KORG - T1, T2, T3 Reference Guide PDF

Music Workstation in Te T3 Reference Guide en Al Synthesis System =~TABLE OF CONTENTS HOW TO READ A DISPLAY PAGE CHART 1. PROGRAM MODE (PROG A / PROG B) Editing in Program mode .. Effect on Edit Program parameters Page 0 Oscillator. Page | VDF1.. Page 2 VDF2 (only for DOUBLE mode) . Page 3 VDAL ... Page 4 VDA2 (only for DOUBLE mode) « Page 5 BENDIMG ... Page 6 Effect... Page 7 Write.. Page 6 Effect, Reverb group EARLY REFLECTION Group. DERAY Group CHORUS Group FLANGER Group PHASE SHIFTER (Phaser) Group. ‘TREMORO Group... EQUALIZER Group OVERDRIVE Group EXCITER Group... ENSEMBLE Group . ROTARY EFFECT. COMBINATION Effects Group. 4, COMBINATION MODE (COMBI, Controlling extemal MIDI tone generators. Editing in Combination mode Page 0) Performance Bait Internal EDIT PROGRAM MODE (E.PROG) .. ae STRUCTURE OF THE T1/T2/T3 PROGRAM PARAMETERS... FUNCTIONS IN EDIT PROGRAM MODE es EFFECT PARAMETERS EFFECT PLACEMENT Page | Performance Edit External 5. EDIT COMBINATION MODE .. Function of EDIT COMBINATION mode... Page 0 Internal Page 1 Intemal2 Page 2 External... Page 3 MIDI-| Page 4 MIDI-2 Page 5 Controller Assign Page 6 Effect... Page 7 WriteSEQUENCER MODE (sea). What is a Song ?. What is a Pattern ? Sequence data memory Beat (time signature). Functions in Sequencer mode. 7 PO RECIPLAY (play and realtime recording) Play. a Realtime recording. Punch In recording Recording multi-channel data .. PO-3 Track Program... PO-4 Track Volume... Synchronizing with external MIDI devices Page | Track Parameters Page 2 MIDI Parameters Page 3 Edit Song Page 4 Edit Measure age 5 Edit Pattern 101 Page 6 Effect 106, Page 7 Song, 1-106 7.GLOBAL MODE . Ww Functions in Global mode ut Page 0 Global 12 Page 1 Drum Kit 1 . se . . . cena 4 Page 2-4 Drum Kit 2:4 sun son seen ool IS Page 5 User Scale sno lS Page 6 Protec... sn a seen senna 16 MIDI Data Dump . comarca 7 Page 7 Data Dump veel 8. DISK/CARD MODE . 7 ory Functions in Disk/Card mode File Loading from disk 122 Page 0 Disk Load-1 122 Page 1 Disk Load-2 Saving to disk... 129 Page 2 Disk Save All 130 Formatting a disk 132 MIDI data file 133, Page 3 Data File. 133 Program Card loading and saving 135 Page 4 Card .. 135 Page 5 Card Save 138 1,12, T3 MIDI IMPLEMENTATION .. 1139 ERROR MESSAGES 152 SPECIFICATIONS AND OPTIONS 134 ‘TROUBLESHOOTING .... 155 MIDI Implementation Chart 156 ‘Multisound List Drum Sound ListHOW TO READ A DISPLAY PAGE CHART P0-5 OSC1 Pitch EG (Oscillator 1 Pitch EG) ——O Start Level 99 +99" [Determines how the pitch of Oscillator I varies over time. 788 = approx Bat [Attack Time 0-99 Voctave above astack level a | Anack Level 99-499 O picnof Release love! osellator ole ; Sinem key is Dvr _ | Decay Time 0-99 wien ey ERT | Retease Time 0-99 sete’ time” paleace ume 89 = appron Release Level -99 49 octave below Ge [EGLevel vel =99 499 | Determines to what degree the effect ofthe pitch EG will vary in esponse Sens | to key velocity T —|EGTTime Vel. 99-499 | Determines 10 what degree the total time ofthe pitch EG will change in Sens. | response to key velocity 6 6 3 @ P0-5 OSC1 Pitch EG (oscillator 1 pitch EG) : Indicates that the display is for the fifth line of page 0; Oscilla- tor Pitch EG. @® The display for this page @ Cursor position key to move to this parameter @ Parameter name © Contents or value (number) range of parameter © Description of parameter function * The “cursor” isa parameter whichis displayed in reverse video.Operation Guide T1/T2/T3 Operation Guide, Reference Guide Errata Sheet Please make following corrections to your T1/T2/T3 operation guide, reference guide. oe wong correct [ps1] r2-1] mbt Ghaanet WAI-AI6 [AL-AI6 1-16, no change [P3-1]F2-1| MIDI Channet [1-16 Al—Al6 [AI—Al6—> 1-16 [no change aon saan | a NRE rcpt lth iS | ee ee 6 | stent) ee test Se |e a ee ee, ee fees] | fara fea fom re Rleabmiem eT GP (Bea | [areas ‘6 Po VRE Bam SI [GL GP gS Cols ete, m [Silom mies ise, imc oe eee ea) Bam ise Se [ae || ee E /EIBamAasist SSS ca OBES | | | [a/R AG SL 2Som) eae (SSB 88-Ce.. | Toa 130-759: gore Reference Guide page wrong correct 54 (In the middle on the right) ‘Regardless of the MIDI channet setting, all Timbres will sound when you play the keyboard, and note data will be transmitted from MIDI OUT on all MIDI channels specified in the Combination. (Timbres whose Timbre Program, is off will not produce sound, so you will normally tum unneeded Timbres off.) ‘All the Timbres will sound when playing the keyboard, regardless ofthe MIDI channel settings, when Combi Mode is set to Master in Global Mode. (Timbres whose Timbre Program is off do not produce sound. Always tur off any ‘Timbres which are not in use.) ‘When the Combi Modes set to Multi playing the keyboard produces the sound of the Timbres whose channel corresponds to the Global MIDI channel.page wrong correct ‘*When you select a T1/T2/T3 Combination, each Timbre will transmit the specified program change message and 55, volume change message from MIDI OUT on its own MIDI (Upper channel. (However, Timbres whose MIDI channel matches para: the global MIDI channel will not transmit from MIDI craph) our) ‘© When an external program is set for each Timbre, playing the keyboard outputs note data of all the MIDI channels assigned to each Timbre through MIDI OUT. When you select a T1/T2/T3 Combination, each Timbre will'transmit the specified program change message and volume change message from MIDI OUT on its own MIDI ‘channel. (However, Timbres whose MIDI channel matches the global MIDI channel will not transmit from MIDI OUT), ‘Add to page 110 after P7-7 Add to page 113 P7-8 Copy from Combi (Copy from Combination) SONGB@_—_ SONG. pSource Combi Ne Song Scale Ture HAS. | BEN Metronome Foot Controller Curve 'P0-4 Combi Mode (Combination Mode) GLOBAL GLOBAL Master T HEDT“channe1 from MGB FilnScore TCOPv] Pere? suitch Pelariee ee? [BD |Souce Combination | co0-C99 [Number of combination ro make a copy of fa [Combi Mode pene Combinatio Made Switch a icoPy} | Execution of copy —_ iE ke ‘The pron canbe setin te Can Mote Connon Only te Tink whos chanel une comes ‘Tomateacopy of cash Tint seing ote seeted Com ‘iaton cto Tec I- 8 of he Son parameters "Te flowing seting: wl be opie Ir program, tolume evel varios dete. pan ps. Key window ‘easy winds, MIDI chanel of each Timbre, and citectgrameten, Nothing her than the shove wil Operon of MIDI OUT. et. ae pay iret in Combination nde nd Sequencer mode Each Tobe requis | watk when ain Combiation Sound onthe Sequence. exepthal eae sundae he Combination sound wil be roduced on each ck he MIDI ches ar alsete he are number Mode) when te Timbre MIDI chanel eng ave been ‘hanged in is mode * This seing doesnot fect operations in te Progra Mode and Sequence Mose "In Master Mode, lying te Keyboard proces he sound of he Times hose proras ve beens regardless ofthe Timbre MID une! eines. Seine ‘he chanel ofeach Timbre tothe umber f th chanel ‘nan enteral MIDI tone generar ember you to repacefaye the Tinbre one with he tne ote MIDI tone gener on he T1727, ‘he Gio! MIDI chanel wil und when plying the ‘eyhardin Mul Mae. Dip rough MID snl ly Tinbres who chaos have bee et ‘umber ther than ht ofthe Glob MIDI cha In Mali Mode. dita npr on be eyo wil ‘up trough MIDI OUT ofthe Gb MIDI chanel 15 well asa he Time MIDI ern in which he eel progr has been se. (Tarte exter rogram OFF hen you wan! he cab opt {og MID! OUT for eny the Glob! MIDI chien) ‘Velo curve and atetoach curves of Titre I wil be wed when the aber of be Gta MIDI chan) oor not erespnd otha of any Tanbe MIDE care‘“Tepiace the following items on each page. Right side of page 141 Lett side of page 140 2-5 gvotax excuse atssAces ' Won't recive shes Sequencer is Playing, Recording except Func © 38 function Code List Function Code List ne eserition ee] Description Ee aoa i: Lise) ‘Teansaitted shen |fere| GTCLETSTALGTAY tecoive sen 19 ee a ET hequst Message ss ae EST Gpoporotoy || & easit moe ‘| AL oe se sa sar sine IP | Ae onset st ser eter S]ofafala} | |e ter ae 48 | ALC AULTTSOOND RARE DIME Hote oF Ho. Se 8a | AL anism mae on est 0]0]5]O)0) | | resyot te tet te | ton caer tne 3 io | eta tan ar tvs fore] | Iie et ia ar | paaesren cance pr ora caer es/oa te | alt Procearpaeuteret lar aeaeesT ©/0(8]olO/o| of outs suv ree) oo | at cna ie cue Cet teped 10 ts | camtnrier presser ses Se eee eee. era ¢o | rota paneer bar ris | Memmi nate on ever — |o/Oo[0/o/o|o}. me ce | ae rrecu naustr oe or te | A seer ot or eet 8/8/83] 5/00) °}e rose res 49 | COMBINATION PARANETER DUP Bs Bh Message ‘0& | GLOBAL DATA DUMP REQUEST @/d}oldidlejo WOE fo | i canter ranere on fered & | sie oraione cori sea a sewer [6 /O|9]0]O] | fs « sesree 48 | ALL SEQUENCE DATA DUMP Ss No i8 changed by 15 | MULTISOUND PARAMETER DUMP REQUEST fojojojojo ‘NODE 1} GLOBAL pata oom SH or Sequence 11 | reoceax eatve ecausst | 6 |} Ja: any oraee $2 | ont meso 2h | anterior wrt ese | Jol? } |' ao 44 | WULTESCUND PARANETER DUN n ° fs | team mtu rm eon | sem sa ue oe gjefejojo} |, “ z $ 23 | DATA LOAD COMPLETED. 4C | ALL PROGEAN PARAKETER DUAP Jolo}ololojelo 24 | ATA va exaee | o 2 | ni eae ‘| Cotes pees Sr 8 a | mt cory ce | A omnertn ert oor \e|S|o]o]o}elo ft) A Ste or oa |9|9/9]/9]6]9 | tesa on 8/0/9/3/9/8]o & | Minrwconomrncse on — }8/0/3/9}9/9]o fc | aecseame rer ne 18|8/8]8}3 ce | tose cance jeletglojo © | paren cance 3{e}°}°} | S| sea Miron newer ewes 0) ) | || si.| te ren nae cat | |Right side of page 144 uu on__|_ gor 2) oot oats r “ie Teseripion Face an 8 | SCL WADEE 100 ovo | ye o4rs i (00 sees | ode Bate ote D neo 060. | Progran Bank (ote 8-3) (011 Obas | care Versation OTE © tae ke] Te ere Baas OTE 8) un out_| aor Frceloor FaceT? tage tod Craeila Tain acing U 8) VIDL_1W DATA FORT EHEOR x ayte ese pion Five nD | BIORTE Hee aio on6 AVpI TF DATA FowaT Exon 2H 11) ou os ‘Transits whe nesage sien Where ig a evFar Im tbe MDI IW eessage (ex 28) ATA LoaD coveLETED r [erie Tescripiion Farts iF EROS Hoes ‘oo on, ava Loan coveLereD 2 ‘raraate hia acasoge then DIT LOD, PHOGESING ave eee conpletec 20) ora Low soe r [ane = ese = Fab BTS | ETGUSTIE FEE 0010 0100 DvTA Lon EaROE on uu ou iat "Fareeite Cle dertuge Woon NTN DOD POCEST 51) NTE covrLeTeD Tava ot been ctopleted (ex protected t ote ooor | weiTe conpuaTeD poem ea Teenie frcw’atar | wire et a8 uous | sor noi wr “Transat tBTs-bessage Wow DUTH-VATTE IDT Bas Boon complete 3g) Te ea t ie basco 7 Fasc, | EICOSIVE HEADER ura 0010 | eEITe Raoe ze ‘Wosseits this essaae a DTN VTE WT nun] gor aa) Teck raoceas sl cee RT a Denes Ficia dn 08 | BICUSTE HOE ‘101 1001 | TRACK PaocRAK BAT CAGE so 1400 nan | HIDE Chanel of the TRACK { 000 ove | rosran dans ore 3-1) ing, This seseage i available on Receives and Transnita this message in Sequencer mode. Receives this estoge and data, ‘Tranemite Func * 23 or Func = 24, and it designates The track program bank for the fortheoning Program Change on each MIDI Ehennel. Sransmite thie moceage pricr to the Progras Change message Shen track progeam has been changed by SW or Sequence data, This iz the only system exclusive message recognized vhile the sequencer te pley ROM revision 25 or lacer1, PROGRAM MODE (PROG A / PROG B) In this mode you can select and play Programs (sounds) from memory. Use PROG A to select Programs AO) - A99, and PROG B to select Programs BOO ~ B99, Programs can be selected using the BANK/PAGE keys (0— 9), Program select keys (0-9), the A/V keys, a footswitch, (PROG UP/DOWN) of MIDI program change messages. »A00 Aeroglide 0+06 F+00 L+90 V+00 ——— T+84 A+BG R+O9 E+00 When you press a BANK/PAGE key (0 - 9, upper row) the ‘upper place of the Program number will appear, and the names of the 10 programs in that bank will be displayed, Next, press a program select key (0 ~ 9, lower row) to select a Program. If you press only a program select key, the lower place of the Program number will change. Editing in Program mode ‘*If you want to use a footswitch (o select programs, set the foot controller setting of each program to Program Up or Program Down (see page 29) ‘*If you want to select programs via MIDI, set the Global mode setting Program Change to “o” (see page 112). A00 Aeroglide — Stl 829:Voices St2 a7? MNagicOrgan tee F242"Ef00 urea T+09 Area R+a0 E+000 Aso oe fF 6 4 (OSC Balance “10=+10 [Adjust the volume balance of OSCI and OSC2 in Double mode VDF Cutoff | 10 +10 | Adjust the cutoff frequency of VDFI and VDF? (tone) VDA Level “10-+10 | Adjust he level of OSC! and OSC2 (volume) DWV | Vetocty ‘Sensitivity “10-410 ‘Adjust the sensitivity of tone and volume to key velocity After Touch 10-10 | Adjust the sensitivity of tone and volume to afertouch (pressing dovn onthe keyboard after playing @ note) A | Atack Time “10—+10 | Adjust the attack time of VDFI,2 and VDAI2 Release Time “10 +10 __| Adjust the release time of VDFI,2 and VDAI.2 He | Diysprtect Balance “10—+10 | Adjust the balance of direct and processed sound for Effect 1.2 | # You can also edit major program parameters in Program mode, by pressing a cursor position key and using the value slider and the / 7 keys. This can be especially useful during a live performance. “Editing these settings will automatically affect the corresponding Edit Program parameters ‘After using these editing operations, you can write your edits into memory using the Edit Program mode writing operation. ‘© When editing, press CURSOR UP to retumn to the previous display.Effect on Edit Program parameters When these parameters are changed in the “+” direction, Program parameters in Edit Program mode will be affected as follows, (Changes in the “-" direction will have the opposite effect.) PROGRAM Mode Parameters Effect of a positive value setting on each parameter OSC Balance | OSCI Level OSCI Level will change in the “+” direction, OSC2 Level OSC2 Level will change in the opposite direction as OSC1 (#1). VDF Cutoff VDFI,2 Cutoff ; "4" change (*1) VDA Level OSCI,2 Level Velocity Sense | OSC1,2 EG Level Vel Sense ‘The sign of the number will remain the same, and only the OSC1.2 EG Time Vel Sense value will change. (*2) DFI.2 Vel Sens BG Int VDFI,2 Vel Sens EG Time -Editing in the *-” direction will only decrease the value. VDAI.2 Vel Sens Amplitude The sign will not change. VDAI,2 Vel Sens EG Time Parameters set to 0 will be unaffected, and will remain at ‘After Touch ‘After Touch Pitch Bend 0. ‘After Touch VDF Cutoff ‘After Touch VDA Amplitude Pitch MG After Touch VDF MG After Touch Attack Time VDF1,2 Attack Time “+” change (*3) VDAI,2 Auack Time Release Time | VDF 1,2 Release Time VDAI,2 Release Time ‘ECT1,2 Balance change (*1) Dry:Effect Balance| (#1) Five times the value will be added to the value, or for negative (-) values, subtracted from the value. {Value=V, 5 x V} (+2) When the value is +10, the parameter value will increase 100% (twice). When the value is -10, the parameter value will decrease 100% (0). (1+ (V/10)] (#3) For the VDF, three times the value will be added. Forthe VDA, 5 times the value will be added. (Or, if the sign is negative, subtracted from the value.) [VDF1/2.... 3x V, VDAI/2... 5x VI - The resulting values are limited to the range of each parameter. - For Programs other than Double mode, adjustments to OSC Balance and VDA Level will have the same effect.2. EDIT PROGRAM MODE (E.PROG) ‘This mode is where you edit Program parameters, such as EG settings and the selection of a waveform, ‘*Toedita Program, you must first select tin PROGRAM A, or PROGRAM B mode. ‘* You can also edit Programs in conjunction with PRO- GRAM mode editing (performance editing). ‘© When you finish editing, press WRITE to write your edits into memory. (If you select another Program before doing 0, your edits will be lost.) ‘© While editing, you can press COMPARE to listen to the original un-edited Program. If you press COMPARE again without editing, you will return tothe Program being edited. In EDITPROGRAM mode, the upper numeric keypad selects, pages, and the lower numeric keypad selects edit functions. (For details, see the Operation Guide.) STRUCTURE OF THE T1/12/T3 PROGRAM PARAMETERS, 0561 PITCH EG Vor ES WaT EG Changes the pitch of th (Changes the tonal quatos Changes the volume sound over tire. of ha sound oer tine. cof sound over tine. | { | O51 FH ‘Sets the wavetorm type || Sets the tonal sd abate ih Gullo oe sound PIGS Vor NG rr ea| | Beart lib te tal ales {Wats} OA EFFECT Etc stings used inthe PROGRAM mode ‘ose2 Sets he wavelom yp, base ich and amount of turing reativa i OSC 1. f 056 2 PITCH EG ‘Oranges the pitch athe sound overtime. (Changes the tonal qualtes of ha sound ver time. ‘ey Snatly 180 Tracing Tier Tooss ——][oonvoner Eset Ky vty ROHR exon || Eft ol ator noc [erect ot conor {the svength at which the keys |] on the sound nthe sound Jon the sound. fre suc) on tho soundFUNCTIONS IN EDIT PROGRAM MODE ‘Press the upper row of numeric keys (0—9) to select the various function pages. Use the CURSOR UP/DOWN keys to select the parameter item to edit, and. use the CURSOR POSITION keys ([A]—{H)) to select the parameter. Page Function Parameter to be edited POOsc 0-1 OSC Mode Oscillator mode 0-2 Assign / Hold Poly/mono and Hold settings 0-3 OSC1 Multisound / Levet Oscillator 1 waveform and level 0-4 (OSC2 Maltisound / Level Oscitlator 2 waveform, level, and pitch (DOUBLE mode) 0-5 SCI Pitch EG Change in oscillator I pitch over time [_ 0-6 OSC2 Pitch EG ‘Change in oscillator 2 pitch over time PL VDFI 1 YDF1 Cutoff VDF cutoff frequency 1-2 VDF1 KBD Tracking How key position affects VDF1 1-3 DF 1 EG Int/Vel Sense EG intensity and velocity sensitivity of VDF1 1-4 VDF EG Time Vel Sense How key velocity affects VDFI EG Time 1-5 \VDFI EG Time KBD Track How key position affects VDF1 EG Time 16 VDFI EG Change in VDF1 cutoff frequency over time 7 P2 VDF2 2-1 VDF? Cutoff ‘VDF? cutoff