Table , “Dynamic Modulation h 300.00 individual effect
Src Off...Tempo
sources,” on page 357
Selects the type of notes that
Amt –100...+100 Amount of modulation source Base Note r...w specify the LFO speed
Sets the number of notes that
Times x1...x32
a: OSC Mode specify the LFO speed
b: Note Interval Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
b: Note Fine i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
The “OSC Mode” parameter selects the oscillator operation Amt –100...+100 Amount of modulation source
mode. When Note (Key Follow) is selected, the oscillator’s fre-
quency is determined based on the note number, allowing you to
use it as an octaver. The “Note Interval” parameter sets the pitch
offset from the original note number by semitone steps. The
“Note Fine” parameter allows you to fine-tune in steps of cents.

d: Envelope Pre LPF

This parameter sets the upper limit of the frequency range to
which very low harmonics are added. Adjust this parameter if
you do not want to add lower harmonics to the higher range.
 Effects 367
EQ and Filters (EQ/Filter)

c: Voice Top 16: Stereo Decimator

d: Voice Center
e: Voice Bottom
This effect creates a rough sound like a cheap sampler by lower-
ing the sampling frequency and data bit length. You can also
These parameters assign vowels to the top, center, and bottom simulate noise unique to a sampler (aliasing).
position of the controller.
Stereo In - Stereo Out
E.g.: When “Voice Top”=A, “Voice Center”=I, and Left
FX Amt
“Voice Bottom”=U: Pre LPF Resolution High Damp Output Level
Decimator
If “Sweep Mode”is set to D-mod and Ribbon is selected as the
D-mod Sampling Frequency
modulation source, moving your finger from the right to left of LFO
the ribbon controller will change the sound from “a” to “i,” then Decimator
Pre LPF Resolution High Damp Output Level
“u.” Right
FX Amt

If Sweep Mode is set to LFO, the sound will change cyclically

from “a” to “i,” “u,” “i,” then “a.” Selects whether the harmonic noise
Pre LPF Off, On caused by a decrease in sampling
Talking Modulator Control a frequency is generated or not
Voice Bottom Voice Center Voice Top High Damp [%] 0...100 Sets the ratio of cut of the high
range
A A
Sampling Freq 1.00k...
Sets the sampling frequency
I [Hz] 48.00k
Selects the modulation source of
b Src Off...Tempo
U the sampling frequency
–48.00k... Sets the modulation amount of the
E Amt
+48.00k sampling frequency
O LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]
JS X
D -mod
Ribbon – Max Zero
+ Max
Selects a modulation source for LFO
c Src Off...Tempo
speed
JS +Y
+ Max –20.00... Sets the modulation amount of LFO
JS –Y Zero Amt
etc… +20.00 speed
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times,
f: Formant Shift instead of Frequency
This parameter adjusts the frequency level to which the effect is MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
applied. If you wish to apply the effect to a higher-range sound, d 300.00 individual effect
set this parameter to a higher value; to apply the effect to a Base Note r...w
Selects the type of notes that
specify the LFO speed
lower-range sound, set this to a lower value.
Sets the number of notes that
Times x1...x32
specify the LFO speed
f: Resonance Sets the depth of the sampling
Depth 0...100
frequency LFO modulation
This parameter sets the intensity of resonance for the voice pat- Selects the LFO modulation source
e Src Off...Tempo
tern. A larger value will add more character to the sound. of the sampling frequency

Amt –100...+100 Sets the LFO modulation amount of

the sampling frequency
f Resolution 4...24 Sets the data bit length
Output Level 0...100 Sets the output level
Selects the modulation source for
Src Off...Tempo
g the output level
Sets the modulation amount of the
Amt –100...+100 output level
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

a: Pre LPF
If a sampler with a very low sampling frequency receives very
high-pitched sound that could not be heard during playback, it
could generate pitch noise that is unrelated to the original sound.
Set “Pre LPF” to On to prevent this noise from being generated.
If you set the “Sampling Freq” to about 3 kHz and set “Pre LPF”
to Off, you can create a sound like a ring modulator.

f: Resolution
Appendix

g: Output Level
If you set a smaller value for the “Resolution” parameter, the
sound may be distorted. The volume level may also be changed.
Use “Output Level” to adjust the level.
368 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

17: St. Analog Record

(Stereo Analog Record) Overdrive, Amp models, and Mic models
This effect simulates the noise caused by scratches and dust on (OD Amp Mic)
analog records. It also reproduces some of the modulation
caused by a warped turntable.

Stereo In - Stereo Out

18: OD/Hi.Gain Wah
Left
FX Amt
(Overdrive/Hi.Gain Wah)
EQ Trim Pre EQ Analog Record
Simulation This distortion effect utilizes an Overdrive mode and a Hi-Gain
mode. Controlling the wah effect, the 3-band EQ, and the amp
simulation will allow you to create versatile distortion sounds.
EQ Trim Pre EQ This effect is suitable for guitar and organ sounds.
Right
FX Amt
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
a Speed [RPM] 33 1/3, 45, 78 Sets the r.p.m. of a record
Mode: Overdrive / Hi-Gain
Sets the modulation depth Drive
b Flutter 0...100 Pre Low-cut 3 Band PEQ
+ Wah Driver Amp Simulation
Noise Density 0...100 Sets the noise density Output Level
c
Noise Tone 0...100 Sets the noise tone
Direct Mix
Noise Level 0...100 Sets the noise level Right
FX Amt
Selects the modulation source for
Src Off...Tempo
d the noise level D-mod
Sets the modulation amount of the
Amt –100...+100
noise level
Wah Off, On Switches Wah on/off
Sets the click noise level
Click Level 0...100 Selects the modulation source that
Src Off...Tempo switches the Wah on and off
Selects the modulation source for a
e Src Off...Tempo Selects the switching mode for the
the click noise level Toggle,
Sw modulation source that switches the
Sets the modulation amount of the Moment Wah on and off
Amt –100...+100
click noise level
Wah Sweep
f EQ Trim 0...100 Sets the EQ input level Range –10...+10 Sets the range of Wah
Pre EQ Cutoff b
300...10.00k Sets the EQ center frequency Selects the modulation source that
[Hz] Wah Sweep Src Off...Tempo
controls the Wah
g
Q 0.5...10.0 Sets the EQ band width Overdrive, Hi- Switches between overdrive and hi-
c Drive Mode
Gain [dB] –18.0...+18.0 Sets the EQ gain Gain gain distortion
Dry, 1:99...99:1, Balance between the wet and dry Sets the degree of distortion
Wet/Dry Drive 1...100
Wet signal
d
h Table , “Dynamic Modulation Sets the low range cut amount of
Src Off...Tempo Pre Low-cut 0...10
sources,” on page 357 the distortion input
Amt –100...+100 Amount of modulation source Output Level 0...50 Sets the output level
Selects the modulation source for
Src Off...Tempo
e the output level
b: Flutter
Sets the modulation amount of the
Amt –50...+50 output level
This parameter enables you to set the depth of the modulation
Sets the center frequency for Low
caused by a warped turntable. Low Cutoff [Hz] 20...1.00k
EQ (shelving type)
f
Gain [dB] –18...+18 Sets the gain of Low EQ
e: Click Level
Mid1Cutoff Sets the center frequency for Mid/
300...10.00k
[Hz] High EQ 1 (peaking type)
This parameter enables you to set the level of the click noise that
g Sets the band width of Mid/High EQ
occurs once every rotation of the turntable. This simulation Q 0.5...10.0
1
reproduces record noise, and the noise generated after the music Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1
on a vinyl record finishes. Mid2 Cutoff
500...20.00k
Sets the center frequency for Mid/
[Hz] High EQ 2 (peaking type)
h Sets the band width of Mid/High EQ
Q 0.5...10.0
2
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2
Sets the amount of the dry sound
Direct Mix 0...50
mixed to the distortion
i
Speaker Switches the speaker simulation on/
Off, On
Simulation off
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 369
Overdrive, Amp models, and Mic models (OD Amp Mic)

a: Wah 19: St. Guitar Cabinet

The Wah parameter switches the wah effect on/off. (Stereo Guitar Cabinet)
a: Sw This simulates the acoustical character of a guitar amp’s speaker
cabinet.
This parameter sets how the wah effect is switched on and off via
the modulation source. Stereo In - Stereo Out
Left
When “Sw” = Moment, the wah effect is usually turned off. It is FX Amt

turned on only when you press the pedal or operate the joystick. Trim
Cabinet Simulator

When a value for the modulation source is less than 64, “off ” speed is
selected, and when the value is 64 or higher, “on” is selected. Trim
Cabinet Simulator
When “Sw” = Toggle, the wah effect is switched between on and Right
off each time you press the pedal or operate the joystick. FX Amt

The switch will be turned on/off each time the value of the
a Trim 0...100 Sets the input level
modulation source exceeds 64.
Selects the type of the cabinet
b: Wah Sweep Range TWEED - 1x12
Open-back cabinet with one 12"
speaker, typically used for blues
b: Wah Sweep Src Open-back cabinet with four 10"
TWEED - 4x10
speakers
This parameter sets the sweep range of the wah center frequency.
Open-back cabinet with two 10"
A negative value will reverse the direction of sweep. The wah BLACK - 2x10
speakers
center frequency can be controlled by the modulation source BLACK - 2x12
American open-back cabinet with
two12" speakers
specified in the “Wah Sweep Src” parameter.
VOX AC15 - Vox AC15 open-back cabinet with
b Type 1x12 one 12" “Blue” speaker
d: Pre Low-cut
VOX AC30 - Vox AC30 open-back cabinet with
2x12 two 12" “Blue” speakers
Cutting the signal in the low range before it is input to the Dis-
VOX AD412 - VOX AD412 closed-back cabinet
tortion will create a sharp distortion. 4x12 with four 12" speakers

UK H30 - 4x12 Closed-back classic cabinet with

d: Drive four 30W 12" speakers
e: Output Level Closed-back cabinet with four 75W
UK T75 - 4x12
12" speakers
The degree of distortion is determined by the level of input sig- US V30 - 4x12
Closed-back cabinet with four 30W
12" speakers
nal and the setting of “Drive”. Raising the “Drive” setting will
c Air 0...100 Sets the mic position
cause the entire volume level to increase. Use the “Output Level”
Dry, 1:99...99:1, Balance between the wet and dry
parameter to adjust the volume level. The “Output Level” param- Wet/Dry
Wet signal
eter uses the signal level input to the 3-Band EQ. If clipping d
Src Off...Tempo
Table , “Dynamic Modulation
sources,” on page 357
occurs at the 3-Band EQ, adjust the “Output Level” parameter.
Amt –100...+100 Amount of modulation source

20: St. Bass Cabinet

(Stereo Bass Cabinet)
This simulates the acoustical character of a bass amp’s speaker
cabinet.

Stereo In - Stereo Out

Left
FX Amt

Cabinet Simulator
Trim

Trim
Cabinet Simulator

Right
FX Amt

a Trim 0...100 Sets the input level

Appendix
370 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

Selects the cabinet type 21: Bass Amp Model

Four 10" speakers / LA sound
LA - 4x10
cabinet This simulates a bass amp.
MODERN - Four 10" aluminum-cone speakers /
4x10 modern cabinet
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Four 10" aluminum-cone speakers / Left
METAL - 4x10
modern cabinet FX Amt

CLASSIC - 8x10 Eight 10" speakers / classic cabinet

Volume
Four 12" speakers / UK-manufac-
UK - 4x12 + Bass Amp Model
tured cabinet
One 15" speaker / studio combo
STUDIO - 1x15
b Cabinet Type cabinet
One 15" speaker / jazz combo Right
JAZZ - 1x15 FX Amt
cabinet
D-mod
VOX AC100 - Two 15" speakers / cabinet for Vox
2x15 AC100
Two 15" speakers / US-manufac- Selects the amplifier type
US - 2x15
tured cabinet
An amp that is typical of the LA
Four 15" speakers / UK-manufac- LA STUDIO
UK - 4x15 sound.
tured cabinet
A combo amp favored by jazz
One 18" speaker / JAZZ
LA - 1x18 bassists.
LA sound cabinet
An amp distinctive for its eye-
COMBI - 1x12 One 12" and one 18" speaker combi- GOLD PANEL catching gold panel and clean
& 1x18 nation cabinet sound.
a Amp Type
Dry, 1:99...99:1, Balance between the wet and dry SCOOPED An amp typical of 80’s sounds.
Wet/Dry
Wet signal
VALVE2 A tube amp suitable for rock.
c Table , “Dynamic Modulation
Src Off...Tempo A tube amp with the ULTRA LO
sources,” on page 357 VALVE
switch turned ON.
Amt –100...+100 Amount of modulation source
A tube amp whose basic character
CLASSIC changes according to the setting of
the value dial.
Volume 0...100 Sets the output level
Selects the modulation source for
Src Off...Tempo
b the output level
Sets the modulation amount of the
Amt –100...+100 output level
c Bass 0...100 Sets the bass (low range) level
Middle 0...100 Sets the middle (mid range) level
d
Mid Range 0...4 Sets the mid-frequency range
e Treble 0...100 Sets the treble (high range) level
Sets the presence (high-frequency
f Presence 0...100 tone)

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
g Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 371
Overdrive, Amp models, and Mic models (OD Amp Mic)

22: Bass Amp+Cabinet 23: Tube PreAmp Model

(Bass Amp Model+Cabinet) (Tube PreAmp Modeling)
This simulates a bass amp and speaker cabinet. This effect simulates a two-stage vacuum tube preamp. You can
make individual settings for two vacuum tubes connected in
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out series. This lets you create the warm sound typical of vacuum
Left
FX Amt
tubes.
Volume

+ Bass Amp Model1 Cabinet Simulator FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt

Right Invert
FX Amt
+
+ Tube Pre Amp1 Tube Pre Amp2
D-mod –
Output Level

LA STUDIO, Right
JAZZ , FX Amt
GOLD PANEL, Selects the type of the amplifier
a Amp Type
SCOOPED,
VALVE2, VALVE, Tube1 Low Cut Sets the cutoff frequency for the low
CLASSIC Thru, 21...8.00k cut filter of stage 1
[Hz]
a
Volume 0...100 Sets the output level 53...20.00k, Sets the cutoff frequency for the
High Cut [Hz] Thru high cut filter of stage 1
Selects the modulation source for
Src Off...Tempo
b the output level Tube1 Gain
–24.0...+24.0 Sets the input gain for stage 1
Sets the modulation amount of the [dB]
Amt –100...+100 b
output level Sets the input/output response for
Saturation [%] 0...100
c Bass 0...100 Sets the bass (low range) level stage 1
Middle 0...100 Sets the middle (mid range) level c Tube1 Bias 0...100 Sets the bias voltage for stage 1
d Normal,
Mid Range 0...4 Sets the mid-frequency range d Tube1 Phase Turns phase reversal on/off
Wet Invert
e Treble 0...100 Sets the treble (high range) level
Tube2 Low Cut Thru, 21...8.00k Sets the cutoff frequency for the low
Sets the presence (high-frequency [Hz] cut filter of stage 2
f Presence 0...100 e
tone)
53...20.00k, Sets the cutoff frequency for the
Cabinet Switches the cabinet simulator on/ High Cut [Hz]
g Off, On Thru high cut filter of stage 2
Simulater off
Tube2 Gain
LA - 4x10, –24.0...+24.0 Sets the input gain for stage 2
[dB]
MODERN - f
4x10, Sets the input/output response for
Saturation [%] 0...100
METAL - 4x10, stage 2
CLASSIC - Sets the bias voltage for stage 2
8x10, g Tube2 Bias 0...100
UK - 4x12,
STUDIO - 1x15, Selects the cabinet type Tube2 Output
h Cabinet Type h –48.0...+0.0 Sets the output level
JAZZ - 1x15, Level [dB]
VOX AC100 - Dry, 1:99...99:1, Balance between the wet and dry
2x15, Wet/Dry
Wet signal
US - 2x15,
UK - 4x15, i Table , “Dynamic Modulation
Src Off...Tempo
LA - 1x18, sources,” on page 357
COMBI - 1x12 Amt –100...+100 Amount of modulation source
& 1x18

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
i Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source

a: Amp Type
h: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabi-

nets:

Amp Type Cabinet Type

LA STUDIO LA - 4x10, LA - 1x18

JAZZ JAZZ - 1x15
GOLD PANEL MODERN - 4x10
SCOOPED METAL - 4x10
VALVE2 CLASSIC - 8x10
VALVE CLASSIC - 8x10
CLASSIC COMBI - 1x12 & 1x18
Appendix
372 Effects
Overdrive, Amp models, and Mic models (OD Amp Mic)

b, f: Saturation [%] 24: St. Tube PreAmp

With higher settings of this value, the waveform will change at (Stereo Tube PreAmp Modeling)
high gain levels, tending to cause distortion. Lower settings of
This is a stereo vacuum tube preamp simulator (See “Tube Pre-
this value will produce linear response.
Amp Model (Tube PreAmp Modeling)” on page 371.).
Mic/Pre Amp - Saturation

Out Stereo In - Stereo Out

Saturation = 0 Left
FX Amt
Saturation = 50
+
Saturation = 100 Tube Pre Amp1 Tube Pre Amp2
–

In Invert Output Level

+
Tube Pre Amp1 Tube Pre Amp2
–

Right
Bias = 0 FX Amt

c: Tube1 Bias 25: Mic Model+PreAmp

This expresses the effect that changes in vacuum tube bias have (Mic Modeling + PreAmp)
on the distortion of the waveform. Higher settings of this value This effect simulates a mic and vacuum tube preamp. You can
will produce distortion even at low gain levels. Since this will choose from various types of mic and positions to create differ-
also change the overtone structure, you can use it to control the ing sonic characters.
tonal character.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Mic/Pre Amp - Bias
Left
FX Amt
Out
Bias = 100
Bias = 50
Bias = 0
+ Mic Simulation Tube Pre Amp
Output Level

In

Right
FX Amt

Satulation = 50
Vintage
Dynamic, Multi
Condenser,
d: Tube1 Phase Percussion
Condenser,
Drums Dynamic,
With the Wet Invert setting, the phase of the signal will be a Mic Type
Vocal Dynamic,
Selects the type of mic
inverted between stage 1 and stage 2. Since “Bias” is applied to Multi Dynamic,
Vocal
the inverted signal in stage 2, this will change the tonal character. Condenser,
Vocal Tube,
Kick Dynamic
Close, On, Off,
b Mic Position Sets the mic placement distance
Far
Tube Low Cut
Thru, 21...8.00k Sets the frequency of the low cut
[Hz] filter
c
53...20.00k, Sets the frequency of the high cut
High Cut [Hz] Thru filter

Tube Gain [dB] –24.0...+24.0 Sets the input gain to the vacuum
tube preamp
d
Sets the input/output response of
Saturation [%] 0...100
the preamp
e Tube Bias 0...100 Sets the bias level of the preamp
Tube Output
f –48.0...+0.0 Sets the output level of the preamp
Level [dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
g Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source

b: Mic Position
This expresses the effect that the mic position has on the sound.
The Close setting is the closest mic position, and the Far setting
is the farthest.
 Effects 373
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

27: Black Chorus/Flanger

Chorus, Flanger, and Phaser (Cho/Fln This models a Danish-made stereo chorus + pitch modulator &
Phaser) flanger. Although this effect was originally intended for guitar, it
was also used by numerous keyboard players. Used with electric
piano, it produces a distinctive tone.

26: Stereo Chorus Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out
Left
Wet / Dry
This effect adds thickness and warmth to the sound by modulat- Mode & Intensity

ing the delay time of the input signal. You can add spread to the
sound by offsetting the phase of the left and right LFOs from + Chorus +
Mono
Input Gain -
each other. + Output Mode
+ Stereo

Right
Wet / Dry
Stereo In - Stereo Out LFO
Left
FX Amt
LEQ HEQ
Chorus
EQ Trim Speed [Hz] 0.10...10.0 Sets the LFO speed
Intensity 1...100 Sets the intensity of LFO modulation
LEQ HEQ
Chorus Select a mode
EQ Trim 0: Chorus
Mode 0, 1, 2 1: Pitch Modulation
Right
FX Amt 2: Flanger
LFO Phase
LFO: Tri / Sine Width 0...2 Sets the LFO modulation depth
Input Gain 1...100 Sets the input gain
LFO Waveform Triangle, Sine Selects the LFO Waveform Select a output mode
a Output Mode 0, 1 0: Mono
LFO Phase Sets the LFO phase difference 1: Stereo
–180...+180
[degree] between the left and right
Dry, 1:99 ...
LFO Frequency Wet/Dry Balance between the wet and dry signal
0.02...20.00 Sets the speed of the LFO 99:1, Wet
[Hz]
Selects a modulation source for LFO Table , “Selects a modulation source for
b Src Off...Tempo Source Off...Tempo
speed Wet/Dry,” on page 358

Amt –20.00... Sets the modulation amount of LFO Amount –100 ... +100 Table , “Sets the modulation amount for
+20.00 speed Wet/Dry,” on page 358
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times, Mode
instead of Frequency
MIDI, MIDI syncs to the system tempo; 40– Intensity
BPM 40.00... 300 sets the tempo manually for this
c 300.00 individual effect Increasing the “Intensity” value will strengthen the modulation
Base Note r...w
Selects the type of notes that effect. This controls the effect, direct, and feedback values. The
specify the LFO speed
values that are controlled will depend on the “Mode” setting.
Times x1...x32 Sets the number of notes that
specify the LFO speed
L Pre Delay Sets the delay time for the left
0.0...50.0
[msec] channel
d
R Pre Delay Sets the delay time for the right
[msec] 0.0...50.0 channel
Depth 0...100 Sets the depth of LFO modulation
Selects the modulation source for
Src Off...Tempo
e the LFO modulation depth
Sets the modulation amount of the
Amt –100...+100
LFO modulation depth
f EQ Trim 0...100 Sets the EQ input level
Low, Selects the cutoff frequency (low or
Pre LEQ Fc
Mid-Low mid-low) of the low-range equalizer
g Selects the cutoff frequency (high or
High,
Pre HEQ Fc Mid-High mid-high) of the high-range
equalizer
Pre LEQ Gain
–15.0...+15.0 Gain of the Low EQ
[dB]
h
Pre HEQ Gain
–15.0...+15.0 Gain of the High EQ
[dB]
-Wet, -
Balance between the wet and dry
Wet/Dry 1:99...Dry...99:1 signal
, Wet
i
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

d: L Pre Delay [msec]

Appendix

d: R Pre Delay [msec]

Setting the left and right delay time individually allows you to
control the stereo image.
374 Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

28: St.HarmonicChorus 29: St. Biphase Mod.

(Stereo Harmonic Chorus) (Stereo Biphase Modulation)
This effect applies chorus only to higher frequencies. This can be This stereo chorus effect adds two different LFOs together. You
used to apply a chorus effect to a bass sound without making the can set the Frequency and Depth parameters for each LFO indi-
sound thinner. You can also use this chorus block with feedback vidually. Depending on the setting of these LFOs, very complex
as a flanger. waveforms will create an analog-type, unstable modulated
sound.
Stereo In - Stereo Out
Left
Low Level FX Amt Stereo In - Stereo Out
Left
FX Amt
Chorus/Flanger High Level
High Damp Chorus/Flanger
High/Low Split Point Feedback High Damp
High Damp
High Level Feedback
Chorus/Flanger
High Damp
Low Level Chorus/Flanger
Right
FX Amt
Right
LFO Phase FX Amt
180 [degree]
LFO: Tri / Sine
LFO1: Tri / Sine
LFO2: Tri / Sine

LFO Waveform Triangle, Sine Selects the LFO Waveform

a LFO Phase Sets the LFO phase difference LFO1
–180...+180 Triangle, Sine Selects LFO1 waveform
[degree] between the left and right Waveform
LFO Frequency 0.02...20.00 a LFO2 Triangle, Sine Selects LFO2 waveform
Sets the speed of the LFO
[Hz]
0 deg, Switches the LFO phase difference
Selects a modulation source for LFO Phase Sw
b Src Off...Tempo 180 deg between left and right
speed
LFO1
–20.00... Sets the modulation amount of LFO 0.02...30.00 Sets the LFO1 speed
Amt Frequency [Hz]
+20.00 speed
Selects the modulation source of
When this is on, the LFO speed is set b Src Off...Tempo
LFO1&2 speed
MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency –30.00... Sets the modulation amount of
LFO1 Amt
+30.00 LFO1 speed
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this LFO2
0.02...30.00 Sets the LFO2 speed
c 300.00 individual effect Frequency [Hz]
c
Selects the type of notes that –30.00... Sets the modulation amount of
Base Note r...w Amt
specify the LFO speed +30.00 LFO2 speed
Sets the number of notes that Depth1 0...100 Sets the depth of LFO1
Times x1...x32 modulation
specify the LFO speed
Pre Delay Sets the delay time from the original Selects the modulation source of
d 0.0...50.0 d Src Off...Tempo
[msec] sound LFO1&2 modulation depth
Depth 0...100 Sets the depth of LFO modulation Sets the modulation amount of
Amt –100...+100 LFO1 modulation depth
Selects the modulation source of
e Src Off...Tempo the LFO modulation depth Sets the depth of LFO2
Depth2 0...100
modulation
Sets the modulation amount of the e
Amt –100...+100 Sets the modulation amount of
LFO modulation depth Amt –100...+100
LFO2 modulation depth
High/Low Split Sets the frequency split point
f 1...100 L Pre Delay Sets the delay time for the left
Point between the low and high range 0.0...50.0
[msec] channel
Sets the feed back amount of the f
Feedback –100...+100 chorus block R Pre Delay Sets the delay time for the right
0.0...50.0
g [msec] channel
Sets the high range damping
High Damp [%] 0...100 Sets the feedback amount
amount of the chorus block Feedback –100...+100
Low Level 0...100 Sets the low range output level g
High Damp Sets the damping amount in the
h Sets the high range (chorus) output 0...100
High Level 0...100 [%] high range
level
-Wet, -
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry Wet/Dry 1:99...Dry...99:1 Balance between the wet and dry
Wet signal signal
, Wet
i Table , “Dynamic Modulation h
Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357 Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source

f: High/Low Split Point Bi-Phase Modulation LFO

This parameter sets the frequency that splits the high and low
range. Only the high range will be sent to the chorus block. LFO1
Depth1
+
g: Feedback LFO2

Sets the feedback amount of the chorus block. Increasing the Depth2

feedback will allow you to use the effect as a flanger.