frequency 2-2 YDF2 KBD Tracking How key position affects VDF2 2-3 YDF2 EG Inv/Vel Sense EG intensity and velocity sensitivity of VDF2 2-4 VDF? EG Time Vel Sense How key velocity affects VDF2 EG Time 2-5 VDF2 EG Time KBD Track How key position affects VDF2 EG Time 2-6 YDF2 EG Change in VDF2 cutoff frequency over time P3VDAL 3-1 YDA\ Velocity Sense How key velocity affects VDAI 3-2 YDAI KBD Track How key position affects VDAI 3-3 VDAL EG Time Vel Sense How key velocity affects VDA} EG 3-4 VDAI BG Time KBD Track How key position affects VDAI EG 3-5 VDAI EG Change in VDAI over time P4 VDA2 41 VDA2 Velocity Sense How key velocity affects VDA2 42 WDA2 KBD Track How key position affects VDA2 43 VDA2 EG Time Vel Sense How key velocity affects VDA2 EG 44 VDA2EG Time KBD Track How key position affects VDA2 EG 45 VDA2 EG ‘Change in VDA2 over time PS SA Pitch bend How the joystick affects pitch and cutoff frequency 5-2 Afier Touch How aftertouch affects tone 5-3 Pitch MGI Pitch modulation (vibrato) 5-4 Pitch MG2 Pitch modulation (vibrato) 5-5 VDF MGI VDF modulation (wah-wah) 5-6 VDF MG2 VDF modulation (wah-wah)Page Function Parameter to be edited POERFECT ] 6-1 Effect | Type Select ffect 1 6-2 Effect 1 Parameter Parameter of effect 1 6-3 Effet 2 Type Select effect 2 oa Effect 2 Parameter Parameter of effect 2 6-5 Effect Placement Placement of effects | and 2 P7 WRITE om Weit Program Weite a program 72 Rename Program Reneme a program 13 Foot Controller Assign the functions ofthe two foot conllers 1A Seale ype Select the scale type equal tempered, just intonation) 1s Veyatet Curve Select the velocity curve and aftertouch curve 16 Copy Effect Copy effet parameters Ee Copy OSC! to OSC2 Copy OSCI parameters to OSC2 = The total range of pitch change produced by Pitch Bend, Pitch EG, Pitch Modulation, Aftertouch, ete. is limited to ‘one octave. (In some pitch ranges, some Multisounds will ‘have an even narrower range of pitch change.) = The total range of tonal change produced by the various \VDF parameters and the VDF EG and VDF MGs limited, to the tonal range that the VDF can control. - The range of volume change produced by Oscillator Level, the VDA parameters, and the VDA EG etc. is limited to the volume range that the VDA can control. - hilo parameters PichEG 12, DFEG12.VDAEG Tr) ee bona ciel Go EG wits dgayed vaca, FESS a Woe TVA Ti SS SS, WE Welle 2a peumersile gt ft @ ano 0 FP Beara. t Vibe ote 8 TR Be RS = The display shows a graph of the various parameters, and does not indicate the actual “shape” of the EG. ~Toerase the display, move the cursor toany parameter other than an EG parameter.Page 0 Oscillator PROG ABB OSC bOSC Mode P02 Assign Ho a OFF PO Awign/ Hold seran 2 : 70.3 08C1 Multnound /OSC1 Level | 8303 Choir eq "8 Pot OSC2 Mulinound /OSC2 Level | 8423 Lope (43 8 1406 p48 oLos oscil S758 ATO A-17 DTGB RIGS kro L+o0 T+00 PO-6 OSC? Ph EG 2788 Atrd fr99 BT7S RTiB RABi Ceo T+00 A eG. > Ff 6 4 P0-1 OSC Mode a OSC Mode (oscillator mode) ‘Tone generator mode sina | one ostiatr mode (single) | DOUBLE. | two ecilltr mode (double DRUMS | Drum kit mode (um ki ‘* OSC Mode determines the type of the Program. The number of oscillators and the type of waveform used will depend on, this setting, - Ifyouchange the OSC Mode, you willneedtore-select the OSCI Multisound (or Drum Kit). = When SINGLE is selected, one OSC-VDF-VDA system I be used. You will be able fo play up to 16 simultaneous notes. - When DOUBLE is selected, two OSC-VDF-VDA sys tems willbe used. This allows you to create more complex sounds, but you will be able to play only up to 8 simultaneous notes. - When DRUMS is selected, drum sounds will be used as the sound source. Other details are the same as for SINGLE. PO-2 Assign / Hold [Assign ‘Number of voices sounded POLY | Play chords of up to the maximum number of voices MONO | Play monophonically Brow ON/OFF | Whetheror not the sound will continue after akey is release ‘* Assign determines whether this Program will play poly- phonically or monophonically. 0 ‘* When Hold is set On, notes will continue sounding even afier a key is released. This is useful mainly when playing the Drum Kit. - For sounds with a VDA EG Sustain Level setting other than “0”, setting Hold On will make, sustain-type sounds continue sounding forever.P0-3 OSC1 Multisound / OSC1 Level Multisound 0-189 | When the OSC Mode is SINGLE or DOUBLE, select the | oSCI Multisound (waveform). Drum Kit Drum Kit | When OSC Mode is DRUMS, select the Drum Kit 2 | GLOBAL mode PI-P4) Drumm Kit Be 0-99 | Volume of Osiaor { - fa Octave of Oscillator 6 | octave lower 8 normal pitch [Teme ne _ ee ‘* When the PO-1 OSC Mode setting is SINGLE or DOUBLE, this parameter selects the Multisound used by Oscillator 1. (The back cover of this manual has a list of the Multi- sounds.) - Multisounds indicated by “NT” will produce the same pitch regardless of the key that is pressed. - Each Multisound (waveform) has a limited pitch range, and some Multisounds will produce no sound when played in high octaves. + Ifan optional PCM card is inserted into the rear pane! slot, ‘you will be able to select Multisounds from the card as ‘well, Move the VALUE slider to see the selectable Multi- sounds. (Card Multisounds are indicated by aC” in front of the displayed number.) = IF multisounds are loaded into the PCM RAM (optional), ‘multisounds loaded from a PCM disk can also be selected. ‘Multisoundsin PCM RAM will be displayed with a‘D' in front oftheir name. (When playing a program which uses amultisound rom aPCM disk, be sure that the appropriate disk has been loaded.) Note: ———_____________ Insert or remove PCM cards only when the T1/T2/T3 is producing no sound, ‘* When the OSC Mode is set to DRUMS, this parameter selects one of the four Drum Kits (1-4). - InGLOBAL mode, youcanassigndrumsoundstoaDrum Kit ‘*OSC Level determines the volume of Oscillator 1.99 is the ‘maximum volume. ~ For some sounds, high settings of OSC Level will result in distortion when chords are played. Insuch cases, lower the OSC Level. ‘*Octave sets the basic pitch of Oscillator 1 in units of an octave. "P0-4 OSC 2 (Oscillator 2) Multisound 0-189 Selection of Multisound for Oscillator 2 OSC Level 0-99 | Volume of Oscillator 2 Octave 16, 8,4" Octave of Oscillator 2 Interval =12=+12 [Pitch of Oscillator 2 relative to Oscillator 1 (adjustable in semitones) Detune =50- +50 __ | Detuning of Oscillator 2 relative to Oscillator | (adjustable in cents) HDL _| Delay Start 0-99 | Delay time before Oscillator 2's sound begins Settings for Oscillator 2 can be made only if OSC Mode (PO-_* Detune allows finer adjustment in cents of the pitch differ- 1) is set to DOUBLE. ence between Oscillators | and 2 (over a range of ~50 to ‘© Multisound (Multisound select) selects the Multisound of BO ea et ie) uns Oscillator 2, The types of Multisound that can be selected 2 slightly. are the same as in PO-3, OSC] Multisound. ‘*Delay Start determines the time it takes between the onset of the sound of Oscillator 1 and the start of Oscillator 2's ‘OSC Level (oscillator level) sets the sound: volume of : a a sound. (Set 10 “0” when not using this effect) Oscillator 2. ‘Interval sets the pitch difference between Oscillator 1 and Oscillator 2 in semitones (over a range of ~ 12 to +12). Creating chords with Oscillators 1 and 2 is possible by adjusting the pitch here. 12P0-5 OSC1 Pitch EG (Oscillator 1 Pitch EG) [Start Level =99 — +99 | Determines how the pitch of Oscillator 1 varies over time. 199 » approx AT [Auek Time 0-99 | octave above attack evel TA _[Atack Levet =39- 499 | 0 pitch of | Kev on Key of so lovel oscllator z hor Key i Time Decay Time 0-9 | when ey “ Time Beeay Trt |Retease Time 0-99 | aint time” folease ume 5 88 » approx Release Level -9- +99 | 5282 200. EG Level Vel 99 ~ +99 | Determines to what degree the effec of the pitch EG will vary in response Sens. to key velocity Ht — |ecTime ve. 99-499 | Determines to what degree the total ime of the pitch EG will change in Sens. response 10 key velocity. ‘These settings determine how the pitch of Oscillator 1 will change over time. ~ Inverting the + and - settings for each EG level will invert the shape of the EG. ‘*For positive (+) settings of EG Level Vel. Sense (EG level, velocity sensitivity) the pitch change will become greater as you play more strongly. (For negative (-) settings, the pitch change will become less as you play more strongly.) ‘The range of pitch change produced by the Pitch EG is limited to +1 octave, - For positive “+” settings: P0-6 OSC2 Pitch EG (Oscillator 2 Pitch EG) Settings for Oscillator 2 Pitch EG can be made only if OSC ‘Mode (PO- 1) is set to DOUBLE. ‘These settings determine how the pitch of Oscillator 2 will change over time, Details are the same as for OSCI Pitch EG. + Forpositive (+) settings of EG Time Vel. Sens. (EG time ve~ locity sensitivity), the pitch change will become faster as, ‘you play more strongly. (For negative (-) settings, the time will become longer as you play more strongly.) - For positive “+” settings: Time change Played softy £G setting | Played strongly 13Page 1 VDF1 PI-1 Cutoff P1-2 KBD Tracking, P1-3 EG Intensity P1-4 BG Time Vel Sens im Tine KbdTr 3 EG Time KBD Track Eon ee Aloo A+SS OT (ia a ee aT P1-1 Cutoff L VDF Cutoff i 0-99 [YORE wot ewer onl brighnes) ‘The VDF (Variable Digital Filter) decreases (cuts off) thehigh frequencies of the Multisound to control tonal brightness. * Cutoff determines the cutoff frequency ofthe VDF. Lower Level settings ofthis value willcutthe high frequenciesand result ina softer tone ’ ' H Frequency ° °° Cutoff frequency P1-2 KBD Tracking KBD Tracking a How key position will affect VDFI cutoff frequency (tonal (cutoff frequency keyboard tracking) 99-+99 | brightness) t ; a [| CemterKey cio | Ts cane Aa around which the KBD Track sing wil VDF Keyboard Tracking determines how key position will affect the VDF cutoff frequency. ‘*For positive (+) settings of Keyboard Tracking, higher Cutott notes will be brighter in tone. (Negative (-) settings will have the opposite effect.) At a setting of 0, the cutoff frequency will be adjusted to correspond with the pitch of each key, - Forassetting of -50, the VDF will have the same effect on each note; ie., the VDF will be level across the keyboard, When cutoff freq keyboard tracking >0 When cutoft freq, keyboard track When cutoff frog, keyboard tracking <0 Center key ‘Center Key determines the key around which the KBD ‘Track setting will adjust the VDF1. When Cutoff is set toa positive value (+1 ~99), notes above this Center Key will be brighter intone. (Negative values (-1 ~-99) will have the opposite effect.) 4P1-3 EG Intensity EG Intensity 0-99 Depth of tonal change caused by VDF1 EG. © 99-499 Vel Sense (EG intensity velocity sensitivity)| | J How EG Intensity will be affected by key velocity ‘EG Intensity determines how greatly the VDF EG will change the cutoff frequency. A setting of 99 allows maxi- ‘mum change. *#Vel Sense (EG intensity velocity sensitivity) determines how key velocity will affect the tone. - For positive (+) settings, strongly played notes will be ‘more greatly affected by the VDFEG; i, strongly played notes will have greater tonal change. - Fornegative (~) settings, strongly played notes willbe less affected by the VDF EG: i. strongly played notes will Ihave less tonal change. P1-4 EG Time Velocity Sens - For positive (+) settings; Cutoff tevel hut rte Played softly VOF EG Int setting | Played strongly ¥eFor most acoustic instruments, softly played notes have less high frequency sound energy. To simulate this, set the VDF toa low cutoff frequency, and set all VDF EG levels (ustain, et.), VDFEG intensity, and VDFEG intensity to positive (+) values, How key velocity affects VDFI EG time ‘These settings determine the direction in which he individual parameters of the VDF EG (attack time, etc.) will be affected by key velocity, in the amount specified by EG. Time Velocity Sensitivity. (Parameters set to 0 will not be affected by key velocity.) EG Time Vel. Sense [EAT | Atack Time [E)DT —_| Decay Time [GQ st | Slope Time (HRT Release Time ‘EG Time Velocity Sensitivity determines the direction in, which key velocity will affect the speed of individual VDF EG parameters (Attack / Decay / Slope / Release times). Parameters set to “+” will become shorter for strongly played notes. Thus if Attack is set to"“+” and Release to “- , the stronger the key is struck, the shorter the Attack and the longer the Release will become. = When all parameters are set to “+”: Time change key off Played strongly 15P1-5 EG Time KBD Track | ‘How key position affects VDF EG time EG Time KBD Track 0-99 [EJAT — | Attack Time 10,4 (Elpt | Decay Time | [Gst___|slope Time 0,4 HRT — |Retease Time 0+ ‘These settings determine the direction in which the various VDF1EG parameters (attack time, etc.) willbe affected by | key position, in the amount specified by EG Time KBD | Track. (Parameters set to 0 will not be affected by key position.) ‘EG Time KBD Track determines how much effect the key position will have on the speed of individual VDF EG parameters (Attack / Decay / Slope / Release times). For each parameter, you can specify the direction of the change resulting from key position; parameters set to “+” will become shorter for higher notes, and parameters set to” will become longer for higher notes. P1-6 VDF1 EG ~ When all parameters are set to “+”: Time change key off aoe Fwnen tower notes! vor eG" when nigher ae played Seting= notes are Playea Attack Time 0-99 Determines how the VF's cuof frequency will vary overtime. ‘The time parameters (Attack. Tine, Decay Time, Stope Tine, "Anack Level 99 =499 | Release Time) ae used Yo set the tne takes to fac he nex level The level parameters (Atack Level Break Pott, stain cay Time . level Release Lov) ae used fost te ut requeny ofthe Decay Ti 0-99 __| WDF for that segment ofthe EG. Break Point 99 = +99 BriGhMOSS ce vet £m Slope Time 0-99 Sustain Level =99 = 499 on Cutoff Time Release Time 0-99 ~ Release Level ~99 ~ +99 “me Aelease Hone ‘VDF EG settings determine how the VDF I cutoff frequency will change over time. - Inverting each EG Level (“+” and shape. - The VDF1 EG Intensity setting controls the overall effect, that these EG Levels will have on the cutoff frequency. 16 ‘will invert the EGPage 2— VDF2 (only for DOUBLE mode) PROG ABB UDF 2 bCutoft A 8 c E F 6 H This is the VDF for oscillator 2, - The details are the same as for the VDFI (Page 1), sr Use Page 0 OSC Mode to select between DOUBLE mode or SINGLE mode.Page 3— VDA1 P3-1 Velocity Sense 3-2 KBD Tracking / KBD Center Key P3.3 EG Time Velocity Sense 3-4 EG Time KBD Track P3-5 VDAI EG. PROG ABE VOA 1 Velocity Sense P3-1 Velocity Sense 99-499 | ‘VDA Velocity Sensitivity How key velocity affects the volume change produced by the] VDAI * VDA Velocity Sensitivity determineshow key velocity will affect the volume. For positive (+) settings, strongly played notes will be louder. For negative (-) settings, strongly played notes will be softer. For settings of +99 or -99, key velocity will have maximum effect on the volume, P3-2 KBD Tracking ‘*In DOUBLE mode, you can achieve a velocity crossfade effect by giving oscillators 1 and 2 opposite settings for VDA Velocity Sensitivity. This will allow you to fade between sounds by playing softly or strongly, as shown in, the following diagram. Total level of VDA Total level of ‘VoA2, YDA1 Velocity Sensitivity > 0 VDA2 Velocity Sensitivity < 0 Key velocity of played note - Strongly played notes: OSC1 is heard - Normally played notes: OSC1 and OSC2 are both heard - Softly played notes: OSC2 is heard KBD Tracking 99-499 How key position affects VDA1 volume change Center Key c1-G9 ‘The center key around which the KBD Tracking setting will adjust the VDAI VDA Keyboard Tracking determines how VDA volume and. the various EG Times will be affected by the key position. ‘*For positive (+1 ~ +99) settings of KBD Tracking, the volume will increase as you play notes above the Center Key. For negative (-1 ~ -99) settings, the volume will decrease as you play notes above the Center Key. ‘*Center Key determines the center key around which change (Volume and EG Times) will occur. VOR testa taetng 20 co ‘Centertey 18 In DOUBLE mode, you can create a “positional crossfade" effect by setting an identical Keyboard Tracking Center Key forboth oscillators | and 2, and giving them opposite “+” and “settings. = The resulting volume after the Keyboard Tracking setting is applied will not exceed 99. \VDA2 Keyboard Tracking <0 car \VDA1 Keyboard Tracking > 9 OSC Level setting Keyboard Tracking Center KeyP3-3 EG Time Velocity Sensitivity iA BG Time Velocity Sense 0-99 How key velocity affects VDAT EG time E)at | Aack Time =.0,+ | These setings determine the direction in which the various - —| VDALEG parameters attack time, etc) will be affected by DT [Decay Time key velocity inthe amount specified by EG Time Velocity Sensitivity. (Parameters set oO will not be affected by key Slope Time =.0,4 | velocity.) a RT [Release Time -0,+ ‘*EG Time Velocity Sense determines how much effect the key velocity will have on the speed of individual VDA EG time parameters (Attack /Decay / Slope /Release). Foreach parameter, you can specify the direction of the change controlled by key velocity; parameters set to"“+” will have shorter VDA EG times as you play more strongly, and parameters setto“-" will have longer VDA EGtimesas you play more strongly. For example if Attack Time is set to “+”, strongly played notes will have a sharp attack, and softly played notes will have a gentle attack. This is especially effective for string sounds. P3-4 EG Time KBD Tracking ~ When all parameters are set to “+” Time change Played softly VDAEG setting | Played strongly ~ T EG Time KBD Track 0-99 How key position affects VDA1 EG time ‘These settings determine the direction in which the various IEIAT | Anack Time *0.