 Effects 375
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

30: Multitap Cho/Delay 31: Ensemble

(Multitap Chorus/Delay) This Ensemble effect has three chorus blocks that use LFO to
This effect has four chorus blocks with a different LFO phase. create subtle shimmering, and gives three dimensional depth
You can create a complex stereo image by setting each block’s and spread to the sound, because the signal is output from the
delay time, depth, output level, and pan individually. You can left, right, and center.
also fix some of the chorus blocks to combine the chorus and
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
delay effects. Left
FX Amt

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Left
Feedback FX Amt + Ensemble
Tap1 Delay
Level Pan
Tap2 Delay
Level
+ Pan
Tap3 Delay Right
Level Pan FX Amt
Tap4 Delay Shimmer
Level Pan
LFO
Right
0 [degree] FX Amt
180 [degree]
90 [degree]
270 [degree]
LFO: Triangle
Speed 1...100 Sets the speed of the LFO
Selects a modulation source for LFO
Src Off...Tempo
a speed
LFO Frequency 0.02...13.00 Sets the modulation amount of LFO
a Sets the speed of the LFO Amt –100...+100
[Hz] speed
Tap1 (000) 0...1000 Sets the Tap1 (LFO phase=0 Depth 0...100 Sets the depth of LFO modulation
[msec] degrees) delay time
Selects the modulation source of
Depth 0...30 Sets the Tap1 chorus depth b Src Off...Tempo the LFO modulation depth
b
Level 0...30 Sets the Tap1 output level Sets the modulation amount of the
Amt –100...+100
L6...L1, C, LFO modulation depth
Pan Sets the Tap1 stereo image
R1...R6 Sets the amount of shimmering of
c Shimmer 0...100 the LFO waveform
Tap2 (180) 0...1000 Sets the Tap2 (LFO phase=180
[msec] degrees) delay time Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Depth 0...30 Sets the Tap2 chorus depth Wet signal
c
Level 0...30 Sets the Tap2 output level d Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Pan L6...L1, C, Sets the Tap2 stereo image
R1...R6 Amt –100...+100 Amount of modulation source
Tap3 (090) Sets the Tap3 (LFO phase=90
0...1000
[msec] degrees) delay time c: Shimmer
Depth 0...30 Sets the Tap3 chorus depth
d This parameter sets the amount of shimmering of the LFO wave-
Level 0...30 Sets the Tap3 output level
L6...L1, C, form. Increasing this value adds more shimmering, making the
Pan R1...R6 Sets the Tap3 stereo image
chorus effect more complex and richer.
Tap4 (270) Sets the Tap4 (LFO phase=270
0...1000
[msec] degrees) delay time Ensemble LFO
Level
Depth 0...30 Sets the Tap4 chorus depth
e
Level 0...30 Sets the Tap4 output level
L6...L1, C, Shimmer
Pan Sets the Tap4 stereo image
R1...R6
Tap1 Feedback –100...+100 Sets the Tap1 feedback amount
Selects the modulation source of
Src Off...Tempo Tap1 feedback amount and effect
f Time
balance
Sets the Tap1 feedback amount and
Amt –100...+100
modulation amount
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
g Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
376 Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

32: Polysix Ensemble 33: Stereo Flanger

This models the ensemble effect built into the classic Korg This effect gives a significant swell and movement of pitch to the
PolySix programmable polyphonic synthesizer. sound. It is more effective when applied to a sound with a lot of
harmonics. This is a stereo flanger. You can add spread to the
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out sound by offsetting the phase of the left and right LFOs from
Left
FX Amt each other.

Polysix Stereo In - Stereo Out

+
Ensemble Left
FX Amt

Flanger
Right
FX Amt Feedback

High Damp
Flanger
Depth 0...100 Sets the depth of the effect
Right
Selects the modulation source that FX Amt
Src Off...Tempo LFO Phase
a will control the effect depth
LFO: Tri / Sine LFO Shape
Sets the amount by which the effect
Amt –100...+100
depth will be modulated
Dry, 1:99...99:1, Balance between the wet and dry Delay Time Sets the delay time from the original
Wet/Dry a 0.0...50.0
Wet signal [msec] sound
b Table , “Dynamic Modulation LFO Waveform Triangle, Sine Selects the LFO Waveform
Src Off...Tempo
sources,” on page 357 b
LFO Shape –100...+100 Changes the curvature of the LFO
Amt –100...+100 Amount of modulation source Waveform
LFO Phase Sets the LFO phase difference
c –180...+180
[degree] between the left and right
LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]

d Src Off...Tempo Selects a modulation source for LFO

speed

Amt –20.00... Sets the modulation amount of LFO

+20.00 speed
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
e 300.00 individual effect
Selects the type of notes that
Base Note r...w
specify the LFO speed
Sets the number of notes that
Times x1...x32 specify the LFO speed

f Depth 0...100 Sets the depth of LFO

modulation
Sets the feedback amount
Feedback –100...+100
g Sets the feedback damping amount
High Damp [%] 0...100 in the high range

-Wet, -
Wet/Dry 1:99...Dry...99:1 Balance between the wet and dry
signal
, Wet
h
Table , “Dynamic Modulation
Src Off...Tempo sources,” on page 357
Amt –100...+100 Amount of modulation source

g: Feedback
h: Wet/Dry
The peak shape of the positive and negative “Feedback” value is
different. The harmonics will be emphasized when the effect
sound is mixed with the dry sound if you set a positive value for
both “Feedback” and “Wet/Dry”, and if you set a negative value
for both “Feedback” and “Wet/Dry”.

g: High Damp [%]

This parameter sets the amount of damping of the feedback in
the high range. Increasing the value will cut high-range harmon-
ics.
 Effects 377
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

34: St. Random Flanger 35: St. Env. Flanger

(Stereo Random Flanger) (Stereo Envelope Flanger)
The stereo effect uses a step-shape waveform and random LFO This Flanger uses an envelope generator for modulation. You
for modulation, creating a unique flanging effect. will obtain the same pattern of flanging each time you play. You
can also control the Flanger directly using the modulation
Stereo In - Stereo Out source.
Left
FX Amt

Flanger Stereo In - Stereo Out

Left
FX Amt
Feedback
Flanger
High Damp
Flanger
Feedback

Right High Damp

FX Amt
LFO Phase Flanger
LFO: Step-Tri/Random
Right
FX Amt
D-mod
D-mod
EG Attack/Decay Sweep Mode
Delay Time Sets the delay time from the original EG
a 0.0...50.0
[msec] sound

LFO Waveform Step-Tri, Selects the LFO Waveform L Dly Bottom Sets the lower limit of the left-
Random 0.0...50.0
b [msec] channel delay time
LFO Phase Sets the LFO phase difference a
–180...+180 L Dly Top Sets the upper limit of the left-
[degree] between the left and right 0.0...50.0
[msec] channel delay time
LFO Frequency
0.02...20.00 Sets the speed of the LFO R Dly Bottom Sets the lower limit of the right-
[Hz] 0.0...50.0
[msec] channel delay time
Selects the modulation source used b
c Src Off...Tempo R Dly Top Sets the upper limit of the right-
for both LFO speed and step speed 0.0...50.0
[msec] channel delay time
–20.00... Sets the modulation amount of LFO
Amt Determines whether the flanger is
+20.00 speed
Sweep Mode EG, D-mod controlled by the envelope
LFO Step Freq Sets the LFO step speed (speed that generator or by the modulation
0.05...50.00
[Hz] changes in steps) source
d
–50.00... Sets the modulation amount of LFO c Selects the modulation source that
Step Amt
+50.00 step speed triggers the EG (when Sweep Mode =
When this is on, the LFO speed is set Src Off...Tempo EG), or the modulation source that
MIDI Sync Off, On by BPM, Base Note, and Times, causes the flanger to sweep (when
instead of Frequency Sweep Mode = D-mod)
MIDI, MIDI syncs to the system tempo; 40– EG Attack 1...100 Sets the EG attack speed
d
BPM 40.00... 300 sets the tempo manually for this EG Decay 1...100 Sets the EG decay speed
e 300.00 individual effect
Sets the feedback amount
Selects the type of notes that e Feedback –100...+100
Base Note r...w
specify the LFO speed
Sets the feedback damping amount
Sets the number of notes that f High Damp [%] 0...100 in the high range
Times x1...x32
specify the LFO speed
Selects the type of notes to specify -Wet, -
Step Base Note r...w
the LFO step speed Wet/Dry 1:99...Dry...99:1 Balance between the wet and dry
signal
f Sets the number of notes to specify , Wet
Times x1...x32 the LFO step speed g
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Sets the depth of LFO Amt –100...+100 Amount of modulation source
g Depth 0...100
modulation
Sets the feedback amount
Feedback –100...+100 c: Sweep Mode
h
Sets the feedback damping amount c: Src
High Damp [%] 0...100 in the high range
-Wet, - This parameter switches the flanger control mode. With “Sweep
Balance between the wet and dry
Wet/Dry 1:99...Dry...99:1 signal Mode” = EG, the flanger will sweep using the envelope genera-
, Wet
i
Table , “Dynamic Modulation
tor. This envelope generator is included in the envelope flanger,
Src Off...Tempo
sources,” on page 357 and not related to the Pitch EG, Filter EG, or Amp EG.
Amt –100...+100 Amount of modulation source
The “Src” parameter selects the source that starts the envelope
generator. If you select, for example, Gate, the envelope genera-
tor will start when the note-on message is received.
When “Sweep Mode” = D-mod, the modulation source can con-
trol the flanger directly. Select the modulation source using the
“Src” parameter.
The effect is off when a value for the modulation source specified for
the “Src” parameter is smaller than 64, and the effect is on when the
value is 64 or higher. The Envelope Generator is triggered when the
value changes from 63 or smaller to 64 or higher.
Appendix

d: EG Attack
d: EG Decay
Attack and Decay speed are the only adjustable parameters on
this EG.
378 Effects
Chorus, Flanger, and Phaser (Cho/Fln Phaser)

36: Stereo Phaser 37: St. Random Phaser

This effect creates a swell by shifting the phase. It is very effective (Stereo Random Phaser)
on electric piano sounds. You can add spread to the sound by This is a stereo phaser. The effect uses a step-shape waveform
offsetting the phase of the left and right LFOs from each other. and random LFO for modulation, creating a unique phasing
effect.
Stereo In - Stereo Out
Left
FX Amt
Stereo In - Stereo Out

Phaser Left
FX Amt

Resonance Phaser

High Damp
Resonance
Phaser
High Damp
Right Phaser
FX Amt
LFO Phase
LFO Shape Right
LFO: Tri / Sine FX Amt
LFO Phase
LFO: Step-Tri/Random

LFO Waveform Triangle, Sine Selects the LFO Waveform

a Changes the curvature of the LFO
LFO Shape –100...+100
Waveform LFO Waveform Step-Tri, Step- Selects the LFO Waveform
Sin, Random
LFO Phase Sets the LFO phase difference a
b –180...+180 LFO Phase Sets the LFO phase difference
[degree] between the left and right [degree] –180...+180 between the left and right
LFO Frequency 0.02...20.00 Sets the speed of the LFO LFO Frequency 0.02...20.00
[Hz] Sets the speed of the LFO
[Hz]
Selects a modulation source for LFO Selects the modulation source
c Src Off...Tempo
speed b Src Off...Tempo commonly used for LFO speed and
–20.00... Sets the modulation amount of LFO step speed
Amt +20.00 speed
Amt –20.00... Sets the modulation amount of LFO
When this is on, the LFO speed is set +20.00 speed
MIDI Sync Off, On by BPM, Base Note, and Times, LFO Step Freq
instead of Frequency 0.05...50.00 Sets the LFO step speed
[Hz]
MIDI, MIDI syncs to the system tempo; 40– c
–50.00... Sets the modulation amount of LFO
BPM 40.00... 300 sets the tempo manually for this Amt +50.00 step speed
d 300.00 individual effect
When this is on, the LFO speed is set
Base Note r...w Selects the type of notes that MIDI Sync Off, On by BPM, Base Note, and Times,
specify the LFO speed instead of Frequency
Sets the number of notes that MIDI, MIDI syncs to the system tempo; 40–
Times x1...x32
specify the LFO speed BPM 40.00... 300 sets the tempo manually for this
Sets the frequency to which the d 300.00 individual effect
Manual 0...100
effect is applied Selects the type of notes that
Base Note r...w
Selects the modulation source for specify the LFO speed
e Src Off...Tempo
the LFO modulation Sets the number of notes that
Times x1...x32
Sets the modulation amount of the specify the LFO speed
Amt –100...+100 LFO modulation Selects the type of notes to specify
Depth 0...100 Sets the depth of LFO modulation Step Base Note r...w the LFO step speed
Selects the modulation source for e
f Src Off...Tempo the LFO modulation depth Sets the number of notes to specify
Times x1...x32 the LFO step speed
Sets the modulation amount of the
Amt –100...+100
LFO modulation depth
Sets the frequency to which the
Sets the resonance amount Manual 0...100
Resonance –100...+100 effect is applied
h Selects the modulation source for
Sets the resonance damping f Src Off...Tempo
the LFO modulation
High Damp [%] 0...100 amount in the high range
Sets the modulation amount of the
Amt –100...+100
LFO modulation
-Wet, -
Wet/Dry 1:99...Dry...99:1 Balance between the wet and dry g Depth 0...100 Sets the depth of LFO modulation
signal
, Wet Sets the resonance amount
j Resonance –100...+100
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 h Sets the resonance damping
Amt –100...+100 Amount of modulation source High Damp [%] 0...100 amount in the high range

h: Resonance -Wet, -
Balance between the wet and dry
Wet/Dry 1:99...Dry...99:1 signal
i: Wet/Dry , Wet
i
Table , “Dynamic Modulation
The peak shape of the positive and negative Feedback value is Src Off...Tempo
sources,” on page 357
different. The harmonics will be emphasized when the effect Amt –100...+100 Amount of modulation source
sound is mixed with the dry sound, if you set a positive value for
both “Resonance” and “Wet/Dry”, and if you set a negative value
for both “Resonance” and “Wet/Dry”.

h: High Damp [%]

This parameter sets the amount of damping of the resonance in
the high range. Increasing the value will cut high-range harmon-
ics.
 Effects 379
Modulation and Pitch Shift (Mod./P.Shift)

38: St. Env. Phaser

(Stereo Envelope Phaser) Modulation and Pitch Shift (Mod./P.Shift)
This stereo phaser uses an envelope generator for modulation.
You will obtain the same pattern of phasing each time you play.
You can also control the Phaser directly using the modulation 39: Stereo Vibrato
source. This effect causes the pitch of the input signal to shimmer. Using
Stereo In - Stereo Out
the AutoFade allows you to increase or decrease the shimmering
Left
FX Amt
speed.
Phaser
Stereo In - Stereo Out
Left
Resonance FX Amt

High Damp Vibrato

Phaser

Right
FX Amt
D-mod
D-mod Vibrato
EG Attack/Decay Sweep Mode
EG

Right
FX Amt
LFO: Tri / Sine LFO Shape
Sets the lower limit of the frequency
L Manu
0...100 range for the effect on the left AutoFade Fade-In Delay LFO Frequency
Bottom
channel
a
Sets the upper limit of the frequency
L Manu Top 0...100 range for the effect on the left Selects the modulation source that
a AUTOFADE Src Off...Tempo
channel starts AutoFade
Sets the lower limit of the frequency Fade-In Delay Sets the fade-in delay time
R Manu [msec] 00...2000
0...100 range for the effect on the right b
Bottom
channel Sets the rate of fade-in
b Fade-In Rate 1...100
Sets the upper limit of the frequency
R Manu Top 0...100 range for the effect on the right LFO Waveform Triangle, Sine Selects the LFO Waveform
channel c Changes the curvature of the LFO
Determines whether the flanger is LFO Shape –100...+100
Waveform
Sweep Mode EG, D-mod controlled by the envelope
generator or by the modulation Switches between D-mod and
LFO Frequency D-mod,
source d AUTOFADE for the LFO frequency
Mod AUTOFADE
modulation
c Selects the modulation source that
triggers the EG (when EG is selected LFO Frequency
0.02...20.00 Sets the speed of the LFO
for Sweep Mode), or modulation [Hz]
Src Off...Tempo
source that causes the flanger to Selects a modulation source for LFO
sweep (when D-mod is selected for e Src Off...Tempo
speed
Sweep Mode)
–20.00... Sets the modulation amount of LFO
Sets the EG attack speed Amt
EG Attack 1...100 +20.00 speed
d When this is on, the LFO speed is set
Sets the EG decay speed MIDI Sync Off, On by BPM, Base Note, and Times,
EG Decay 1...100
instead of Frequency
Sets the resonance amount MIDI, MIDI syncs to the system tempo; 40–
e Resonance –100...+100
BPM 40.00... 300 sets the tempo manually for this
f 300.00 individual effect
Sets the resonance damping
f High Damp [%] 0...100 amount in the high range Selects the type of notes that specify
Base Note r...w
the LFO speed
-Wet, - Sets the number of notes that
Balance between the wet and dry Times x1...x32
Wet/Dry 1:99...Dry...99:1 signal specify the LFO speed
, Wet
g Depth 0...100 Sets the depth of LFO modulation
Table , “Dynamic Modulation
Src Off...Tempo Selects the modulation source of the
sources,” on page 357 Src Off...Tempo
g LFO modulation depth
Amt –100...+100 Amount of modulation source
Sets the modulation amount of the
Amt –100...+100
LFO modulation depth
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
380 Effects
Modulation and Pitch Shift (Mod./P.Shift)

a: AUTOFADE Src 40: St. Auto Fade Mod.

b: Fade-In Delay [msec] (Stereo Auto Fade Modulatiom)
b: Fade-In Rate
d: LFO Frequency Mod This stereo chorus/flanger effect enables you to control the LFO
speed and effect balance using auto fade, and you can spread the
When “LFO Frequency Mod” is set to AUTOFADE, you can use sound by offsetting the phase of the left and right LFOs from
the modulation source selected in “AUTOFADE Src” as a trigger each other.
to automatically fade in the modulation amount. When “MIDI
Sync” is set to On, you cannot use this. Stereo In - Stereo Out
Left
The “Fade-In Rate” parameter specifies the rate of fade-in. The FX Amt

Delay
“Fade-In Delay” parameter determines the time from AutoFade
modulation source On until the fade-in starts. Feedback

High Damp
The following is an example of fade-in where the LFO speed is Delay

increased from “1.0Hz” to “4.0Hz” when a note-on message is Right

FX Amt
received. LFO Phase
LFO: Tri / Sine LFO Shape

AUTOFADE Src=Gate1, LFO Frequency Mod=AUTOFADE, AutoFade LFO Frequency

FX Amt
LFO Frequency [Hz]=1.0, Amt=3.0
The effect is off when a value for the dynamic modulation source
specified for the “AUTOFADE Src” parameter is smaller than 64, and AUTOFADE Src Off...Tempo Selects the modulation source that
starts AutoFade
the effect is on when the value is 64 or higher. The AutoFade function
Fade-In Delay Sets the fade-in delay time
is triggered when the value changes from 63 or smaller to 64 or a 00...2000
[msec]
higher. Sets the rate of fade-in
Rate 1...100
AUTOFADE AutoFade
Switches between D-mod and
Source=Gate1 LFO Frequency D-mod, AUTOFADE for the LFO frequency
LFO Freq. Mod=AUTOFADE Mod AUTOFADE modulation
Gate1 Signal LFO Frequency[Hz]=1.0
Amount=+3.0 b
Switches between D-mod and
D-mod, AUTOFADE for the effect balance
Note On All Note Off Wet/Dry Mod
AUTOFADE modulation
LFO Frequency
Fade-In Rate =1.0+3.0=4.0Hz LFO Waveform Triangle, Sine Selects the LFO Waveform
AUTOFADE
Fade-In Dealy c Changes the curvature of the LFO
LFO Frequency LFO Shape –100...+100
Waveform
=1.0Hz
d LFO Phase –180...+180 Sets the LFO phase difference
[degree] between the left and right
LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]

e Src Off...Tempo Selects a modulation source for LFO

speed
–20.00... Sets the modulation amount of LFO
Amt +20.00 speed
L Delay Time
0.0...500.0 Sets the left channel delay time
[msec]
f
R Delay Time
0.0...500.0 Sets the right channel delay time
[msec]
g Depth 0...200 Sets the depth of LFO modulation
Sets the feedback amount
Feedback –100...+100
h Sets the feedback damping amount
High Damp [%] 0...100 in the high range

-Wet, -
1:99...Dry...99:1 Balance
between the wet and dry
Wet/Dry signal
, Wet
i
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 381
Modulation and Pitch Shift (Mod./P.Shift)

41: 2Voice Resonator a: Control Mode

f: Voice 1: Resonance
This effect resonates the input signal at a specified pitch. You can h: Voice 2: Resonance
set the pitch, output level, and pan settings for two resonators
individually. You can control the resonance intensity via an LFO. This parameter determines the resonance intensity.
When “Control Mode” = Manual, the “Resonance” parameter
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
sets the intensity of resonance. If the “Resonance” parameter has
FX Amt
High Damp a negative value, harmonics will be changed, and resonance will
Resonator
Trim Level Pan occur at a pitch one octave lower.
+ Resonance
When “Control Mode” = LFO, the intensity of resonance varies
Trim
Resonator
High Damp
Level Pan according to the LFO. The LFO sways between positive and neg-
Right ative values, causing resonance to occur between specified
FX Amt

Invert: On/Off
pitches an octave apart in turn.
D-mod
LFO
Control Mode
Pitch, Fine [cents]
When “Control Mode” = D-mod, the resonance is controlled by
Manual
the dynamic modulation source. If JS X or Ribbon is assigned as
the modulation source, the pitch an octave higher and lower can
Manual, LFO, Switches the controls of resonance
Control Mode
D-mod intensity be controlled, similar to when LFO is selected for Control Mode.
a
LFO/D-mod Reverses the Voice 1 and 2 control
Off, On a: LFO/D-mod Invert
Invert when LFO/D-mod is selected
LFO Frequency 0.02...20.00
[Hz]
Sets the speed of the LFO When “Control Mode” = LFO or D-mod, the controlled phase of
b either Voice 1 or 2 will be reversed. When the resonance pitch is
Selects the modulation source that
D-mod Src Off...Tempo
controls resonance intensity set for Voice 1 (Resonance has a positive value), Voice 2 will res-
When this is on, the LFO speed is set onate at a pitch an octave below (Resonance has a negative
MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency value).
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this f: Voice 1: Pitch
c 300.00 individual effect
Selects the type of notes that f: Fine [cents]
Base Note r...w specify the LFO speed h: Voice 2: Pitch
Times x1...x32 Sets the number of notes that h: Fine [cents]
specify the LFO speed

Mod. Depth –100...+100

Sets the amount of resonance The Pitch parameter specifies the pitch of resonance by note
d intensity control via LFO/D-mod
Trim 0...100 Sets the input level at the resonator
name. The “Fine” parameter allows for fine adjustment in steps
Voice1: Pitch C0...B8 Sets the voice1 Pitch for resonance of cents.
e Fine [cents] –50...+50 Fine-adjusts the voice 1 pitch for
resonance g: High Damp [%]
Level 0...100 Sets the Voice1 output level i: High Damp [%]
Voice1: Sets the intensity of resonance
Resonance
–100...+100
when Control Mode = Manual This sets the amount of damping amount for the high frequen-
f High Damp [%] 0...100
Sets the damping amount of cies of the resonant sound. Lower values create a metallic sound
resonant sound in the high range
with a higher range of harmonics.
L6...L1, C,
Pan Sets the Voice1 stereo image
R1...R6
Voice2: Pitch C0...B8 Sets the voice 2 Pitch for resonance
Fine-adjusts the voice 2 pitch for
g Fine [cents] –50...+50 resonance
Level 0...100 Sets the Voice2 output level
Voice2: Sets the intensity of resonance
–100...+100
Resonance when Control Mode = Manual
Sets the damping amount of
h High Damp [%] 0...100
resonant sound in the high range
L6...L1, C,
Pan R1...R6 Sets the Voice2 stereo image

Dry, 1:99...99:1, Balance between the wet and dry

Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
382 Effects
Modulation and Pitch Shift (Mod./P.Shift)

42: Doppler The effect is off when a value for the modulation source specified for
the “Src” parameter is smaller than 64, and the effect is on when the
This effect simulates the “Doppler effect” of a moving sound value is 64 or higher. The Doppler effect is triggered when the value
with a changing pitch, similar to the siren of an passing ambu- changes from 63 or smaller to 64 or higher.
lance. Mixing the effect sound with the dry sound will create a
e: Pitch Depth
unique chorus effect.
With the Doppler effect, the pitch is raised when the sound
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
approaches, and the pitch is lowered when the sound goes away.
FX Amt
This parameter sets this pitch variation.

+ Doppler
f: Pan Depth
Pan Depth

This parameter sets the width of the stereo image of the effect
sound. With larger values, the sound seems to come and go from
Right

LFO
FX Amt much further away. With positive values, the sound moves from
D -mod
Trigger LFO Mode = 1-Shot left to right; with negative values, the sound moves from right to
left.
LFO Mode Loop, 1-Shot Switches LFO operation mode Doppler - Pitch / Pan Depth
a Pitch
Selects the modulation source of
Src Off...Tempo LFO reset

Higher
Pan Depth Pan Depth
Switches between LFO reset on and = (+) value = (–) value
b LFO Sync Off, On
off when LFO Mode is set to Loop Original Pitch Pitch Depth

Lower
LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]
Selects a modulation source for LFO
c Src Off...Tempo
speed Left Center Right
–20.00... Sets the modulation amount of LFO
Amt Pan Depth
+20.00 speed < < < < < <<<<<< >>>>>> > > > > >
When this is on, the LFO speed is set Louder Volume Louder
MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
d 300.00 individual effect
43: Scratch
Selects the type of notes that
Base Note r...w
specify the LFO speed
This effect is applied by recording the input signal and moving
Sets the number of notes that
Times x1...x32 specify the LFO speed the modulation source. It simulates the sound of scratches you
Sets the pitch variation of the can make using a turntable.
Pitch Depth 0...100
moving sound
Selects the modulation source of FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
e Src Off...Tempo pitch variation Left
FX Amt
Sets the modulation amount of
Amt –100...+100
pitch variation
Direct
Sets the panning of the moving + Scratch Mix
Pan Depth –100...+100
sound Rec Control Scratch

Selects the modulation source of

f Src Off...Tempo
panning Right
FX Amt
Sets the modulation amount of D-mod
D-mod
Amt –100...+100 panning
Envelope Control
Input
Envelope Select
Dry, 1:99...99:1, Balance between the wet and dry D-mod
Wet/Dry
Wet signal
g Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 Selects the modulation source for
a Scratch Source Off...Tempo
Amt –100...+100 Amount of modulation source simulation control
Sets the speed of the response to
b Response 0...100
the Scratch Src
a: LFO Mode
Selects whether the start and end of
a: Src Envelope
D-mod, Input
recording is controlled via the
Select modulation source or the input
b: LFO Sync c signal level
Selects the modulation source that
The “LFO Mode” parameter switches LFO operation mode. Src Off...Tempo controls recording when Envelope
When Loop is selected, the Doppler effect will be created repeat- Select is set to D-mod
edly. If “LFO Sync” is set to On, the LFO will be reset when the Sets the recording start level when
d Threshold 0...100
Envelope Select is set to Input
modulation source specified with the “Src” parameter is turned Sets the speed of the response to
e Response 0...100
on. the end of recording
Always On,
When “LFO Mode” is set to 1-Shot, the Doppler effect is created f Direct Mix Always Off, Selects how a dry sound is mixed
Cross Fade
only once when the modulation source specified in the “Src”
Dry, 1:99...99:1, Balance between the wet and dry
field is turned on. At this time if you do not set the “Src” param- Wet/Dry
Wet signal
eter, the Doppler effect will not be created, and no effect sound g
Src Off...Tempo
Table , “Dynamic Modulation
will be output. sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 383
Modulation and Pitch Shift (Mod./P.Shift)

a: Scratch Source 44: Grain Shifter

b: Response
This effect cuts extremely short samples (“grains”) from the
The Scratch Source parameter enables you to select the modula- input signal waveform and plays them repeatedly, giving a
tion source that controls simulation. The value of the modula- mechanical character to the sound.
tion source corresponds to the playback position. The Response
parameter enables you to set the speed of the response to the FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

modulation source. Left

FX Amt

Scratch Source

Start Playback Position End

+ Grain Shifter
Sample Cycle

Recorded Sound
Right
FX Amt
LFO

Scratch Source D-mod Trigger

Scratch!
JS X
D-mod
Ribbon – Max Zero + Max

JS+Y Duration 0...100 Sets the duration of the grain

JS–Y Zero + Max
Selects the source that will
etc… Src Off...Tempo
a modulate the duration of the grain
Sets the amount by which the grain
c: Envelope Select Amt –100...+100
duration will be modulated
c: Src b LFO Sync Src Off...Tempo
Selects the modulation source that
will reset the LFO
d: Threshold
LFO Sample Sets the frequency at which the
0.02...20.00
Cycle [Hz] grain will be switched
When “Envelope Select” is set to D-mod, the input signal will be
Selects a modulation source for LFO
recorded only when the modulation source value is 64 or higher. c Src Off...Tempo
speed

When “Envelope Select” is set to Input, the input signal will be –20.00... Sets the modulation amount of LFO
Amt
+20.00 speed
recorded only when its level is over the Threshold value. When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times,
The maximum recording time is 2,730msec. If this is exceeded, instead of Frequency
the recorded data will start being erased from the top. MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
d 300.00 individual effect
e: Response
Selects the type of notes that
Base Note r...w
specify the LFO speed
This parameter enables you to set the speed of the response to
Sets the number of notes that
the end of recording. Set a smaller value when you are recording Times x1...x32
specify the LFO speed
a phrase or rhythm pattern, and set a higher value if you are Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry
Wet signal
recording only one note.
e Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
f: Direct Mix
Amt –100...+100 Amount of modulation source
With Always On, a dry sound is usually output. With Always
Off, dry sounds are not output. With Cross Fade, a dry sound is a: Duration
usually output, and it is muted only when scratching. c: LFO Sample Cycle [Hz]

Set Wet/Dry to 100 to use this parameter effectively. Duration sets the length of the sampled grain, and the LFO
Sample Cycle controls how often a new grain is sampled. In
between Sample Cycles, the current grain is repeated continu-
ously.
Sample Cycle / Duration

Sample Cycle

Duration

In

Out
Appendix
384 Effects
Modulation and Pitch Shift (Mod./P.Shift)

45: Stereo Tremolo 46: St. Env. Tremolo

This effect modulates the volume level of the input signal. The (Stereo Envelope Tremolo)
effect is stereo, and offsetting the LFO of the left and right phases This effect uses the input signal level to modulate a stereo trem-
from each other produces a tremolo effect between left and olo (LFO volume modulation). For instance, you can create a
right. tremolo effect that becomes deeper and faster as the input gets
more quiet.
Stereo In - Stereo Out
Left
FX Amt
Stereo In - Stereo Out
Left
Tremolo FX Amt

Tremolo

Tremolo

Right Tremolo
FX Amt
LFO Phase Right
FX Amt
LFO: Tri/Sin/Vintage/Up/Down LFO Shape LFO Phase
LFO: Tri/Sin/Vintage LFO Shape

Triangle, Sine, + Envelope Envelope Shape

LFO Waveform Vintage, Up, Selects the LFO Waveform Envelope Sens
a Down
Changes the curvature of the LFO
LFO Shape –100...+100 Sets the envelope’s sensitivity to the
Waveform Envelope Sens 0...100
input signal
LFO Phase Sets the LFO phase difference a
b –180...+180 Envelope
[degree] between the left and right –100...+100 Sets the envelope’s curvature
Shape
LFO Frequency 0.02...20.00
Sets the speed of the LFO
LFO Waveform Triangle,
[Hz] Sine,
Selects the LFO Waveform
Vintage
Selects a modulation source for LFO b
c Src Off...Tempo speed Changes the curvature of the LFO
LFO Shape –100...+100
Waveform
–20.00... Sets the modulation amount of LFO
Amt +20.00 speed LFO Phase Sets the LFO phase difference
c –180...+180
[degree] between the left and right
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times, LFO Frequency 0.02...20.00
Sets the speed of the LFO
instead of Frequency [Hz]
MIDI, MIDI syncs to the system tempo; 40– d Sets the amount added to or
Envelope –20.00...
BPM 40.00... 300 sets the tempo manually for this subtracted from the Frequency
d Amount [Hz] +20.00
300.00 individual effect when the envelope is at maximum
Selects the type of notes that Depth 0...100 Sets the initial amount of tremolo
Base Note r...w
specify the LFO speed Sets the amount added to or
e Envelope
Sets the number of notes that –100...+100 subtracted from the Depth when
Times x1...x32 Amount the envelope is at maximum
specify the LFO speed
Depth 0...100 Sets the depth of LFO modulation Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
Selects the modulation source of
e Src Off...Tempo the depth of modulation f Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Sets the modulation amount of the
Amt –100...+100 Amt –100...+100 Amount of modulation source
depth of modulation
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal d: LFO Frequency [Hz]
f Table , “Dynamic Modulation d: Envelope Amount [Hz]
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source e: Depth
e: Envelope Amount
a: LFO Waveform
The graphic below shows an example of tremolo modulation
This parameter sets the basic shape of the LFO. The Vintage with negative modulation of both Depth and Frequency. At the
waveform models classic guitar-amp tremolo. start of the note, the input is at maximum volume. This slows
Tremolo - LFO Waveform
down the LFO Frequency to 1.0Hz, but also modulates the
Depth to 0–so the tremolo doesn’t have any effect.
Triangle Sine Vintage Up Down As the input volume dies down, the Frequency speeds up; the
Depth also increases, making the tremolo effect increasingly
audible. When the input volume approaches silence, the Depth
is at its maximum (100) and Frequency is at 8Hz.
Shimmer
Level Dry Envelope
b: LFO Phase [degree] LFO Frequency[Hz]=8.0
Envelope Amount[Hz]= –7.0Hz
Depth=100
This parameter determines the difference between the left and
Louder

Envelope Amount= –100

right LFO phases. A higher value will simulate the auto-pan

effect in which the sound is panned between left and right.
Time
 Effects 385
Modulation and Pitch Shift (Mod./P.Shift)

47: Stereo Auto Pan Stereo Auto Pan - LFO Phase

LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees
This is a stereo-in, stereo-out auto-panner. The Phase and Shape L-In L-In L-In

parameters lets you create various panning effects, such as mak- R-In R-In R-In

ing the left and right inputs seem to chase each other around the L-In L-In L-In

R-In R-In R-In

stereo field. L-In L-In L-In

R-In R-In R-In

Stereo In - Stereo Out L-In L-In L-In

Left
FX Amt R-In R-In R-In

L-In L-In L-In

Pan
R-In R-In R-In

Depth Left Center Right

Output Stereo Image

Pan

Right
FX Amt

LFO: Tri / Sin LFO Shape

LFO Phase
48: St. Phaser + Trml
(Stereo Phaser + Tremolo)
LFO Waveform Triangle, Sine Selects the LFO Waveform
a
This effect combines a stereo phaser and tremolo, with linked
Changes the curvature of the LFO
LFO Shape –100...+100
Waveform LFOs. Swelling phaser modulation and tremolo effects synchro-
b
LFO Phase
–180...+180
Sets the LFO phase difference nize with each other, creating a soothing modulation effect par-
[degree] between the left and right ticularly suitable for electric piano.
LFO Frequency 0.02...20.00 Sets the speed of the LFO
[Hz]
Stereo In - Stereo Out
Selects a modulation source for LFO
c Src Off...Tempo Left
speed FX Amt

Amt –20.00... Sets the modulation amount of LFO Phaser Tremolo

Phaser FX Amt
+20.00 speed
Resonance
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times, Phaser FX Amt
instead of Frequency Phaser Tremolo

MIDI, MIDI syncs to the system tempo; 40– Right

BPM 40.00... 300 sets the tempo manually for this FX Amt
d 300.00 individual effect LFO Type
LFO LFO Shape
Base Note r...w Selects the type of notes that specify LFO Phase
the LFO speed
Sets the number of notes that
Times x1...x32 Selects the type of the tremolo and
specify the LFO speed
phaser LFOs
Depth 0...100 Sets the depth of LFO modulation Phs - Trml, Phaser - Tremolo,
Selects the modulation source of the ... Phaser - Tremolo Spin,
Src Off...Tempo Type
e depth of modulation Phs LR - Trml Phaser - Tremolo LR,
a LR Phaser LR - Tremolo,
Amt –100...+100 Sets the modulation amount of the Phaser LR - Tremolo Spin, Phaser LR -
depth of modulation Tremolo LR
Dry, 1:99...99:1, Balance between the wet and dry LFO Phase Sets the phase difference between
Wet/Dry Wet signal –180...+180
[degree] the tremolo and phaser LFOs
f Table , “Dynamic Modulation LFO Frequency 0.02...20.00
Src Off...Tempo Sets the speed of the LFO
sources,” on page 357 [Hz]
Amt –100...+100 Amount of modulation source Selects a modulation source for LFO
b Src Off...Tempo
speed
a: LFO Shape Amt
–20.00... Sets the LFO speed modulation
+20.00 amount
You can change the panning curve by modifying the LFO’s When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times,
Shape. instead of Frequency
MIDI, MIDI syncs to the system tempo; 40–
b: LFO Phase [degree] BPM 40.00... 300 sets the tempo manually for this
c 300.00 individual effect
This determines the phase difference between the left and right Selects the type of notes that
Base Note r...w
LFOs. When you gradually change the value away from 0, the specify the LFO speed
sounds from the left and right channels will seem to chase each Sets the number of notes that
Times x1...x32
specify the LFO speed
other around. If you set the parameter to +180 or –180, the Phaser Manual 0...100 Sets the phaser frequency range
sounds from each channel will cross over each other. d
Resonance –100...+100 Sets the phaser resonance amount
Phaser Depth 0...100 Sets the phaser modulation depth
You’ll only hear the effect of this parameter if the input is true
Selects the modulation source for
stereo, with different signals in the left and right channels. e
Src Off...Tempo
the phaser modulation depth
Sets the modulation amount for the
Amt –100...+100
phaser modulation depth
–Wet, –2 :
f Phaser Wet/ 98...Dry... 2 : 98, Sets the balance between the
Dry phaser effect and dry sounds
Wet
Appendix

Sets the degree of the tremolo LFO

g Tremolo Shape –100...+100
shaping
Tremolo Depth 0...100 Sets the tremolo modulation depth
Selects the modulation source for
Src Off...Tempo
h the tremolo modulation depth

Amt –100...+100 Sets the modulation amount of the

tremolo modulation depth
386 Effects
Modulation and Pitch Shift (Mod./P.Shift)

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry When this is on, the LFO speed is set
Wet signal MIDI Sync Off, On by BPM, Base Note, and Times,
instead of Frequency
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
Amt –100...+100 Amount of modulation source e 300.00 individual effect
Selects the type of notes that
a: Type Base Note r...w
specify the LFO speed
a: LFO Phase [degree] Times x1...x32
Sets the number of notes that
specify the LFO speed
Select the type of phaser LFO and tremolo LFO for the “Type” Sets the depth of LFO modulation
LFO Depth 0...100
parameter. How the effect sound moves or rotates depends on for the oscillator frequency
Selects the modulation source of
the type of LFO. Selecting “LFO Phase” enables you to offset the f Src Off...Tempo
the depth of modulation
timing of the phaser peak and control a subtle movement and Sets the modulation amount of the
Amt –100...+100
rotation of the sound. depth of modulation
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal
f: Phaser Wet/Dry
g Table , “Dynamic Modulation
i: Wet/Dry Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
PHASER Wet/Dry sets the balance between the phaser output
and the dry sound. OUTPUT Wet/Dry sets the balance between a: OSC Mode
the final phaser and tremolo output level and the dry sound.
This parameter determines whether or not the oscillator fre-
quency follows the note number.
49: St. Ring Modulator
(Stereo Ring Modulator) a: Pre LPF

This effect creates a metallic sound by applying the oscillators to This parameter enables you to set the damping amount of the
the input signal. Use the LFO or Dynamic Modulation to modu- high range sound input to the ring modulator. If the input sound
late the oscillator to create a radical modulation. Matching the contains lots of harmonics, the effect may sound dirty. In this
oscillator frequency with a note number will produce a ring case, cut a certain amount of high range.
modulation effect in specific key ranges.
b: Fixed Frequency [Hz]
Stereo In - Stereo Out This parameter sets the oscillator frequency when “OSC Mode”
Left

Pre LPF
FX Amt is set to Fixed.
Ring Modulator
c: Note Offset
c: Note Fine
Pre LPF
Ring Modulator
These parameters for the oscillator are used when “OSC Mode”
Right
FX Amt is set to Note (Key Follow). The “Note Offset” sets the pitch dif-
Fixed Sine Oscillator
Fixed Frequency
OSC Mode Pitch ference from the original note in semitone steps. The “Note
Note No. Note Offset, Fine
Note (Key Follow) Fine” parameter fine-adjusts the pitch in cent steps. Matching
LFO
the oscillator frequency with the note number produces a ring
modulation effect in the correct key.
Switching between specifying the
Fixed, Note
OSC Mode oscillator frequency and using a
(Key Follow)
note number
a
Sets the damping amount of the
Pre LPF 0...100 high range input to the ring
modulator
Fixed Sets the oscillator frequency when
Frequency [Hz] 0...12.00k OSC Mode is set to Fixed
Selects the modulation source for
Src Off...Tempo the oscillator frequency when OSC
b
Mode is set to Fixed
Sets the modulation amount of the
–12.00k...
Amt oscillator frequency when OSC
+12.00k
Mode is set to Fixed
Sets the pitch difference from the
Note Offset –48...+48 original note when OSC Mode is set to
c Note (Key Follow)
Note Fine –100...+100 Fine-adjusts the oscillator frequency
LFO Frequency
0.02...20.00 Sets the speed of the LFO
[Hz]
Selects a modulation source for LFO
d Src Off...Tempo
speed
–20.00... Sets the modulation amount of LFO
Amt
+20.00 speed
 Effects 387
Modulation and Pitch Shift (Mod./P.Shift)

50: Detune 51: Pitch Shifter

Using this effect, you can obtain a detune effect that offsets the This effect changes the pitch of the input signal. You can select
pitch of the effect sound slightly from the pitch of the input sig- from three types: Fast (quick response), Medium, and Slow (pre-
nal. Compared to the chorus effect, a more natural sound thick- serves tonal quality). You can also create an effect in which the
ness will be created. pitch is gradually raised (or dropped) using the delay with feed-
back.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
Input Level
High Damp
+ Detune Delay Input Level
High Damp
+ Pitch Shifter Delay
Feedback
Post
Input Level Pre
Feedback Position Feedback
Right Input Level
FX Amt
Right
FX Amt

Pitch Shift –100...+100 Sets the pitch difference from the

[cents] input signal
Slow, Medium, Switches Pitch Shifter mode
Selects a modulation source for a Mode
a Src Off...Tempo Fast
pitch shift
Pitch Shift [1/ Sets the pitch shift amount by steps
Sets the modulation amount for –24...+24
Amt –100...+100 2tone] of a semitone
pitch shift
Selects the modulation source of
Delay Time b Src Off...Tempo
b 0...1000 Sets the delay time pitch shift amount
[msec]
Sets the modulation amount of
Feedback –100...+100 Sets the feedback amount Amt –24...+24
pitch shift amount
c Sets the damping amount in the Sets the pitch shift amount by steps
High Damp [%] 0...100 high range Fine [cents] –100...+100
of a cent
c
Input Level Sets the modulation amount of the Sets the modulation amount of
–100...+100 Amt –100...+100
Dmod [%] input level pitch shift amount
d
Selects the modulation source for Delay Time
Src Off...Tempo d 0...2000 Sets the delay time
the input level [msec]
Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry Feedback
Wet signal e Pre, Post Switches the feedback connection
Position
e Table , “Dynamic Modulation Sets the feedback amount
Src Off...Tempo Feedback –100...+100
sources,” on page 357
f
Amt –100...+100 Amount of modulation source Sets the damping amount in the
High Damp [%] 0...100
high range
d: Input Level Dmod [%] Input Level Sets the modulation amount of the
Dmod [%] –100...+100 input level
d: Src g
Selects the modulation source for
Src Off...Tempo
the input level
This parameter sets the dynamic modulation of the input level.
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Input Level Dmod
Wet signal
Input Level Input Level
h Table , “Dynamic Modulation
Src Off...Tempo
x1.0 x1.0 Input Level Dmod= –50
sources,” on page 357
Input Level Dmod= –100

Amt –100...+100 Amount of modulation source

Input Level Dmod= +50
Louder

Louder

x0.5 Input Level Dmod= +100 x0.5

a: Mode
Higher D-mod Higher D-mod
Zero Max Zero Max This parameter switches the pitch shifter operating mode. With
Slow, tonal quality will not be changed too much. With Fast, the
effect becomes a Pitch Shifter that has a quick response, but may
change the tone. Medium is in-between these two. If you do not
need to set too much pitch shift amount, set this parameter to
Slow. If you wish to change the pitch significantly, use Fast.

b: Pitch Shift [1/2tone]

b: Src
b: Amt
c: Fine [cents]
c: Amt
The amount of pitch shift will use the value of the Pitch Shift
plus the Fine value. The amount of modulation will use the b:
Amt value plus the c: Amt.
The same Modulation Source is used for both Pitch Shift and
Fine.
Appendix

e: Feedback Position
f: Feedback
When Feedback Position is set to Pre, the pitch shifter output is
again input to the pitch shifter. Therefore, if you specify a higher
388 Effects
Modulation and Pitch Shift (Mod./P.Shift)

value for the Feedback parameter, the pitch will be raised (or 53: Pitch Shift Mod.
lowered) more and more each time feedback is repeated. (Pitch Shift Modulation)
If Feedback Position is set to Post, the feedback signal will not
This effect modulates the detuned pitch shift amount using an
pass through the pitch shifter again. Even if you specify a higher
LFO, adding a clear spread and width to the sound by panning
value for the Feedback parameter, the pitch-shifted sound will
the effect sound and dry sound to the left and right. This is espe-
be repeated at the same pitch.
cially effective when the effect sound and dry sound output from
stereo speakers are mixed.
52: Pitch Shifter BPM
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
This pitch shifter enables you to set the delay time to match the Left
FX Amt

song tempo.
+ Pitch Shifter
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
Pan
Input Level Right
High Damp FX Amt
+ Pitch Shifter Delay
LFO: Tri / Sqr
Post
Pre
Feedback Position Feedback
Input Level
Pitch Shift Sets the pitch difference from the
Right a –100...+100
FX Amt [cents] input signal
Tempo

LFO Waveform Triangle,

BPM
BPM Base Note x Times b Square Selects the LFO Waveform

LFO Frequency 0.02...20.00

Sets the speed of the LFO
Slow, Medium, Switches Pitch Shifter mode [Hz]
a Mode
Fast Selects a modulation source for LFO
c Src Off...Tempo speed
Pitch Shift [1/ Sets the pitch shift amount in steps
–24...+24
2tone] of a semitone –20.00... Sets the modulation amount of LFO
Amt
Selects the modulation source of +20.00 speed
b Src Off...Tempo
pitch shift amount When this is on, the LFO speed is set
Sets the modulation amount of MIDI Sync Off, On by BPM, Base Note, and Times,
Amt –24...+24 pitch shift amount instead of Frequency

Sets the pitch shift amount in steps MIDI, MIDI syncs to the system tempo; 40–
Fine [cents] –100...+100 BPM 40.00... 300 sets the tempo manually for this
of one cent d
c 300.00 individual effect
Sets the modulation amount of
Amt –100...+100 Selects the type of notes that
pitch shift amount Base Note r...w
specify the LFO speed
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this Sets the number of notes that
Times x1...x32
300.00 individual effect specify the LFO speed
d
Displays an error message when the Sets the LFO modulation depth for
Time Over? ---, OVER! Depth –100...+100
delay time exceeds the upper limit pitch shift amount

Delay Base Selects the type of notes to specify Selects the modulation source of
r...w e Src Off...Tempo
Note the delay time the depth of modulation
e Sets the modulation amount of the
Sets the number of notes to specify Amt –100...+100
Times x1...x32 depth of modulation
the delay time
Feedback Switches the feedback f Pan L, 1 : 99...99 : 1, Sets the panning effect sound and
f Position Pre, Post connection R dry sound separately
Dry, 1:99...99:1, Balance between the wet and dry
Feedback –100...+100 Sets the feedback amount Wet/Dry
Wet signal
g g Table , “Dynamic Modulation
Sets the damping amount in the Src Off...Tempo
High Damp [%] 0...100 sources,” on page 357
high range
Input Level Sets the modulation amount of the Amt –100...+100 Amount of modulation source
–100...+100
Dmod [%] input level
h
Src Off...Tempo
Selects the modulation source for a: Pitch Shift [cents]
the input level
e: Depth
Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry
Wet signal These parameters set the amount of pitch shift and amount of
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 modulation by means of the LFO.
Amt –100...+100 Amount of modulation source Pitch Shift Mod - Pitch Shift / Depth
Pitch
d: BPM LFO Waveform=Triangle
Higher

Depth (+value)
e: Delay Base Note
e: Times Pitch Shift (+ value)
Original Pitch
Lower

The delay time is the duration of “Times” number of “Delay Base LFO Waveform=Square
Depth (–value)
Note” note values at the “BPM” tempo (or if “BPM” is set to
MIDI, the tempo determined by MIDI Clock).

d: Time Over? g: Pan

You can set the delay time up to 5,290msec. If the delay time h: Wet/Dry
exceeds this limit, the error message “OVER!” appears on the The Pan parameter pans the effect sound and dry sound to the
display. Set the delay time parameters so that this message will left and right. With L, the effect sound is panned left, and the dry
not appear. “Time Over?” is only a display parameter. sound is panned right. With a Wet/Dry = Wet setting, the effect
and dry sound will be output in a proportion of 1:1.
 Effects 389
Modulation and Pitch Shift (Mod./P.Shift)

54: Organ Vib/Chorus 55: Rotary Speaker

(Organ Vibrato/Chorus) This effect simulates a rotary speaker, and obtains a more realis-
This effect simulates the chorus and vibrato circuitry of a vintage tic sound by simulating the rotor in the low range and the horn
organ. The modulation speed and depth can be customized. in the high range separately. The effect also simulates the stereo
microphone settings.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
FX Amt
Left
FX Amt

Horn

+ Vibrato/Chorus
+ Rotary Speaker Horn/Rotor Mic Distance
Balance Mic Spread
Preset Setting
Rotor
Custom Parameters Mode

Right Speaker Simulation

FX Amt Right
FX Amt
D -mod
Mode Switch: Rotate/Stop

a Input Trim 0...100 Sets the input level D-mod Speed Switch: Slow/Fast

Selects either preset or custom D-mod Manual Speed Control

b Control Mode Preset, Custom
settings
Selects the effect type when Switches between speaker rotation
Mode=Preset Mode Switch Rotate, Stop
V1, C1, V2, C2, and stop
Preset Type V1/V2/V3 are variations of vibrato,
V3, C3 and C1/C2/C3 are variations of Selects a modulation source for
Src Off...Tempo
chorus a Rotate/Stop
c
Selects the modulation source that Sets the switch mode for Rotate/
Src Off...Tempo Mode Toggle, Stop modulation
will change the effect type Moment
Amt –5...+5 Sets the modulation amount for
changing the effect type Switches the speaker rotation speed
Speed Switch Slow, Fast
between slow and fast
Vibrato,
Sets the mix level of the direct Selects a modulation source for
Custom Mix 1:99...99:1, Src Off...Tempo
Chorus sound when Mode=Preset b Slow/Fast
Selects the modulation source that Sets the switch mode for Slow/Fast
Mode Toggle, modulation
d Src Off...Tempo will control the mix level of the Moment
direct sound
Sets the modulation amount for Manual Speed Sets a modulation source for direct
c Ctrl Off...Tempo control of rotation speed
Amt –100...+100 controlling the mix level of the
direct sound Hore How quickly the horn rotation
Acceleration 0...100 speed in the high range is switched
Custom Depth 0...100 Sets the vibrato depth
Selects the modulation source that d Adjusts the (high-range side) horn
e Src Off...Tempo will control vibrato depth Stop, rotation speed. Standard value is
Hore Ratio
0.50...2.00 1.00. Selecting “Stop” will stop the
Amt –100...+100 Sets the modulation amount for rotation
controlling the vibrato depth
Determines how quickly the rotor
Custom Speed Rotor
0.02...20.00 Sets the vibrato speed 0...100 rotation speed in the low range is
[Hz] Acceleration
switched
Selects the modulation source for e Adjusts the (low-frequency) rotor
f Src Off...Tempo
controlling the vibrato speed Stop, speed. Standard value is 1.00.
Rotor Ratio 0.50...2.00 Selecting “Stop” will stop the
Amt –20.00... Sets the modulation amount for
+20.00 controlling the vibrato speed rotation
Dry, 1:99...99:1, Balance between the wet and dry Sets the level balance between the
Wet/Dry Horn/Rotor Rotor, 1...99,
Wet signal f high-frequency horn and low-
Balance Horn
frequency rotor
g Table , “Dynamic Modulation
Src Off...Tempo Sets the distance between the
sources,” on page 357 Mic Distance 0...100
microphone and rotary speaker
Amt –100...+100 Amount of modulation source g
Sets the angle of left and right
Mic Spread 0...100
microphones
b: Control Mode Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
c: Preset Type Wet signal
d: Custom Mix h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
e: Custom Depth Amt –100...+100 Amount of modulation source
f: Custom Speed [Hz]
a: Mode
If Control Mode=Preset, you can use c: Preset Type to select the
effect. In this case, the Custom Mix/Depth/Speed settings are This parameter sets how the modulation source switches
ignored. If Control Mode=Custom, the Custom Mix/Depth/ between rotation and stop.
Speed settings are valid, and the c: Preset Type setting is ignored. When Mode = Toggle, the speaker rotates or stops alternately
c: Amt each time you press the pedal or move the joystick. Via MIDI,
rotation will switch between start and stop each time the modu-
If Preset Type=V1 and Src=JS+Y, you can set this to +5 and lation amount exceeds 64.
move JS +Y to control the effect in the order of
V1 C1 V2 C2 V3 C3. When Mode = Moment, the speaker rotates by default, and
stops only when you press the pedal or move the joystick. Via
Appendix

MIDI, modulation values above 64 make the speaker rotate, and

values below 64 make it stop.
390 Effects
Delay

b: Speed Switch
This parameter controls how the rotation speed (slow and fast) is Delay
switched via the modulation source.
When Mode = Toggle, the speed will switch between slow and
fast each time you press the pedal or move the joystick. Via 56: L/C/R Delay
MIDI, the speed will switch each time the modulation amount
This multitap delay outputs three Tap signals to the left, right,
exceeds 64.
and center respectively. You can also adjust the left and right
When Mode = Moment, the speed is usually slow. It becomes spread of the delay sound.
fast only when you press the pedal or move the joystick. Via
MIDI, modulation values above 64 set the speed to Fast, and val- FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
Left
ues below 64 set it to Slow. FX Amt

Input Level D-mod L Delay

Level
c: Manual Speed Ctrl
+ High Damp Low Damp
C Delay Spread
Level
If you wish to control the rotation speed manually, instead of Feedback
R Delay
switching between Slow and Fast, select a modulation source in Input Level D-mod
Level

the Manual Speed Ctrl parameter. If you don’t want to use man- Right
FX Amt

ual control, set this to Off.