+ | YDATEG parameters atack time,cte,) will beaffected by key position, in the amount specified by EG Time KBD Track. (Parameters set to 0 will not be affected by key Decay Time -0,+ Position.) Slope Time 2.04 liner [reese tine so L | - ‘+EG Time Keyboard Tracking determines how much effect the key position velocity will have on the speed of individual VDAI EG time parameters (Attack / Decay / Slope / Release). For each parameter, you can specify the direction ‘of the change controlled by key position; parameters et to “4 will have increasingly shorter VDA EG times as you play notes above the Center Key, and parameters set 10” ‘will have longer VDA EG times as you play notes above the Center Key. - When all parameters are set to “+”: Time change When lower! VDAEG setting | When higi notes ate notes ate played playedP3-5 VDAL EG ‘Attack Time ____[9=99 [Determines how the volume of VDA 1 will very over tine | vatack Level azo ‘These Parameters affect the shape of the VDA EG. | Decay Time 0-98 sac wet kero | Break Point 0-9 | | Slope Time 0» | | Sustain Level 0-99 Release Time [0-9 ‘The VDA (Variable Digital Amy 1) controls the volume. # The VDA EG determines how volume will change over time. 20Page 4— VDA2 (only for DOUBLE mode) PROG AGG VDA 2 Melocity Sense eT. Bree A 8 c D E F GS H ‘This is the VDA for oscillator 2 ‘The details are the same as for Page 3 VDAI ‘Use Page 0 OSC Mode to select between DOUBLE mode or SINGLE mode. 2Page 5 — BEND / MG PROG AG® BEND/ANG Pitch Bend ps.t ith Bend | Pi behBend UDF Sueer =+00 rookies, | bitchBend GRRE VOr egeer Bnei +90 P5-3PitchMG! |Piteh MG TRIANGLE FSS _Dag OSC BaUeNG? luor me FSTSNELE Fas’ 'bea Tee’ BOTH 3 VDE M P56 VDF MG2 SHENGFE A¥t.TPe6 3806 He ee UE UP U8 Ue PS5-1 Pitch Bend = Ti2=H12 | The maximum eect the joys wil have on ch BD | Vor Sweep intensity 99-499 [How the joynick wil affect VDF ewoit ‘Range determines the maximum pitch change (in half- steps) caused by moving the joystick to left or right. For a setting of 12, the range of pitch change will be | octave. For positive settings (+1 - +12), moving the joystick to theright will raise the pitch. Negative settings will have the opposite effect. - For positive settings: Pitch is towered C= [Oo Pitch is raised PS-2 After Touch * VDF Sweep Intensity determines how the left/right joystick movement will afect the VDF Cutoff Frequency. For positive settings (+1 ~ +99), moving the joystick to the right will raise the cutoff frequency. Negative settings will have the opposite effect. - For positive settings: Cutottis lowered <3} [O > Cutoff is raises Pitch =12- 412 How aftertouch will affect Pitch (41 octave) E}Fe| vDF Cutoff -99- +99 How aftertouch will affect Cutoff Frequency (tone) {@)_| VDA Amplitude ‘Amp ~99- +99 How aftertouch will affect Volume After Touch settings allow you to specify how the sound will change when you press down on the keyboard after playing a note; ie. aftertouch. ‘Pitch determines how aftertouch will affect Pitch, over a range of -12 ~ +12 (1 octave). *When VDF Cutoff is set to a positive value (+1 ~ +99), aftertouch will raise the Cutoff Frequency, resulting in a brighter tone. Negative settings (-1 ~ -99) will have the opposite effect. 22 + When VDA Amplitude is etto. positive value (+1 -+99), aftertouch wll increase the volume. Negative settings! — 99) will have the opposite effec.5-3 Pitch MGL Waveforin Select the modulation waveform, ‘TRIANGLE, Triangle wave SAW UP Upwards sawtooth wave 17 SAW DOWN, Downwards sawtooth wave KK. | SQUARE Square wave rm Frequency 0-99 Speed of modulation Delay 0-99) Delay from when key is pressed to when modulation begins Intensity 0-99 Depth of modulation (OSC Select Specify which oscillators are affected by modulation OFF No modulation effect scl Modulation affects only OSC1 |osc2 Modulation affects only OSC2 | BOTH ‘Modulation affects both OSC1 and OSC2 Pitch MG (pitch modulation) periodically varies the pitch ‘Waveform selects the modulation waveform; ie., the “shape” of the variation in pitch 0, the pitch modulation will become deeper, when the joystick is operated. = If Pitch MG Frequency > 0, the pitch modulation will become faster, when the joystick is operated.PS-5 VDF MGI lo Waveform ] Select the modulation waveform TRIANGLE, “Triangle wave SAW UP Upwards sawtooth wave = 11 SAW DOWN, Downwards sawtooth wave NN SQUARE Square wave ru Frequeney 0-99 Speed of modulation _ Delay 0-99 Delay from when key is is presse to when modulation begins | totensity 0-99 Depth of modulation OSC Setect | Specify which oscillators are affected by modulation OFF | No modulation effect | osc | Modulation affects only OSC1 | Osc2 | Modulation affects only OSC2 BOTH | Modutation affects both OSCi and OSC2 the same as for Pitch MG. P5-6 VDF MG2 VDF MG (VDF modulation) creates periodic variation in the Cutoff Frequency, resulting in a “wah-wah” fect. The details are ~All notes will be modulated together ‘The modulation waveform willbe re-started for each note | How aftertouch affects VDF modulation How the joystick affects VDF modulation ‘* When Key Syne is set ON, the modulation waveform will be re-started for each newly played note. For details, refer to the explanation of P5-4 Key Sync. ‘Higher settings of After Touch will result in a greater increase in VDF modulation when you press harder after playing a note. For a setting of 0, aftertouch will have no effect on VDF modulation, ‘* Higher settings of Joy Stick will result ina greater increase in VDF modulation as you move the joystick towards you. How the joystick affects the speed of VDF modulation ‘*Higher settings of VDF MG Frequency will result in a greater increase in VDF modulation speed as you move the joystick towards you. Q - IfJoy Stick> 0, the VDF modulation will become deeper, when the joystick is operated - When VDF MG Frequency >0, the VDF modulation will become faster, when the joystick is operated.26 Page 6 Effect For details of the following parameters, refer to “Effect Parameters” (page 33). PROG AGG EFFECT P-1 Effect 1 Type P-2 Effect | Parameter i ON L+G3 H+G3 80:26 P.3 Effect 2 Type EFFECT2 16:Stereo Delay : ON P-4 Effect 2 Parameter |LZ24?° R414 F+36 HOGG. L+6@ H+63_ 50:56 P.5 Effect Placemen’ {C SERIAL J Out3 = 21:79 Guta = OFF A 8 © D E F 6 4 = The effect settings made here only apply to the corresponding Program. ~ In Program mode, programs other than Drum Kits will be sentto effect inputs A and B at the same volumes. (They will not be sent to C/D.)Page 7 Write P7-1 Write ename ro: Foot Controller Scale Tyre PROG AGG WRITE Cory Effect Bees Eine Curve Copy OSCi to OSC 2 CWRITEI== c D E F 6 4 Execute writing This function is used to write an edited (or unedited) program into an internal memory. - The WRITE key will also write data into the original program memory location. (1)Use cursor key {H] to select the Program number into Which you will write the edited settings. @Press cursor key [F] to execute writing. G)The display will ask for confirmation. Ifyou are sure you want to write the data into memory, press [YES] (cursor key [ED - The data previously in that memory will be los. + To quit without writing, press [NO] (cursor key [Gi Program number to write (4) When writing is completed, the display will show “ Com- pleted”, ~ Pressacursorkey ([A]—[H))toretum tothe firstdisplay. *To copy a Program from internal memory to another program number, select the source Program in PROGRAM mode, and use this writing function to write it into the destination memory number. *Itisnotpossible toexecute this writing operation if Program, Memory Protect is set “ON", (Tum it off using the GLOBAL mode function.)P7-2 Rename PROG AGG WRITE [ieieieastaetteed | YelAgy,T Curve OP'S Ta eS e| Core OSci to OSC 2 Scale Tyre AGa:Mhiverse A 8 c D E F 6 4 [4 J(cursor left) | Move the cursor to the left i {P J(cursor right) Move the cursor to the right Use this function to modify the Program name. -Use 4 (cursor key [G)), (cursor key [F1)), the VALUE slider, and the UP(A\/DOWN(7) keys tomod- ify the Program name. =A Program name consists of up to 10 characters and symbols. Select from the following characters. I"RSZE? Cet, =, 2012545678 ? SABCDEFGHIIKLMNOPORSTUUUAVZEHI > Sabedef ahi Jk Innoranstuvuxcaz (1334P7-3 Foot Controller PROG AGB WRITE te Program bController 1 Yel-Aft.T Curve Copy Effect Cory OSCi to OSC 2 C Program Down Effect | ON/OFF Effect 2 ON/OFF Volume VDF Cutoff Effect 1 Control Effect 2 Control Data Entry A 8 c D E F 6 H Foot Controller 1 ‘The function assigned to Pedal 1 Program Up A footswitch will select the next Program Program Down A footswitch wil select the previous Program A footswitch will tum Effect 1 on/off A footswitch will tum Effect 2 on/off A foot controller will regulate Volume A foot controller will regulate VDF Cutoff A foot controller will regulate the Effect 1 Balance A foot controller will regulate the Effect 2 Balance A foot controller will function as a data entry control Foot Controle 2 | (Same as above) ‘The function assigned to Pedal 2 ‘© This selects the function assigned to the Pedal 1/2 jack = Depending on the selected function, connect either a Footswitch (on/off type) or a Foot Controller (continu- cous type) to the Pedal 1/2 jack. = The actual control range of the foot controller will be determined by various parameter settings for the fune- tion being controlled. - These settings apply only to this Program, * Program Up: A footswitch will select the next Program, and transmit a MIDI program change message from MIDI our. *Program Down: A footswitch will select the previous Program. * Effect 1 ON/OFF: A footswitch will tum effect | on/off. * Effect 2 ON/OFF: A footswitch will tum effect 2 on/off. * Volume: A foot controller will regulate the volume of the TI/T2/13. (This data is not transmitted from MIDI OUT.) VDF Cutoff: A foot controller will regulate cutoff frequency (tone). As the pedal is advanced, cutoff frequency will rise (the sound will become brighter. *Effect 1 Control: A foot controller will regulate the bal ance between the direct sound (the sound before it is processed by effect 1) and the sound of the effect. As the pedal is advanced, the effect sound will increase. * Effect 2 Control: A foot controller will regulate the balance between the direct sound (the sound before it is processed by effect 2) and the sound of the effect. As the pedal is advanced, the effect sound will increase, *Data Entry: A foot controller will perform the same fune- tion as the front panel VALUE slider. If you select a parameter for editing and specify “Data Entry” for the foot controller function, you can use a foot controller to adjust that parameter while playing. 4rBesuretoconnecteithera footswitch (on/offtype) ora foot controller (continuous type) to the Pedal | jack, as appropriate forthe Function you have assigned, ‘When no pedal or footswitch is connected to the Pedal 1 §ack, set this to Program Up, Program Down, or Effect ON/ OFF. +t When a Program Up/Down occurs, the function ofthe foot controller or footswitch will change tothe function specified by the newly selected Program. ‘*Please use the Korg EXP-2 as a foot controller. wyP7-4 Scale Type PROG AGG WRITE Write Program ename Program C Fausl Tene 5 bScale Tyre Yel/Aft.T Curve Cory Effect Copy OSC1 to OSC 2 A 8 c o E FE s H Scale Type Equal Temp. Equal temperament (equal temperament) Equal Temp. 2 Equal temperament, but with random detuning applied to (equal temperament, random pitch)| each note played. Pure Major Pure major temperament Pure Minor Pure minor temperament User Programmable User-defined pitch for each note of the scale. Key C.CH,.. A,B ‘Tonic note for pure temperament * This selects the scale (temperament). - The temperament specified here is effective only in PROGRAM mode. ‘* Equal Temp. (equal temperament): The temperament most widely used in keyboard instruments today, equal temperament allows free transposition to all keys; ie., a chord will sound the same in any key. *Equal Temp.2 (equal temperament, random pitch): Equal temperament, but with slight randomness applied to the pitch of each note. This is useful when simulating the ‘natural irregularities in pitch that are found in many acous tic instruments, 30 Pure Major: Pure major intonation produces in-tune chords for the specified major scale, Select a key (tonic) of c-B. ‘Pure Minor: Pure minor intonation produces in-tune chords for the specified minor scale. Select a key (tonic) of cB. + User Programmable: By specifying a pitch offset of 450 cents foreach of the 12 notes (C—B) of the equal tempered sale, you can create your own unique temperament. Make settings in GLOBAL mode User Seale.P7-5 Vel/ Aft.T Curve PROG AGG WRITE Welocity Curve Write Program Rename Program Foot Controller Scale Tyre Caps OSti to OSC 2 Aft.T Curved A 8 ¢ 2 E F Gc H | Velocity Curve Select the velocity curve; L¢., the way in which key velocity (how hard you play a note) will affect volume or tone. After Touch Curve | 1-8 | Select the aftertouch curve; i., the way in which aftertouch (how hard you press | down after playing a note) will affect volume or tone. Velocity Curve allows you to select one of & curvesaccord- After Touch Curve allows you to select one of 8 curves ing to which key velocity will affect volume or tone. according to which aftertouch will affect volume or tone. VALUE ra ‘ATER TOUCH ~The Velocity / After Touch curves selected here apply only to this Program, ~The Velocity Curve will also determine the velocity value of Note On messages transmitted from MIDI OUT. The After Touch curve will determine the value of Aftertouch messages transmitted from MIDI OUT. However, messages received from MIDI IN will not be affected by the Velocity Curve 31P7-6 Copy Effect PROG AGG WRITE bSource Mode Write Program Rename Program Foot Controller Scale Tyre CCoPv] from Mi All __) acl) A D c E F s H ‘Source Mode PROGRAM COMBINATION SONG | Copy effects from a Program Copy effects from a Combination Copy effects from a Song Source Number ‘A00— A99, BOO— B99 [Number of PROG 10 copy from 00-99 Number of COMBI to copy from 00-19 Number of SONG to copy from ~~ |IcoPy} Execute the copy operation This function copies only the Effect parameters from a Com- bination, Program, or Song in internal memory. - The data will be copied into the program currently being edited (Q)Select the mode containing the memory whose Effect you ‘want to copy ((B)). P7-7 Copy OSC1 to OSC2 (2)Sclect the number you want to copy. (When copying from Program, select the Program number; when copying from a Combination, select the Combination number, when copying from a Song, select the Song number.) (@)Press [COPY] ({G) to copy the effect parameters from the specified memory. (4)You will be asked to confirm the copy. Press [E] to confirm, {G] to cancel the copy. PROG AGG WRITE Write Program Yel/Aft.T Curve Rename Program Eoot Controller Scale Tyre osc i =» OSC 2 ccoPyv] A 8 c D E F c 4 [COPY] | Execute the copy operation This function copies all parameters of oscillator 1 (OSC1, OSCI Pitch EG, VDFI, VDA1) to oscillator 2 - The previous settings of OSC2 will be lost. ‘Again, you will be asked to confirm the copy. Press [E] 10 confirm, (G] to cancel the copy. 323. EFFECT PARAMETERS A wossystem, two-channel Multi Digital Effect unit is built into the T1/12/T3, Each effecthas a wide range ofeffecttypes that can be selected; reverb, delay, chorus, flanger, phase shifter, distortion and exciter, Fine adjustment of all effect parameters is possible, Since all effects can be assigned separately to each Program Combination and song track, you can use the most appropriate effect for each playing situation. The Effect functions can be considered as an additional clement in the sound making process, since each Program can have its own effect settings. EFFECT PLACEMENT Serial Routing a 7 |e in errecT EFFECT + 2 a b> 2 PANS TES] a PAN 4 ° 4 Parallel Routing EFFECT a—e{ devay Ww eae] HAL > 2m eFFECT2 +4 pee} cf pea > PAN 6 [7 De} FLANGER ae 4 The following various settings are possible by setting the pans of each Program by using Output 3 Pan and Output 4 Pan. = Different sounds that are output to C and D can be mixed ‘withthe stereo Output by adjusting the pan setting of each Program with Output 3 Pan and Ourput 4 Pan. tis possible to assign different effects to specific Programs when using Drum KitPrograms, Combinations, and the se~ quencer. Youcanedit heeffect parameters in Edit Program Mode, Edit Combination Mode or Sequencer Mode. (Details of editing and parameters are identical.) The Effect section consists of 2 effects and 2 panpots with a 4-input (A, B, C and D) and 4-output (1/L, 2/R, 3 and 4) configuration. “The two effects can be arranged in two ways; in Series or in Parallel (All signal routing is digital; the signal is changed from digital to analog by the D/A converter only after passing through the Effect section.) In Serial mode, Inputs A and B send signals to both Effect 1 and Effect 2 and are output from 1/L and 2/R. Signals from C and D are output through 3 and 4 unprocessed. ‘The output signals from 3 and 4 can also be mixed with the A. ‘and B inputs to be routed together through Effect 2. By using inputs C and D, you can make settings so that Effect | is not applied to a specific sound. Or, you could apply Effect 1 only to a specific sound, and then apply Effect 210 all the sounds, Different effects are applied to each input pair (inputs A and B, and inputs C and D), and each pairis semt directly to outputs 1/L,2/R, 3nd 4. The outputs from 3 and 4 can be mixed with, the Effect 1 outputs and sent through the outputs 1/L and 2/R. - There are two types of effects: effects 1 - 25 are stereo effectsand 26-33 are dual effectsin whicheach channel has different effect. - The input to A—D is determined by the Panpot settings of. the Combination mode and Sequencer mode parameters. In Program mode, programs other than Drum Kits will be ‘output from A and Bata balance of 5:5, and will notbe sent woCD. 33= When stereo effects have been selected for Effect 1 and 2, and the operation mode has been set to Parallel, stereo out mixed outputs of Effect 1 and Effect 2 can be used by setting Output 3 Pan to L, and Output 4 Pan to R Page 6 Effect ~ Whenusinganextemal effects unit ormixer,outputs 3 and 4 can be used as separate outputs by setting the Output 3 Pan and Output 4 Pan to OFF. P-1 Effect 1 Type P-2 Effect | Parameter PROG AGG EFFECT iz L+83 H+93 90:20 P-3 Effect 2 Type EFFECT? 16:Stereo Dela’ e P-4 Effect 2 Parameter} L247 R414 F+90 bee H+O3_ pa 5a P-5 Effect Placement | [ SERIAL J Outs = 21:79 Out¢d = OFF A 8 c D E F 6 4 P6-1 Effect 1 EFFECT TYPE, 01~33 ‘Selecting effect type NoEifect | Effect not used SWITCH ON/OFF _ | Effect operation switch ‘¢ When selecting the effect ype again, effect parameters will be set to the default value (see pp.52-53).. Note that among the 2-system effects, when #24 Sym- phonic Ensemble or #25 Rotary Speaker are selected for fone system, the Effect types Chorus (12, 13, 30), Flanger (14, 15, 31), Phaser (16, 17, 32), Tremolo (18, 19, 33), Symphonic Ensemble, or Rotary Speaker cannot be selected for the second effect. (Likewise, when an asterisk- indicated Effecttype is selected forone system, #24 and #25 ‘cannot be selected for the other. Refer to p.53.) ‘*When a footswitch is assigned to Effect On/Off in any mode, the effect is toggled ON and OFF each time the footswitch is pressed. ‘Switch (F ] indicates and sets the condition of the switch, = When selecting another Program, Combination or song, the ON/OFF setting returns to the condition set in the effect parameter of each mode P6-2 Effect 1 Parameter ‘This sets the parameters for Effect 1. Parameters will differ for ‘each type of effect. Please refer to the explanation of each effect type. P6-3 Effect 2 ‘This selects the Type for Effect 2. ~ Details are the same as for Effect 1. P6-4 Effect 2 Parameter ‘These are parameter settings for Effect 2, - Details are the same as for Effect 1 Parameters. 34 For all effects except Reverb (01 to 06), Overdrive (21), Distortion (22) and Ensemble (24), the equalizer settings (Low EQ and High EQ) are effective even when the effect, switch is OFF. Set the effect type to No Effect when you want all effects including the equalizer, to be off while editing Programs.P6-5 Effect Placement [tect Placement Selection of effet operation mode PARALLEL Parallel SERIAL Serial G foursPanpa — [oFF The sound from out 3 isnot sent to Lor R L,99:1 1:99, | Pansetting of output 3 (L:R balance) 1) fouraPanpot | OFF | The sound from out 4 is not sent to L or R L, 99:1 = 1:99,R Pan setting of output 4 (L:R balance) ‘This determines the Effect Placement and the Pan setting of outputs 3 and 4, + When editing Effect Placement, Out 3 Panpot, or Out 4 Panpot, the effect placement will be displayed graphically. + To cancel the display, move the cursor to another line. 35Parameters will differ according to the effect type. Refer to the explanation for the selected type. of effect, The displays show the initial setings for each type of effect. Reverb group ‘These effects simulate reverberation, adding ambience to a sound, £O/ REV 1, HALL ‘The natural, spacious ambience characteristic of a hall. EEFECT! Oizall, Fi SEEDb68 1283 Hose L-BY 00 75225 (ory ER LEVEL PREDLY REV TIME 4.ROOM ‘The tight, well-defined reverberation patterns of a relatively small room. 2. ENSEMBLE HALL, imilar to #1 Hall above, but especially suited for string and. brass ensemble sounds. EEFECTI O2:Ensenplg Hall ; ON ee ebe ese BSS 8) LRH y-02 zaxsa 3. CONCERT HALL ‘Similar again to #1 Hall above, but with particular emphasis on the early reflections characteristic of a large hall Fore oiae ene” Abie? 1480 H-02 75125, A oy ae eo = Fe SEES ERS oe L488 y-o2 ease 5. LARGE ROOM Emphasishere ison the relative density of the sound. Aneffect, similar to gating can be achieved when the reverb time is set 10 0.5 seconds. 7 = oN ST Te SEE Foss — E+B Hees 75:25 jee pe 6. LIVE STAGE Reverberation characteristics of a relatively large room. EFFECT! O6:Live Stase ? OW 2.8 0920 E60 HO20 L+OS Heoe cos4a eee Eee eee Cra) Reverb Time | 0.2~9.9 [Sec.(HALL group) | Time before reverberation decays. | 0.2 ~ 5.0 [Sec.] (ROOM group) PreDelay | 0-200 [mSec] ‘Time between the direct sound and the first early reflections. EIR Level | 0-99 Level of early reflections. High Damp 0-99 (%) ‘The larger the value set, the faster the high frequencies are damped EQ Low =12= +12 4B) Control for cutting or boosting the low frequency components EQ High =12— +12 [4B] Control for cutting or boosting the high frequency components DRY:EFF DRY, 99:1 — 1:99, EFF Output balance of direct sound and effect sound. 36EARLY REFLECTION Group Early Reflection is an effect that allows you to adjust only the early reflections, which are crucial in determining the realism of the reverb soundas it would be heard in an actual room, separate from the reverberant “wash.” Adjustment of the E/R Time permits ‘a wide range of effects, such as adding density to the sound or achieving a “live” room sound with more discrete echoes and reflections. FQ / ERE 7. EARLY REFLECTION I EFFECT! GviEarly Ref 1 + Ot Sheng! O7B63G'Y Rett EY wes 7:53 Coy Tr Tt 8. EARLY REFLECTION IL This is aneffective program for reinforcing the low frequency range, as well as a general-purpose gating effect for use on drum sounds. EFFECT! OS:Early Ref 2 oN Lia H+a9 69:49 (ory PREDLY —E/RTIME 9. EARLY REFLECTION IIT Unlike EARLY REFLECTION I and EARLY REFLEC- TION I, this effect uses a reverse envelope on the early reflections. A reverse effect (similar to a tape recorder being, played backwards) can be applied to sounds which have strong attack characteristics, such as cymbals. eons! bate’ Ref > 1483 nso coro Cor rr TT) 20h: 628 a fsmsesen] esese| esses] pees [ensnses] asesen] snes | inseest| ER 100 ~ 800 {See} EIR time Pre Delay 0 200 {msec} ‘Time between direct sound and E/R sound EQ Low ~12- +12 [4B] Identical to corresponding parameters in the REVERB group EQ High =12- +12 [4B] Gain to cut or boost the high range components DRY:EFF 12- +12 (4B) ‘Output balance of direct sound and effect sound, Balance 37DELAY Group Delay patterns here make the use ofa stereo configuration; the delay time can be set independently for the left and right channels. ‘The natural damping of high frequencies for mote accurate reproduction of the decay of high frequencies in an actual room can bbe achieved by using the high damp parameter. 10. STEREO DELAY Astereo delay effect having two delay systems,each of which hhas a feedback circuit that sends part of the sound back to the. delay again, All parameters except delay time are set to the same value for the two delays. ester 7 oN FEES RbeA ESSE HBS"! L480 Hoa 75125 Cen + STEREO DELAY G BELAY y DeLay a Ly. 11. CROSS DELAY A stereo delay in which the feedback signal of each delay crosses over and is routed to the other delay. cosa. gles 7,08 EGE RScO ESS HOTS L480 H+09 70130 Corr + CROSS DELAY a DELAY, DELAY 0 Delay Time Left] 0—500 [mSec] Time between the direct sound and effect sound of the left channel (Input A or C) R_ | Delay Time Right | 0— 500 [mSec] ‘Time between the direct sound and effect sound of the right channel (Input B or D) Feedback -99 - +99 [%] ‘Amount of feedback (negative values produce inverted phase) High Damp 0-99 (%] The larger the value set, the faster the frequencies are damped. EQ Low =12— +12 [4B] Control for cutting or boosting the low frequeney components. EQ High =12— +12 [4B] Control for cutting of boosting the high frequency components. DRY: EFF Balance | —12- +12 [dB] ‘Output balance of direct sound and effect sound 38CHORUS Group This isa stereo effect that combines two chorus circuits and imparts a natural, warm and “fat” sound to any instrument sound and is particularly effective with piano, strings and brass. 12. STEREO CHORUS I Astereo effect that combines two chorus circuits. A swirling, constantly changing sound that moves between the stereo ‘outputs is created through phase inversion of the two circuits. FFieb°S8. 48" B36 Tal = OW Lee Hee 60:40 13. STEREO CHORUS II Similar to STEREO CHORUS I except that there is no phase inversion z 7H FRHB S117 B086S1R __—L+00 Hoo 60:40 De Dee iene [ene Lees eee eee) + STEREO CHORUS + STEREO CHORUS II + ca aml. aml ye Mod Depth 0-99 Intensity of modulation viper font a Se nd Mod Waveform Selection of waveform So Serres |i -tanee [ones aime BereanThis effect is achieved by the addition of feedback to the chorus effect. Since its pronounced swirling adds color and motion, it is most effective with sounds that have many harmonics, such as cymbals. 14. STEREO FLANGER A stereo effect that combines two flanger circuits. The swirling and swishing effect that moves expansively between the stereo outputs is enhanced by phase inversion of the 1wo flanger circuits. 15. CROSS FLANGER ‘A flanger effect in which the feedback signal of each flanger circuit crosses over and is routed to the other flanger. See #11 CROSS DELAY for more on feedback. TT) Is'ongeg, Flange, (BY FH? 50.41 GOS*E-60°°SIN L108 Heo0 25:75 + STEREO FLANGER LS SS SS SS SY + CROSS FLANGER {za £0 + Lf Flancen +L Fuanaer oD Gaooy ~ 7 [Fancen = 7 [FANGeR < [ko ‘Mod Depth 0-9) Depth of modulation - Mod Speed [Hz] | 0.03 30.0 ‘Speed of modulation Time [ms] 0-50 Delay between “dry” and “effected”sound Feedback (%] — +99 Amount of feedback (negative values produce inverted phase) Waveform Selection of modulation waveform SIN ‘Sine wave TRI Triangle wave AY . | EQLow [4B] =12-412 Cut or boost for low-frequency components H__| EQHigh (dB) 12-412 Cut or boost for high-frequency components 4 @ Balance DRY, 99:01 - | Balance between direct sound and effected sound. 01:95, EFFPHASE SHIFTER (Phaser) Group ‘Compared to the chorus and flanger programs, which use time delay to achieve their distinctive effects, the phase shifter programs use both time delay and phase shifting to create a more pronounced swirling and swishing sound than either chorus or flanger. It is most effective on electronic piano and guitar sounds. 16. PHASER I This i a stereo effect shat combines two phaser circuits. The swirling and swishing effect that moves expansively between the stereo outputs is enhanced by phase inversion ofthe two phaser circuits. ERECT] 1:Phacer_J FNS 30.68 ne8"F-75_ SIN 25:75 Corr 17. PHASER IL Similar to PHASE SHIFTER | except that there is no phase inversion EFFECT! ig: Phas = ON er 2 FINDS $0.57 Mes F487 TRI a A + PHASER I + PHASER IL Uf puasen +\{paasen woo MoD 7 PHASER h 7 PHASER h TED ec apy ca Mod Speed 0.03 - 30 [Hz] Speed of modulation | woaDepn [0-90 Depth of phase shift [TRI | DIF | Fevdhack [99 — 399 41 [ Amount of feedback negative values produce inverted pase) TE) | Mod Waveform | Selection of modulation waveform | SIN Sine wave Triangle wave AY DRY:EFF Balance DRY, 99:1 199, EFF | Oupu ble of diet sound nd fer sound ”TREMOLO Group ‘This effect periodically varies (or modulates) the volume. 18. STEREO TREMOLO I 19, STEREO TREMOLO II ‘Thisisastercocffect that combines twotremolocircuits. The Similarto STEREO TREMOLO lexceptthatthere is no phase stereo effect is enhanced by phase inversion of the two inversion between the LFOs of the two tremolo circuits, tremolo circuits and automatic panning between the left and Siecle a ight outputs. Fee Sb !8*TRT"SH80 (+88 Hoe EFF aT A 8 ce FRBEEL SST ETA"S+85' L480 teoo err + STEREO TREMOLO I + STEREO TREMOLO Il {a {za seustaw Waveform Shape +\frmewoo + fraeworo ; item Ceooy woo. | Sapte =F TrnewoLS Tr raewoLo | {eo \ (eo ‘ye t Mod Depth 0-99 Depth of tremolo effect Mod Speed 003-30 (Hi) __| Speed of modulation tremoloetfect) Mod Waveform © | Selection of modulation waveform —_ in Fate wave AY Shape =99-+99 —__| Changing the modulation waveform (refer tothe diagram above) EQLow “12 +12 [€B) Gain that cuts or boosts low range components EQ High =12=412 [4B] __| Gain that cuts or boosts high range components DRYER | DRY, 99:1— 1:99, EFF | Output balance between direct sound and effect sound 42EQUALIZER Group 20. EQUALIZER This is a 2-band (low range and high range) equalizer. It decreases (cuts)or increases (boosts) the components of each frequency range. Low GaN HIGH GAIN ‘$1248 Ea ~ +308 = = 368 _f- yy. -r248 fi y 5 FEBS Ebo°E8Z°re00 2" eFF es [ee |-[eee [oee [ores mee] Tow Gain [12 +12 (6B) Gain which cuts or boosts Tow range components Low Fe 2501500/1K (H} Low frequency point at which boost or cu will Be made (Low Cutoff) High Gain | -12—+12 (a) Gain that cus or boosts the high ange components High Fe IK/2K/4K [Hz] High frequency at which boost or cut will be made. DRY.EFF | DRY, 99:1 ~ 1:99, EFF Output balance of direct sound and effect sound BalanceOVERDRIVE Group 21. OVERDRIVE Thisisaneffect that simulates the overdrive used generally for guitars, and is particularly effective when applied to guitar- like lines and solos. Compared with OVERDRIVE, this effect has a “dirtier” sound with more of a hard edge and is excellent for simmulat- ing a fuzz distortion sound. As with OVERDRIVE, itis effective when used in solos. EFFECT1 21:Qver Drive + Ot eee BoB6 Lots £80 woo err oT ee WD [Drive 0-100 (Overdrive of input signal BI [Level 0-100 Output level of processed sound BQiow_(ia-Hi2 (aa Gain that uso boost low range components EQ High -12-+12 [dB] Gain that cuts or boosts high range components a DRY:EFF DRY, 99:1 ~ 1:99, EFF Output balance between direct sound and effect sound Balance 22. DISTORTION £Q / DISTORTION EFEEQTI g2tDistortion + oN E568" 036 LB Err SS A a Distortion 0-100 Amount of distortion applied 0 the input signal Level 0-100 ‘Output level of distorted sound EQLow =12-+12 (4B) ‘Gain that cuts or boosts low range components DRY.EFF DRY, 99:1 = ‘Output balance of direct sound and effect soundEXCITER Group 23. EXCITER ca AR LBs a (= C I I I I I T —e(ea Vy 99 - +99 a ‘Setting the balance of the unprocessed and the exciter signals =12-+12 (4B) Gain that cuts or boosts low range components: EQ High =12- +12 [4B] Gain that cuts or boosts high range components paver | ony.s= 135.85" oma act de sna ef snd ENSEMBLE Group 24. SYMPHONIC ENSEMBLE This effect is designed to be most effective for ensemble sounds like stings by applying greater modulation in a chorus-type program £Q/ ENSEMBLE EEGCTI 247Sunehonic Ens | BY yg soxs0 _ Copa I ‘Mod Depth 0-99 ‘Depth of ensemble effect EQ Low =12— +12 [4B] Gain that cuts or boosts low range components Gu [EQHigh =12= 412 [4B] Gain that cuts or boosts high range components a [pa EFF DRY, 99:1 ~ 1:99, EFF ‘Ourput balance between direct sound and effect sound Balance 45ROTARY EFFECT 25. ROTARY SPEAKER This effect is designed to duplicate the rotational (Leslie) speaker effect popular for organ sounds. The speed changes characteristic of the Leslie speaker can also be made in realtime with the use of a volume pedal. EREECT! 2Sufguery SP? *The volume pedal normally assigned to control the dry soundieffect sound balance does not control that parameter here, but is instead used to control the speed selection ofthe rotary effect. The pedal works as a switch and the speed of the rotary effect gradually changes regardless of the speed with which the pedal is moved. ROTARY SP. Mod Depth 0-99 Depth of effect Speed Ratio |-10~+10 Ratio of rotation speed of the high range speaker to the rotation speed of the low range speaker [paver DRY, 99:1 ~ 1:99, EFF ‘Output balance of direct sound and effect soundCOMBINATION Effects Group Effect programs 26 o 33 are combination effects in which different effects are assigned to the two channels. Each effect can even be used in the two-system (Effect 1 and 2) configuration common tothe other programs. ‘The diagram shows a parallel arrangement in which #26 DELAY/HALL is selected for Effect | and #31 DELAY/FLANGER for Effect 2. EFFECT 1 aol bev m eae Hau an eprect2 c DELAY 3 one rtancer ‘ * See the explanation of effect programs #1 to #26 for details about each effect. *Parameters A to D correspond to one effect and E to H to the other one. 26, DELAY/HALL Ti_geiDelayAall, — + 0 BESS FSB ND TS Por8e's.5 F098 Hoso <0: 40 Delay time 0-500 [mSec]} ‘Time from direct sound to effect sound Feedback [99-99 [%) “Amount of feedback (negative values produce inverted phase) HighDamp | 0-99 [%} ‘The larger the value set, the faster the high frequencies are damped je DRY.EFF DRY, 99:1 ~ 1:99, EFF ‘Output balance of direct sound and effect sound lance Reverb Time | 0.2-9.9 [Sec] ‘Time before reverberation decays. Pre Delay (0-150 {mSec} Time between the direct sound and the first early reflection, High Damp — | 0-99 (%) ‘The lager the value set the faster the high frequencies ae lamped. @ [ry:eFF DRY, 99:1 ~ 1:99, EFF Output balance between direct sound and effect sound. Balance = ii a727, DELAY/ROOM FE "Delay7ei =H B255°Fts8”ABIO°¥O8SB"1.5 088 Hosa 60:40 Cor DELAY {A)D [Delay time ‘0 ~ 500 [mSec} [ Time from direct sound wo effect sound TBF |Feedback 99 +99 [%) [Amount of feedback (negative values produce inverted phase) up |HishDamp — [o-99 1%) The larger the value set, the faster the high Frequencies are | | damped al B RLEF [oe [omp tinned icc [ [Balance | ROOM _ e IE) [Reverb Time [0.25.0 [Sec] (ROOM) Time before reverberation decays. [EID | Pre Delay [0-150 msec) ‘Time between the direct sound and first early reflections [up| High Damp [0-99 (%) ‘The larger the value set, the faster the high frequencies =| damped. 