L Delay Time
d: Horn Acceleration 0...2730 Sets the delay time of TapL
a [msec]
e: Rotor Acceleration Level 0...50 Sets the output level of TapL
C Delay Time
On a real rotary speaker, the rotation speed accelerates or decel- 0...2730 Sets the delay time of TapC
b [msec]
erates gradually after you switch the speed. The Horn and Rotor Level 0...50 Sets the output level of TapC
Acceleration parameters set the transition times between fast R Delay Time 0...2730 Sets the delay time of TapR
c [msec]
and slow speeds.
Level 0...50 Sets the output level of TapR
g: Mic Distance Feedback –100...+100 Sets the feedback amount of TapC
(C Delay)
g: Mic Spread Selects the modulation source of the
d Src Off...Tempo
TapC feedback amount
This is a simulation of stereo microphone settings. Sets the modulation amount of the
Amt –100...+100 TapC feedback amount
Rotary Speaker - Mic Placement
High Damp [%] 0...100 Sets the damping amount in the
Mic Spread high range
Microphone Microphone e
Sets the damping amount in the low
Low Damp [%] 0...100
range
Mic Distance Mic Distance Input Level Sets the modulation amount of the
–100...+100
Dmod [%] input level
f
Selects the modulation source for
Src Off...Tempo the input level
Sets the width of the stereo image of
g Spread 0...50 the effect sound

Dry, 1:99...99:1, Balance between the wet and dry

Wet/Dry
Wet signal
Rotary Speaker (Top View)
h Table , “Dynamic Modulation
Src Off...Tempo sources,” on page 357
Amt –100...+100 Amount of modulation source

e: High Damp [%]

e: Low Damp [%]
These parameters set the damping amount of high range and low
range. The tone of the delayed sound becomes darker and lighter
as it feeds back.

g: Spread
This parameter sets the pan width of the effect sound. The stereo
image is widest with a value of 50, and the effect sound of both
channels is output from the center with a value of 0.
 Effects 391
Delay

57: Stereo/CrossDelay 58: St. Multitap Delay

This is a stereo delay, and can by used as a cross-feedback delay (Stereo Multitap Delay)
effect in which the delay sounds cross over between the left and The left and right Multitap Delays have two taps respectively.
right by changing the feedback routing. Changing the routing of feedback and tap output allows you to
create various patterns of complex effect sounds.
Stereo In - Stereo Out
Left
FX Amt
High Damp Low Damp Stereo In - Stereo Out
Left
Delay FX Amt
Input Level D-mod
Feedback
Stereo/Cross Feedback Spread Delay
(2)
Input Level D-mod High Damp Low Damp (1)
Input Level D-mod High Damp Low Damp Tap1=(1)
Mode Tap1 Level Mode Spread
Delay Tap2=(2)
Stereo/Cross Input Level D-mod High Damp Low Damp (1)
(2)
Delay
Right
FX Amt
Feedback
Right
FX Amt

Switches between stereo delay and

a Stereo/Cross Stereo, Cross
cross-feedback delay
Normal, Cross
L Delay Time Sets the delay time for the left Feedback, Switches the left and right delay
b [msec] 0.0...1360.0 channel a Mode
Cross Pan1, routing
R Delay Time Sets the delay time for the right Cross Pan2
c 0.0...1360.0
[msec] channel Tap1 Time
b 0.0...1360.0 Sets the Tap1 delay time
Sets the feedback amount for the [msec]
L Feedback –100...+100
left channel Tap2 Time
c 0.0...1360.0 Sets the Tap2 delay time
Selects the modulation source of [msec]
d Src Off...Tempo
feedback amount Sets the Tap1 output level
d Tap1 Level 0...100
Amt L –100...+100 Sets the modulation amount of the
left channel feedback Feedback
–100...+100 Sets the Tap2 feedback amount
Sets the feedback amount for the (Tap2)
R Feedback –100...+100
right channel Selects the modulation source of
e e Src Off...Tempo
Sets the modulation amount of the the Tap2 feedback amount
Amt R –100...+100
right channel feedback Sets the modulation amount of the
Amt –100...+100
Sets the damping amount in the Tap2 feedback amount
f High Damp [%] 0...100
high range Sets the damping amount in the
f High Damp [%] 0...100
Sets the damping amount in the low high range
g Low Damp [%] 0...100
range Sets the damping amount in the low
g Low Damp [%] 0...100 range
Input Level Sets the modulation amount of the
Dmod [%] –100...+100 input level
h Input Level Sets the modulation amount of the
–100...+100
Selects the modulation source for Dmod [%] input level
Src Off...Tempo h
the input level Selects the modulation source for
Src Off...Tempo
Sets the width of the stereo image the input level
i Spread –50...+50 of the effect sound Sets the width of the stereo image
Spread –100...+100 of the effect sound
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal Selects the modulation source of
i
j Table , “Dynamic Modulation Src Off...Tempo the effect sound’s stereo image
Src Off...Tempo width
sources,” on page 357
Amt –100...+100 Amount of modulation source Sets the modulation amount of the
Amt –100...+100
effect sound’s stereo image width
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

Mode: Normal Mode: Cross Feedback Mode: Cross Pan1 Mode: Cross Pan2

a: Mode
You can change how the left and right delay signals are panned
by modifying the routing of the left and right delay as shown in
the figure above. You need to input different sounds to each
channel in order for this parameter to be effective.

d: Tap1 Level
This parameter sets the output level of Tap1. Setting a different
level from Tap2 will add a unique touch to a monotonous delay
and feedback.
Appendix
392 Effects
Delay

59: St. Mod Delay d: LFO Sync

(Stereo Modulation Delay) d: Src
g: L LFO Phase [deg]
This stereo delay uses an LFO to sweep the delay time. The pitch h: R LFO Phase [deg]
also varies, creating a delay sound which swells and shimmers.
You can also control the delay time using a modulation source. If “LFO Sync” is On, the LFO will be reset by the modulation
source that is received.
Stereo In - Stereo Out
Left
The “Src” parameter sets the modulation source that resets the
FX Amt
LFO. For example, you can assign Gate as a modulation source
Delay
so that the sweep always starts from the specified point.
Feedback
“L LFO Phase” and “R LFO Phase” set the phase obtained when
Delay the left and right LFOs are reset. In this way, you can create
Right changes in pitch sweep for the left and right channels individu-
FX Amt

D-mod
ally.
D-mod Response L/R: +/+ +/–

LFO Sync LFO: Tri / Sine LFO Shape

The effect is off when a value of the modulation source specified in
LFO
LFO Phase Modulation Mode
the “Src” parameter is 63 or smaller, and the effect is on when the
value is 64 or higher. The LFO is triggered and reset to the “L LFO
Phase” and “R LFO Phase” settings when the value changes from 63
Switches between LFO modulation
Modulation or smaller to 64 or higher.
a LFO, D-mod control and modulation source
Mode
control
D-mod L/R:+/+, Reversed L/R control by modulation
Modulation L/R:+/– source 60: St. Dynamic Delay
b Src Off...Tempo
Selects the modulation source that
controls delay time (Stereo Dynamic Delay)
Response 0...30 Sets the rate of response to the This stereo delay controls the level of delay according to the
modulation source
LFO Waveform Triangle, Sine Selects the LFO Waveform input signal level. You can use this as a ducking delay that applies
c Changes the curvature of the LFO delay to the sound only when you play keys at a high velocity or
LFO Shape –100...+100
Waveform only when the volume level is low.
Switches LFO reset off/on
LFO Sync Off, On
d Stereo In - Stereo Out
Selects the modulation source that Left
Src Off...Tempo FX Amt
resets the LFO High Damp Low Damp
LFO Frequency Delay
e 0.02...20.00 Sets the speed of the LFO
[Hz]
Feedback Spread
When this is on, the LFO speed is set
MIDI Sync Off, On by BPM, Base Note, and Times, High Damp Low Damp
instead of Frequency Delay

MIDI, MIDI syncs to the system tempo; 40– Right

BPM 40.00... 300 sets the tempo manually for this FB Out FX Amt
f 300.00 individual effect + Envelope Attack, Release Control Target
Threshold
Selects the type of notes that
Base Note r...w specify the LFO speed
Sets the number of notes that Selects from no control, output, and
Times x1...x32 Control Target None, Out, FB
specify the LFO speed a feedback
L LFO Phase Sets the phase obtained when the Polarity +, – Reverses level control
–180...+180
[deg] left LFO is reset
g Sets the level to which the effect is
Sets the depth of the left LFO Threshold 0...100
L Depth 0...200 b applied
modulation
Offset 0...100 Sets the offset of level control
R LFO Phase Sets the phase obtained when the
–180...+180 c Attack 1...100 Sets the attack time of level control
[deg] right LFO is reset
h d Release 1...100 Sets the release time of level control
Sets the depth of the right LFO
R Depth 0...200
modulation L Delay Time Sets the delay time for the left
e 0.0...1360.0
L Delay Time Sets the delay time for the left [msec] channel
0.0...1000.0
[msec] channel R Delay Time Sets the delay time for the right
i f 0.0...1360.0
Sets the feedback amount of left [msec] channel
L Feedback –100...+100
delay g Feedback –100...+100 Sets the feedback amount
R Delay Time Sets the delay time for the right Sets the damping amount in the
[msec] 0.0...1000.0 channel High Damp [%] 0...100
high range
j h
Sets the feedback amount of right Sets the damping amount in the low
R Feedback –100...+100 Low Damp [%] 0...100
delay range
-Wet, - Balance between the wet and dry Sets the width of the stereo image
Wet/Dry 1:99...Dry...99:1 signal i Spread –100...+100 of the effect sound
, Wet
k
Table , “Dynamic Modulation Dry, 1:99...99:1, Balance between the wet and dry
Src Off...Tempo Wet/Dry
sources,” on page 357 Wet signal
Amt –100...+100 Amount of modulation source j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
b: D-mod Modulation Amt –100...+100 Amount of modulation source

When the modulation source is used for control, this parameter

reverses the left and right modulation direction.
 Effects 393
Delay

a: Control Target 61: St. AutoPanningDly

This parameter selects no level control, delay output control (Stereo Auto Panning Delay)
(effect balance), or feedback amount control.
This stereo delay effect pans the delay sound left and right using
a: Polarity the LFO.
b: Threshold Stereo In - Stereo Out
b: Offset Left
FX Amt
High Damp Low Damp
c: Attack Delay Pan
d: Release
Feedback Depth

The “Offset” parameter specifies the value for the “Control Tar-
Delay Pan
get” parameter (that is set to None), expressed as the ratio rela- High Damp Low Damp

tive to the parameter value (the “Wet/Dry” value with “Control Right
FX Amt

Target”=Output level, or the “Feedback” value with “Control LFO Phase

LFO: Tri / Sin LFO Shape
Target”=Feedback).
When “Polarity” is positive, the “Control Target” value is L Delay Time Sets the delay time for the left
0.0...1360.0
obtained by multiplying the parameter value by the “Offset” [msec] channel
a
Sets the feedback amount for the
value (if the input level is below the threshold), or equals the L Feedback –100...+100 left channel
parameter value if the input level exceeds the threshold. R Delay Time Sets the delay time for the right
0.0...1360.0
[msec] channel
When “Polarity” is negative, Control Target value equals the b
Sets the feedback amount for the
R Feedback –100...+100
parameter value if the input level is below the threshold, or is right channel
obtained by multiplying the parameter value by the “Offset” High Damp [%] 0...100
Sets the damping amount in the
high range
value if the level exceeds the threshold. c
Sets the damping amount in the low
Low Damp [%] 0...100
range
The “Attack” and “Release” parameters specify attack time and
LFO Waveform Triangle, Sine Selects the LFO Waveform
release time of delay level control. d Changes the curvature of the LFO
LFO Shape –100...+100 Waveform
Dynamic Delay
Level Sets the LFO phase difference
e Phase [degree] –180...+180
between the left and right
Dry Panning Freq
f 0.02...20.00 Sets the panning speed
Threshold [Hz]
Switches between using the
Release MIDI Sync Off, On frequency of the panning speed and
Envelope using the tempo and notes
Attack
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
300.00 individual effect
Wet (Ducking Delay) g
Selects the type of notes to specify
Target=Output Level Base Note r...w the delay time for the panning
Polarity= (–) speed
Delay Time
Sets the number of notes to specify
Wet Times x1...x32 the delay time for the panning
speed
Target=Output Level Panning Depth 0...100 Sets the panning width
Polarity= (+)
Time Selects the modulation source for
h Src Off...Tempo the panning width
Set the modulation amount of the
Amt –100...+100 panning width

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
394 Effects
Delay

62: Tape Echo d: FB Amt

e: FB Amt
This effect simulates a tape echo unit with three playback heads. f: FB Amt
The distortion and tonal change typical of magnetic tape are also
g: Feedback
reproduced.
The feedback output from Tap 1, 2, and 3 is mixed according to
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out the “FB Amt,” and then the final amount of feedback is specified
Left
FX Amt by “Feedback.”
Feedback (3)

(2)

Feedback Amt (1) Level Pan

63: Auto Reverse
+ Tape Delay
Trim Pre Tone
Saturation
High / Low Damp
This effect records the input signal and automatically plays it in
Wah Flatter
Tap2/3
Position
reverse (the effect is similar to a tape reverse sound).
Right
FX Amt
D-mod Delay Time
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
Delay (Tap1) Sets the delay time (tap1)
[msec] 0...2700
Direct
Selects the modulation source of the + Auto Reverse Mix
a Src Off...Tempo Rec/Reverse Play
delay time Control

Amt –2700... Sets the modulation amount of

+2700 delay time Right
FX Amt
D-mod
Tap2 Position
Sets the position of Tap 2 relative to D-mod Envelope Control
Input
b 0...100 the Tap 1 delay time the depth of
[%] Envelope Select
pitch variation
Sets the position of Tap 3 relative to
Tap3 Position
c [%] 0...100 the Tap 1 delay time the depth of Sets the recording mode
pitch variation a Rec Mode Single, Multi
Tap1 Level 0...100 Sets the Tap1 output level Reverse Time Sets the maximum duration of the
b 20...2640
d Pan L, 1...99, R Sets the stereo image of tap1 [msec] reverse playback
FB Amt –100...+100 Sets the Tap1 feedback amount Selects whether the start and end of
Envelope recording is controlled via the
Tap2 Level 0...100 Sets the Tap2 output level D-mod, Input
Select modulation source or the input
e Pan L, 1...99, R Sets the stereo image of tap2 c signal level
FB Amt –100...+100 Sets the Tap2 feedback amount Selects the modulation source that
Src Off...Tempo controls recording when Envelope
Tap3 Level 0...100 Sets the Tap3 output level Select is set to D-mod
f Pan L, 1...99, R Sets the stereo image of tap3 Sets the recording start level when
d Threshold 0...100
FB Amt –100...+100 Sets the Tap3 feedback amount Envelope Select is set to Input
Sets the amount of feedback for Sets the speed of the response to
Feedback 0...100 e Response 0...100
Taps 1, 2, and 3 the end of recording
g Selects the modulation source of Always On,
Src Off...Tempo f Direct Mix Always Off, Selects how a dry sound is mixed
feedback amount
Cross Fade
Amt –100...+100 Sets the feedback amount
Dry, 1:99...99:1, Balance between the wet and dry
Sets the damping amount in the Wet/Dry
High Damp [%] 0...100 Wet signal
high range
h g Table , “Dynamic Modulation
Sets the damping amount in the low Src Off...Tempo
Low Damp [%] 0...100 sources,” on page 357
range
Amt –100...+100 Amount of modulation source
i Saturation 0...100 Sets the distortion amount
Input Trim 0...100 Sets the input gain
j a: Rec Mode
Pre Tone 0...100 Sets the tone of the input
b: Reverse Time [msec]
Wow Flutter Sets the frequency at which pitch
0.02...1.00
[Hz] variation will occur
k When “Rec Mode” is set to Single, you can set up to 2,640msec
Wow Flutter
depth
0...100 Sets the depth of pitch variation for “Reverse Time.” If recording starts during the reverse play-
Wet/Dry
Dry, 1:99...99:1, Balance between the wet and dry back, the playback will be interrupted.
Wet signal
l Table , “Dynamic Modulation When “Rec Mode” is set to Multi, you can make another record-
Src Off...Tempo
sources,” on page 357 ing during the reverse playback. However, the maximum
Amt –100...+100 Amount of modulation source Reverse Time is limited to 1,320msec.
a: Delay (Tap1) [msec] If you wish to record a phrase or rhythm pattern, set “Rec Mode”
a: Src to Single. If you record only one note, set “Rec Mode” to Multi.
a: Amt The “Reverse Time” parameter specifies the maximum duration
b: Tap2 Position [%] of the reverse playback. The part in excess of this limit will not
b: Tap3 Position [%] be played in reverse. If you wish to add short pieces of the
The delay time for Tap 2 and 3 is specified as a proportion (%) reverse playback of single notes, make the “Reverse Time”
relative to “Delay (Tap1).” Even if you use dynamic modulation shorter.
to control “Delay (Tap1),” Tap 2 and 3 will change at the same
proportion.
 Effects 395
Delay

Mode/Reverse Time 64: Sequence BPM Dly

Rec Reverse Rec Reverse Envelope Select = Input (Sequence BPM Delay)
Input This four-tap delay enables you to select a tempo and rhythm
pattern to set up each tap.
Time

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out

Mode = Single
Left
FX Amt
Pan

Input Level D-mod

Mode = Multi
+ Delay

High Damp Low Damp

Feedback
Input Level D-mod
Reverse Time Reverse Time
Right
FX Amt
Tempo
c: Envelope Select BPM
BPM

c: Src Rythm Pattern

d: Threshold
These parameters select the source to control the start and end MIDI, MIDI syncs to the system tempo; 40–
of recording. a BPM 40.00... 300 sets the tempo manually for this
300.00 individual effect
When “Envelope Select” is set to D-mod, the input signal will be b Rhythm x...eee
3 Selects a rhythm pattern
Pattern
recorded only when the value of the modulation source selected
Tap1 Pan L, 1...99, R Sets the panning of Tap1
by the Src parameter is 64 or higher. Tap2 Pan L, 1...99, R Sets the panning of Tap2
c
When “Envelope Select” is set to Input, the input signal will be Tap3 Pan L, 1...99, R Sets the panning of Tap3
recorded only when its level exceeds the Threshold level. Tap4 Pan L, 1...99, R Sets the panning of Tap4
Feedback –100...+100 Sets the feedback amount
When recording is completed, reverse playback starts immedi- Selects the modulation source of
d Src Off...Tempo
ately. feedback amount
Amt –100...+100 Sets the feedback amount

High Damp [%] 0...100 Sets the damping amount in the

high range
e
Sets the damping amount in the low
Low Damp [%] 0...100
range
Input Level Sets the modulation amount of the
–100...+100
Dmod [%] input level
f
Selects the modulation source for
Src Off...Tempo the input level
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
g Table , “Dynamic Modulation
Src Off...Tempo sources,” on page 357
Amt –100...+100 Amount of modulation source

a: BPM
b: Rhythm Pattern
With the tempo specified by the “BPM” parameter (or the MIDI
Clock tempo if “BPM” is set to MIDI), the length of one beat
equals the feedback delay time, and the interval between taps
becomes equal. Selecting a rhythm pattern will automatically
turn the tap outputs on and off. When “BPM” is set to MIDI, the
lower limit of the “BPM” is 44.
Appendix
396 Effects
Delay

65: L/C/R BPM Delay 66: Stereo BPM Delay

The L/C/R delay enables you to match the delay time with the This stereo delay enables you to set the delay time to match the
song tempo. You can also synchronize the delay time with the song tempo.
arpeggiator or sequencer. If you program the tempo before per-
Stereo In - Stereo Out
formance, you can achieve a delay effect that synchronizes with Left
FX Amt
the song in real-time. Delay time is set by notes. High Damp Low Damp
Delay
Input Level D-mod
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
Feedback
Left
FX Amt Input Level D-mod High Damp Low Damp
Delay
Input Level D-mod L Delay
Level
Right
+ High Damp Low Damp C Delay Spread FX Amt
Level Tempo
Feedback BPM
R Delay BPM Base Note x Times Adjust [%]
Input Level D-mod
Level Base Note x Times Adjust [%]

Right
FX Amt
Tempo
BPM MIDI, MIDI syncs to the system tempo; 40–
Base Note x Times
BPM BPM 40.00... 300 sets the tempo manually for this
Base Note x Times
300.00 individual effect
Base Note x Times
Display the error message if the left
a Time Over? L ---, OVER! channel delay time exceeds the
MIDI, MIDI syncs to the system tempo; 40– upper limit
BPM 40.00... 300 sets the tempo manually for this Display the error message if the
a 300.00 individual effect R ---, OVER! right channel delay time exceeds
Displays an error message when the the upper limit
Time Over? ---, OVER!
delay time exceeds the upper limit L Delay Base Selects the type of notes to specify
Note r...w the left channel delay time
L Delay Base r...w Selects the type of notes to specify
Note the delay time for TapL Sets the number of notes to specify
b Times x1...x32
b Sets the number of notes to specify the left channel delay time
Times x1...x32 the delay time for TapL
Adjust [%] –2.50...+2.50 Fine-adjust the left channel delay
Level 0...50 Sets the output level of TapL time
C Delay Base elects the type of notes to specify R Delay Base Selects the type of notes to specify
r...w Note r...w the right channel delay time
Note the delay time for TapC
c Sets the number of notes to specify c Times x1...x32 Sets the number of notes to specify
Times x1...x32 the delay time for TapC the right channel delay time
Level 0...50 Sets the output level of TapC Fine-adjust the right channel delay
Adjust [%] –2.50...+2.50
time
R Delay Base r...w Selects the type of notes to specify
Note the delay time for TapR Sets the feedback amount for the
L Feedback –100...+100
left channel
d Sets the number of notes to specify
Times x1...x32 Selects the modulation source of
the delay time for TapR d Src Off...Tempo feedback amount
Level 0...50 Sets the output level of TapR
Amt L –100...+100 Sets the modulation amount of the
Feedback –100...+100 Sets the feedback amount of TapC left channel feedback
(C Delay)
Sets the feedback amount for the
Selects the modulation source for R Feedback –100...+100
e Src Off...Tempo right channel
the TapC feedback e
Amt R –100...+100 Sets the modulation amount of the
Sets the modulation amount of the right channel feedback
Amt –100...+100
TapC feedback
Sets the damping amount in the
Sets the damping amount in the f High Damp [%] 0...100
High Damp [%] 0...100 high range
high range
f Sets the damping amount in the low
Sets the damping amount in the low g Low Damp [%] 0...100 range
Low Damp [%] 0...100
range
Input Level Sets the modulation amount of the
Input Level Sets the modulation amount of the Dmod [%] –100...+100 input level
–100...+100 h
Dmod [%] input level
g Selects the modulation source for
Selects the modulation source for Src Off...Tempo
Src Off...Tempo the input level
the input level
Dry, 1:99...99:1, Balance between the wet and dry
Sets the width of the stereo image of Wet/Dry
Wet signal
h Spread 0...50 the effect sound
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal Amt –100...+100 Amount of modulation source
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 a: Time Over? L, R
Amt –100...+100 Amount of modulation source
You can set the delay time up to 2,730msec. If the delay time
a: Time Over? exceeds this limit, the error message “OVER!” appears in the dis-
play. Set the delay time parameters so that this message will not
You can set the delay time up to 5,460msec. If the delay time appear. “Time Over?” is only a display parameter.
exceeds this limit, the error message “OVER!” appears in the dis-
play. Set the delay time parameters so that this message will not
appear. “Time Over?” is only a display parameter.
 Effects 397
Delay

67: St.BPM Mtap Delay 68: St.BPM Mod. Delay

(Stereo BPM Multi tap Delay) (Stereo BPM Modulation Delay)
This four-tap delay enables you to select a tempo and rhythm This is a stereo modulation delay that lets you synchronize the
pattern to set up each tap. delay time to the tempo of the song.

Stereo In - Stereo Out Stereo In - Stereo Out

Left Left
FX Amt FX Amt
Feedback
Delay
Delay
(2)
Input Level D-mod High Damp Low Damp (1)
Mode Tap1 Level Mode Spread Tap1=(1) Feedback
Tap2=(2)
Input Level D-mod High Damp Low Damp (1)
(2)
Delay Delay

Feedback Right
Right FX Amt
FX Amt
Tempo Tempo

BPM BPM
Base Note x Times BPM Base Note x Times
BPM
Base Note x Times Base Note x Times

D-mod
D -mod Response L/R: +/+ +/–

Normal, Cross LFO Sync LFO: Tri / Sine LFO Shape

LFO
Feedback, Switches the left and right delay
a Mode LFO Phase Modulation Mode
Cross Pan1, routing
Cross Pan2
MIDI, MIDI syncs to the system tempo; Switches between LFO modulation
BPM 40.00... 40–300 sets the tempo manually for Modulation
a LFO, D-mod control and modulation source
300.00 this individual effect Mode
control
Displays an error message when the D-mod L/R:+/+, Reversed L/R control by modulation
b Time Over? 1 ---, OVER! delay time for Tap1 exceeds the Modulation L/R:+/– source
upper limit
Selects the modulation source that
Displays an error message when the b Src Off...Tempo
controls delay time
2 ---, OVER! delay time for Tap2 exceeds the
upper limit Sets the rate of response to the
Response 0...30 modulation source
Tap 1 Base Selects the type of notes to specify
r...w LFO Waveform Triangle, Sine Selects the LFO Waveform
Note the delay time for Tap1
c c
Sets the number of notes to specify Changes the curvature of the LFO
Times x1...x32 LFO Shape –100...+100
the delay time for Tap1 Waveform
Tap 2 Base Selects the type of notes to specify Switches LFO reset off/on
r...w LFO Sync Off, On
Note the delay time for Tap2
d d
Sets the number of notes to specify Selects the modulation source that
Times x1...x32 Src Off...Tempo
the delay time for Tap2 resets the LFO
Sets the Tap1 output level LFO Frequency 0.02...20.00
e Tap1 Level 0...100 e Sets the speed of the LFO
[Hz]
Feedback When this is on, the LFO speed is set
–100...+100 Sets the Tap2 feedback amount MIDI Sync Off, On by BPM, Base Note, and Times,
(Tap2)
instead of Frequency
Selects the modulation source of
f Src Off...Tempo MIDI, MIDI syncs to the system tempo; 40–
the Tap2 feedback amount
BPM 40.00... 300 sets the tempo manually for this
Sets the modulation amount of the f 300.00 individual effect
Amt –100...+100 Tap2 feedback amount
Selects the type of notes that
Sets the damping amount in the Base Note r...w
High Damp [%] 0...100 specify the LFO speed
high range
g Sets the number of notes that
Sets the damping amount in the Times x1...x32
Low Damp [%] 0...100 specify the LFO speed
low range
L LFO Phase Sets the phase obtained when the
Input Level Sets the modulation amount of the –180...+180
–100...+100 [deg] left LFO is reset
Dmod [%] input level g
h Sets the depth of the left LFO
Selects the modulation source for Depth 0...200
Src Off...Tempo modulation
the input level
R LFO Phase Sets the phase obtained when the
Sets the width of the stereo image –180...+180
Spread –100...+100 [deg] right LFO is reset
of the effect sound h
Sets the depth of the right LFO
Selects the modulation source of Depth 0...200
modulation
i Src Off...Tempo the effect sound’s stereo image
width MIDI, MIDI syncs to the system tempo; 40–
BPM(Delay) 40.00... 300 sets the tempo manually for this
Sets the modulation amount of the 300.00 individual effect
Amt –100...+100
effect sound’s stereo image width
Display the error message if the left
Dry, 1:99...99:1, Balance between the wet and dry i Time Over? L ---, OVER! channel delay time exceeds the
Wet/Dry
Wet signal upper limit
j Table , “Dynamic Modulation Display the error message if the
Src Off...Tempo
sources,” on page 357 R ---, OVER! right channel delay time exceeds
Amt –100...+100 Amount of modulation source the upper limit
L Delay Base Selects the type of notes to specify
r...w
Note the left channel delay time
Sets the number of notes to specify
j Times x1...x32
the left channel delay time
Sets the feedback amount of left
Feedback –100...+100
delay
R Delay Base r...w
Selects the type of notes to specify
Note the right channel delay time
Appendix

Sets the number of notes to specify

k Times x1...x32
the right channel delay time
Sets the feedback amount of right
Feedback –100...+100
delay
398 Effects
Delay

-Wet, - 69: St.BPMAutoPanDly

Wet/Dry 1:99...Dry...99:1 Balance between the wet and dry
signal
, Wet (Stereo BPM Auto Panning Delay)
l
Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 This stereo auto panning delay enables you to set the delay time
Amt –100...+100 Amount of modulation source to match the song tempo.
i: Time Over? L, R Stereo In - Stereo Out
Left
FX Amt
You can set the delay time up to 2,550msec. If the delay time Delay
High Damp Low Damp
Pan
exceeds this limit, the error message “OVER!” appears in the dis-
Feedback Depth
play. Set the delay time parameters so that this message will not
appear. “Time Over?” is only a display parameter. Delay
High Damp Low Damp
Pan

Right
FX Amt
Tempo
BPM
BPM Base Note x Times
Base Note x Times LFO Phase
LFO: Tri / Sin LFO Shape

MIDI, MIDI syncs to the system tempo; 40–

BPM 40.00... 300 sets the tempo manually for this
300.00 individual effect
Display the error message if the left
a Time Over? L ---, OVER! channel delay time exceeds the
upper limit
Display the error message if the
R ---, OVER! right channel delay time exceeds
the upper limit
L Delay Base r...w
Selects the type of notes to specify
Note the left channel delay time
Sets the number of notes to specify
b Times x1...x32
the left channel delay time

Feedback –100...+100 Sets the feedback amount for the

left channel
R Delay Base r...w Selects the type of notes to specify
Note the right channel delay time
Sets the number of notes to specify
c Times x1...x32
the right channel delay time
Sets the feedback amount for the
Feedback –100...+100
right channel