7 [peverr [pry 99:1-1:99, EFF Output balance between direct sound and effect sound. | lance | | =e 28, DELAY/EARLY REFLECTION FEECTI 20:Delay/E,Ref ? OW BES FSB EBIO F080 S00 bold corso A ee pee DELAY Eoune [AD [Delay time ‘0 500 {mSec} Time from direct sound to effect sound | F_ | Feedback 99-499 [%] ‘Amount of feedback (negative values produce inverted phase)| [Qup| High Damp | 0-99 (%} The larger the value set, the faster high frequencies are damped | ® |prverr | pry, 99:1 -1:99, EFF ‘Output balance of direct sound and effect sound | Balance i| EARLY REFLECTION E/R Time 100— 400 msec] EMR time | Pre Delay (0~ 150 [msec] Time Between the diect sound and E/R sound DRY:EFF | DRY, 99:1 ~ 1:99, EFF Output balance of direct sound and effect sound 4829, DELAY/DELAY EEEECTI 25:Delay-Delay i 256 F498 Abia FOrSb°Soo F488 Hoo 70:30 Re TET DELAY [| Delay Time [0-500 (msec) ~~ [Same as DELAY of 26DELAYMALL |BF Feedback | 99 +99 (%) |Gup] HinDamp — [o-991%) |p ES DRY, 99:1 ~ 1:99, EFF DELAY pectin oon [fE]_ [Delay Time [0 - 500 [mec] EF _| Feedback 99 +99 [%] _ Gu] High Damp | 0-991) | payerr DRY, 99:1 ~ 1:99, EFF 30. DELAY/CHORUS *Delaus a BESET SS HBIO*HOPNB' Heo O.84 Ter 6ar40 Delay time an — -99 ~ +99 (%6] | DRY:EFF DRY, 99:1 ~ 1:99, EFF Balance [0-500 msec) "| Same as DELAY of #26 DELAY/HALL ]o-99 1%) Intensity of modulation effect | ee [0.03 —30 (Hz) Speed of modulation (frequency) Balance aT Mod Waveform | Selection of waveform | sin Sine wave ___ [TRE Triangle wave AY fH |prveFF | pry, 99:11:99, BEF Sound volume balance of direct sound and effect sound31, DELAY/FLANGER tDelay/Flanaer 2 OW BESS rtsb Apo FOre"NPe 0.98 F-75 40x60 [a SS Delay time] 0500 (rnSec} Same as DELAY of #26 DELAY/HALL Feedback 99 — +99 (%] High Damp | 0-99 1% DRY:EFF DRY, 99:1 ~ 1:99, EFF Balance FLANGER ie 0-99 Depth of flanging effect 0.03 30 (Hz) Speed of modulation a Feedback 99 - +99 1%) | Amount of feedback (negative values produce inverted phase)| DRY-EFF DRY, 99:1 — 1:99, EFF | Output balance of direct sound and effect sound. | Balance { | 32. DELAY/PHASER EFFECT! S2:Delay/Phaser 2 ON D256 F+50 HDIO 70:98 Nea 0.69 F-75 25:75 A Be oe fe Delay time] 0~500 fmSec] Same as DELAY of #26 DELAY/HALL Feedback =99— 499 [%] {QHD} High Damp 0-99 [%) | bRverF DRY, 99:1 — 1:99, EFF Balance PHASER [EM [ModDeph [0-99 Depth of phase shift TE) | Mod Speed —_}0.03-30 [Hz] Speed of modulation [GIF | Feedback |-99 - +99 [%] Amount of feedback (negative values produce inverted phase) ® [bayer DRY, 99:1 — 1:99, EFF ‘Output balance of direct sound and effect sound Balance I33. DELAY/TREMOLO BOSSE SB ABIOVOISE"RGS 1.93 seoo EFF Delay Time [0-500 [msec] ‘Same as Delay of #26 DELAY/HALL Feedback HighDamp | DRY:EFF | DRY, 99:1 —1:99, EFF Balance TREMOLO Mod Depth [0-99 Depth of tremolo effect Mod Speed [0.0330 (Hz) ‘Speed of modulation Shape -99 499 Changing the modulation waveform DRY EFF DRY, 99:1 - 1:99, EFF Output balance between direct sound and effect soundEFFECT PARAMETERS DEFAULT VALUES CHART 82 No. EFFECT B Cc JPRE DELAY [a/R LEVELS 01] HALL 60S 0 2 | ENSEMBLE HALL 40mS 0 3 | CONCERT HALL 120uS | 40% 0 4 | ROOM 10mS 20% 0 5 | LARGE ROOM 45mg | 25% 0 6 | LIVE STAGE 20mS | 7 20% i ea a EERE 0 7 | EARLY REF 1 { 15mS 0 8 [EARLY REF 2 i 2ons | O 9 | EARLY REF 3 1Oms | [DECAY TIMER) FEEDER VGH DAP 10 | STEREO DELAY 2600S =408 | 30% 11 | CROSS DELAY 180aS 360nS | HOD DEPT TT SPEED aot 72 | SteReo CHORUS 1_* 60 0. 30H 13 [STEREO CHORUS 2 * 40 1 1inz | 5 i io DPA Te FERC 1 4 | STEREO FLANGER 99 36Hz | SoS) 53K 15 | CROSS FLANGER _ # 37 0. 21Hz 180% eS 7 1.6 [PHASER 1 * 99 0. 69Hz | 17 | PHASER 2 * 99 0. S7Hz 69 ‘Mod Dept] SPR WAverOR 7) SHARE 18 | STEREO TREMOLO 1 ¥ 80 1. 59Hz | SIN | 19 | STEREO TREXOLO 2 * 63 Or Ain PL 2 0 | EQUALIZER OdB mae 21 | OVER DRIVE 80 Distortion 2 2 | DISTORTION 30 Ta TMC 23 [EXCITER +50 5 0p DEPT : ae Le 2.4 | SYMPHONIC ENS * Ho aT a aT 25 | ROTARY SPEAKER * 62 45, POeLAW TIME | FEEDBACK” "| HIGH DANE 26 | DELAY/HALL +50% 10% 27 | DELAY/ROOW +508 10% FECT RGR DAP 2 8 [ DELAY/E. REF 5 +508 | 70:30 [DELAY TIME “| FEEDBACK” 7 iar | 2.9 | DELAY/DELAY 250mS_ +508 70:30 [REA TIME |FEEDBACK RTGk DAMP TT DRYERR | 3.0 ]DELAY/cHoRUS 250n8, +50% 10% | 70:30 [DECAY TIME “| FEEDBACK (= [HIGH DAMP DRY FER 31 [DELAY/PLANGER 250n8, +505. 10% 70:30 [Ta te | ae DP 32 [DELAY/PHASER 250n8 | +508 10% i DELAY Pius REDBACK Ter DANE TORVEERR 33 | DBLAY/TREYOLO __* 2500s [ +508 10% 7‘When using an effect marked with an asterisk (*) for one of the effects, neither #24 SYMPHONIC ENS nor #25 ROTARY SPEAKER can be selected for the other one. F G NO. | NOTES ey [aeons ee ier ~4dB OdB ol =16B =24B 02 dB ~2dB 03 1348 ~2aB O4 +24B +4dB os) +368 0aB 06 ei eae ~5dB O7 OdB 08 dB 09 qonign | 0dB 75:25 | 10 0aB, 70:30) 11 Teena i 0dB 60:40; 12 | * 0dB 13] EQ a | OB 14 [* dB 15 \* Le __ * * ¥ * * ¥ HG DAP +508 10% 29 ‘SPERD = WAVEROR ne 0. 30Hz ‘TRI 60:40] 30 | * SE DR RE 0. 18Hz ~ 75% 31ij* io ee 0. 692 -75% 25:75 | 32 |* Sa SPE ier 4 1 59H ner aa Te 834. COMBINATION MODE (COMBI) Inthis mode you can select and play Combinations (a combination of Programs) from memory. Combinations can be selected using the BANK/PAGE keys (0 ~ 9), Program select keys (0-9), the A/V keys, a footswitch (COMBI UP/ DOWN) or MIDI program change messages ‘When you press a BANK/PAGE key (0 9, upper row) the upper place of the Combination number will appear, and the ‘names of the 10 Combinations in that bank will be displayed, Next, press. program select key (0-9, lower row) to specify the Combination If you press only a program select key, the lower place of the Combination number will change. >CO* Rondo? FilmScore Pankala Brass 1&2 Fugi-san {-Han-Band Opchestral i2 String Poramids Bass&Pisno Az3S AAS Lea Lig L2@ L25 L99 L993 L993 Los A 8 © D E a 6 H LC If you want to select Combinations using a foot controller, set the footswitch setting in each Combination to COMBI Up or COMBI Down (see page 70). ‘*If you want to select Combinations via MIDI, set the Global mode Program Change setting to “o”, so that MIDI program change messages arriving on the global channe! will select Combinations. Incoming program change messages on other channels will select the Program of the corresponding Timbre. Ifa Timbre channel isthe same asthe global channel, the global channel will take priority, and a Combination will be selected. 54 ‘Regardless of the MIDI channel setting, all Timbres will sound when you play the keyboard, and note data will be transmitted from MIDI OUT on all MIDI channels specified in the Combination. (Timbres whose Timbre Program js off will not produce sound, so you will normally tum unneeded Timbres off.) + Notes can be played until the total number of oscillators used by all Timbres reaches 16. * InCombination mode, effect settings for each Program will be ignored, and the effect settings specified by the Combi- nation parameters will be used. + An“ will be displayed in front of the program number of, ‘aProgram selected in Program mode. If you enter Combi- nation mode after editing in Program mode or Edit Program mode, the edited Program will be used.Controlling external MIDI tone generators When you select a T1/T2/T3 Combination, each Timbre will MIDI channel will not transmit from MIDI OUT.) transmit the specified program change message and volume _By specifying the MIDI channel of each Timbre, you can change message from MIDI OUT on its own MIDI channel. control up to 8 channels of external MIDI tone generators. (However, Timbres whose MIDI channel matches the global (Refer fo page 20 of the Operation Guide for details.) iN THRU CHANNEL 2 CHANNEL 1 CHANNEL 1-4 Tiras Editing in Combination mode InCombinationmode, you can modify the Programs assigned Editing Combination in this mode will affectthe parame- to the Combination, the volume of each Program, and the tets of Edit Combination mode. program change and volume change messages that will be ~To write the edits made in this mode into memory, use the transmitted from MIDI OUT. writing operation of Edit Combination mode. - When you enter Combination mode you will be in Page 0. Press the PAGE+ key to move to Page ~ To move to a lower line, press CURSOR DOWN. To return to an upper line, press CURSOR UP. Press the PAGE- key to retum to Page 0.Page 0 Performance Edit Internal PO-1 Program PO-2 Level PO-1 Program COO CosmicRain PIL = A29!Night Dad BQ OEE DEE EE OEE OEE ts9 (99 199 199 [99 L99 eo. e E F mine | Program [OFF AGO A90, BOO B09] Select we Program wed by each Timbre [D___ [mes Program | OFF, A00~ 499, B00 B99 | ‘The output level of each Timbre is indicated as a bar graph. 56Page 1 Performance Edit External COO CosmicRain Pi-1 Extemal Program eae Pada OFF GFE. OFE_ OFF OFF_ OFF 1-2 Exiemal Volume vize Ui27 U127 Vi27 Yi27 Vi27 U127 3 c E E c 4 P1-1 External Program OFF, 0— 127 | Specify the program change that each Timbre will transmit from MIDI ‘Timbre 1 External Program J Timbre 8 Excl Popam | OFF 0-27 | ‘This determines the program change message that each Timbre will transmit from MIDI OUT on its MIDI channel, Timbres set “OFF” will not transmit note data, P4-2 External Volume ‘Timbre | Extemal Volume | 0-127 _ | Specify the MIDI volume message that each Timbre will transmit from| MIDI OUT ‘This determines the MIDI volume message that each Timbre will transmit from MIDI OUT on its MIDI channel. The data value of the volume message is displayed as a bar graph. 575. EDIT COMBINATION MODE (E.COMBI) ‘Settings in this mode determine how programs are combined, into a Combination. ‘A Combination consists of 8 Timbres. Each Timbre consists of a Program, various parameters related to performance and ‘output (panpot, level, MIDI channel, etc.), and a set of effect, ‘parameters that apply to the entire Combination. ‘© Operations in this mode will edit the Combination you previously selected in COMBINATION mode. ‘© When you finish editing a Combination, press the WRITE, button to write your edits into memory. (If you select another Combination in COMBINATION mode before writing, your edits will be lost.) “In EDIT COMBINATION mode, the upper rows of the ‘numeric key pads function as page select keys, and the Tower rows function as edit function keys. (For details, refer to the Operation Guide.)Functions of EDIT COMBINATION mode Use the numeric keypad (0 - 9) or the PAGE+ and PAGE- keys to select pages. To select the parameter, use the CURSOR keys (UP, DOWN, [A]—{HD. Page Function Parameter to edit POINT-1 oO Program (Ti - T8) Program assigned to each Timbre 02 Level (TI -T8) | Output level of each Timbre 03 Velocity Curve (Ti - 78) | Velocity curve of each Timbre Ont After TouchCurve (T1-T8) _| Aftertouch Curve of each Timbre PLINT2 | HM ‘Transpose (Tl -T8) ‘Transpose setting of each Timbre 12 Dene (T ~ 78) Detune setting of each Timbre 13 Panpot (T ~ 78) Output destination of each Timbre Pe EXTERNAL 24 Extemal Program (T1—T8) __| MIDI Program Change transmitted by each Timbre 22 Extemal Volume (T1~T8) __| MIDI Volume transmitted by each Timbre 23 Extemal Vel Curve (T1-T8) _| Velocity curve used by each Timbre when transmitting MIDI note velocity 24 | Extemal At TCurve (Tl -T8)_ | Afterouch curve wed by each Timbre when tansmiting MIDI aftertouch voor | 34 MIDI Channel (T1 ~T8) MIDI transmission and reception channel for each Timbre 32 Vel Window Top (T1-T8) | Top velocity value of velocity switch for each Timbre 33 Vel Window Bottom (T1 8) _ | Botiom velocity value of velocity switch for each Timbre 34 Key Window Top (T1~T8) _| Top key of keyboard range played by cach Timbre 35 Key Window Bottom (TI ~T8)_ | Bottom key of keyboard range played by each Timbre 4 MIDI-2 41 Program Change Filter (T1 ~ T8) | Program change transmission/reception switch for each Timbre 42 Control Change Filter (Ti ~T8) | Control change transmission/reception switch for each Timbre 43 Damper Switch Fier (Tt ~78)_ | Damper switch wansmisionecepion switch For each Timbre 44 Alter Touch Fier (F178) | Afetoue ansmisionecepion switch foreach Timbre PS CON- TROLLER 51 Joy Stick X Function assigned to the horizontal direction of the joystick 52 Joy Stick +¥ Function assigned to the upward direction of the joystick 53 Joy Stick -Y Function assigned 10 the downward direction ofthe joystick 54 Foot Controller 1 Function assigned to foot controller 1 55 Foot Controller 2 Function assigned to foot controller 2 56 Seale Type Select a scale (equal temperament, pure, etc.) P6 EFFECT Effect settings P7 WRITE TH Write Combination Write a Combination into memory 12 Rename Combination Rename a Combination 13 Copy an Effect | Copy Bitect For details of Page 6 EFFECT, refer to Effect Parameters (page 33).Page 0 Internal 1 COMBI 6a PO-I Program 0-2 Level 0-3 Velocity Curve PO-4 After Touch curve INT-1 bProgram Dad PO-1 Program [lw | Timbe [OFF A008, Boo ppp Select a Program for each Timbre z 2 2 ii Timbre 8 FF, AO) - A99, Select a Program for each Timbre, When “OFF” is selected, that Timbre will not sound, PO-2 Level L Timbre 1 0-99 a z Q HL ‘Timbre 8 0-99 Specify the output level for each Timbre This determines the output level for each Timbre, At 9, the Program selected by that Timbre will be at the maximum volume specified by the Program parameters. At 0, that Timbre will not sound,PO-3 Velocity Curve C_ [Timbre 1 1—8 | Selecta velocity curve for each Timbre. (This determines — hhow key velocity — the force with which a note is played z t 2 _ | —will affect volume or tone.) [A vc [Timbre 8 1-8 Velocity Curve selects the velocity curve: ie. the way in VALUE, which key velocity (how hard you play a note) will affect the ' volume or tone of each Timbre. You can select from 8 different velocity curves. * The velocity curve setting for each Program will be ignored * This selection has no effect on note data received from MIDI IN, or transmitted from MIDI OUT. eZ Z 7 “ * The data transmitted from MIDI OUT will use the velocity curve specified by P2-3 Extemal Vel Curve. ELOY P0-4 After Touch Curve 8 _ | Select an afiertouch curve for each Timbre. (This deter- ‘mines how aftertouch — pressing down on the keyboard after playing a note — will affect volume or tone.) Bac | Timbre s 3 | After Touch Curve selects the aftertouch curve: ic. the way VALUE in which aftertouch (pressing down on the keyboard after playing a note) will affect the volume or tone of each Timbre, ‘You can select from 8 different aftertouch curves. *The aftertouch curve setting for each Program will be ignored. © This selection has no effect on aftertouch data received from MIDIIN, oF transmitted from MIDI OUT. “AFTER TOUCH 61Page I Internal 2 P1-1 Transpose PI-2 Detune PI-3 Panpot COMBI @@ INT-2 bTransrose P1-1 Transpose Timbre 1 “24-324 “Adjust the pitch of each Timbre in chromatic steps (42 octaves) ‘Transpose adjusts the pitch of each Timbre in chromatic steps over a range of -24 to +24 (12 chromatic steps equals 1 octave). P1-2 Detune - This setting has noeffect on the note data transmitted from, MIDI OUT. [AD [Timbre 1 “30450 [>| > ‘Timbre 8 50 ~ +50 ‘Adjust the pitch of each Timbre in steps of 1 cent (£50 cents) Detune is a fine pitch adjustment for each Timbre in steps of, 1 cent, over a range of -50 to +50 (100 steps equal I chromatic step), P1-3 Panpot Timbre 1 A,9:1 ~ 1:9, B,C, C+D, D ‘Specify the audio output of each Timbre 2 fl Timbre 8 A,9:1~ 1:9, B,C, CHD, D Panpot assigns the audio output of each Timbre to outputs A through D. The audio output of each Timbre can be sent from output A, 9:1 ~ 1:9, B, C, C+D, or D. 62 ~ When a drum kit Program is assigned, the display will show “SND”, and the panpot settings of the GLOBAL ‘mode drum kit will be used.Page 2 External EXTERNAL parameters determine how the T1/T2/T3 will control extemal MIDI devices connected to its MIDI OUT jack, COMBI _@@ EXTERNAL _bProgranm Exti = MIDI-A Ch 1 1 Ex rogram 3 PO23 PBZ OFF OFF OFF_ OFF. serie TE GS Ge tee he ee V2 Exeral Aft Touch Cave 4 pGid Acid ACH4 ACH4 ACI4 ACIS P2-1 External Program Timbre t (OFF, 0— 127] Specify the MIDI program change number that each ae Pe Timbre 8 I ‘This specifies the Program Change message thateach Timbre will transmit from MIDI OUT when a Combination is selected + When set “OFF”, that Timbre will not transmit note data, either. P2-2 External Volume + Program changes for individual Timbres will not be transmitted on the Global channel. wv Timbre 1 ‘Specify the Volume control change message that each {timbre will transmit from MIDI OUT. a t t fv This specifies the MIDI Volume control change message that ‘each Timbre will transmit from MIDI QUT when a Program is selected, ‘Timbre 8P2.3 External Vel Curve —— determine the velocity of the notes it transmits from [Specify he velit curve that each Timbre wil use to | mini our [vc Timbre 1 1-8 2 2 z [vc [Timbre 8 1-8 | This specifies which of the 8 velocity curves will be used by each Timbre to determine the velocity value of the MIDI Note ‘messages ittransmits from MIDIOUT;i.,the actual velocity P2-4 External Aft Touch Curve of your keyboard playing is translated” through the specified ‘Velocity Curve before being transmitted from MIDI OUT. * The velocity curve selected here will be used for the data transmitted by each channel from MIDI OUT. Vaan Timbre 1 ‘Specify the aftertouch curve that each Timbre will use © a z Timbre 8 ‘This specifies which ofthe 8aftertouch curves wll be used by each Timbre to determine the data value of the MIDI After- touch messages it transmits from MIDI OUT; ie., the actual force with which you press down on the Keyboard (after playing a note) is “translated” through the specified After ‘Touch Curve before being transmitted from MIDI OUT as an Aftertouch message. 64 determine the values of the aftertouch messages it transmits from MIDI OUT. AFTER TOUCHPage 3 MIDI-1 3-1 MIDI Channel 3-2 Vel Window Top 3.3 Vel Window Bottom 3-4 Key Window Top 3-5 Key Window Bottom P3-1 MIDI Channel ‘Specify the MIDI channel and MIDI OUT jack (A or B) that each Timbre will use to transmit and receive data, Timbre 1 ~Al6,B1-BI6 au t Z at Timbre’ | AI-AI6,BI-BIG ‘This specifies the MIDI channel and MIDIOUT jack thateach, Timbre will use to transmit and receive data, = When you play the keyboard, each Timbre (whose Note Data setting is other than “OFF”) will transmit note messages on the specified MIDI channel from the specified MIDI OUT jack. - Notes, pitch bend, aftertouch, and control change data from MIDI IN will be received by each Timbre on the specified MIDI channel. (P4-1—4allows youto specify that data not be received.) This means that data of up to 8 different channels can be received at MIDI IN, to play up to 8 independent sounds at once. - The"“A” or“B" in front ofthe channel number indicates the MIDI OUT jack. Ifthe channel number matches the Global channel youhave specified,a'"G" will be displayed afterthe ‘channel number, and program changes will not be ransmit- ted on that channel. * IF you set two or more Timbres to the same channel, the External parameters of those Timbres will not be distin- ‘guishable as MIDI data, Thus, the External parameters of ‘Timbres who share the same MIDI channet will have identical settings.P3-2 Vel Window Top ]Timbre 1 1~127 _ | Specify the maximum velocity that will play each Timbre. t 2 2 Hl Timbre 8 1-127 P3-3 Vel Window Bottom [Timbre 1 1127 | Specify the minimum velocity that will play each Timbre. z z 2 A) Timbre 8 =127 + Example : velocity window bottom = 25, Velocity Window specifies the range of velocity for which eon notes will sound each Timbre. This allows you to specify ° different Timbres to sound for notes played with different strengths (velocities). os - Itis not possible to set a Top value lower than the Bottom. y Value Velocity under Le——l oe 100 *Notes whose velocity falls outside of the Velocity Window specified here will not be transmitted from MIDI OUT P3-4 Key Window Top (a Timbre 1 C-1-G9_| Specify the highest note that will play each Timbre. 2 2 2 Timbre 8 c1-09 Window Bottom Timbre 1 C-1—G9_ | Specify the lowest note that will play each Timbre. t z Timbre 8 C-1-G9 Key Window specifies the range of notes which will sound each Timbre. This allows you to play different Timbres over bControl No Eoot Controller 2 Cry ick Scale Tyre Joy Stic! Foot Con A 2 c ° E E s # Pitch Bender / Control No.0- | The MIDI control number (or pitch bend) assigned to This determines the type of MIDI data (any control change _«'The following are some examples of Control Change mes- number 0-101, or pitch bend) that will be transmitted when _ sages. However, the Control Change numbers that can be the joystick is moved in the X axis (sideways). received will depend on the specific receiving device. ‘wher cenrlingsxernal MIDI deve crate MIDI inplemenaion tan fore doce alpana raga 3 poranen svitch 66 Sostenuto pedal This will nt change the way in which the Joy Stick affects the intemal tone generator. * When “Pitch Bender” is selected, MIDI Pitch Bend data 1 Modulation will be transmitted. 2. VDF modulation / breath controller 4 Foot controller 67. Soft pedal 5 Portamento time 80 Rotary SP Effect 7 Volume ‘Speed (M3R only) 8 Balance control 91-95 Effect switches 10 Panpot When the joystick is not being moved, the X value of the joystick will be at the center of the value range. This means that when the joystick is assigned to control a switch-type function, unexpected results may occur.PS5-2 Joy Stick +¥ COMBI G6 CONTROL >Control No | inhi el Foot Controller 2 et Foot Controller 1 Scale Tyre MIDI OUT es [Mom TI A 8c 0 © FG 4H B | syste +Y — | Conto! No. 0-101 [Raat opgetaante sine josie noveren 5-3 Joy Stick -Y COMBI _@@ CONTROL Control No St x ie sine = Scale Tyre ‘oot Controller MIOI OUT as Foot Controller 2 c D E E s H toyStice-¥. | Cont No.0 101 ‘The MIDI control number assigned to joystick movement in the downward direction (-Y axis). ‘These settings allow you to specify the types of MIDI control cchange that will be transmitted from MIDI OUT when the Joystick is moved forwards or backwards * This will not change the way in which the Joy Stick affects the intemal tone generator. * When using the joystick to control pitch modulation and VDF modulation, set these to 1 and 2 respectively.P5-4 Foot Controller 1 COMBI @@ CONTROL Jou Stick X, Jou Stick +y bAssiSn Eoot Controller 2 Scale Tyre Foot Controller | he funtion assigned wo Fooi Controle 1 Combination Up | "A footswitch will select he next Combination Combination Down | A footswitch will elect he previous Combination Effect 1 ON/OFF A footswitch will turn Effect | on/off Effect 2 ON/OFF A footswitch will turn Effect 2 on/off Volume ‘foot controler wil regulste Volume VDF Cott A foot eontolle wll regulate VDF Cutoff Effect | Control A foot controller will regulate the Effect | Balance Effect2Conrol | A feot conolter wil regulate he Effect 2 Balance Data Entry A foot contol wil funelon as data entry contol External ‘foot controler wl trangmit Control Change messages | contr no. 0-101 “The numberof the Contol Change messages uansmited ‘when Foor Contller iy assigned to "Extsmal™ Lo 7 mat PS-5 Foot Controller 2 Joy St COMBI @@ CONTROL Joy Stick X Jou Stick +y ick — Foot Contra. bAssign a, ller 1 Foot Controller 2 (same as Foot Controller 1) ‘The function assigned to Foot Controller 2 | Controt No. (same as Foot Controller 1) | | (came as Foot Controller 1) ‘These settings select the function assigned to Foot Control- ler 1 and 2, ~ The actual effect that the foot controllers will have will be determined by the various parameter settings. Combination Up: A footswitch will select the next Com- bination, * Combination Down: A footswitch will select the previous Combination, ‘Effect 1 ON/OFF: A footswitch will tum effect 1 on/off. * Effect 2 ON/OFF: A footswitch will turn effect 2 on/off. *Volume: A foot controller will regulate the volume of the ‘TI/12/T3 (This data is not transmitted from MIDI OUT.) 70 + VDF Cutoff: A foot controller will regulate cutoff frequency (tone). As the pedal is depressed, the cutoff fre- ‘quency will rise (the sound will become brighter). ‘Effect 1 Control: A foot controller will regulate the bal~ ance between the direct sound (the sound before it is, processed by effect 1) and the sound of the effect. As the pedal is depressed, the effect sound will increase. * Effect 2 Control: A foot controller will regulate the balance between the direct sound (the sound before itis processed by effect 2) and the sound of the effect. As the pedal is depressed, the effect sound will increase. *Data Entry: A foot controller will perform the same fune- tion as the front panel VALUE slider. If you select @ parameter for editing and specify “Data Entry" forthe foot controller function, you can use a foot controller to adjust that parameter while playing.External (external control change): A foot controler will transmit MIDI Control Change messages of the specified number from MIDIQUT. Thisaltows you touse the T1/T2/ 3 foot controller to control MIDI devices connected to MIDI OUT, - MIDI devices receive and imerpret Control Change messages indifferent ways. Consultthe MIDIimplementation chart for your device. P5-6 Scale Type * Be sure toconnect either a footswitch (on/off type) ora foot controller (continuous type) tothe Pedal 1 jack. as appropriate for the function you have assigned, When no pedal or footswitch is connected to the Pedal 1 Jack, set this to Combination Up, Combination Down, or Effect ON/OFF. + When a Combination Up/Down is executed, the function of the foot controller will change to the settings of the newly selected Combination. ‘Please use the Korg EXP-2 as a foot controller. COMBI @@ CONTROL bScale Tyre Joy Stick X Jov Stick +¥ Joy, Si ick My Foot Controller 1 i A 8 D E f @ Equal Temp. ual temperament ‘Equal temperament with a randomized pitch for each note [us nnaton fo th jor ale | seate of pitches ser by the user iE) [oni forthe just intonation sales ‘This specifies the scale (temperament) to be used. ‘*Equal Temp. (equal temperament): The temperament ‘most widely used in keyboard instruments today, equal temperament allows free transposition to all keys: ie., a chord will sound the same in any key. Equal Temp.2 (equal temperament, random pitch): Equal temperament, but with slight randomness applied to, the pitch of each note. This is useful when simulating the natural irregularities in pitch that are found in many acous. tic instruments. ‘*Pure Major: Pure major intonation produces in-tune chords for the specified major scale. Select a key (tonic) of cB. *Pure Minor: Pure minor intonation produces in-tune chords for the specified minor scale. Select a key (tonic) of C-B. ‘* User Programmable: By specifying a pitch offset of $50 cents for each of the 12 notes (C—B) of the equal tempered scale, you can create your own unique temperament. Make settings GLOBAL mode Page 5 User Scale). * The Scale Type you specify here is used by all Timbres. * The Scale Type specified in Edit Program mode will be ignored, nPage 6 Effect For details of the effect parameters, refer to “Effect Parame- ters” (page 52). CONBI G9 EFFECT 6-1 Effect | Type oN 6-2 fect | Parameter 83 H+G0 78:22 Posettet2Type — |EFFECT2 23:Exciter : ON P6-4 Bifect 2Paramerer | B+5 Lie Has Sa:5a P6-S Effect Placement [EC SERIAL 1 OutS = LL OGutd = Rk A 8 co of FG 4H + Ifyou want tose the effect settings that are specified as part of a Program, use the Copy Effect (P7-3) function. 2Page 7 Write 7-1 Write Combination 1-2 Rename Combination 7-3 Copy Effect enane COMBI 68 WRITE ‘omb Cory Effect (WRITE c o E E 6 H P7-1 Write Combination enane Copy E fect CWRITEI=—> c 0 E F s 4 WRITE [Execute writing ton maa | Combination number to write ‘This function writes (stores) an edited Combination into intemal memory. = To write the settings imo the original Combination memory, press WRITE without changing the Combina- tion number. (1)Select the combination number of the writing destination (use cursor key (H)). (2)Press WRITE (cursor key (F), (3)The display will ask for confirmation, so if you are sure. ‘you want to write the data into memory, press [YES] (cursor key (ED). ~ The Combination previously in that memory will be lost. ~ To quit without writing, press [NO] (cursor key IG). - Writing is not possible if Combination Memory Protect is On, (Turn memory protect off in GLOBAL mode.) (4) When finished, the display will show “Completed”. Press a cursor key ({A] — (H)) to return to the previous display. * To copy a Combination from internal memory into another Combination memory, select the copy source in COMBI- NATION mode, and use this page to write it into another memory. 73P7-2 Rename Combination COMBI @@ WRITE GO:fosmicRain Caicbd A 8 © 0 E F 6 H [4] (cursor left) Move the cursor to the left ] (ia) [> 1 eursor righ) [ Move the cursor othe ight | Use € (cursor key [G)), » (cursor key [H)), the VALUE slider, and the UP (&)/DOWN (‘¥) keys to change the ‘Combination name. P7-3 Copy Effect = Youmay giveaCombination aname of upto lOcharacters or symbols. IMHSKE? Ones ~. 701234567892 <=>? @ABCDEFGHT JKLMNOPORSTUUWRYZE¥I*— Sabedef shi sk Imnorarstuvmxaz (136 COMBI 68 WRITE bSource Mode CCoPY] Ae DE Fa (B) ‘Source Mode PROGRAM Copy from a Program COMBINATION Copy from a Combination SONG | Copy from a Song Source Number | AO A99, B00 — B99 | Number of PROG to copy from 00-99 00-19 a Number of COMBI to copy from ‘Number of SONG to copy from This function copies only the Effect parameters from an internal memory Combination, Program, or Song. ‘The Effect data will be copied into the Combination you are currently editing. (1)Seleet the mode containing the memory whose Effect parameters you want to copy ([B]). 4 (2)Select the number you want to copy. (When copying from a Program, select the Program number; when copying from a Combination, select the Combination number; ‘when copying from a Song, select the Song number.) (3)Press [COPY] ((G))tocopy the effect parameters fromthe specified memory.6. SEQUENCER MODE (SEQ) What is a Song? ‘The T1/T2/13's memory can hold up to 20 Songs. Each Song consists of the following data, ;— SONG ‘Song parameters TRACK 1 parameters (tempo, time signature, ete.) TRACK 2 parameters TRACK 3 parameters EFFECT TRACK 4 parameters (effect settings used (Program number, volume, MIDI channel, etc.) TRACK 1 musical data ‘TRACK 2 musical data TRACK 3 musical data ‘TRACK 4 musical data in this Song) ‘TRACK 5 parameters TRACK 5 musical data TRACK 6 parameters TRACK 6 musical data TRACK 7 parameters TRACK 8 parameters TRACK 7 musical data TRACK 8 musical data ‘*Each song contains 8 tracks, A Program and MIDI channel can be specified for each track. (It i also possible to insert program changes at any point in a song.) ‘*Each track can contain up to 999 measures of musical data, ‘Effect settings can be made for each song. (In Sequencer ‘mode, the effect settings of the Program assigned to each Track will be ignored.) ‘The number of simultaneous notes that the TI/T2/T3 can produce will not exceed 16 oscillators total for all Tracks. (Using the metronome will decrease the number of simultaneous notes by one.) ‘©By setting a MIDI channel for each Track, you can also use ‘external tone generators. What is a Pattern? In addition to the 20 Songs, memory also holds 200 Patterns. ‘These Patterns can be arranged in a Track, and played during. ‘Song, Itisalso possible to use Pattems for repeating sections of a Song, such as rhythm patterns or phrases. This lets you save memory. Each Pattern consists of the following data [— PATTERN Pattern parameters Musical (time signature, data umber of measures) + A Patter canbeplaced in ny Track of any Song. However, itis not possible to place two or more Pattems in the same measure ofthe same Track, nor can Patterns and musical data be combined. ‘Tracks in a Song can be used in three ways. (1) Realtime recording: Your keyboard playing will be recorded in the timing that you play it. This is the simplest ‘way to record, When you enter Sequencer mode, you will automatically be in the realtime recording page. (2) Step recording: This allows youtoenter notesone by one (a step at a time) from the keyboard, specifying the length and velocity of each note. (3) Pattern: Patterns (musical data of 18 measures) can be, strung together to form rhythm parts, etc. Patterns can be created in three ways. (1) Realtime recording: Your keyboard playing will be recorded in the timing that you play it. Unlike realtime Track recording, realtime Pattem recording overdubs your playing (the newly played data is added tothe old data) as the Pattern continues to repeat. (Thisallows you to record a drum kit pattern by playing each drum separately.) (2) Step recording: Thisallows you toenternotesoneby one (a step at a time) from the keyboard, specifying the length and velocity of each note. Unlike step Track recording, the newly played data is overdubbed (added to the old data). () Copy from a Track: Musical data can be copied from a ‘Track into a Pattern, 8Sequence data memory The sequence memory of the T1/T2/T3 can contain a total of 50,000 notes total for all Songs and Patterns. However, a single Track or Pattern can contain no more than 16,000steps. ‘When you turn the T1/T2/T3 power off, all the sequence data in memory will be lost. Be sure to save your newly created sequence data to disk, For example, if after executing a Quantize operation you decide that you don’t like the results, this function allows you to restore the data to its original state ‘This Compare function applies only to the last-edited opera tion. While editing a sequence, it is a good idea to save your work to disk as necessary. ‘elf there is not enough free memory and the Compare function is not available, the display will ask “Are You Sure?” When there is enough free memory, you can press the COMPARE key to cancel the previous edit and return the sequence data to its previous condition, Beat (time signature) The TI/T2/T3 allows youtto specify the beat time signature) for each measure, but two or more tracks cannot be set 10 different beats for the same measure. If time signature of track changes as a result of recording or editing, the other tracks will also change. Ifthe result is longer, rests will be inserted into the measure. If the result is shorter, the notes falling outside ofthe range will not be played. (The data still remains, and you can restore and play it later.) 76 a JL, “ _ ‘SONGOO FENN EDIT MEAS pLensth Copy Measure Put pattern Gre You Sure 2 ase Neasure Tek M61 L999 Res=L__YES. Press YES ({E]) to execute the operation. To quit without executing, press NO ({G)). 