High Damp [%] 0...100 Sets the damping amount in the

high range
d
Sets the damping amount in the low
Low Damp [%] 0...100
range
LFO Waveform Triangle, Sine Selects the LFO Waveform
Changes the curvature of the LFO
Shape –100...+100
e Waveform

LFO Phase –180...+180 Sets the LFO phase difference

between the left and right

f Panning Freq 0.02...20.00 Sets the panning speed

[Hz]
When this is on, the pan LFO speed
MIDI Sync Off, On is set by BPM, Base Note, and Times,
instead of Frequency
MIDI, MIDI syncs to the system tempo; 40–
BPM 40.00... 300 sets the tempo manually for this
300.00 individual effect
g
Selects the type of notes to specify
Base Note r...w the delay time for the panning
speed
Sets the number of notes to specify
Times x1...x32 the delay time for the panning
speed
Panning Depth 0...100 Sets the panning width
Selects the modulation source for
Src Off...Tempo
h the panning width
Set the modulation amount of the
Amt –100...+100
panning width
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 399
Delay

70: Tape Echo BPM a: Tap1 Dmod Src

b: Tap1 Delay Note
This is a tape echo that lets you synchronize the delay time to the b: Times
tempo of the song.
c: Tap1 Dmod Note
c: Times
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt If “Tap1 Dmod Src” is Off or the selected modulation is at 0, the
Feedback (3) delay time will be the length specified by “Tap1 Delay Note” and
(2)
“Times.”
Feedback Amt (1) Level Pan

+ Tape
Saturation
Delay If “Tap1 Dmod Src” is other than Off, the delay time will change
Trim Pre Tone High / Low Damp
so that it will be as specified by “Tap1 Dmod Note” and “Times”
Wah Flatter Tap2/3 Position
Right
BPM FX Amt
when the maximum modulation is reached.
Tempo Base Note x Times Delay Time

BPM
b: Time Over?
D-mod
You can set the delay time up to 5,400msec. If the delay time
exceeds this limit, the error message “OVER!” appears in the dis-
MIDI, MIDI syncs to the system tempo; 40–
BPM (Delay) 40.00... 300 sets the tempo manually for this play. Set the delay time parameters so that this message will not
a 300.00 individual effect appear. “Time Over?” is only a display parameter.
Tap1 Dmod Src Off...Tempo Selects the modulation source of
the delay time
Tap1 Delay Selects the type of notes to specify
r...w
Note the delay time (tap1)
Sets the number of notes to specify
b Times x1...x32
the delay time (tap1)
Displays an error message when the
Time Over? ---, OVER! delay time exceeds the upper limit
Selects the note value used to
Tap1 Dmod
r...w specify the delay time when the
Note modulation is at maximum
c
Specifies the number of notes used
Times x1...x32 to specify the delay time when the
modulation is at maximum
Sets the position of Tap 2 relative to
Tap2 Position
d 0...100 the Tap 1 delay time the depth of
[%]
pitch variation

Tap3 Position Sets the position of Tap 3 relative to

e [%] 0...100 the Tap 1 delay time the depth of
pitch variation
Tap1 Level 0...100 Sets the Tap1 output level
f Pan L, 1...99, R Sets the stereo image of tap1
FB Amt –100...+100 Sets the Tap1 feedback amount
Tap2 Level 0...100 Sets the Tap2 output level
g Pan L, 1...99, R Sets the stereo image of tap2
FB Amt –100...+100 Sets the Tap2 feedback amount
Tap3 Level 0...100 Sets the Tap3 output level
h Pan L, 1...99, R Sets the stereo image of tap3
FB Amt –100...+100 Sets the Tap3 feedback amount
Sets the amount of feedback for
Feedback 0...100
Taps 1, 2, and 3
Selects the modulation source of
i Src Off...Tempo
feedback amount
Sets the depth by which feedback
Amt –100...+100
amount will be modulated
Sets the damping amount in the
High Damp [%] 0...100
high range
j
Sets the damping amount in the low
Low Damp [%] 0...100 range
k Saturation 0...100 Sets the distortion amount
Input Trim 0...100 Sets the input gain
l
Pre Tone 0...100 Sets the tone of the input
Wow Flutter Sets the frequency at which pitch
0.02...1.00
[Hz] variation will occur
m
Wow Flutter
0...100 Sets the depth of pitch variation
depth
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
n Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
400 Effects
Reverb and Early Reflections (Reverb ER)

b: Pre Delay [msec]

Reverb and Early Reflections (Reverb ER) b: Pre Delay Thru [%]
The “Pre Delay” sets the delay time to the reverb input, allowing
you to control spaciousness.
71: Reverb Hall Using the “Pre Delay Thru” parameter, you can mix the dry
This hall-type reverb simulates the reverberation of mid-size sound without delay, emphasizing the attack of the sound.
concert halls or ensemble halls. Reverb - Hall / Plate Type
Level Dry

72: Reverb SmoothHall

This hall-type reverb simulates the reverberation of larger halls

Louder
Reverb

and stadiums, and creates a smooth release. Pre Delay Thru

Time

73: Reverb Wet Plate Pre Delay Reverb Time

This plate reverb simulates warm (dense) reverberation.

75: Reverb Room
74: Reverb Dry Plate
This room-type reverb emphasizes the early reflections that
This plate reverb simulates dry (light) reverberation. make the sound tighter. Changing the balance between the early
reflections and reverb sound allows you to simulate nuances,
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
such as the type of walls of a room.
FX Amt

Pre Delay Thru

EQ Trim
LEQ HEQ
+ Pre Delay Reverb

EQ Trim

Right
FX Amt

Reverb Time
[sec] 0.1...10.0 Sets the reverberation time
a
Sets the damping amount in the
High Damp [%] 0...100
high range
Pre Delay Sets the delay time from the dry
0...200
[msec] sound
b
Pre Delay Thru 0...100 Sets the mix ratio of non-delay
[%] sound
c EQ Trim 0...100 Sets the EQ input level
Low, Selects the cutoff frequency (low or
Pre LEQ Fc
Mid-Low mid-low) of the low-range equalizer
d Selects the cutoff frequency (high or
High,
Pre HEQ Fc mid-high) of the high-range
Mid-High
equalizer
Pre LEQ Gain –15.0...+15.0 Sets the gain of Low EQ
[dB]
e
Pre HEQ Gain
–15.0...+15.0 Sets the gain of High EQ
[dB]
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
f Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 401
Reverb and Early Reflections (Reverb ER)

76: Reverb BrightRoom FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
This room-type reverb emphasizes the early reflections that FX Amt

make the sound brighter. EQ Trim

LEQ HEQ
+ Pre Delay Early Reflections
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt EQ Trim
ER Level
ERs Right
EQ Trim FX Amt
Pre Delay Thru
LEQ HEQ
+ Pre Delay Reverb Reverb Level

Sharp, Loose,
ERs Selects the decay curve for the early
EQ Trim ER Level a Type Modulated,
reflection
Right
Reverse
FX Amt
Sets the time length of early
b ER Time [msec] 10...800 reflection
Reverb Time Pre Delay Sets the time taken from the original
0.1...3.0 Sets the reverberation time c 0...200
[sec] [msec] sound to the first early reflection
a Sets the input level of EQ applied to
Sets the damping amount in the d EQ Trim 0...100
High Damp [%] 0...100 the effect sound
high range
Pre Delay Sets the delay time from the dry Low, Selects the cutoff frequency (low or
0...200 Pre LEQ Fc
[msec] sound Mid-Low mid-low) of the low-range equalizer
b e Selects the cutoff frequency (high or
Pre Delay Thru Sets the mix ratio of non-delay High,
[%] 0...100 sound Pre HEQ Fc mid-high) of the high-range
Mid-High
equalizer
c ER Level 0...100 Sets the level of early reflections
Pre LEQ Gain –15.0...+15.0 Gain of the Low EQ
Sets the reverberation level [dB]
d Reverb Level 0...100 f
Pre HEQ Gain
e EQ Trim 0...100 Sets the EQ input level –15.0...+15.0 Gain of the High EQ
[dB]
Low, Selects the cutoff frequency (low or Dry, 1:99...99:1, Balance between the wet and dry
Pre LEQ Fc Mid-Low mid-low) of the low-range equalizer Wet/Dry
Wet signal
f Selects the cutoff frequency (high or g Table , “Dynamic Modulation
High, Src Off...Tempo
Pre HEQ Fc mid-high) of the high-range sources,” on page 357
Mid-High equalizer
Amt –100...+100 Amount of modulation source
Pre LEQ Gain
–15.0...+15.0 Sets the gain of Low EQ
[dB]
g a: Type
Pre HEQ Gain –15.0...+15.0 Sets the gain of High EQ
[dB]
This parameter selects the decay curve for the early reflection.
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
Early Reflections - Type
h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Sharp
c: ER Level
d: Reverb Level
These parameters set the early reflection level and reverb level. Loose

Changing these parameter values allows you to simulate the type

of walls in the room. That is, a larger “ER Level” simulates a hard
wall, and a larger “Reverb Level” simulates a soft wall. Modulated

Reverb - Room Type

Level Dry ER
(Early Reflections)
Reverse
Louder

Reverb
Dry Pre Delay ER Time

Time

Pre Delay Thru

Pre Delay Reverb Time

77: Early Reflections

This effect is only the early reflection part of a reverberation
sound, and adds presence to the sound. You can select one of the
four decay curves.
Appendix
402 Effects
Mono-Mono Serial (Mono-Mono)

79: P4EQ - Wah

Mono-Mono Serial (Mono-Mono) (Parametric 4-Band EQ -
Wah/Auto Wah)
This effect combines a mono four-band parametric equalizer
78: P4EQ - Exciter and a wah. You can change the order of the connection.
(Parametric 4-Band EQ - Exciter)
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
This effect combines a mono four-band parametric equalizer Left
FX Amt
Routing
and an exciter. Parametric 4Band EQ Wah/Auto Wah

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out + Wah
Trim
Left
FX Amt
Parametric 4Band EQ Exciter
Right
Sweep Mode FX Amt
+ Envelope
Exciter Auto
Trim D-mod
D-mod LFO
LFO

Right
FX Amt
P4EQ
[E]Trim 0...100 Sets the parametric EQ input level
P4EQ a P4EQ Wah, Changes the order of the parametric
a [E]Trim 0...100 Sets the parametric EQ input level Routing Wah P4EQ equalizer and wah connection
[E]B1 Cutoff [E]B1 Cutoff
20...1.00k Sets the center frequency of Band 1 20...1.00k Sets the center frequency of Band 1
[Hz] [Hz]
b b
Q 0.5...10.0 Sets the bandwidth of Band 1 Q 0.5...10.0 Sets the bandwidth of Band 1
Gain [dB] –18...+18 Sets the gain of Band 1 Gain [dB] –18...+18 Sets the gain of Band 1
[E]B2 Cutoff [E]B2 Cutoff
50...5.00k Sets the center frequency of Band 2 50...5.00k Sets the center frequency of Band 2
[Hz] [Hz]
c Q 0.5...10.0 Sets the bandwidth of Band 2 c
Q 0.5...10.0 Sets the bandwidth of Band 2
Gain [dB] –18...+18 Sets the gain of Band 2 Gain [dB] –18...+18 Sets the gain of Band 2
[E]B3 Cutoff 300...10.00k Sets the center frequency of Band 3 [E]B3 Cutoff
[Hz] 300...10.00k Sets the center frequency of Band 3
[Hz]
d d
Q 0.5...10.0 Sets the bandwidth of Band 3 Q 0.5...10.0 Sets the bandwidth of Band 3
Gain [dB] –18...+18 Sets the gain of Band 3 Gain [dB] –18...+18 Sets the gain of Band 3
[E]B4 Cutoff [E]B4 Cutoff
[Hz] 500...20.00k Sets the center frequency of Band 4 500...20.00k Sets the center frequency of Band 4
[Hz]
e e
Q 0.5...10.0 Sets the bandwidth of Band 4 Q 0.5...10.0 Sets the bandwidth of Band 4
Gain [dB] –18...+18 Sets the gain of Band 4 Gain [dB] –18...+18 Sets the gain of Band 4
EXCITER WAH
f [X]Exciter –100...+100 Sets the intensity (depth) of the [W]Frequency Sets the lower limit of the wah
Blend Exciter effect 0...100
Bottom center frequency
f
[X]Emphasis Sets the frequency range to be Sets the upper limit of the wah
g 0...70 Frequency Top 0...100
Freq emphasized center frequency
Dry, 1:99...99:1, Balance between the wet and dry Auto,
Wet/Dry Wet signal [W]Sweep Selects the control from auto-wah,
D-mod,
Mode LFO modulation source, and LFO
h Table , “Dynamic Modulation g
Src Off...Tempo
sources,” on page 357 Selects the modulation source for
Src Off...Tempo
Amt –100...+100 Amount of modulation source the wah when Sweep Mode=D-mod
[W]LFO
0.02...20.00 Sets the speed of the LFO
Frequency [Hz]
h Resonance 0...100 Sets the resonance amount
Switches the wah low pass filter on
LPF Off, On
and off
Dry,1 : 99... 99 :
[W] Wet/Dry Sets the wah effect balance
1, Wet
Selects the Wet/Dry modulation
i Src Off...Tempo
source for the wah
Sets the Wet/Dry modulation
Amt –100...+100
amount for the wah
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 403
Mono-Mono Serial (Mono-Mono)

80: P4EQ - Cho/Flng 81: P4EQ - Phaser

(Parametric 4-Band EQ - Chorus/Flanger) (Parametric 4-Band EQ - Phaser)
This effect combines a mono four-band parametric equalizer This effect combines a mono four-band parametric equalizer
and a chorus/flanger. and a phaser.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left Left
FX Amt FX Amt
Parametric 4Band EQ Chorus/Flanger Parametric 4Band EQ Phaser

+ Chorus/Flanger + Phaser
Trim Normal Trim Normal
+ Output Mode + Output Mode
– –
Feedback Wet Invert Resonance Wet Invert
Cho/Flng FX Amt Phaser FX Amt

Right Right
FX Amt FX Amt
LFO: Tri / Sine LFO: Tri / Sine

P4EQ P4EQ
a [E]Trim 0...100 Sets the parametric EQ input level a [E]Trim 0...100 Sets the parametric EQ input level
[E]B1 Cutoff [E]B1 Cutoff
20...1.00k Sets the center frequency of Band 1 20...1.00k Sets the center frequency of Band 1
[Hz] [Hz]
b b
Q 0.5...10.0 Sets the bandwidth of Band 1 Q 0.5...10.0 Sets the bandwidth of Band 1
Gain [dB] –18...+18 Sets the gain of Band 1 Gain [dB] –18...+18 Sets the gain of Band 1
[E]B2 Cutoff [E]B2 Cutoff
[Hz] 50...5.00k Sets the center frequency of Band 2 [Hz] 50...5.00k Sets the center frequency of Band 2
c c
Q 0.5...10.0 Sets the bandwidth of Band 2 Q 0.5...10.0 Sets the bandwidth of Band 2
Gain [dB] –18...+18 Sets the gain of Band 2 Gain [dB] –18...+18 Sets the gain of Band 2
[E]B3 Cutoff 300...10.00k Sets the center frequency of Band 3 [E]B3 Cutoff 300...10.00k Sets the center frequency of Band 3
[Hz] [Hz]
d d
Q 0.5...10.0 Sets the bandwidth of Band 3 Q 0.5...10.0 Sets the bandwidth of Band 3
Gain [dB] –18...+18 Sets the gain of Band 3 Gain [dB] –18...+18 Sets the gain of Band 3
[E]B4 Cutoff [E]B4 Cutoff
[Hz] 500...20.00k Sets the center frequency of Band 4 [Hz] 500...20.00k Sets the center frequency of Band 4
e e
Q 0.5...10.0 Sets the bandwidth of Band 4 Q 0.5...10.0 Sets the bandwidth of Band 4
Gain [dB] –18...+18 Sets the gain of Band 4 Gain [dB] –18...+18 Sets the gain of Band 4
CHORUS/FLANGER PHASER
[F]LFO 0.02...20.00 Sets the speed of the LFO [P]LFO 0.02...20.00 Sets the speed of the LFO
f Frequency [Hz] f Frequency [Hz]
LFO Waveform Triangle, Sine Selects the LFO Waveform LFO Waveform Triangle, Sine Selects the LFO Waveform
[F]Delay Time Sets the frequency to which the
0.0...1350.0 Sets the delay time [P]Manual 0...100
[msec] effect is applied
g Depth 0...100 Sets the depth of LFO modulation g Depth 0...100 Sets the depth of LFO modulation
Sets the feedback amount Sets the resonance amount
Feedback –100...+100 Resonance –100...+100

-Wet, -
[P]Phaser Wet/ -Wet,
-
[F]Cho/Flng 1:99...Dry...99:1 Sets the effect balance of the 1:99...Dry...99:1 Sets the phaser effect balance
Wet/Dry chorus/flanger Dry
, Wet , Wet
h Selects the Wet/Dry modulation h Selects the Wet/Dry modulation
Src Off...Tempo Src Off...Tempo
source for the chorus/flanger source for the phaser
Sets the Wet/Dry modulation Sets the Wet/Dry modulation
Amt –100...+100 Amt –100...+100
amount for the chorus/flanger amount for the phaser
[F]Output Normal, Selects the output mode for the [P]Output Normal,
i Mode Wet Invert chorus/flanger i Mode Wet Invert Selects the phaser output mode

Dry, 1:99...99:1, Balance between the wet and dry Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet/Dry
Wet signal Wet signal
j Table , “Dynamic Modulation j Table , “Dynamic Modulation
Src Off...Tempo Src Off...Tempo
sources,” on page 357 sources,” on page 357
Amt –100...+100 Amount of modulation source Amt –100...+100 Amount of modulation source

i: Output Mode
When Wet Invert is selected, the right channel phase of the cho-
rus/flanger effect sound is inverted. This creates pseudo-stereo
effects and adds spread.
However, if a mono-input type effect is connected after this
effect, the left and right sounds may cancel each other, eliminat-
ing the chorus/flanger effects.
Appendix
404 Effects
Mono-Mono Serial (Mono-Mono)

82: P4EQ - Mt. Delay 83: Comp - Wah

(Parametric 4-Band EQ - (Compressor - Wah/Auto Wah)
Multitap Delay) This effect combines a mono compressor and a wah. You can
This effect combines a mono four-band parametric equalizer change the order of the connection.
and a multitap delay.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
Routing FX Amt
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Compressor Wah/Auto Wah
Left
FX Amt
Parametric 4Band EQ Multitap Delay EQ Trim LEQ HEQ
+ Comp Wah
Output Level FX Amt
Feedback
+ Delay
(2)
Trim High Damp (1)
Mt.Dly FX Amt
Right
Sweep Mode FX Amt
Envelope - Control Envelope
Auto
Right D-mod
FX Amt D-mod LFO
LFO

P4EQ
Sets the parametric EQ input COMPRESSOR
a [E]Trim 0...100 level [C]
a Sensitivity 1...100 Sets the sensitivity
[E]B1 Cutoff Sets the center frequency of
20...1.00k
[Hz] Band 1 [C]Attack 1...100 Sets the attack level
b b
Q 0.5...10.0 Sets the bandwidth of Band 1 Output Level 0...100 Sets the compressor output level
Gain [dB] –18...+18 Sets the gain of Band 1 c [C]EQ Trim 0...100 Sets the EQ input level
[E]B2 Cutoff Sets the center frequency of [C]Pre LEQ
50...5.00k –15...+15 Sets the gain of Low EQ
[Hz] Band 2 Gain [dB]
c d
Q 0.5...10.0 Sets the bandwidth of Band 2 Pre HEQ Gain
–15...+15 Sets the gain of High EQ
Gain [dB] –18...+18 Sets the gain of Band 2 [dB]
[E]B3 Cutoff Sets the center frequency of WAH
[Hz] 300...10.00k Band 3 [W]Frequency Sets the lower limit of the wah
d 0...100
Q 0.5...10.0 Sets the bandwidth of Band 3 Bottom center frequency
e
Gain [dB] –18...+18 Sets the gain of Band 3 Sets the upper limit of the wah
Frequency Top 0...100 center frequency
[E]B4 Cutoff 500...20.00k Sets the center frequency of
[Hz] Band 4 Auto,
[w]Sweep D-mod, Selects the control from auto-wah,
e Q 0.5...10.0 Sets the bandwidth of Band 4 Mode modulation source, and LFO
f LFO
Gain [dB] –18...+18 Sets the gain of Band 4 Selects the modulation source for
Src Off...Tempo the wah when Sweep Mode=D-mod
MULTITAP DELAY
[D]Tap1 Time [W]LFO
0.0...1360.0 Sets the Tap1 delay time 0.02...20.00 Sets the speed of the LFO
[msec] Frequency [Hz]
f g Resonance 0...100 Sets the resonance amount
Sets the Tap1 output level
Tap1 Level 0...100
Switches the wah low pass filter on
LPF Off, On
[D]Tap2 Time 0.0...1360.0 and off
Sets the Tap2 delay time
[msec] Dry,
g [W]Wet/Dry 1 : 99...99 : 1, Sets the wah effect balance
Feedback
–100...+100 Sets the Tap2 feedback amount Wet
(Tap2)
[D]High Sets the damping amount in h Selects the Wet/Dry modulation
h 0...100 Src Off...Tempo
Damp [%] the high range source for the wah
Dry, Sets the Wet/Dry modulation
[D]Mt.Delay Sets the multitap delay effect Amt –100...+100
1:99...99:1, amount for the wah
Wet/Dry balance
Wet Comp Wah, Switches the order of the
i Routing
Selects the Wet/Dry Wah Comp compressor and wah
i
Src Off...Tempo modulation source for the Dry, 1:99...99:1, Balance between the wet and dry
multitap delay Wet/Dry
Wet signal
Amt –100...+100 Sets the Wet/Dry modulation j Table , “Dynamic Modulation
amount for the multitap delay Src Off...Tempo sources,” on page 357
Dry, Amt –100...+100 Amount of modulation source
Wet/Dry 1:99...99:1, Balance between the wet and
dry signal
Wet
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 405
Mono-Mono Serial (Mono-Mono)

84: Comp - Amp Sim 85: Comp - OD/HiGain

(Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain)
This effect combines a mono compressor and an amp simula- This effect combines a mono compressor and an overdrive/high-
tion. You can change the order of the effects. gain distortion. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left Left
Routing FX Amt FX Amt
Routing
Compressor Amp Simulation Compressor Overdrive / Hi-Gain

EQ Trim LEQ HEQ 3 Band PEQ

+ Comp Amp Simulation Filter + Comp Driver
Output Level Output Level Output Level FX Amt

Mode: Overdrive / Hi-Gain

Drive

Right Right
FX Amt FX Amt
Envelope - Control Envelope - Control

COMPRESSOR COMPRESSOR
[C] [C]
a 1...100 Sets the sensitivity a 1...100 Sets the sensitivity
Sensitivity Sensitivity
[C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level
b b
Output Level 0...100 Sets the compressor output level Output Level 0...100 Sets the compressor output level
c [C]EQ Trim 0...100 Sets the EQ input level OD/HI-GAIN
[C]Pre LEQ [O] Overdrive, Hi- Switches between overdrive and
–15...+15 Sets the gain of Low EQ
Gain [dB] Drive Mode Gain high-gain distortion
d c
Pre HEQ Gain Sets the degree of distortion
–15...+15 Sets the gain of High EQ Drive 1...100
[dB]
AMP SIM [O]Output 0...50 Sets the overdrive output level
Level
e [A]Amplifier SS, EL84, 6L6 Selects the type of guitar amplifier
Type Selects the modulation source for
d Src Off...Tempo
the overdrive output level
Comp Amp, Switches the order of the
f Routing
Amp Comp compressor and amp simulation Amt –50...+50 Sets the modulation amount of the
overdrive output level
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal [O]Low Cutoff Sets the center frequency for Low
20...1.00k
e [Hz] EQ (shelving type)
g Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357 Gain [dB] –18...+18 Sets the gain of Low EQ
Amt –100...+100 Amount of modulation source [O]Mid1 Cutoff 300...10.00k Sets the center frequency for Mid/
[Hz] High EQ 1 (peaking type)
f Sets the band width of Mid/High EQ
Q 0.5...10.0
1
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1
[O]Mid2 Cutoff 500...20.00k Sets the center frequency for Mid/
[Hz] High EQ 2 (peaking type)
g Sets the band width of Mid/High EQ
Q 0.5...10.0
2
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2
Dry,
[O]Wet/Dry 1 : 99...99 : 1, Sets the overdrive effect balance
Wet
h Selects the Wet/Dry modulation
Src Off...Tempo
source for the overdrive
Sets the Wet/Dry modulation
Amt –100...+100 amount for the overdrive
Comp OD/
Switches the order of the
i Routing HG, OD/HG
Comp compressor and overdrive

Dry, 1:99...99:1, Balance between the wet and dry

Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
406 Effects
Mono-Mono Serial (Mono-Mono)

86: Comp - P4EQ 87: Comp - Cho/Flng

(Compressor - Parametric 4-Band EQ) (Compressor - Chorus/Flanger)
This effect combines a mono compressor and a four-band para- This effect combines a mono compressor and a chorus/flanger.
metric equalizer. You can change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left Left
FX Amt Routing FX Amt
Routing
Compressor Parametric 4Band EQ Compressor Chorus/Flanger

EQ Trim LEQ HEQ

+ Comp + Comp Chorus/Flanger
Normal
Trim +
Output Level Output Level Output Mode
–
Feedback Wet Invert
Cho/Flng FX Amt

Right Right
FX Amt FX Amt
Envelope - Control Envelope - Control LFO: Tri / Sine

COMPRESSOR COMPRESSOR
[C] [C]
a 1...100 Sets the sensitivity a 1...100 Sets the sensitivity
Sensitivity Sensitivity
[C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level
b b
Output Level 0...100 Sets the compressor output level Output Level 0...100 Sets the compressor output level
P4EQ c [C]EQ Trim 0...100 Sets the EQ input level
c [E]Trim 0...100 Sets the parametric EQ input level [C]Pre LEQ
–15...+15 Sets the gain of Low EQ
Gain [dB]
[E]B1 Cutoff d
20...1.00k Sets the center frequency of Band 1 Pre HEQ Gain
[Hz] –15...+15 Sets the gain of High EQ
d [dB]
Q 0.5...10.0 Sets the bandwidth of Band 1
CHORUS/FLANGER
Gain [dB] –18...+18 Sets the gain of Band 1
[F]LFO
Frequency [Hz] 0.02...20.00
[E]B2 Cutoff Sets the speed of the LFO
50...5.00k Sets the center frequency of Band 2 e
[Hz]
e LFO Waveform Triangle, Sine Selects the LFO Waveform
Q 0.5...10.0 Sets the bandwidth of Band 2
[F]Delay Time 0.0...1350.0 Sets the delay time
Gain [dB] –18...+18 Sets the gain of Band 2 [msec]
[E]B3 Cutoff f Depth 0...100 Sets the depth of LFO modulation
300...10.00k Sets the center frequency of Band 3
[Hz]
f Sets the feedback amount
Q 0.5...10.0 Sets the bandwidth of Band 3 Feedback –100...+100
Gain [dB] –18...+18 Sets the gain of Band 3 -Wet, - Sets the effect balance of the
[F]Cho/Flng
[E]B4 Cutoff 1:99...Dry...99:1 chorus/flanger
500...20.00k Sets the center frequency of Band 4 Wet/Dry
[Hz] , Wet ,
g Q 0.5...10.0 Sets the bandwidth of Band 4 g Selects the Wet/Dry modulation
Src Off...Tempo source for the chorus/flanger
Gain [dB] –18...+18 Sets the gain of Band 4
Amt –100...+100 Sets the Wet/Dry modulation
Comp P4EQ, Switches the order of the amount for the chorus/flanger
h Routing P4EQ Comp compressor and parametric EQ
[F]Output Normal, Selects the output mode for the
Dry, 1:99...99:1, Balance between the wet and dry h
Wet/Dry Mode Wet Invert chorus/flanger
Wet signal
Comp
i Table , “Dynamic Modulation Switches the order of the
Src Off...Tempo i Routing Flanger,
sources,” on page 357 compressor and chorus/flanger
Flanger Comp
Amt –100...+100 Amount of modulation source Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

h: [F]Output Mode
i: Routing
When Wet Invert is selected, the right channel phase of the cho-
rus/flanger effect sound is inverted. This creates pseudo-stereo
effects and adds spread.
However, if a mono-input type effect is connected after this
effect, the left and right sounds may cancel each other, eliminat-
ing the chorus/flanger effects.
When “Routing” is set to Flanger→ Comp, “[F]Output Mode”
will be set to Normal.
 Effects 407
Mono-Mono Serial (Mono-Mono)