4 — Rests are inserted add didi Not plaveaFuni mns in Sequencer mode Functions in Sequencer mode allow you to play and record a Song, and edit musical data and Song parameters. In this mode, the keyboard will play the Program assigned to the currently selected Track Ge /|cocnonIEaREEREG GEE POREC/PLAY SPSse P3 EDIT SONG P4 EDIT MEASURE 41 42 43 44 45 46 47 PS EDIT PATTERN 5-1 52 53 5-4 55 56 5-7 58 6 EFFECT Real Time Recording Punch In Recording. Track Program Track Volume ‘Track Status Track Protect, Transpose Detune Panpot MIDI Channel Velocity Window Top Velocity Window Bottom Key Window Top Key Window Bottom Step Recording sat Edit rase Track Bounce Track Copy Track Erase Song Append Song, | Quantize Insert Measure | Delete Measure | Erase Measure Copy Measures Put Patter Copy from Patter Real Time Recording Step Recording Event Eiit Pattern Parameter Erase Pattern Get from Track Bounce Pattern Copy Pattern Next Song Rename Song Metronome Pedal Assign Scale Type VeliART Curve Copy Effect Record a Track in realtime Punch In record a Track Specify the Program for each Track Specify the volume for each Track ‘On/Off, MIDI output for each Track Protect OnjOff for each Track ‘Transpose setting for each Track Detune setting for each Track Panpot setting for each Track Specify MIDI channel for each Track Specify velocity window for each Track Specify key window for each Track Step Record a Track Eait the events in a Track Erase a Track Bounce a Track Copy a Track Erase a Song Append a Song, Quantize Insert measures Delete measures Erase measures Copy measures Place a Pattern in a measure Copy a pattern to a measure Record a Pattern in realtime Step record a Pattern Edit the events in a Patter Set time signature and length of a Pattern Erase a Pattern Define a Pattern as di Bounce a Pattern Copy a Patter from a Track Effect settings ‘Specify the Song to be played next Set the Song name Metronome settings ‘Assign the function of the foot pedals Specify the scale type Velocity /aftertouch curves Copy effect parameters 7PO REC/PLAY (play and realtime recording) ‘Song No. & Name 0-3 Track Program 0-4 Track Volume PO-2 Track REC/PLAY PO-1 Real Time REC/PLAY SONGGS New Song Song #960 *ABB *ABB *AGO *ABG *AGG «AGB +B uss Us9 U99 99 99 Us9 U99 Wao 8 4704. MMIOFF Res=d748 4=120 Trki M01 NORM Chad A 8 c o E FE 6 Hu P0-1 Real Time REC/PLAY Bl Beat 01/04 — 09/04 | Display and set the time signature 01/08 - 16/08 | oie tele I ape MM_| Metronome ON/OFF Turn the metronome On/Off B Resolution Js Jit [ Step Ws | song 00-19 _| Select the Song to play or record 1B) J= | Tempo 40—208 mpo (the nu — ‘Track js Select the Track [Mur TM _| Measure [oot = 999 | Measure number 4 = REC Mode | NORM. Normal recording | dpa _ Puneninrecording Punch In Measure [001-998 | Measure to punch in Punch Out Measure [002-999 [ Measure to punch out Return to the beginning of the Song ‘The punch in measure and punch out measure will be displayed when REC Mode is set to “P.IN". Play Specify the Song number (bottom row {A] key) to play, and press START/STOP to begin playback. To playback from a specific location in the song, specify the measure (bottom row (D] key), During playback, pressing START/STOP will pause. Press START/STOP once again to resume playback. ‘When the song ends, playback will stop and the measure will be reset tothe measure where playback began. However if P7- 1 Next Song hasbeen specified, the song will be changed, and playback will continue on this Song if this has been specified. lf playback was started from the middle of a song, the position will be reset to the measure at which playback was started when the song ends. + While not playing back and the cursor is on the lower two lines, pressing RESET (bottom row (H] Key) will return to the beginning of the song. 78 “MIDI” will be displayedinstead of the Tempo display, when the Clock Source is set to EXT ‘*Even if the tempo and volume levels are changed during playback, they will be restored to their originally recorded settings when the song is reset. (When the songs played t0 the end, or when RESET is pressed.) To change the re corded tempo setting of a song, press the WRITE key to write the data into memory. ‘It is not possible to modify the Beat during playback.Realtime recording (1) Selectthe Song (botom row [A] key Jand Track (bottom row {C} key) to record, and set the recording mode (bottom row (E] key) to “NORM”. (2) Press the REC key to make the indicator light. (3) If necessary, specify tempo (bottom row [B] key), beat (Gecond row from the bottom [B] key }, metronome On Off (second row from the bottom [D] key), resolution ((F)1), PO-3 Track Program, and PO-4 Track Volume. (4) Press START/STOP., After a countdown of the number of measures specified by P7-3 Lead In, recording will begin, Other tracks will be played according to the PI- 1 Track Status setting. (5) When you are finished, press START/STOP. You will return to the measure at which recording began. Press START/STOP to hear the performance you just recorded from that measure. ‘*If you realtime record a Track which already contains data, the new data will replace the old data, and all data following the point at which recording began will be lost ‘*If you modify tempo (bottom row {B] key) , PO-2 Track Program, or P0-3 Track Volume while recording, the tempo change, program change, or volume change data will be recorded into the Track. (Tempo changes apply to all 8 tracks.) ‘*Aftertouch data uses up a lot of memory. When recording a Track which does not require aftertouch data, save memory by setting the GLOBAL mode PO MIDI Filter setting for Aftertouch to ">". Resolution: Resolution (second row from the bottom [F] key) determines the timing accuracy with which data will be recorded in realtime. For a setting of J /48, notes will be recorded almost exactly as you play them. For a setting of dit, notes will be recorded at timing intervals ofa quarter note, If ammusical performance including control data such as pitch bend is recorded at a rough resolution (such as /1), it will hhave an unnatural “stepped” effect when played back. In such ‘cases, ecord using as fine a resolution as possible, and then use P4-1 Quantize to adjust the timing of note data Changing meters: By specifying the beat (second row from the bottom [B] key) before starting to record, you can change the time signature of that measure. Changes in time signature will apply to all tracks that contain musical data. Example: when BEAT is **/** Track 1} 4/4 | 3/4 | 474 Track 2 ‘ Track 1/ 4/4 | 3/4 | 4/4 Record ing Track 2} 4/4 | 3/4 | 47a | aya when BEAT is 07/08 Track 1] 4/4 | 4/4 | 3/4 | 3/4 Track 2| 4/4 1 ~ Recording ‘ Track 1] 4/4 | 7/8 | 7/8 | 3/4 Track 2) 4/4 8 | 7/8 [Eserets ssc) 79Punch In recording Punch In recording allows youttore-record a specified section of a Track. (1) Selectthe Song (bottom row [A] key) and Track (bottom row [C] key) to record, and set the recording mode to “PIN”. (2) Specify the punch in measure (bottom row [F] key) and the punch out measure (bottom row [G] key). (3) Press the REC key to make the indicator light. (4) If necessary, specify tempo (bottom row [B] key), beat (second row from the bottom (B] key), metronome On/ Off (second row from the bottom {D] key), resolution (second row from the bottom [F] key), P0-3 Track Program, and P0-4 Track Volume. (5) Set the measure (bottom row [D] key) to a tocation several measures before the punch in measure, and press START/STOP. After a two-measure countdown, recording will begin, PO-2 Track REC/PLAY (6) When the punch in measure is reached, recording will automatically begin, (7) When the punch out measure is past, press START/ STOP to stop playback. You will return to the measure at which playback began. To punch inrecord once again, repeat from step (3). ‘Ifthe Track on which youare punching incontains @ Patter of two or more measures, you will not be able to punch out on a measure inside the Pattern. ‘If the specified punch in/out area contains damper off or pitch bend data, the loss of this data may result in a “stuck” damper pedal or pitch bend when played back. If $0, use measure edit or event edit to correct the data, *To change the resolution or beat, refer to Realtime Record- ing. [twat = ‘A Track which does not conan data Rec A Track begin recorded PLAY AA Track beng played ’ 7 {@ Track 8Recording multi-channel data The T1/T3 can record MIDI data fromexternal devices. When a Track (bottom row [C] key) is set to “Trk1”~"Trk8", only MIDI data which matches the channel specified for that Track will be recorded, When a Track (bottom row (C] key) is set to “MULT”, several Tracks can simultaneously record data on cach of their MIDI channels, (2) Specify the P2-1 Track MIDI Channel for each Track, (2) Set Track (bottom row (C] key) to “MULT” (3) Set P0-2 Track REC/PLAY to “REC” for each Track you want to record. (Tracks you do not wish to record should be set to mmm ”.) PO-3 Track Program (4) Follow steps (3) ~ (5) for Realtime Recording. ‘If the amount of MIDI data on each channel is uneven, a memory full error may occur even though not all memory has been used up. In such cases, record without the largest track, and then re-record this track later. ‘*The following data received at MIDL IN will be recorded; ‘note on/off, pitch bend, program change, channel pressure, and control change (0-101), ‘* When TrkI ~‘Trk8 are selected, the Track REC/PLAY display will show “PLAY” for Tracks which contain data ‘When the REC key is pressed, the selected track will display “REC”. a Track 1 OFF A00- 499. Program number B00 - B99 H Track 8 ‘This determines the Program assigned toeach Track. This can bbe modified for playback, but when the song is reset, the recorded settings (or the settings at the time the WRITE key ‘was pressed) will be restored. P0-4 Track Volume + Ifa Track contains program change data, the display will change during playback (or when you move to another measure) to indicate this (a) Track 1 00-99) Track volume a “| a Track 8 ‘This determines the volume of each Track. This can be ‘modified for playback, but when the song is reset, the recorded settings (or the settings at the time the WRITE key was pressed) will be restored. + If a Track contains volume control data, the display will change during playback (or when you move to another ‘measure) to indicate this 81Synchronizing with external MIDI devices Rhythm machines or sequencers can be connected via MIDI to play back in synchronization with the T-series. Set the clock (timing) source of one unit to Internal (transmit MIDI clock messages), and the other unit to External (syn- chronize to incoming MIDI clock messages), and connect the Internal unit's MIDI OUT to the External units’s MIDI IN. iDi OUT ‘Specify the clock source ofthe T-series in Global mode (PO- 2). (The owners manual of your other unit will ell you how. to set its clock source.) ‘*Start and stop operations must be done on the device set to Internal Clock. ‘Ifthe connected MIDI device is able to use Song Select and ‘Song Position Pointer messages, sclecting ameasure on the Internal Clock device will make the External Clock device start from the same location of the same song, Mio Clock source = Internal Page 1 Track Parameters Clock source = External SONG8B PI-1 Track Status PI-2 Track Protect, P1-3 Transpose P1-4 Detune PI-5 Panpot TRACK bTrack Status P1-1 Track Status TRACK OFF ‘Not played back INT. Played back only internally EXT Played back only from MIDI OUT ON Played back both internally and from MIDI OUT. t 2 [TRACKS You can specify whether each track will not be played back (OFF), played back only from MIDI OUT (EXT), played back only by the internal tone generators (INT), or played back by the tone generators and from MIDI OUT. (ON). 82 + When you select a track which is set to “EXT”, playing the keyboard will not make the intemal tone generator produce sound. If the selected track is set “OFF”, playing the keyboard.will not transmit data from MIDI OUT.P1-2 Track Protect {a “Track | ‘OFFION | Protect On/Off for each Track t t Track 8 7 7 If protect is turned On, that track can neither be recorded nor edited. P1-3 Transpose a Track 1 ‘Transpose setting for each Track (chromatic steps) a iy Track 8 Od — “| Each Track can be transposed in chromatic steps. This has no effect on the data transmitted from MIDI OUT. P1-4 Detune fe Track | 50 +50 Fine pitch seting for each Track (steps of I cent) 2 t fl Track 8 | ‘This is a fine pitch adjustment for each Track in steps of I cent, P1-5 Panpot Track 1 ‘A, 9:1 19, B,C] Panpot setting for each Track cp. z t H ‘Track 8 ‘This determines the output panpot setting for each Track. For Tracks that have been assigned a Drum Kit Program, the display will show “SND”, and the settings of each Drum Kit will be used.Page 2 MIDI Parameters SONGO@ __MIDI PMIDI_Ch ; ABZ ABS Age 7 ABS P22 Velocity Window Top 12° ize ize ize ize P23 Velocity Window Boron] 81 981 @B1 @Bi gol eat Pood Key Window Top gS G3) gs ao ao G9 PosKey Window Bowom = [| G=a O=1 Cot C-1 e161 ee P2-1 MIDI Channel | AL-AL6/ BI-Bi6 “Track 1 ] MIDI transmission and reception channesand MIDI OUT terminals (A7B)] | for each track t t Track 8 ‘This determines the MIDI output jack (A/B) and MIDI channel (1 ~ 16) for each Track. ‘The output jack setting affects only MIDI OUT. The inter nal tone generator used for each Track is determined only by the channel setting. ‘*By assigning the same MIDI channel to Tracks for which different Programs are selected, you can play those Pro- grams in unison. Example: [Taki | Baw [ ovat | Prop B10 Tack? | Nowa | ava | Prog A20 As a result, Programs B10 and A30 will be played in unison. 84 ‘It is also possible to set two or more Tracks to the same MIDI channel, and divide note and controller data between the Tracks, camp [ mle 7 Trak | Nowa | ovat | Prog ais ‘Track 2 | Control data ch:A1 | Prog OFFP2-2 Velocity Window Top Track | [127 Upper limit ofthe velocity window r | a a “This determines the upper limit ofthe velocity that will play the Program assigned to each Track P2-3 Velocity Window Bottom { dow 1 z | la 1 (a | ‘This determines the lower limit of the velocity that will play the Program assigned to each Track, P2-4 Key Window Top Upper limit of the Key window This determines he highest note ofthe key range thet will play the Program assigned to each Track. P2-5 Key Window Bottom “Track | C1-69 Lower limit of the Key window This determines the lowestnote of thekey ange that willplay _Tocexit the display, move the cursor toa parameter other than the Program assigned to each Track. key window. ‘* When recording, only the notes that fall inside the specified velocity window and key window will be recorded. ‘*By setting two or more Tracks to the same MIDI channel and different velocity and key windows, you can recordand playback using velocity switched and/or key split sounds. ‘*When editing the key window, the display will show a ‘graphicindication of the key window setting foreach Track.Page3 Edit Song P3-1 Step Recording SONGOB EDIT SONG ver it Erase Track Bounce Track >Track Number Cory Track Erase Sond ArFend Sond Meas001 SREC + S/S to Start) A 8 c o E E 6 H ‘Track number to record | Measure at which ae: begin recording SONGS Ster REC Track Measure Location 100% Free bBeat ~N@G1--Beat!84/84— ----_ERSTI Cad Gimnn 174 A 8 c ° E E 6 H [Beat a= 1676 | Specify he time sgoatre 8) Step Time 132-11 Basic note length (32nd note J} — whole note © ) Triplet / Dot Modify the note length | Trip Triplet of note length specified by Step | ia Note length specified by Step | Dot Dotted note of note length specified by Step | ‘oO Key Dynamics Note velocity pop-ftt (very soft — very loud) le) Stace / Tenuto ‘Note duration Stee Staccato (notes are released quickly) = Normal note duration Ten TTenuto (notes are held long) (EI IRST] Specify a rest a (TIE Specify a tie (only when a note has been input) el | [al Go back one stepStep recording Step recording allows you to enter notes one by one from the keyboard, specifying the length and velocity for each note. If ‘you step record over a measure which already contains data, the old data in that measure will be lot. (1) Specify the Track program and volume for the Song you will be recording (P0-3/4), and write the settings into memory. (2) Specify the Track ([AJ) and starting measure ({C)) for recording. (3) Press REC to make the indicator light, and then press START/STOP. The upper left of the display will indi cate the measure number being recorded, the current beatof that measure, and the current“clock” in that beat (0:01 corresponds to a 1/48th of a beat.) (4) Specify the beat (LA). If youchange the beat, the beat of other Tracks will also be changed. (5) Specify the type of note tobe input, using step time ([B)) and triplet / dor ({C)). (A triplet changes the step time by 2/3, and a dot changes the step time by 3/2.) (6) Use stacatto/ tenuto ({E}) to specify the duration of the note. Note duration ‘Step time) gon of the step time} Keyon —Keyoff stac haa (80% of the step time) Keyon —_Keyoff Step time (some as the step time) ton Key on Key off (1) Use key dynamics ([D)) to specify the loudness of the note, Loudnes ppp | Pianississimo (extremely soft) pp | Pianissimo p | Piano mp | Mezzo piano (somewhat soft) mf | Mezzo forte somewhat ioud) f | Fore ff | Fortissimo fit__| Fortississimo (8) Use the keyboard tenter anote. (Toenterachord, press that chord.) Regardless of the timing with which they were pressed, each note that is pressed until all notes are released will be recorded at the same step, (9) When alinotes are released, you will advancettthe next step. Repeat steps (4) ~ (8) as many times as necessary. To enter a rest, specify the length of the rest and then press [RST] ((FD. (10)When you are finished recording, press "START/ STOP" to exit step recording © When you press [RST] ([F)), the position will advance as specified by the step time. ‘¢ When you press {TIE} ((G)), the note you entered in the previous step will be lengthened by the step time. In order to enter a note that is longer than the currently specified step time setting, you can either change the step time ‘orusea tie tolengthen the note. These two methods will result in different note durations, as follows. 