88: Comp - Phaser 89: Comp - Mt. Delay

(Compressor - Phaser) (Compressor - Multitap Delay)
This effect combines a mono compressor and a phaser. You can This effect combines a mono compressor and a multitap delay.
change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left Left
Routing FX Amt Routing FX Amt
Compressor Phaser Compressor Multitap Delay

EQ Trim LEQ HEQ EQ Trim LEQ HEQ Feedback

+ Comp Phaser + Comp Delay
Normal (2)
Output Level + High Damp (1)
Output Mode
– Output Level Mt.Dly FX Amt
Resonance Wet Invert
Phaser FX Amt

Right Right
FX Amt FX Amt
Envelope - Control LFO: Tri / Sine Envelope - Control

COMPRESSOR COMPRESSOR
[C] [C]
a 1...100 Sets the sensitivity a 1...100 Sets the sensitivity
Sensitivity Sensitivity
[C]Attack 1...100 Sets the attack level [C]Attack 1...100 Sets the attack level
b b
Output Level 0...100 Sets the compressor output level Output Level 0...100 Sets the compressor output level
c [C]EQ Trim 0...100 Sets the EQ input level c [C]EQ Trim 0...100 Sets the EQ input level
[C]Pre LEQ [C]Pre LEQ
–15...+15 Sets the gain of Low EQ –15...+15 Sets the gain of Low EQ
Gain [dB] Gain [dB]
d d
Pre HEQ Gain Pre HEQ Gain
–15...+15 Sets the gain of High EQ –15...+15 Sets the gain of High EQ
[dB] [dB]
PHASER MULTITAP DELAY
[P]LFO [D]Tap1 Time
Frequency [Hz] 0.02...20.00
Sets the speed of the LFO 0.0...1360.0 Sets the Tap1 delay time
e [msec]
e
LFO Waveform Triangle, Sine Selects the LFO Waveform Sets the Tap1 output level
Tap1 Level 0...100
[P]Manual 0...100 Sets the frequency to which the
effect is applied [D]Tap2 Time 0.0...1360.0 Sets the Tap2 delay time
f Depth 0...100 Sets the depth of LFO modulation [msec]
f
Sets the resonance amount Feedback
Resonance –100...+100 –100...+100 Sets the Tap2 feedback amount
(Tap2)
[D]High Damp 0...100 Sets the damping amount in the
[P]Phaser Wet/ -Wet, - g [%] high range
1:99...Dry...99:1 Sets the phaser effect balance
Dry
, Wet Dry,
[D]Mt.Delay Sets the multitap delay effect
g Selects the Wet/Dry modulation 1 : 99...99 : 1,
Src Off...Tempo Wet/Dry Wet balance
source for the phaser
Sets the Wet/Dry modulation h Src Off...Tempo Selects the Wet/Dry modulation
Amt –100...+100 source for the multitap delay
amount for the phaser
[F]Output Normal, Sets the Wet/Dry modulation
h Selects the phaser output mode Amt –100...+100
Mode Wet Invert amount for the multitap delay
Switches the order of the Comp
Comp Phaser, compressor and phaser Mt.Delay, Switches the order of the
i Routing i Routing
Phaser Comp Mt.Delay compressor and multitap delay
Comp
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry
Wet signal Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo j Table , “Dynamic Modulation
sources,” on page 357 Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Amt –100...+100 Amount of modulation source

Appendix
408 Effects
Mono-Mono Serial (Mono-Mono)

90: Limiter - P4EQ a: [L]Ratio

(Limiter - Parametric 4-Band EQ) a: Threshold [dB]
c: [L]Gain Adjust [dB]
This effect combines a mono limiter and a four-band parametric
equalizer. You can change the order of the effects. This parameter sets the signal compression “[L]Ratio”. Compres-
sion is applied only when the signal level exceeds the “Thresh-
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
old” value.
Left
Routing FX Amt Adjust the output level using the “Gain Adjust” parameter, since
Limiter Parametric 4Band EQ
compression causes the entire level to be reduced.
+ Limiter Limiter - Threshold / Ratio
Trim
Gain Adjust
Ratio=1.0 : 1
Output Level
Right
FX Amt Ratio=2.0 : 1
Envelope - Control
Threshold Ratio=4.0 : 1
Ration=Inf : 1
LIMITER

Louder
1.0 : 1...
[L]Ratio Sets the signal compression ratio
50.0 : 1, Inf : 1
a Sets the level above which the Louder
Threshold [dB] –40...0 compressor is applied Input Level

[L]Attack 1...100 Sets the attack time Ratio=1.0 : 1

b Level Dry
Release 1...100 Sets the release time Ratio=2.0 : 1
Ratio=4.0 : 1
[L]Gain Adjust –Inf, Sets the limiter output gain
c
[dB] –38...+24 Threshold
P4EQ
d [E]Trim 0...100 Sets the parametric EQ input level Ratio=Inf : 1

[E]B1 Cutoff
20...1.00k Sets the center frequency of Band 1 Time
[Hz]
e
Q 0.5...10.0 Sets the bandwidth of Band 1
Gain [dB] –18...+18 Sets the gain of Band 1
[E]B2 Cutoff
50...5.00k Sets the center frequency of Band 2
[Hz]
f
Q 0.5...10.0 Sets the bandwidth of Band 2
Gain [dB] –18...+18 Sets the gain of Band 2
[E]B3 Cutoff
[Hz] 300...10.00k Sets the center frequency of Band 3
g Q 0.5...10.0 Sets the bandwidth of Band 3
Gain [dB] –18...+18 Sets the gain of Band 3
[E]B4 Cutoff
500...20.00k Sets the center frequency of Band 4
[Hz]
h
Q 0.5...10.0 Sets the bandwidth of Band 4
Gain [dB] –18...+18 Sets the gain of Band 4
Limiter P4EQ, Switches the order of the limiter and
i Routing P4EQ Limiter parametric EQ

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 409
Mono-Mono Serial (Mono-Mono)

91: Limiter - Cho/Flng 92: Limiter - Phaser

(Limiter - Chorus/Flanger) This effect combines a mono limiter and a phaser. You can
This effect combines a mono limiter and a chorus/flanger. You change the order of the effects.
can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
Routing FX Amt
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Limiter Phaser
Left
Routing FX Amt
Limiter Chorus/Flanger
+ Limiter Phaser
Normal
Gain Adjust + Output Mode
+ Limiter Chorus/Flanger Resonance
–
Wet Invert
EQ Trim LEQ HEQ Normal
+ Output Mode Phaser FX Amt
Gain Adjust –
Feedback Wet Invert Right
Cho/Flng FX Amt FX Amt
Envelope - Control LFO: Tri / Sine
Right
FX Amt
Envelope - Control LFO: Tri / Sine

LIMITER

LIMITER 1.0 : 1...

[L]Ratio Sets the signal compression ratio
50.0 : 1, Inf : 1
1.0 : 1... a
[L]Ratio Sets the signal compression ratio Sets the level above which the
50.0 : 1, Inf : 1 Threshold [dB] –40...0
a compressor is applied
Sets the level above which the
Threshold [dB] –40...0 [L]Attack 1...100 Sets the attack time
compressor is applied b
[L]Attack 1...100 Sets the attack time Release 1...100 Sets the release time
b [L]Gain Adjust –Inf, Sets the limiter output gain
Release 1...100 Sets the release time c
[dB] –38...+24
[L]Gain Adjust –Inf, Sets the limiter output gain
c PHASER
[dB] –38...+24
CHORUS/FLANGER [P]LFO
0.02...20.00 Sets the speed of the LFO
d Frequency [Hz]
[F]LFO
d Frequency [Hz] 0.02...20.00 Sets the speed of the LFO LFO Waveform Triangle, Sine Selects the LFO Waveform

LFO Waveform Triangle, Sine Selects the LFO Waveform Sets the frequency to which the
[P]Manual 0...100 effect is applied
[F]Delay Time 0.0...1350.0 Sets the delay time
[msec] e Depth 0...100 Sets the depth of LFO modulation

e Depth 0...100 Sets the depth of LFO modulation Sets the resonance amount
Resonance –100...+100
Sets the feedback amount
Feedback –100...+100
[P]Phaser Wet/ -Wet,
-
1:99...Dry...99:1 Sets the phaser effect balance
Dry
f [F]EQ Trim 0...100 Sets the EQ input level , Wet
[F]Pre LEQ f Selects the phaser’s Wet/Dry
–15...+15 Sets the gain of Low EQ Src Off...Tempo
Gain [dB] modulation source
g
Pre HEQ Gain Sets the phaser’s Wet/Dry
–15...+15 Sets the gain of High EQ Amt –100...+100
[dB] modulation amount
-Wet, - [P]Output Normal,
[F]Cho/Flng
1:99...Dry...99:1 Sets
the effect balance of the g
Mode Wet Invert
Selects the phaser output mode
Wet/Dry chorus/flanger
, Wet
Limiter
h Selects the Wet/Dry modulation h Routing Phaser, Phaser Switches the order of the limiter and
Src Off...Tempo source for the chorus/flanger Limiter
phaser

Amt –100...+100 Sets the Wet/Dry modulation Wet/Dry

Dry, 1:99...99:1, Balance between the wet and dry
amount for the chorus/flanger Wet signal
[F]Output Normal, Selects the output mode for the i
Src Off...Tempo
Table , “Dynamic Modulation
Mode Wet Invert chorus/flanger sources,” on page 357
i Limiter Amt –100...+100 Amount of modulation source
Flanger, Switches the order of the limiter and
Routing
Flanger chorus/flanger
Limiter
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
410 Effects
Mono-Mono Serial (Mono-Mono)

93: Limiter - Mt.Delay 94: Exciter - Comp

(Limiter - Multitap Delay) (Exciter -Compressor)
This effect combines a mono limiter and a multitap delay. You This effect combines a mono exciter and a compressor. You can
can change the order of the effects. change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left Left
Routing FX Amt FX Amt
Multitap Delay Routing
Limiter
Exciter Compressor

Feedback EQ Trim LEQ HEQ

+ Limiter Delay + Exciter Comp
(2)
Gain Adjust High Damp (1)
Mt.Dly FX Amt Output Level

Right
FX Amt Right
Envelope - Control FX Amt
Envelope - Control

LIMITER EXCITER
1.0 : 1... [X]Exciter Sets the intensity (depth) of the
[L]Ratio Sets the signal compression ratio a –100...+100
50.0 : 1, Inf : 1 Blend Exciter effect
a
Sets the level above which the [X]Emphasis Sets the frequency range to be
Threshold [dB] –40...0 b 0...70
compressor is applied Frequency emphasized
[L]Attack 1...100 Sets the attack time c [X]EQ Trim 0...100 Sets the EQ input level
b
Release 1...100 Sets the release time [X]Pre LEQ –15...+15 Sets the gain of Low EQ
[L]Gain Adjust –Inf, Sets the limiter output gain Gain [dB]
c d
[dB] –38...+24 Pre HEQ Gain
–15...+15 Sets the gain of High EQ
MULTITAP DELAY [dB]
[D]Tap1 Time COMPRESSOR
0.0...1360.0 Sets the Tap1 delay time
d [msec] [C]
e 1...100 Sets the sensitivity
Tap1 Level 0...100 Sets the Tap1 output level Sensitivity
[D]Tap2 Time [C]Attack 1...100 Sets the attack level
0.0...1360.0 Sets the Tap2 delay time f
e [msec] Output Level 0...100 Sets the compressor output level
Feedback –100...+100 Sets the Tap2 feedback amount Exciter Comp, Switches the order of the exciter and
g Routing
[D]High Damp 0...100 Sets the damping amount in the Comp Exciter compressor
f
[%] high range Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
[D]Mt.Delay Dry, 1:99...99:1, Sets the multitap delay effect Wet signal
Wet/Dry Wet balance h Table , “Dynamic Modulation
Src Off...Tempo sources,” on page 357
g Src Off...Tempo Selects the multitap delay’s Wet/Dry
modulation source Amt –100...+100 Amount of modulation source
Sets the multitap delay’s Wet/Dry
Amt –100...+100
modulation amount
Limiter
Mt.Delay, Switches the order of the limiter and
h Routing
Mt.Delay multitap delay
Limiter
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 411
Mono-Mono Serial (Mono-Mono)

95: Exciter - Limiter 96: Exciter - Cho/Flng

This effect combines a mono exciter and a limiter. You can (Exciter - Chorus/Flanger)
change the order of the effects. This effect combines a mono limiter and a chorus/flanger.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt Left
Routing FX Amt
Exciter Limiter
Exciter Chorus/Flanger

EQ Trim LEQ HEQ EQ Trim LEQ HEQ

+ Exciter Limiter + Exciter Chorus/Flanger
Normal
Gain Adjust + Output Mode
–
Feedback Wet Invert
Cho/Flng FX Amt
Right Right
FX Amt FX Amt
Envelope - Control LFO: Tri / Sine

EXCITER EXCITER
[X]Exciter Sets the intensity (depth) of the [X]Exciter Sets the intensity (depth) of the
a –100...+100 a –100...+100
Blend Exciter effect Blend Exciter effect
[X]Emphasis Sets the frequency range to be [X]Emphasis Sets the frequency range to be
b 0...70 b 0...70
Frequency emphasized Frequency emphasized
c [X]Trim 0...100 Sets the EQ input level c [X]Trim 0...100 Sets the EQ input level
[X]Pre LEQ [X]Pre LEQ
Gain [dB] –15...+15 Sets the gain of Low EQ –15...+15 Sets the gain of Low EQ
d Gain [dB]
Pre HEQ Gain d
–15...+15 Sets the gain of High EQ Pre HEQ Gain
[dB] –15...+15 Sets the gain of High EQ
[dB]
LIMITER CHORUS/FLANGER
e [L]Ratio 1.0 : 1... Sets the signal compression ratio [F]LFO
50.0 : 1, Inf : 1 0.02...20.00 Sets the speed of the LFO
e Frequency [Hz]
[L]Threshold Sets the level above which the LFO Waveform Triangle, Sine Selects the LFO Waveform
f [dB] –40...0 compressor is applied
[F]Delay Time 0.0...1350.0 Sets the delay time
g [L]Attack 1...100 Sets the attack time [msec]
Release 1...100 Sets the release time f Depth 0...100 Sets the depth of LFO modulation
[L]Gain Adjust –Inf, Sets the limiter output gain Sets the feedback amount
h Feedback –100...+100
[dB] –38...+24
Exciter -Wet, -
Limiter, Limiter Switches
the order of the exciter [F]Cho/Flng
1:99...Dry...99:1 Sets
i Routing the effect balance of the
and limiter Wet/Dry chorus/flanger
Exciter , Wet
Dry, 1:99...99:1, Balance between the wet and dry g Selects the Wet/Dry modulation
Wet/Dry Wet signal Src Off...Tempo source for the chorus/flanger
j Table , “Dynamic Modulation Sets the Wet/Dry modulation
Src Off...Tempo Amt –100...+100
sources,” on page 357 amount for the chorus/flanger
Amt –100...+100 Amount of modulation source [F]Output Normal, Selects the output mode for the
h
Mode Wet Invert chorus/flanger

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
i Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source

Appendix
412 Effects
Mono-Mono Serial (Mono-Mono)

97: Exciter - Phaser 98: Exciter - Mt.Delay

This effect combines a mono limiter and a phaser. (Exciter - Multitap Delay)
This effect combines a mono exciter and a multitap delay.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Exciter Phaser Left
FX Amt
EQ Trim LEQ HEQ Exciter Multitap Delay
+ Exciter Phaser
Normal EQ Trim LEQ HEQ
+ Feedback
Output Mode
–
Wet Invert
+ Exciter Delay
(2)
Resonance
High Damp (1)
Phaser FX Amt
Mt.Dly FX Amt
Right
FX Amt
LFO: Tri / Sine
Right
FX Amt

EXCITER
EXCITER
[X]Exciter Sets the intensity (depth) of the
a –100...+100 [X]Exciter Sets the intensity (depth) of the
Blend Exciter effect a –100...+100
Blend Exciter effect
[X]Emphasis Sets the frequency range to be
b 0...70 [X]Emphasis Sets the frequency range to be
Frequency emphasized b 0...70
Frequency emphasized
c [X]Trim 0...100 Sets the EQ input level
c [X]Trim 0...100 Sets the EQ input level
[X]Pre LEQ
–15...+15 Sets the gain of Low EQ [X]Pre LEQ
Gain [dB] –15...+15 Sets the gain of Low EQ
d Gain [dB]
Pre HEQ Gain d
–15...+15 Sets the gain of High EQ Pre HEQ Gain
[dB] –15...+15 Sets the gain of High EQ
[dB]
PHASER
MULTITAP DELAY
[P]LFO
e Frequency [Hz] 0.02...20.00 Sets the speed of the LFO [D]Tap1 Time
0.0...1360.0 Sets the Tap1 delay time
e [msec]
LFO Waveform Triangle, Sine Selects the LFO Waveform
Tap1 Level 0...100 Sets the Tap1 output level
[P]Manual 0...100 Sets the frequency to which the
effect is applied [D]Tap2 Time 0.0...1360.0 Sets the Tap2 delay time
[msec]
f Depth 0...100 Sets the depth of LFO modulation f
Feedback
Sets the resonance amount (Tap2) –100...+100 Sets the Tap2 feedback amount
Resonance –100...+100
[D]High Damp 0...100 Sets the damping amount in the
g
[P]Phaser Wet/ -Wet, - [%] high range
1:99...Dry...99:1, Sets the phaser effect balance
Dry [D]Mt.Delay Dry, 1:99...99:1, Sets the multitap delay effect
Wet
Wet/Dry Wet balance
g Src Off...Tempo Selects the Wet/Dry modulation
source for the phaser Selects the Wet/Dry modulation
h Src Off...Tempo
source for the multitap delay
Sets the Wet/Dry modulation
Amt –100...+100 amount for the phaser Sets the Wet/Dry modulation
Amt –100...+100 amount for the multitap delay
[P]Output Normal,
h Selects the phaser output mode Dry, 1:99...99:1, Balance between the wet and dry
Mode Wet Invert Wet/Dry
Wet signal
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry i Table , “Dynamic Modulation
Wet signal Src Off...Tempo
sources,” on page 357
i Table , “Dynamic Modulation
Src Off...Tempo Amt –100...+100 Amount of modulation source
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 413
Mono-Mono Serial (Mono-Mono)

99: OD/HG - Amp Sim 100: OD/HG - Cho/Flng

(Overdrive/Hi.Gain - (Overdrive/Hi.Gain - Chorus/Flanger)
Amp Simulation) This effect combines a mono overdrive/high-gain distortion and
This effect combines a mono overdrive/high-gain distortion and a chorus/flanger. You can change the order of the effects.
an amp simulation. You can change the order of the effects.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out Routing FX Amt

Left Overdrive / Hi-Gain Chorus/Flanger

Routing FX Amt
Overdrive / Hi-Gain Amp Simulation 3 Band PEQ
+ Driver Chorus/Flanger
3 Band PEQ Normal
Output Level + Output Mode
+ Driver Amp Simulation Filter –
Feedback Wet Invert
Output Level Mode: Overdrive / Hi-Gain
Drive Cho/Flng FX Amt

Mode: Overdrive / Hi-Gain Right

Drive FX Amt
LFO: Tri / Sine
Right
FX Amt

OD/HI-GAIN
OD/HI-GAIN
Overdrive, Hi- Switches between overdrive and
Overdrive, Hi- Switches between overdrive and [O]Drive Mode Gain
[O]Drive Mode high-gain distortion
a Gain high-gain distortion a
Sets the degree of distortion
Drive 1...100 Sets the degree of distortion Drive 1...100
[O]Output [O]Output
0...50 Sets the overdrive output level 0...50 Sets the overdrive output level
Level Level
Selects the modulation source for Selects the modulation source for
b Src Off...Tempo b Src Off...Tempo
the overdrive output level the overdrive output level
Sets the modulation amount of the Sets the modulation amount of the
Amt –50...+50 Amt –50...+50
overdrive output level overdrive output level
[O]Low Cutoff 20...1.00k Sets the center frequency for Low [O]Low Cutoff Sets the center frequency for Low
[Hz] EQ (shelving type) 20...1.00k
e e [Hz] EQ (shelving type)
Gain [dB] –18...+18 Sets the gain of Low EQ Gain [dB] –18...+18 Sets the gain of Low EQ
[O]Mid1 Cutoff 300...10.00k Sets the center frequency for Mid/ [O]Mid1 Cutoff Sets the center frequency for Mid/
[Hz] High EQ 1 (peaking type) 300...10.00k
[Hz] High EQ 1 (peaking type)
f Sets the band width of Mid/High EQ f Sets the band width of Mid/High EQ
Q 0.5...10.0 Q 0.5...10.0
1 1
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1
[O]Mid2 Cutoff Sets the center frequency for Mid/ [O]Mid2 Cutoff 500...20.00k Sets the center frequency for Mid/
[Hz] 500...20.00k High EQ 2 (peaking type) [Hz] High EQ 2 (peaking type)
g Q 0.5...10.0 Sets the band width of Mid/High EQ g Sets the band width of Mid/High EQ
2 Q 0.5...10.0
2
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2
AMP SIM CHORUS/FLANGER
[A]Amplifier [F]LFO
h SS, EL84, 6L6 Selects the type of guitar amplifie
Type h Frequency [Hz] 0.02...20.00 Sets the speed of the LFO
OD/HG Amp, Switches the order of the overdrive LFO Waveform Triangle, Sine Selects the LFO Waveform
i Routing
Amp OD/HG and amp
[F]Delay Time 0.0...1350.0 Sets the delay time
Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry [msec]
Wet signal
i Depth 0...100 Sets the depth of LFO modulation
j Table , “Dynamic Modulation
Src Off...Tempo Sets the feedback amount
sources,” on page 357 Feedback –100...+100
Amt –100...+100 Amount of modulation source
-Wet, -
[F]Cho/Flng Sets the effect balance of the
1:99...Dry...99:1 chorus/flanger
Wet/Dry , Wet
j Selects the Wet/Dry modulation
Src Off...Tempo
source for the chorus/flanger
Sets the Wet/Dry modulation
Amt –100...+100
amount for the chorus/flanger
[F]Output Normal, Wet Selects the output mode for the
Mode Invert chorus/flanger
k OD/HG
Flanger, Switches the order of the overdrive
Routing Flanger OD/ and chorus / flanger
HG

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
l Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
414 Effects
Mono-Mono Serial (Mono-Mono)

101: OD/HG - Phaser 102: OD/HG - Mt.Delay

(Overdrive/Hi.Gain - Phaser) (Overdrive/Hi.Gain - Multitap Delay)
This effect combines a mono overdrive/high-gain distortion and This effect combines a mono overdrive/high-gain distortion and
a phaser. You can change the order of the effects. a multitap delay.

FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Left Left
FX Amt FX Amt
Routing Multitap Delay
Overdrive / Hi-Gain
Overdrive / Hi-Gain Phaser

3 Band PEQ 3 Band PEQ Feedback

+ Driver Phaser + Driver Delay
(2)
Normal Output Level High Damp (1)
Output Level + Output Mode Mt.Dly FX Amt
– Wet Invert
Mode: Overdrive / Hi-Gain Resonance Mode: Overdrive / Hi-Gain
Drive Phaser FX Amt Drive

Right Right
FX Amt FX Amt
LFO: Tri / Sine

OD/HI-GAIN
OD/HI-GAIN Overdrive, Hi- Switches between overdrive and
[O]Drive Mode
Overdrive, Hi- Switches between overdrive and Gain high-gain distortion
[O]Drive Mode a
Gain high-gain distortion Sets the degree of distortion
a Drive 1...100
Sets the degree of distortion
Drive 1...100
[O]Output
0...50 Sets the overdrive output level
[O]Output Level
0...50 Sets the overdrive output level
Level Selects the modulation source for
b Src Off...Tempo
Selects the modulation source for the overdrive output level
b Src Off...Tempo
the overdrive output level Sets the modulation amount of the
Amt –50...+50
Sets the modulation amount of the overdrive output level
Amt –50...+50
overdrive output level [O]Low Cutoff Sets the center frequency for Low
20...1.00k
[O]Low Cutoff Sets the center frequency for Low e [Hz] EQ (shelving type)
[Hz] 20...1.00k EQ (shelving type)
e Gain [dB] –18...+18 Sets the gain of Low EQ
Gain [dB] –18...+18 Sets the gain of Low EQ [O]Mid1 Cutoff 300...10.00k Sets the center frequency for Mid/
[O]Mid1 Cutoff 300...10.00k Sets the center frequency for Mid/ [Hz] High EQ 1 (peaking type)
[Hz] High EQ 1 (peaking type) f Sets the band width of Mid/High EQ
Q 0.5...10.0 1
f Sets the band width of Mid/High EQ
Q 0.5...10.0
1 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 [O]Mid2 Cutoff Sets the center frequency for Mid/
500...20.00k
[O]Mid2 Cutoff 500...20.00k Sets the center frequency for Mid/ [Hz] High EQ 2 (peaking type)
[Hz] High EQ 2 (peaking type) g Sets the band width of Mid/High EQ
Q 0.5...10.0
g Sets the band width of Mid/High EQ 2
Q 0.5...10.0 2 Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 MULTITAP DELAY
PHASER [D]Tap1 Time
0.0...1360.0 Sets the Tap1 delay time
[P]LFO [msec]
Frequency [Hz] 0.02...20.00
Sets the speed of the LFO h
h Sets the Tap1 output level
Tap1 Level 0...100
LFO Waveform Triangle, Sine Selects the LFO Waveform
Sets the frequency to which the [D]Tap2 Time
[P]Manual 0...100 0.0...1360.0 Sets the Tap2 delay time
effect is applied i [msec]
i Depth 0...100 Sets the depth of LFO modulation Feedback –100...+100 Sets the Tap2 feedback amount
Sets the resonance amount [D]High Damp 0...100 Sets the damping amount in the
Resonance –100...+100 j
[%] high range
[D]Mt.Delay Dry, 1:99...99:1, Sets the multitap delay effect
[P]Phaser Wet/ -Wet,
-
1:99...Dry...99:1 Sets the phaser effect balance Wet/Dry Wet balance
Dry
, Wet Selects the Wet/Dry modulation
k Src Off...Tempo
j Selects the Wet/Dry modulation source for the multitap delay
Src Off...Tempo
source for the phaser Sets the Wet/Dry modulation
Amt –100...+100
Sets the Wet/Dry modulation amount for the multitap delay
Amt –100...+100
amount for the phaser Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
[P]Output Normal, Wet signal
Selects the phaser output mode
Mode Wet Invert l Table , “Dynamic Modulation
k Src Off...Tempo
OD/HG sources,” on page 357
Switches the order of the overdrive
Routing Phaser, Phaser Amt –100...+100 Amount of modulation source
and phaser
OD/HG
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
l Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 415
Mono-Mono Serial (Mono-Mono)

103: Wah - Amp Sim 104: Decimator - Amp

(Wah - Amp Simulation) (Decimator - Amp Simulation)
This effect combines a mono wah and an amp simulation. You This effect combines a mono decimator and an amp simulation.
can change the order of the effects. You can change the order of the effects.

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt Left
Routing FX Amt
Routing
Wah/Auto Wah Amp Simulation
Decimator Amp Simulation

Resolution Output Level

+ Wah Amp Simulation Filter
+ Amp Simulation Filter
Decimator
FX Amt
Pre LPF High Damp

Right
Sweep Mode FX Amt Right
Envelope FX Amt
Auto
-mod D-mod
D LFO
LFO DECIMATOR
Turn the harmonic noise caused by
[D]Pre LPF Off, On
lowered sampling on and off
WAH a
High Damp
[W] 0...100 Sets the ratio of high-range damping
Sets the lower limit of the wah [%]
Frequency 0...100
Bottom center frequency [D]Sampling 1.00k...48.00k Sets the sampling frequency
a
b Freq [Hz]
Sets the upper limit of the wah
Frequency Top 0...100 Resolution 4...24 Sets the data bit length
center frequency
Auto, c [D]Output 0...100 Sets the decimator output level
[W]Sweep Selects the control from auto-wah, Level
D-mod,
Mode LFO modulation source, and LFO
b AMP SIM
Selects the modulation source for [A]Amplifier
Src Off...Tempo d SS, EL84, 6L6 Selects the type of guitar amplifier
the wah when Sweep Mode=D-mod Type
[W]LFO Decimator
Frequency [Hz] 0.02...20.00 Sets the speed of the LFO
e Routing Amp, Amp Switches the order of the decimator and
amp simulation
c Resonance 0...100 Sets the resonance amount Decimator
Switches the wah low pass filter on Dry,
LPF Off, On Wet/Dry 1:99...99:1, Balance between the wet and dry signal
and off
Wet
Dry, 1:99...99:1, Sets the wah effect balance f
[W]Wet/Dry Table , “Dynamic Modulation sources,”
Wet Src Off...Tempo
on page 357
d Src Off...Tempo Selects the Wet/Dry modulation
source for the wah Amt –100...+100 Amount of modulation source
Sets the Wet/Dry modulation
Amt –100...+100
amount for the wah
AMP SIM
[A]Amplifier
e SS, EL84, 6L6 Selects the type of guitar amplifier
Type
Wah Amp, Switches the order of the wah and
f Routing Amp Wah amp simulation
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
g Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

Appendix
416 Effects
Mono-Mono Serial (Mono-Mono)

105: Decimator - Comp 106: AmpSim - Tremolo

(Decimator - Compressor) (Amp Simulation- Tremolo)
This effect combines a mono decimator and a compressor. You This effect combines a mono amp simulation and a tremolo.
can change the order of the effects.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt
Left Amp Simulation Tremolo
FX Amt
Routing
Decimator Compressor
+ Amp Simulation Filter Tremolo
Resolution Output Level
+ Decimator Comp
Pre LPF High Damp Output Level

Right
FX Amt
LFO: Tri/Sin/Vintage/Up/Down LFO Shape
Right
FX Amt
Envelope - Control

AMP SIM
DECIMATOR [A]Amplifier
a SS, EL84, 6L6 Selects the type of guitar amplifier
Type
Turn the harmonic noise caused by
[D]Pre LPF Off, On TREMOLO
lowered sampling on and off
a
Sets the ratio of high-range Triangle, Sine,
High Damp [%] 0...100 [T]LFO
damping Vintage, Up, Selects the LFO Waveform
Waveform
b Down
[D]Sampling 1.00k...48.00k Sets the sampling frequency
b Freq [Hz] Changes the curvature of the LFO
LFO Shape –100...+100
Waveform
Resolution 4...24 Sets the data bit length
[T]LFO
c
Frequency [Hz] 0.02...20.00
[D]Output Sets the speed of the LFO
c 0...100 Sets the decimator output level
Level
d [T]Depth 0...100 Sets the depth of LFO modulation
COMPRESSOR
Dry, 1:99...99:1, Balance between the wet and dry
[C] Wet/Dry Wet signal
d 1...100 Sets the sensitivity
Sensitivity
e Src Off...Tempo Table , “Dynamic Modulation
[C]Attack 1...100 Sets the attack level sources,” on page 357
e
Output Level 0...100 Sets the compressor output level Amt –100...+100 Amount of modulation source
Decimator
Comp, Switches the order of the decimator
f Routing Comp and compressor
Decimator
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal
g Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 417
Mono-Mono Serial (Mono-Mono)

107: Cho/Flng - Mt.Dly 108: Phaser - Cho/Flng

(Chorus/Flanger - Multitap Delay) (Phaser - Chorus/Flanger)
This effect combines a mono chorus/flanger and a multitap This effect combines a mono phaser and a chorus/flanger.
delay.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out FX Amt

Left Phaser Chorus/Flanger

FX Amt
Chorus/Flanger Multitap Delay
+ Phaser Chorus/Flanger
Feedback EQ LEQ HEQ Normal
Trim + Output Mode
+ Chorus/Flanger Delay (2) Phaser –
EQ LEQ HEQ Cho/Flng (1) Mt.Dly Resonance Feedback Wet Invert
FX Amt
Trim FX Amt High Damp FX Amt Cho/Flng
Feedback FX Amt
Right
FX Amt
LFO: Tri / Sine LFO: Tri / Sine
Right
FX Amt
LFO: Tri / Sine

PHASER
CHORUS/FLANGER [P]LFO
0.02...20.00 Sets the speed of the LFO
a Frequency [Hz]
[F]LFO
0.02...20.00 Sets the speed of the LFO LFO Waveform Triangle, Sine Selects the LFO Waveform
a Frequency [Hz]
LFO Waveform Triangle, Sine Selects the LFO Waveform Sets the frequency to which the
[P]Manual 0...100 effect is applied
[F]Delay Time 0.0...1350.0 Sets the delay time
[msec] b Depth 0...100 Sets the depth of LFO modulation
b Depth 0...100 Sets the depth of LFO modulation Sets the resonance amount
Resonance –100...+100
Sets the feedback amount
Feedback –100...+100
[P]Phaser Wet/ -Wet, -
c 1:99...Dry...99:1 Sets the phaser effect balance
c [F]EQ Trim 0...100 Sets the EQ input level Dry
, Wet
[F]PreLEQ Gain –15...+15 Sets the gain of Low EQ CHORUS/FLANGER
[dB]
d [F]LFO
PreHEQ Gain
–15...+15 Sets the gain of High EQ d Frequency [Hz] 0.02...20.00 Sets the speed of the LFO
[dB]
LFO Waveform Triangle, Sine Selects the LFO Waveform
–Wet...–1 : 99,
[F]Cho/Flng Sets the effect balance of the [F]Delay Time
e Dry, 0.0...1350.0 Sets the delay time
Wet/Dry 1 : 99...Wet chorus/flanger [msec]
MULTITAP DELAY e Depth 0...100 Sets the depth of LFO modulation
[D]Tap1 Time Sets the feedback amount
0.0...1360.0 Sets the Tap1 delay time Feedback –100...+100
[msec]
a
Sets the Tap1 output level f [F]EQ Trim 0...100 Sets the EQ input level
Tap1 Level 0...100
[F]PreLEQ Gain
–15...+15 Sets the gain of Low EQ
[D]Tap2 Time [dB]
[msec] 0.0...1360.0 Sets the Tap2 delay time g
b PreHEQ Gain –15...+15 Sets the gain of High EQ
Feedback –100...+100 Sets the Tap2 feedback amount [dB]
[D]High Damp Sets the damping amount in the -Wet, -
[F]Cho/Flng
1:99...Dry...99:1 Sets
c 0...100 the effect balance of the
[%] high range Wet/Dry chorus/flanger
, Wet
[D]Mt.DelayWe Dry, 1:99...99:1, Sets the multitap delay effect
t/Dry Wet balance h Selects the Wet/Dry modulation
Src Off...Tempo source for the chorus/flanger
d Src Off...Tempo Selects the Wet/Dry modulation
source for the multitap delay Sets the Wet/Dry modulation
Amt –100...+100 amount for the chorus/flanger
Sets the Wet/Dry modulation
Amt –100...+100 [F]Output Normal, Selects the output mode for the
amount for the multitap delay i
Mode Wet Invert chorus/flanger
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry
Wet signal Wet/Dry
Wet signal
e Table , “Dynamic Modulation
Src Off...Tempo j Table , “Dynamic Modulation
sources,” on page 357 Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Amt –100...+100 Amount of modulation source
Appendix
418 Effects
Mono-Mono Serial (Mono-Mono)

109: Reverb - Gate f: [G]Envelope Select

f: Src
This effect combines a mono reverb and a gate. g: [G]Input Reverb Mix
g: Threshold
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
Reverb FX Amt The “[G]Envelope Select” parameter enables you to select
whether turning the gate on and off is triggered by the input sig-
EQ Trim
+ Pre Delay Reverb Gate nal level or controlled directly by the modulation source. You
LEQ HEQ Reverb
Balance can select from Off to Tempo for the Src parameter to specify the
Right
modulation source.
FX Amt

Input Reverb Mix When “[G]Envelope Select” is set to Input, the gate is controlled
Input

Gate+Dmpr
Envelope - Control by the level of signals that are the combination of the dry sound
D-mod Envelope Select
Gate
and the reverb sound. When the signal level exceeds the thresh-
old, the gate opens and the reverb sound is output.
REVERB
[R]Reverb Time
Normally, set “[G]Input Reverb Mix” to Dry (the gate is con-
0.1...10.0 Sets the reverberation time
a
[sec] trolled only by the dry sound). If you wish to extend the gate
High Damp [%] 0...100
Sets the damping amount in the time, set the “[G]Input Reverb Mix” value higher and adjust the
high range
[R]Pre Delay Sets the delay time of the reverb
“Threshold” value.
b 0...200
[msec] sound and gate control signal
[R]EQ Trim 0...100 Sets the EQ input level
c
Reverb Balance 0...100 Sets the reverb effect balance
Low, Selects the cutoff frequency (low or
[R]PreLEQ Fc
Mid-Low mid-low) of the low-range equalizer
d Selects the cutoff frequency (high or
High,
Pre HEQ Fc Mid-High mid-high) of the high-range
equalizer
[R]PreLEQ Gain –15.0...+15.0
Sets the gain of Low EQ
[dB]
e
Pre HEQ Gain
[dB] –15.0...+15.0 Sets the gain of High EQ

GATE
Switches between modulation
[G]Envelope
Select D-mod, Input source control and input signal
control
f
Selects the modulation source that
Src Off...Tempo controls the gate when Envelope
Select is set to D-mod
Sets the balance between the dry
[G]Input
Reverb Mix 0...100 and reverb sounds of the gate
g control signal
Sets the gate threshold level
Threshold 0...100

Switches between non-invert and

h [G]Polarity +, – invert of the gate on/off state
[G]Attack 1...100 Sets the attack time
i
Release 1...100 Sets the release time
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 419
Double Size

111: PianoBody/Damper
Double Size (PianoBody/Damper Simulation)
This effect simulates the resonance of the piano sound board
Double-size effects can only be assigned to the FX2 processors caused by the string vibration, and also simulates the resonance
(either in the A or B FX group). of other strings that are not being played when you press the
damper pedal. It will create a very realistic sound when applied
110: St. Mltband Limiter to acoustic piano sounds.
(Stereo Mltband Limiter) FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
This is a stereo multiband limiter. FX Amt

Stereo In - Stereo Out

Band-Pass Filters + Piano
Left
Low FX Amt Body/Damper
Limiter
Envelope - Control Simulation
Mid
Limiter
Envelope - Control Gain Adjust
High Right
Limiter
Envelope - Control FX Amt
Envelope - Control
Limiter
Low
Envelope - Control
Gain Adjust D
-mod
Damper

Limiter
Mid
Envelope - Control
Limiter
High
Right Sound Board Sets the intensity of resonance of
FX Amt a 0...100
Offset Depth the sound board
Sets the intensity of the string
1.0 : 1... Damper Depth 0...100 resonance created when the
a Ratio Sets the signal compression ratio b damper pedal is pressed
50.0 : 1, Inf : 1
Sets the level above which the Selects the modulation source of
b Threshold [dB] –40...0 Src Off...Tempo
compressor is applied damper effect
c Attack 1...100 Sets the attack time c Tone 1...100 Sets tonal quality of effect sound
d Release 1...100 Sets the release time d Mid Shape 0...36 Sets the mid range of tonal quality
Sets the low range gain of trigger e Tune –50...+50 Fine tuning
e Low Offset [dB] –40...0
signal Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Sets the mid range gain of trigger Wet signal
f Mid Offset [dB] –40...0
signal f Table , “Dynamic Modulation
Src Off...Tempo
High Offset Sets the high range gain of trigger sources,” on page 357
g –40...0
[dB] signal Amt –100...+100 Amount of modulation source
Gain Adjust –Inf, Sets the output gain
[dB] –38...+24 a: Sound Board Depth
Selects the modulation source for
h Src Off...Tempo the output gain This parameter sets the intensity of resonance of the piano
Sets the modulation amount of the sound board.
Amt –63...+63
output gain
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal b: Damper Depth
i Table , “Dynamic Modulation b: Src
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source This parameter sets the resonance intensity of the other strings
created when the damper pedal is pressed. The “Src” parameter
selects the modulation source from which the damper effect is
applied. Usually, select Damper #64 Pdl (Damper pedal).
The effect is off when a value for the modulation source specified for
the “Src” parameter is 63 or smaller, and the effect is on when the
value is 64 or higher.

c: Tone
d: Mid Shape
These parameters control the tonal quality of the effect sound.

e: Tune
Since this effect simulates the resonance of the strings, the sound
varies depending on the pitch. If you have changed tuning using
the “Master Tuning” (Global > General Controls > Basic), adjust
this parameter value.
Appendix
420 Effects
Double Size

112: OD/HyperGain Wah 113: GuitarAmp + P4EQ

(Overdrive/Hyper Gain Wah) (Guitar Amp Model +
This distortion effect has two modes: overdrive and hyper-gain Parametric 4-Band EQ)
that produces a strong distortion. A higher high-gain setting is This combines a guitar amp simulation (which even faithfully
required for this effect relative to a normal-size effect. replicates the distortion and tone control circuitry) with a four-
band equalizer.
FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt By using this in conjunction with “St. Guitar Cabinet (Stereo
Mode: Overdrive / Hyper-Gain
Drive Guitar Cabinet)” on page 369, you can obtain an even more real-
Pre Low-cut 3 Band EQ
+ Wah Driver Amp Simulation
istic guitar sound that simulates a guitar amp + speaker cabinet.
Output Level

FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out

Direct Mix Left
Right FX Amt
FX Amt

D-mod Volume

+ Guitar Amp Model

Parametric 4Band EQ
Wah Off, On Switches Wah on/off
Selects the modulation source that
Src Off...Tempo
switches the Wah on and off Right
a FX Amt
Selects the switching mode for the
Toggle, D-mod
Sw modulation source that switches the
Moment
Wah on and off
Wah Sweep
–10...+10 Sets the range of Wah VOX AC15,
Range
VOX AC15TB,
b Selects the modulation source that VOX AC30,
Wah Sweep Src Off...Tempo controls the Wah VOX AC30TB,
UK BLUES, UK
Overdrive, Switches between overdrive and hi- 70'S,
c Drive Mode UK 80'S,
Hyper-Gain gain distortion
UK 90'S,
Sets the degree of distortion Amp Type UK MODERN,
Selects the type of the amplifier
Drive 1...120 a
US MODERN,
d US HIGAIN,
Sets the low range cut amount of
Pre Low-cut 0...10 BOUTIQUE OD,
the distortion input
BOUTIQUE CL,
Output Level 0...50 Sets the output level BLACK 2x12,
Selects the modulation source for TWEED - 1x12,
Src Off...Tempo TWEED - 4x10
e the output level
Sets the modulation amount of the Drive Gain 0...100 Sets the input gain
Amt –50...+50
output level Volume 0...100 Sets the output level
Low Cutoff Sets the center frequency for Low Selects the modulation source for
20...1.00k Src Off...Tempo
f [Hz] EQ (shelving type) b the output level
Gain [dB] –18...+18 Sets the gain of Low EQ Sets the modulation amount of the
Amt –100...+100
Mid1 Cutoff Sets the center frequency for Mid/ output level
[Hz] 300...10.00k High EQ 1 (peaking type) Bass 0...100 Sets the bass (low range) level
c
g Sets the band width of Mid/High EQ Middle 0...100 Sets the middle (mid range) level
Q 0.5...10.0 1
Treble 0...100 Sets the treble (high range) level
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 1 d Sets the presence (high-frequency
Mid2 Cutoff Sets the center frequency for Mid/ Presence 0...100
500...20.00k tone)
[Hz] High EQ 2 (peaking type)
Selects through or on for the
h Sets the band width of Mid/High EQ e Post P4EQ Thru, On equalizer
Q 0.5...10.0
2
Band1 Cutoff 20...1.00k Sets the center frequency of
Gain [dB] –18...+18 Sets the gain of Mid/High EQ 2 [Hz] Band 1
Sets the amount of the dry sound e Q 0.5...10.0 Sets Band 1’s bandwidth
Direct Mix 0...50
mixed to the distortion
i Gain [dB] –18...+18 Sets the gain of Band 1
Speaker Switches the speaker simulation on/
Off, On Band2 Cutoff Sets the center frequency of
Simulation off 50...5.00k
[Hz] Band 2
Dry, 1:99...99:1, Balance between the wet and dry f
Wet/Dry Wet signal Q 0.5...10.0 Sets Band 2’s bandwidth
j Table , “Dynamic Modulation Gain [dB] –18...+18 Sets the gain of Band 2
Src Off...Tempo
sources,” on page 357 Band3 Cutoff Sets the center frequency of
300...10.00k
Amt –100...+100 Amount of modulation source [Hz] Band 3
g
Q 0.5...10.0 Sets Band 3’s bandwidth
Gain [dB] –18...+18 Sets the gain of Band 3
Band4 Cutoff 500...20.00k Sets the center frequency of
[Hz] Band 4
h Q 0.5...10.0 Sets Band 4’s bandwidth
Gain [dB] –18...+18 Sets the gain of Band 4
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 421
Double Size

a: Amp Type 114: BassTubeAmp+Cab.

d: Presence (Bass Tube Amp Model + Cabinet)
If the Amp Type is VOX AC15...VOX AC30TB, this sets the
This simulates a bass amp (with gain and drive) and speaker cab-
attenuation of the high-frequency range. For other types, this
inet.
sets the boost of the high-frequency range.
This corresponds to the Cut knob control of amps made by the FX Amt = 100: Mono In - Mono Out / FX Amt = 0: Stereo In - Stereo Out
Left
VOX Corporation. FX Amt

e: Post P4EQ Volume

+ Bass Amp Model2 Cabinet Simulator

By chaining this with 19: St.Guitar Cabinet you can simulate the
Drive
combination of a guitar amp and speaker cabinet. In this case,
we recommend that you set Post P4EQ to “Thru,” but if neces- Right
FX Amt

sary you can turn it “On” and adjust the tone. D-mod

Recommended Combinations of Guitar Amp Models and Cab-

Selects the type of the amplifier
inet Simulators:
STUDIO A tube combo ideal for the Motown
COMBO sound
a Amp Type
Amp Type Cabinet Type A 100W tube amp AC100 made by
VOX AC100 Vox
VOX AC15 VOX AC15 - 1x12 UK MAJOR A 200W tube amp made in the UK
b Drive Gain 0...100 Sets the input gain
VOX AC15TB VOX AC15 - 1x12
Volume 0...100 Sets the output level
VOX AC30 VOX AC30 - 2x12 Selects the modulation source for
Src Off...Tempo
VOX AC30TB VOX AC30 - 2x12 c the output level
Sets the modulation amount of the
UK BLUES UK H30 - 4x12 Amt –100...+100
output level
UK 70'S UK H30 - 4x12 d Bass 0...100 Sets the bass (low range) level
e Middle 0...100 Sets the middle (mid range) level
UK 80'S UK T75 - 4x12
f Treble 0...100 Sets the treble (high range) level
UK 90'S UK T75 - 4x12 Sets the presence (high-frequency
g Presence 0...100 tone)
UK MODERN UK T75 - 4x12, US V30 - 4x12
Cabinet Switches the cabinet simulator on/
US MODERN US V30 - 4x12 h Off, On
Simulator off
US HIGAIN US V30 - 4x12, UK T75 - 4x12 LA - 4x10,
MODERN - 4x10,
BOUTIQUE OD UK H30 - 4x12 METAL - 4x10,
CLASSIC -8x10,
BOUTIQUE CL UK H30 - 4x12 UK - 4x12,
STUDIO - 1x15,
BLACK 2x12 BLACK - 2x12 JAZZ - 1x15,
i Cabinet Type Selects the cabinet type
VOX AC100 -
TWEED - 1x12 TWEED - 1x12 2x15,
US - 2x15,
TWEED - 4x10 TWEED - 4x10 UK - 4x15,
LA - 1x18,
COMBI - 1x12 &
1x18
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

a: Amp Type
i: Cabinet Type

Recommended Combinations of Bass Amp Models and Cabi-

nets:

Amp Type Cabinet Type

STUDIO COMBO STUDIO - 1x15

AC100 VOX AC100 - 2x15
UK MAJOR UK - 4x15, UK - 4x12
Appendix
422 Effects
Double Size

115: St. Mic + PreAmp Tap6 (300) 0...2000 Sets the Tap1 (LFO phase=300
[msec] degrees) delay time
(Stereo Mic Modeling + PreAmp) Depth 0...30 Sets the Tap6 chorus depth
g
Always On,
This is a stereo mic and preamp simulator (See “Mic Model+Pre- Always Off,
Selects on, off, or modulation source
Status for the control of Tap6 output
Amp (Mic Modeling + PreAmp)” on page 372.). For example On Off (Dm),
Off On (Dm)
you might use this to simulate micing of a stereo source such as a
1 : L 1 2 3 4 5 6 R,
rotary speaker. Selects the stereo panning pattern
2 : L 135 246 R,
h Panning Preset for each tap
3 : L 1 3 5 2 4 6 R,
4:L145632R
Stereo In - Stereo Out
Tap1 Feedback –100...+100 Sets the Tap1 feedback amount
Left
FX Amt
Selects the modulation source for
Src Off...Tempo the Tap output level, feedback
i
Mic Simulation Tube Pre Amp amount, and effect balance
Output Level
Amt –100...+100 Sets the modulation amount of Tap1
feedback amount
Mic Simulation Tube Pre Amp

Wet/Dry Dry, 1:99...99:1, Balance between the wet and dry

Wet signal
Right
FX Amt j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
116: Multitap Cho/Delay
b, c, d, e, f, g: Status
(Multitap Chorus/Delay)
These parameters set the output status of each Tap.
This effect has six chorus blocks with different LFO phases. You
can produce a complex stereo image by setting a different delay Always On: Output is always on. (No modulation)
time and depth for each block. You can control the delay output Always Off: Output is always off. (No modulation)
level via a modulation source.
On→ Off (dm): Output level is switched from on to off depend-
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
ing on the modulation source.
Left
Feedback
Tap1 Delay
FX Amt
Off→ On (dm): Output level is switched from off to on depend-
Tap2 Delay ing on the modulation source.
Tap3 Delay
+
Tap4 Delay Combining these parameters, you can change from 4-phase cho-
Tap5 Delay rus to two-tap delay by crossfading them gradually via the mod-
Tap6 Delay
Right
ulation source during a performance.
0 [degree] FX Amt
180 [degree] Panning Preset
60 [degree]
240 [degree] h: Panning Preset
120 [degree]
300 [degree]
LFO: Triangle This parameter selects combinations of stereo images of the tap
D-mod On/Off Control outputs.

LFO Frequency 0.02...13.00

a Sets the speed of the LFO
[Hz]
Tap1 (000) Sets the Tap1 (LFO phase=0
0...2000
[msec] degrees) delay time
Depth 0...30 Sets the Tap1 chorus depth
b
Always On,
Selects on, off, or modulation source
Always Off,
Status On Off (Dm), for the control of Tap1 output
Off On (Dm)
Tap2 (180) Sets the Tap2 (LFO phase=180
0...2000
[msec] degrees) delay time
Depth 0...30 Sets the Tap2 chorus depth
c
Always On,
Always Off, Selects on, off, or modulation source
Status for the control of Tap2 output
On Off (Dm),
Off On (Dm)
Tap3 (060) Sets the Tap3 (LFO phase=60
0...2000
[msec] degrees) delay time
Depth 0...30 Sets the Tap3 chorus depth
d
Always On,
Selects on, off, or modulation source
Always Off,
Status for the control of Tap3 output
On Off (Dm),
Off On (Dm)
Tap4 (240) Sets the Tap4 (LFO phase=240
0...2000
[msec] degrees) delay time
Depth 0...30 Sets the Tap4 chorus depth
e
Always On,
Selects on, off, or modulation source
Always Off,
Status for the control of Tap4 output
On Off (Dm),
Off On (Dm)
Tap5 (120) Sets the Tap5 (LFO phase=120
0...2000
[msec] degrees) delay time
Depth 0...30 Sets the Tap5 chorus depth
f
Always On,
Selects on, off, or modulation source
Always Off,
Status for the control of Tap5 output
On Off (Dm),
Off On (Dm)
 Effects 423
Double Size

117: St. Pitch Shifter 118: St. PitchShift BPM

(Stereo Pitch Shifter) (Stereo Pitch Shifter BPM)
This is a stereo pitch shifter. The pitch shift amount for the left This stereo pitch shifter enables you to set the delay time to
and right channels can be reversed from each other. match the song tempo.

Stereo In - Stereo Out Stereo In - Stereo Out

Left Left
FX Amt FX Amt
High Damp High Damp
Pitch Shifter Delay Pitch Shifter Delay
Input Level Post Input Level Post
Pre Pre
Feedback Position Feedback Spread Feedback Position Feedback Spread

Input Level Pre Post Pre Post

Input Level
Pitch Shifter Delay Pitch Shifter Delay
High Damp High Damp
Right Right
FX Amt FX Amt
Tempo
BPM
BPM Base Note x Times
Base Note x Times
Slow, Medium, Switches Pitch Shifter mode
Mode
Fast
a
Normal, Determines whether or not the L/R Slow, Medium, Switches Pitch Shifter mode
L/R Pitch Mode
Up/Down pitch shift amount is inverted Fast
Pitch Shift [1/ Sets the pitch shift amount in steps a
–24...+24 Normal, Determines whether or not the L/R
2tone] of a semitone L/R Pitch Up/Down pitch shift amount is inverted
Selects the modulation source of Pitch Shift [1/ Sets the pitch shift amount in steps
b Src Off...Tempo –24...+24
pitch shift amount 2tone] of a semitone
Sets the modulation amount of Selects the modulation source of
Amt –24...+24 b Src Off...Tempo
pitch shift amount pitch shift amount
Sets the pitch shift amount in steps Sets the modulation amount of
Fine [cents] –100...+100 Amt –24...+24
of one cent pitch shift amount
c
Sets the modulation amount of Sets the pitch shift amount in steps
Amt –100...+100 pitch shift amount Fine [cents] –100...+100
of one cent
Sets the delay time for the left Sets the modulation amount of
d L Delay [msec] 0...2000 c
channel pitch shift amount Sets the
Amt –100...+100
Sets the delay time for the right modulation amount of pitch shift
e R Delay [msec] 0...2000 amount
channel
Sets the feedback amount MIDI, MIDI syncs to the system tempo; 40–
Feedback –100...+100 BPM 40.00... 300 sets the tempo manually for this
f 300.00 individual effect
Sets the damping amount in the
High Damp [%] 0...100 Display the error message if the left
high range
d Time Over? L ---, OVER! channel delay time exceeds the
Feedback upper limit
Pre, Post Switches the feedback connection
Position
g Display the error message if the
Sets the width of the stereo image R ---, OVER! right channel delay time exceeds
Spread –100...+100 of the effect sound the upper limit
L Delay Base Selects the type of notes to specify
Input Level Sets the modulation amount of the r...w
–100...+100 Note the left channel delay time
Dmod [%] input level e
h Sets the number of notes to specify
Selects the modulation source for Times x1...x32
Src Off...Tempo the left channel delay time
the input level
R Delay Base Selects the type of notes to specify
Dry, 1:99...99:1, Balance between the wet and dry r...w
Wet/Dry Note the right channel delay time
Wet signal f
Sets the number of notes to specify
i Table , “Dynamic Modulation Times x1...x32
Src Off...Tempo the right channel delay time
sources,” on page 357
Feedback
Amt –100...+100 Amount of modulation source Pre, Post Switches the feedback connection
Position
g
Sets the width of the stereo image
Spread –100...+100
a: L/R Pitch of the effect sound
Sets the feedback amount
When you select Up/Down for this parameter, the pitch shift Feedback –100...+100
h
amount for the right channel will be reversed. If the pitch shift High Damp [%] 0...100
Sets the damping amount in the
high range
amount is positive, the pitch of the left channel is raised, and the
Input Level Sets the modulation amount of the
pitch of the right channel is lowered. –100...+100
Dmod [%] input level
i
Selects the modulation source for
Src Off...Tempo
the input level
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
Appendix
424 Effects
Double Size

119: Rotary SpeakerOD a: Sw

(Rotary Speaker Overdrive) This parameter determines how to switch on/off the overdrive
via a modulation source.
This is a stereo rotary speaker effect. It has an internal speaker
simulator that simulates overdrive (recreating the amp distor- When “Sw” = Toggle, overdrive is turned on/off each time the
tion) and characteristics of the rotary speaker, producing a very pedal or joystick is operated.
realistic rotary speaker sound. Overdrive will be switched on/off each time the value of the
modulation source exceeds 64.
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
Left
FX Amt
When “Sw” = Moment, overdrive is applied only when you press
Horn
the pedal or operate the joystick.
Horn/Rotor Mic Distance
Only when the value for the modulation source is 64 or higher, the
+ Overdrive Rotary Speaker
Balance Mic Spread
overdrive effect is applied.
Rotor

Right
Speaker Simulation

FX Amt
120: L/C/R Long Delay
D -mod
On/Off

D-mod Mode Switch: Rotate/Stop This multitap delay outputs three Tap signals to left, right and
D-mod Speed Switch: Slow/Fast
center respectively. You can set a maximum of 5,460msec for the
D-mod Manual Speed Control
delay time.
Overdrive Off, On Switches overdrive on/off
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
Selects a modulation source to Left
Src Off...Tempo FX Amt
switch overdrive on/off
a L Delay
Input Level D-mod
Sets the switch mode for overdrive Level
Toggle,
Sw on/off modulation
Moment + C Delay Spread
High Damp Low Damp
Level
Overdrive Gain 0...100 Determines the degree of distortion Feedback
b Overdrive Input Level D-mod R Delay
0...100 Sets the overdrive output level Level
Level Right
FX Amt
Sets the tonal quality of the
Overdrive Tone 0...15
overdrive
C
Speaker Switches the speaker simulation on/ L Delay Time
Off, On 0...5460 Sets the delay time of TapL
Simulator off a [msec]
Mode Switch Rotate, Stop Switches between speaker rotation Level 0...50 Sets the output level of TapL
and stop
C Delay Time
Selects a modulation source for [msec] 0...5460 Sets the delay time of TapC
Src Off...Tempo b
d Rotate/Stop
Level 0...50 Sets the output level of TapC
Sets the switch mode for Rotate/
Sw Toggle, Stop modulation R Delay Time
Moment 0...5460 Sets the delay time of TapR
c [msec]
Switches the speaker rotation speed Level 0...50 Sets the output level of TapR
Speed Switch Slow, Fast
between slow and fast Feedback
–100...+100 Sets the feedback amount of TapC
Selects a modulation source for (C Delay)
e Src Off...Tempo
Slow/Fast Selects the modulation source for
d Src Off...Tempo
Toggle, Sets the switch mode for Slow/Fast the TapC feedback
Sw Moment modulation Sets the modulation amount of the
Amt –100...+100
Sets the volume balance between TapC feedback
Horn/Rotor Rotor, 1...99, the high-range horn and low-range
Balance Horn Sets the damping amount in the
rotor High Damp [%] 0...100
f high range
e
Manual Sets a modulation source for direct Sets the damping amount in the low
SpeedCtrl Off...Tempo control of rotation speed Low Damp [%] 0...100
range
Sets how quickly the horn rotation Input Level Sets the modulation amount of the
Horn –100...+100
0...100 speed changes Dmod [%] input level
Acceleration
f
g Selects the modulation source for
Adjusts the (high-frequency) horn Src Off...Tempo
Stop, the input level
Horn Ratio rotation speed. Standard value is
0.50...2.00 Sets the width of the stereo image
1.00. “Stop” stops the rotation
g Spread 0...50 of the effect sound
Rotor Sets how quickly the rotor speed
0...100
Acceleration changes
h Dry, 1:99...99:1, Balance between the wet and dry
Adjusts the (low-frequency) rotor Wet/Dry
Stop, Wet signal
Rotor Ratio 0.50...2.00 rotation speed. Standard value is
1.0. “Stop” stops the rotation h Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Distance between the microphone
Mic Distance 0...100 and rotary speaker Amt –100...+100 Amount of modulation source
i
Mic Spread 0...100 Angle of left and right microphones
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source
 Effects 425
Double Size

121: St/Cross Long Delay 122: Hold Delay

(Stereo/Cross Long Delay) This effect records the input signal and plays it back repeatedly.
This is a stereo delay, and can by used as a cross-feedback delay You can control the start of recording and reset via a modulation
effect in which the delay sounds cross over between left and source. Easy to use for real-time performances.
right by changing the feedback routing. You can set a maximum
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
of 2,730msec for the delay time. Left
FX Amt

Stereo In - Stereo Out

Left
FX Amt + Delay
High Damp Low Damp Pan
Delay
Input Level D-mod
Loop Time: Auto/ ...5400ms
Stereo/Cross Feedback Stereo/Cross Spread
Right
FX Amt
Input Level D-mod High Damp Low Damp
Delay
D -mod
REC Control Tempo
BPM
Right
FX Amt
D-mod RST Control BPM Base Note x Times

Switches between stereo delay and Loop Time Sets Automatic loop time setup
a Stereo/Cross Stereo, Cross a Auto, 1...10800
cross-feedback delay [msec] mode or specifies loop time
L Delay Time Sets the delay time for the left Specifies whether delay time is set
b 0.0...2730.0 Loop BPM
[msec] channel b Sync Off, On in milliseconds, or as a note value
relative to tempo
R Delay Time Sets the delay time for the right
c 0.0...2730.0 MIDI, MIDI syncs to the system tempo; 40–
[msec] channel
BPM 40.00... 300 sets the tempo manually for this
Sets the feedback amount for the 300.00 individual effect
L Feedback –100...+100 c
left channel
An error indication that appears if
Selects the modulation source of Time Over? ---, OVER! delay time exceeds the upper limit
d Src Off...Tempo
feedback amount when MIDI/Tempo Sync=On
Sets the modulation amount of the Loop Base Selects the type of notes to specify
Amt –100...+100 r...w
left channel feedback Note the delay time
d
Sets the feedback amount for the Sets the number of notes to specify
R Feedback –100...+100 Times x1...x32
right channel the delay time
e
Amt –100...+100 Sets the modulation amount of the REC Control
right channel feedback e Off...Tempo Selects control source for recording
Src
Sets the damping amount in the f RST Control Src Off...Tempo Selects control source for reset
f High Damp [%] 0...100 high range
Manual REC REC Off, Sets the recording switch
Sets the damping amount in the low g
g Low Damp [%] 0...100 Control REC On
range
Manual RST
Input Level Sets the modulation amount of the h Off, RESET Sets the reset switch
–100...+100 Control
Dmod [%] input level
h L100...L1, C,
Selects the modulation source for Pan R1...R100 Sets the stereo image of the effect
Src Off...Tempo
the input level
Selects the modulation source of
Sets the width of the stereo image of i Src Off...Tempo
stereo image of the effect
i Spread –50...+50 the effect sound
Sets the modulation amount of
Amt –100...+100
stereo image of the effect
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry Wet signal Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
j Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357 j Src Off...Tempo Table , “Dynamic Modulation
sources,” on page 357
Amt –100...+100 Amount of modulation source
Amt –100...+100 Amount of modulation source

a: Loop Time [msec]

With Auto, the loop time is automatically set. Otherwise, you
can specify the loop time.
When Auto is selected, the Loop Time is automatically set to the
time it takes for a performance recorded while the Modulation
Source or “Manual REC Control” is on. However, if the time
length exceeds 10,800msec, the loop time will be automatically
set to 10,800msec.

c: Time Over?
You can set the delay time up to 10,800msec. If the delay time
exceeds this limit, the error message “OVER!” appears in the dis-
play. Set the delay time parameters so that this message will not
appear. “Time Over?” is only a display parameter.

b: Loop BPM Sync

Appendix

c: BPM
d: Loop Base Note
d: Times
If “Loop BPM Sync” is on, the “Times” setting is ignored; the
loop time is determined by “BPM,” “Loop Base Note,” and
426 Effects
Double Size

“Times.” Even in this case, the delay time cannot exceed 10,800 123: LCR BPM Long Dly
msec.
The L/C/R delay enables you to match the delay time with the
“Hold” procedure (when Loop Time = Auto) song tempo.
1. “Rec Src”JS +Y: #01
FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In -Stereo Out
“Reset Src”JS –Y: #02 Left
FX Amt

“Manual REC Control”REC Off Input Level D-mod L Delay

Level
“Manual RST Control”RESET
+ High Damp Low Damp C Delay Spread
“Loop Time [msec]”Auto Level
Feedback
R Delay
“MIDI/Tempo Sync”Off Input Level D-mod
Level

It should be noted that all recordings will be deleted while Right

FX Amt
Tempo
Reset is On. BPM
BPM
Base Note x Times
Base Note x Times
2. “Manual RST Control”Off Base Note x Times

Reset is cancelled and the unit enters Rec ready mode.

MIDI, MIDI syncs to the system tempo; 40–
3. Push the joystick in the +Y direction (forward) and play a BPM 40.00... 300 sets the tempo manually for this
a 300.00 individual effect
phrase you wish to hold. When you pull the joystick to its
Displays an error message when the
original position, the recording will be finished and the Time Over? ---, OVER!
delay time exceeds the upper limit
phrase you just played will be held. L Delay Base
r...w
Selects the type of notes to specify
Note the delay time for TapL
Loop Time is automatically set only for the first recording b Sets the number of notes to specify
Times x1...x32
after resetting. If the time length exceeds 10,800msec, Loop the delay time for TapL
Time will be automatically set to 10,800msec. (If you have Level 0...50 Sets the output level of TapL
C Delay Base elects the type of notes to specify
set “Times” to 1–10,800msec, the specified loop time will Note
r...w
the delay time for TapC
be used regardless of the time taken from pushing the joy- c Sets the number of notes to specify
Times x1...x32
stick forward until it is pulled back. However, the recording the delay time for TapC
method remains the same. The phrase being played while Level 0...50 Sets the output level of TapC
R Delay Base Selects the type of notes to specify
the joystick is pushed forward will be held.) Note
r...w
the delay time for TapR
4. If you made a mistake during recording, pull the joystick in d Sets the number of notes to specify
Times x1...x32
the delay time for TapR
the –Y direction (back) to reset. In this way, the recording Level 0...50 Sets the output level of TapR
will be erased. Repeat step 4. again. Feedback
–100...+100 Sets the feedback amount of TapC
(C Delay)
5. The recorded phrase will be repeated again and again. You Selects the modulation source for
e Src Off...Tempo
can use this to create an accompaniment. the TapC feedback
Sets the modulation amount of the
Amt –100...+100
6. By pushing the joystick in the +Y direction (forward), you TapC feedback
can also overdub performances over the phrase that is High Damp [%] 0...100
Sets the damping amount in the
high range
being held. f
Sets the damping amount in the low
Low Damp [%] 0...100
range
e: REC Control Src Input Level Sets the modulation amount of the
–100...+100
g: Manual REC Control Dmod [%] input level
g
Selects the modulation source for
Src Off...Tempo
“REC Control Src” selects the modulation source that controls the input level
recording. Sets the width of the stereo image
h Spread 0...50 of the effect sound
If this modulation is on, or if “Manual REC Control” is set to On,
Dry, 1:99...99:1, Balance between the wet and dry
you can record the input signal. If a recording has already been Wet/Dry
Wet signal
carried out, additional signals will be overdubbed. i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
The effect is off when a value for the modulation source specified for
Amt –100...+100 Amount of modulation source
the “REC Control Src” parameter is 63 or smaller, and the effect is on
when the value is 64 or higher.
a: Time Over?
f: RST Control Src You can set the delay time up to 10,920msec. If the delay time
h: Manual RST Control exceeds this limit, the error message “OVER!” appears in the dis-
The “RST Control Src” parameter specifies the modulation play. Set the delay time parameters so that this message will not
source that controls the reset operation. appear. “Time Over?” is only a display parameter.
When you set this modulation source to On, or “Manual RST
Control” to RESET, you can erase what you recorded. If the Loop
Time parameter has been set to Auto, the loop time is also reset.
The effect is off when a value for the modulation source specified for
the “RST Control Src” parameter is 63 or smaller, and the effect is on
when the value is 64 or higher.
 Effects 427
Double Size

124: St. BPM Long Dly 125: Early Reflections

(Stereo BPM Long Delay) This early reflection effect has more precise early reflections
The stereo delay enables you to match the delay time with the with twice the maximum length of a normal-size effect (See
song tempo. “Early Reflections” on page 401.). You can create a very smooth
and dense sound.
Stereo In - Stereo Out
Left
FX Amt FX Amt = 100: Mono In - Stereo Out / FX Amt = 0: Stereo In - Stereo Out
High Damp Low Damp
Left
Delay FX Amt
Input Level D-mod

Feedback EQ Trim
LEQ HEQ
Input Level D-mod High Damp Low Damp
+ Pre Delay Early Reflections
Delay

Right EQ Trim
FX Amt
Tempo Right
BPM FX Amt
BPM Base Note x Times Adjust [%]
Base Note x Times Adjust [%]

Sharp, Loose,
Selects the decay curve for the early
MIDI, MIDI syncs to the system tempo; 40– a Type Modulated,
reflection
BPM 40.00... 300 sets the tempo manually for this Reverse
300.00 individual effect Sets the time length of early
b ER Time [msec] 10...1600
Display the error message if the left reflection
a Time Over? L ---, OVER! channel delay time exceeds the Pre Delay Sets the time taken from the original
upper limit c 0...200
[msec] sound to the first early reflection
Display the error message if the Sets the input level of EQ applied to
R ---, OVER! right channel delay time exceeds d EQ Trim 0...100 the effect sound
the upper limit
Low, Selects the cutoff frequency (low or
L Delay Base Selects the type of notes to specify Pre LEQ Fc
r...w Mid-Low mid-low) of the low-range equalizer
Note the left channel delay time
e Selects the cutoff frequency (high or
Sets the number of notes to specify High,
b Times x1...x32 Pre HEQ Fc Mid-High mid-high) of the high-range
the left channel delay time equalizer
Fine-adjust the left channel delay Pre LEQ Gain
Adjust [%] –2.50...+2.50 –15.0...+15.0 Sets the gain of Low EQ
time [dB]
R Delay Base Selects the type of notes to specify f
r...w Pre HEQ Gain
Note the right channel delay time –15.0...+15.0 Sets the gain of High EQ
[dB]
Sets the number of notes to specify Dry, 1:99...99:1, Balance between the wet and dry
c Times x1...x32 Wet/Dry
the right channel delay time Wet signal
Fine-adjust the right channel delay g Table , “Dynamic Modulation
Adjust [%] –2.50...+2.50 time Src Off...Tempo
sources,” on page 357
Sets the feedback amount for the Amt –100...+100 Amount of modulation source
L Feedback –100...+100 left channel
Selects the modulation source of
d Src Off...Tempo
feedback amount
Sets the modulation amount of the
L Amt –100...+100
left channel feedback

R Feedback –100...+100 Sets the feedback amount for the

right channel
e
Sets the modulation amount of the
R Amt –100...+100
right channel feedback
Sets the damping amount in the
f High Damp [%] 0...100 high range
Sets the damping amount in the low
g Low Damp [%] 0...100
range
Input Level Sets the modulation amount of the
–100...+100
Dmod [%] input level
h
Selects the modulation source for
Src Off...Tempo
the input level
Dry, 1:99...99:1, Balance between the wet and dry
Wet/Dry
Wet signal
i Table , “Dynamic Modulation
Src Off...Tempo
sources,” on page 357
Amt –100...+100 Amount of modulation source

a: Time Over? L, R
You can set the delay time up to 5,460msec. If the delay time
exceeds this limit, the error message “OVER!” appears in the dis-
play. Set the delay time parameters so that this message will not
appear. “Time Over?” is only a display parameter.
Appendix
428 Installing the Korg USB MIDI Driver
Connecting Pa900 to a personal computer

Installing the Korg USB MIDI Driver

The USB Device port can be used to transfer MIDI data between
the Pa900 and a personal computer (this is called the MIDI Over Windows: Installing the KORG USB-MIDI
USB function). This is useful when your computer is not fitted
with a MIDI interface. Driver
USB can be used in parallel with the MIDI ports. For example,
you can connect your Pa900 to a sequencer running on your Please connect Pa900 to the computer via an USB cable only
computer, and at the same time control another MIDI instru- after having installed the KORG USB-MIDI Driver Tools.
ment connected to the MIDI ports of Pa900.
1. Insert the included Accessory DVD into the optical drive of
Connecting Pa900 this ways makes it, at the same time, a MIDI your Windows PC.
input device, a controller, and a sound generator.
2. Open the folder DVD-ROM\USB-MIDI Driver\Win -
KORG USB-MIDI Driver v.n.nn\ and double-click on
“KORG USB-MIDI Driver Tools Setup v.n.nn.exe” to run
the installer (“n.nn” meaning the version number).
Connecting Pa900 to a personal computer
3. Follow the instructions appearing on screen. At the end,
the tools will be installed.
Please install the KORG USB-MIDI Driver, before connecting
Pa900 to a personal computer. Be sure your personal computer 4. When installation is completed, connect the DEVICE USB
meets the requirement shown on “KORG USB-MIDI Driver sys- port of your Pa900 to one of the USB ports of your Win-
tem requirements” below. dows PC by using a standard USB cable. The Auto Installer
will immediately start.
5. When finished, the USB-MIDI driver will be installed, and
Pa900 will be able to communicate with your computer via
KORG USB-MIDI Driver system USB.
requirements You can access the tools and manuals from the Start menu.
6. Restart the computer, and turn on Pa900. Connect Pa900 to
the computer via an USB cable.
Windows 7. Select the following command from the task bar to open
Computer: A computer with an USB port, that satisfies the the installation instructions:
requirements of Microsoft Windows XP, Vista or 7. Start > all programs > KORG > KORG USB-MIDI Driver
Operating system: Microsoft Windows XP Home Edition / Pro- Tools > Installation manual
fessional / x64 Edition (a driver for the x64 Edition is in beta 8. Select the following command from the task bar to open
release), Vista, 7. the installation program:
Start > all programs > KORG > KORG USB-MIDI Driver
Macintosh Tools > Install KORG USB-MIDI Device
Computer: An Apple Macintosh with an USB port that satisfies 9. Please follow the installation instructions appearing on-
the requirements of Mac OS X. screen to install the KORG USB-MIDI Driver.
Operating system: Mac OS X version 10.3 or later.
Driver’s ports
After installation, the following ports will be shown in you MIDI
Please note before use application (e.g., sequencer) among the other MIDI devices:
Pa900 KEYBOARD: This allows for reception of MIDI messages
Copyright to all software included in this product is the property from the Pa900 (keyboard and controller’s data) to the MIDI
of Korg Inc. application running on the computer.

The license agreement for this software is provided separately. Pa900 SOUND: This allows for transmission of MIDI messages
You must read this license agreement before you install this soft- from the MIDI application running on the computer, to the
ware. Your installation of this software will be taken to indicate internal tone generator of Pa900.
your acceptance of this agreement.
430 MIDI Data
MIDI Controllers

page 430

MIDI Data
CC# CC Name Pa900 Function
MIDI Controllers 91 Fx 1 depth A/B Master FX 1 (reverb) send level
92 Fx 2 ctl
The following is a table including all Control Change messages, 93 Fx 3 depth A/B Master FX 2 (modul.) send level
and their effect on various Pa900 functions. Note that not all 94 Fx 4 ctl
controllers are available in all operative modes. 95 Fx 5 ctl
96 Data Inc
CC# CC Name Pa900 Function
97 Data Dec
0 Bank Select Sound selection 98 NRPN Lsb See table below(*)
1 Mod1 (Y+) Joystick forward
99 NRPN Msb* See table below(*)
2 Mod2 (Y-) Joystick backward
100 RPN Lsb See MIDI Implementation Chart
3 Undef. ctl
101 RPN Msb See MIDI Implementation Chart
4 Foot ctl
102-119 Undefined ctl
5 Port.time
120 AllSOff
6 Data ent.
121 Res Ctl Reset All Controllers
7 Volume Track volume
122 LocalCt
8 Balance
123 NoteOff
9 Undef. ctl
124 OmniOff
10 Pan Pot Track panning
125 Omni On
11 Expression Expression
126 Mono On
12 Fx Ctl 1 CC#12
127 Poly On
13 Fx Ctl 2 CC#13
14-15 Undef. ctlþ (*) The following NRPN messages are recognized by Pa900 in
16 Gen.pc.1 Song Play and Sequencer mode only:
17 Gen.pc.2
18 Slider CC#99 CC#98 CC#06
NRPN
19 Gen.pc.4 (MSB) (LSB) (Data Entry)

20-31 Undef. ctlþþ Vibrato Rate 1 8 0…127(a)

Control Change #32-63 are the LSB (Least Significant Bytet) of Control Vibrato Depth 1 9 0…127(a)
Change #0-31, i.e. the MSB (Most Significant Byte), and are changed accord-
ing to their MSB counterparts. Vibrato Decay 1 10 0…127(a)
64 Damper Damper pedal Filter Cutoff 1 32 0…127(a)
65 Portamento Resonance 1 33 0…127(a)
66 Sostenuto Sostenuto pedal
EG Attack Time 1 99 0…127(a)
67 Soft Soft pedal
EG Decay Time 1 100 0…127(a)
68 Legato
EG Release Time 1 102 0…127(a)
69 Hold 2
70 Sustain level Drum Filter Cutoff 20 dd(b) 0…127(a)
71 F.Res.Hp Filter resonance Drum Filter Resonance 21 dd(b) 0…127(a)
72 Release Release time Drum EG Attack Time 22 dd(b) 0…127(a)
73 Attack Attack time Drum EG Decay Time 23 dd(b) 0…127(a)
74 F.CutOff Filter cutoff (Brilliance)
Drum Coarse Tune 24 dd(b) 0…127(a)
75 Decay T. Decay time
Drum Fine Tune 25 dd(b) 0…127(a)
76 Lfo1 Sp. Vibrato speed
Drum Volume 26 dd(b) 0…127
77 Lfo1 Dpt Vibrato depth
78 Lfo1 Dly Vibrato initial delay Drum Panpot 28 dd (b) 0…127(a)
79 FilterEgþ Drum Rev Send (FX 1) 29 dd(b) 0…127(a)
80 Gen.pc.5 Sound Controller 1 Drum Mod Send (FX 2) 30 dd(b) 0…127(a)
81 Gen.pc.6 Sound Controller 2
(a). 64 = No change to the original parameter’s value
82 Gen.pc.7 (b). dd = Drum Instrument No. 0…127 (C0…C8)
83 Gen.pc.8
84 Port.ctl Note: These controls are reset when stopping the Song, or choosing
85-90 Undef. ctl a new Song.
 Recognized chords 431

Recognized chords
The following pages show the most important chords recognized by the Pa900, when the selected Chord Recognition mode is Fingered
(see “Chord Recognition” on page 252 of the User’s Manual).

Major Major 6th

3-note 2-note 4-note 2-note

T T T T T T

T T T T T

Major 7th
4-note 3-note 2-note

T T T

Sus 4 Sus 2
3-note 2-note 3-note

Dominant 7th
4-note 3-note 2-note

T T T T T T

T T T T T T

Dominant 7th Sus 4 Flat 5th

4-note 3-note 3-note

T T

T T

Dominant 7th 5 Major 7th 5 Major 7th Sus 4

4-note 4-note 4-note

T T T

T T T T
Appendix

= constituent notes of the chord T = can be used as tension

432 Recognized chords

Minor Minor 6th

3-note 2-note 4-note

T T T T T

Minor 7th Minor-Major 7th

4-note 3-note 4-note 3-note

T T T T T T

Diminished Diminished 7th Diminished Major 7th

3-note 4-note 4-note

T T T

Minor 7th 5
4-note

T T T

Augmented Augmented 7th Augmented Major 7th

3-note 4-note 4-note

T T T T T T T

T T T

No 3rd No 3rd, no 5th

2-note 1-note

= constituent notes of the chord T = can be used as tension

 Shortcuts 437

Shortcuts
Shift functions Shift + Functions

You can keep the SHIFT button pressed, and press another but- Record Open the MP3 Record dialog box
ton on the control panel to directly jump to an edit page or dia- JukeBox
log box. >> Play the next Song in the JukeBox list
<< Play the previous Song in the JukeBox list
Shift + Functions
Lyrics
Any modes Display Load a TXT file
Dial Tempo Change Sequencer mode
Scroll Arrows When a list is shown: Goes to Next/Previous alpha- Sequencer Selects the Global > Mode Preferences > Song &
betical section of the currently selected column Seq page
Sound Sends the Sound assigned to the selected track to Upper Octave (either) Selects the Global > Transpose Controls > Tuning
the Sound mode page
Global Selects the Global > MIDI > General Controls page.
This is a quick way to jump to MIDI editing pages.
Long keypress
Media Selects the Global > Mode Preferences > Media
page You can keep a button pressed for about one second to directly
Start/Stop Panic jump to an edit page or dialog box.
Fade In/Out Selects the Fade In/Out parameter in the Global >
General Controls > Basic page
Long keypress Functions
Synchro Selects the Clock Source parameter in the Global >
MIDI > General Controls page Any operating modes

Tempo Lock Selects the Global > General Controls > Lock page Split Opens the Split Point dialog box. Play a note to set
Metro Selects the Metronome section of the Global > the new Split Point.
General Controls > Basic page Preset (Mic Setting) Opens the “Write Voice Preset” window
SongBook Selects the SongBook > Custom List page Style Play mode
Transpose (either) Selects the Global > Tuning > Transpose Controls
Style Opens the “Write Current Style Settings” window
page
Performance Opens the “Write Performance” window
Style Play mode
SongBook Create a "New SongBook" Entry and open the
Style Play Selects the Global > Mode Preferences > Style page
"Write Song" window (only if pressed outside the
Chord Scan (either) SongBook)
Memory STS Opens the “Write STS” window
Variation Selects the corresponding Variation in the Style Song Play mode
Play > Controls > Drum/Fill page
Performance Opens the “Write Performance” window.
Ensemble Selects the Ensemble Type parameter in the Style
Play > Keyboard/Ensemble > Ensemble page SongBook Create a "New SongBook" Entry and open the
"Write Song" window (only if pressed outside the
Pad (any) Selects the Style Play > Pad/Assignable Switches >
SongBook)
Pad page
Assignable Switch Selects the Style Play > Pad/Assignable Switches > Global mode
(any) Switch page Global Touch Panel Calibration
Upper Octave (either) Selects the Style Play > Mixer/Tuning > Tuning
page
Style Record mode
Special functions
Assignable Knob When the Sound/Expression page is shown: Adjusts Other available shortcuts are the following ones.
the Expression level
Tempo+/- When the Sound/Expression page is shown: Adjusts Style Play mode
the Expression level
Tempo +/– (together) Original Tempo
Song Play mode
Transpose #/b Set the Master Transpose to 0
Song Play Selects the Global > Mode Preferences > Song & (together)
Seq page
Upper Octave +/- Set the Upper Octave to the original setting
Upper Octave (either) Selects the Song Play > Mixer/Tuning > Tuning (togheter)
page
Appendix

Record While recording MP3 Song, with MP3 Record Dialog

Pad (any) Selects the Song Play > Pad/Assignable Switches > Box closed, it stops the MP3 record and open the
Pad page "Write Song Dialog)
Assignable Switch Selects the Song Play > Pad/Assignable Switches >
(any) Switch page
Play/Stop (either) Start both Players at the same time