4 1 \ 14 80% of two beats One best 80% of one beat Atie canbe specified whileakey is being pressed,and willadd the step time fo the length of that note. In this case, the tie will, apply only to the note being pressed. This allows you toenter ‘a chord consisting of different note lengths. Step times1/4 Step time=/4 Step time=1/4 (YMLUUYLA LO YALLY — LANL While pressed While pressed ‘*Pressing 4 ({H]) will move back one step as specified by the step time. If any notes exist ator later than that position, they will be deleted. ‘* Use this function when you make a mistake, By setting a shorter step time and stepping back, you can enter notes as Step timeni/é—_ Step timext/4 va 7 &- i {| | a In step recording only notes can be entered, not control data. Ifnecessary, you can record control data into another Track in realtime and then use the Bounce function (mix the (wo tracks), or insert control data using Event Edit. ‘Step time=1/2 87P3-2 Event Edit SONGBO EDIT SONG bTrack Number Copy Track Erase Song hase 1c Arrend Song Bounce Track CREC + SYS to Start) (@ [ras [os [ako etic 7 SONGGI EDIT SONG bNote Data Note (note data) [BI CONT | Cau control change) FT [ART (afterouh) |X 0 [FIBEND [Bendpiten ena) | XO [PROG | Prog (program change) | Specify the ty (Events set to" of events to be displayed and edited. will not be displayed during editing.) | ee x10 | dtSONGGG Track bMeasure 989 = #001 1 O22 hee, food & hee #000 = CINSIEDELI Ae ¢ bf FF @ Hi I i I Mesuetobecdted 000 | Event index *1 TIE, 1:00-9:47 a Event timing pana Type of event oo “| BAR Bar line C1-G9 Note BEND Pitch bend AFIT Aftertouch PROG Program change NTL Control change lf Beat (01704-09704 | (For bar lines) 01/08 = 16/08 O16 - 1616 Vv |Vetocity 2-126 (or notes) Bend *8192- +8192 | Gor pitch bend) Alter Touch 0-127 (for aftenouch) Program A00 — A99 (for program changes) 1800 — B99 | Control 0-107 (for control changes) | co SS SS | \e Length 0:00-9:00, TIE | Note length (or noves) | Data 0-127 Control data (for control changes) @ uns} “insert an event [DEL] Delete an event **1 Index numbers are assigned in the order oftheir location inthe track. If youmodify the location, the index numbers will change automatically. Event Edit A single step of musical data is called an “event”. Event Edit allows you to modify, insert, ordelete individual events from the data in a Track. ‘Anoteevent consists of the note pitch (note number), loudness (velocity), and note length. For data other than notes, one MIDI message is considered an event. * Since event edit allows you to directly modify sequence data, careless editing can modify the data so that it ean no Tonger be restored to its original state. Please use caution (1) Specity the Track ({C) to edit. (2) Press REC 10 make the indicator light, The Event Filter seiting will be displayed, so set the event types which you want to edit 10 "0". (Events set 10°” will not be displayed during editing.) BEND: Pitch bend PROG: Program change NOTE: Note data CNTL: Control change AFTT: Aftertouch (3) Press START/STOP and the event editing display will appear. (4) Use UP/DOWN or measure ([A) and index ((B)) to select the event t0 edit. (5) Select a parameter, and edit it. (6) When you have finished, press START/STOP to exit event editing. - The location is indicated by the beat numberin the measure, ‘and the clock number in that beat, = One clock is 1/48th of a beat. (A MIDI clock corresponds to 2 clocks of the T1/12/T3.)‘or note events, [D] indicates the note name (pitch), [E] indicates the velocity (loudness), and [F] indicates the length (note duration). - Odd numbered velocity values can not be set - Ineventedit, note data will be sounded witha length of 0:01 (When edited, notes will sound with the current data.) ‘SONGOO 1 9008 =an, 38: it Boot tit 992 121 i203 re ees $1 Tracki ‘*For pitch bend, aftertouch, and program change events, [E] indicates the data value. Noo2 2 3 3 3 2 ‘*For control change events, (E] indicates the control number and [F] indicates the data value. = Control numbers not listed in this table indicate control change data that has been recorded from MIDI IN. = Control numbers 102 to 107 are not received or transmitted via MIDI. 0 (nin) — 127 (max) 64 | Damper switch | 0 (off), 127 (on) 102 | VDF cutoff 0 (low) — 64 — 127 (high) 103 | Effect 1switen | 0 104 | Effect 2switeh | 0 105 | Effect 1 control | 0 (min) — 64 — 127 (max) 106 | Effect 2controt | 0 (min) — 64 — 127 (max) 107 _| Tempo change _ | 0 (-50%) —64— 127(+50%) Control | Type of control | Value Remarks 1 | Pitch modulation | 0 (off) — 127 (max) 2 | VDF modulation | 0 (off) — 127 (max) 7 | Volume Dataof64 sets VDF Cutoffto the edited value ofthe Program. When data of 0 arrives, the effect will be switched on/off. (1-127 are not used.) Data of 64 sets Effect Ito the edited valu Data of 64 sets Effect 2to the edited value. For data of 64, the Tempo will be the specified value. «For bar line events, (F] indicates the time signature. When the time signature is edited, the time signature of other Tracks will automatically be changed. Measures which contain a Patter will be displayed as follows. (These cannot be edited. To replace a patter, use 4-6 Put Pattern.) SONGGS Trackt Beat ‘SONGOO Track PHeasure at? 84704 as Bar Bes Bestia 1308 Bar Beat sti ga84 ie Bray ene 3 °668°6°85 cans Basti 84784| - oe Few Ase Of ew CT Corr (See [ome neers] sven eseer[ meee neelEditing an event [D] modifies the note pitch or event type, and [E] and [F] ‘modify the event data. (Refer tothe table of event types.) Moving an event ‘Use [C] to move the event within that measure. achange inevent location has changed the order of events, the index numbers within the measure will be re-numbered. ‘To move an event to another measure, use Delete and Insert Deleting an event Press [DEL] ({H}) to delete the event at the cursor. If you accidentally delete a note, press insert ([G]) before doing anything else, and the note will be restored. However if the note was tied, inserting it will not make it return immediately. Inserting an event Press (INS] ((G]) to create a new, identical event at the location ofthe cursor. By moving the location or editing the event, you can use this to insert any desired event. fyouinsertimmediately afterdeleting, the deleted event will be inserted. * Its also possible to insert events into a new Track. In this ‘case, you must first use F5-3 Measure Insert to create blank ‘measures. * Notes which overlap bar lines are treated as two tied notes. ‘To edit such notes, use the following procedure. (Refer to the diagram below.) (1) Editthenote number and velocity fornote A. Note B will, automatically be corrected. (2) To change the note length, edit note B. (3) Todeletenotes A+B, delete inthe order of A, then B. To delete only B, set the length of A to a value less than [TIE], and then detete B. (If you delete A or seta length ‘greater than [TIE], note B will be given a location of 1:00.) (4) To insert A+B, insert B at location 1:00, then insert A, and setthe note length to [TIE]. Setthe note numbers and velocities of A and B to the same values. EINSIEDELI If you have made a mistake in editing, complete the edit first, then press the COMPARE key, and you will return to the status before editing. P3-3 Erase Track SONGGG EDIT SONG bDest Track Step Recording Cory Track j Erase Song Arrend Song CERASE] A 8 c o e E s H (B)_ | track 8 Specify the Track wo be erased ] ca eames | This function erases a Track from a Song, (1) Select the Track ((B]) to be erased. (2) Press [ERASE] ((G}) and the track will be erased. * Ifyou erase by mistake, press the COMPARE key torestore the previous data before editing again, a1P3-4 Bounce Track SONG@S Ster Recording dit EDIT SONG bSource Track Copy Track Erase Song Arrend Song CBOUNCEI c D E F 3 H Source track Dest track | ala al | Specify the Track to be bounced | Specify the bounce destination {BOUNCE} —_| Bounce the track ‘This function combines the data from two Tracks into a single Track. (1) Select the source Track ({B]: the Track to combine) and the destination Track ([D): the Track into which to ‘combine the data). (2) Press {BOUNCE} ({G}) and the data will be combined. - When the Bounce operation is completed, the data in the source track will be erased, = The settings of the destination Track will determine the P3-5 Copy Track track parameters such as Track program and MIDI channel (if you bounce tracks with different program or MIDI channel settings, the program and MIDI channel settings will no longer be distinguished, and you will no longer be able to separate the data.) = If both Tracks contain control change data etc., this bounce function can have unexpected effects, (You can use F5.3, ‘Measure Erase to delete control change data.) When bouncing tracks which contain Patterns, an error will ‘occur if the corresponding measures of the other track are not empty. + If you Bounce by mistake, press the COMPARE key to restore the previous data before editing again, SONGaG EDIT SONG Source Track Step Recording Track Event Edit ase Song Erase Track Aprend Song Bounce Track CCoPY] A 8 ° D E F 6 K [Source track 1-8 Specity the Track to be copied o [Dest track ‘Specify the copy destination al {COPY} Copy the track This function copies a Track to another Track (2) Select the source Track ([B1: the Track to copy) and the destination Track ({DJ: the Track into which to copy the data), 92 (2) Press [COPY] ((G}) and the data will be copied. * Ifyou copy by mistake, press the COMPARE key to restore the previous data before editing again.P3-6 Erase Song SONGS Step Recor Event Ed: Erase Tra Bounce Tr: SONGG! EDIT SONG it, nding ck, ack 4 {ERASE} et ‘This function erases all data from a Song. Press [ERASE] ((G)) to erase the currently edited song. P3-7 Append Song [Este Song *If youerase by mistake, press the COMPARE key to restore the previous data before editing again. SONGGS EDIT SONG bSource Song eter. Regercins Copy Track Event Erase Fhack Bounce Track This function appends the data from a specified Song to the end of the currently selected Song. Selected Source song Trackl 2 3 Track’ Blank messuros will be inserted TAPPENDI A 8 oo «© *F 6 # Source song, — [00-19 __| Specify the source Song [APPEND] Append he wack ~ Press ({BI) 10 select the song to append, and press (AP- PEND] ((G]}) to execute the operation. - The data of the Source song will not be affected. ‘Track parameters of the currently selected song will be used, - Ifthe currently selected song has unnecessary blank space at the end, use P4-3 Delete Measure to delete it 93Page 4 Edit Measure ‘When you specify the measures to be affected by the various. measure editing functions (P4-1 — P4-7), the condition of each Track will be displayed for 8 measures beginning with the specified measure. 4-1 Quantize ‘SONGOO EDIT HERS Pest Neasure last Gory Measure Soceptteery Cary fron SONG8S Delete Measure Erase Measure EDIT MEAS bDest Track Copy Measure ut Pattern opyY from Pattern A BG Oo € fF «6 4H [Iai tK [Track ‘Number of Track to be quantized | [BM | Measure [Number of rst measure to be quantized Length 1-999 Length to quantize (number of measures) [Bi Res | Resolution Jas- Ji | Quantization step — El ‘Quantize data | Type of data to be quantized | ALL | Alfdata | NOTE Note data (keyboard data) PROG Program changes | BEND Pitch bend only | NTL Control changes only AFIT Aftertouch only | la | (QUANTIZE| —__ | Execute quantization This function corrects the timing of the range to the nearest specified timing unit (1) Specify the Track ((A)), first measure ({B)), and number of measures ({C}) to be quantized. (2) Specify the quantizing resolution ((D)). For example if you specify J /1, data will be corrected 10 the nearest quarter note. @) Specify the data to be quantized. ({F]) ALL : All data NOTE: Note data (keyboard data) PROG: Program changes BEND: Pitch bend (joystick X) CNTL: Control changes (joystick Y, damper, tempo change, ete.) Aftertouch in the specified AFIT 94 (4) Press [QUANTIZE} to execute quantization, * If quantization moves two control change events of the same type onto the same location, they will be combined into a single event. This allows you to use quantization to thin out control data and save memory. + Quantizing at a resolution of 48 wil thin out control da hile leaving the timing of ote data unchanged. + Youcan quantize program change data to thin out unnecessary program changes that were recorded in realtime recording, "If you quantize by mistake, press the COMPARE key © restore the previous data before editing again,P4-2 Insert Measure SONGGB. EDIT MEAS bDest Track i Copy Measure Put Pattern elete Measure Cory from Pattern Erase Measure BY M@G1 LGG1 Hk CINSERTI A 8 c . E E G H BIT [Detmack T=8ALL [The rackio be edited TM | Destmeasure 001 - 999 Measures tobe inserted DIL | Measure length 001-999 Length to be inserted (number of measures) HB [Bea wpe “Time signature of measures to be inserted 01/04 - 09/04 01/08 - 16/08 a | INSERT) Insert the measures ‘This function inserts blank measures into the specified measure Toe: (1) Specify track ((B)), measure ((C)), length ({D), and if necessary, the beat ((E]) of the measures to be inserted. Q) Press {INSERT} ([G)) to insert the measures. reat TENGTH — ‘© Measures after the specified measure will be pushed back to make room for the newly inserted measures. If the Destination Track has been set to “ALL”, the measures will be inserted into all tracks. A note which extends beyond the specified first measure will be divided into two notes. ‘© When beat ([E]) is set to “*#/"*", the time signature of the inserted measures will match the time signature of the ‘measures already existing in the other tracks. If any other beat is specified, the other tracks will be changed to the specified beat. ~ If measures are inserted into Track 2: If BEAT: **/** track 1 [4/4 [3/8 [478 Track 2 (BAT 3/4 Insert wo measures ‘ track 1 [474 [374 [474 Track 2 FM 3/4 [aa [BAe ‘Sametime signature rey as Tock 1 Track 1 [474 [474 [374 [3/4 Track 2 [A/a Aza | Insert two measures + Track 1 [4/4 [778 [778 [3/4 Track 2 [A/A 17/8 [7/8 | 37K Specified ime slonature *If you have made a mistake in insertion, you can return 10 the previous status by pressing the COMPARE key before processing with editing 95P4-3 Delete Measure Gory, s Mepsure Pattern Copy from Pattern COELETEI Tk [Destirack 1-8, ALL The Track to be edited | GM [Desrmeasure 1-999 ‘Measures to be deleted DIL | Measure tength 001 999 Length to be deleted (number of measures) @ | (DELETE] Delete the measures ‘This function deletes measures from the specified area, ‘If a note overlaps the entre area being erased, it will be (1) Specify the track ([B]), first measure ({C}), and number shortened by the deteted length. of measures ([D)) to delete, +If you delete by mistake, press the COMPARE key to ae care ae aera restore the previous data before editing again. DEST MEASURE 4 LENGTH TRACK [TE erase EL ‘ If Track has been set to“ALL”, the specified measures will be deleted from all Tracks. * Measures after the deleted measures will be moved forward. The measures moved forward in this way will have the same time signature as measures in other tracks, + Delete measures from Track 2 QL Track 1 [47a [374 [374 [a7 [47a Track 2 [at 3/4 | 3/4 Paya Aza: T Delete two measures: QL + Track 1 [4/4 [374 [37a [aa [aa ~ Track 2 [a [SST Sa [aya [47a ~ ‘Same time signature as Track 1 96P4-4 Erase Measure SONGaB EDIT MEAS bDest Track Quantize Copy Measure Insert Measure Put Pattern Copy from Pattern A Meg1 Le@gi ALL CERASEI Ae GD FG oH BTA [Desteack T=8,ALL ___ [ Number of Track to be edited | EM _| Dest measure 001 999 ‘Number of first measure to be erased | Measure length 01-99 [Leneth io erase coum of measures) Erase data ALL All data NOTE Note data only (keyboard data) NTL Control changes only AFIT ‘Atertouch only BEND Pitch bend only PROG | Program changes only [ERASE] Erase the data | This function erases the specified datafromthespecifiedarea. __(3) Press [ERASE] to erase the data (1) Specify the track ({B), first measure ([C)), and number DEST MEASURE cof measures ({D)) to erase. (2) Specify the type of data to be erased ee ALL: Alldata TRACK NOTE : Note on/off data (keyboard data) 1 PROG : Program changes | Erase the data BEND : Pitch bend (joystick X) NTL : Control changes Goystick Y, damper, tempo change, etc.) + If you specify ALL for Track, the same measures of all, AFTT : Aftertouch pean + If part of a note lies outside the specified range, only the portion within the range will be erased. *Ifediting operations erase damper off or pitch bend (Odata) events, stuck” damper pedal or pitch bend will result when the data is played back. In such cases you can either erase the corresponding damper on orpitch bend messages, oruse the event edit function to correct the data. * If youerase by mistake, press the COMPARE key to restore the previous data before editing again, cy4-5 Copy Measure SONGBS Quantize Insert Measure Delete Measure Erase Measure Trki M@61—> Trkt EDIT MEAS bSource Song ut Pattern Copy from Pattern M@@i Le@i CCOPY] A 8 c D E FE 6 H Source Song Song containing the measure: BIT | source Track Track containing the measures to copy i (am (Dt ‘Source Measure Dest Track ‘This function copies the specified range of data, (1) Specify the Song ([A}), Track ({B)), and first measure CD of the copy source, the number of measures 10 be copied ((D}), and the Track ((E]) and first measure ({F]) of the copy destination. (2) Press [COPY] ([G}) to copy the data. ‘SOURCE SONG ‘SOURCE MEASURE SOURCE TRACK CURRRENT SONG c---' COPY co eae an Dest TRACK t DEST MEASURE ** If you copy by mistake, press the COMPARE key torestore the previous data before editing agai M__ | Dew Measure [cena {a ~~ ficoryy Track containing destination measures First measure of copy destination | Number of measures to copy (length) Copy the data ~The datain the copy destination measures willbe lost. (Ifthe destination measures contain data, you will be asked for confirmation.) - If you specify source measures which do not exist, blank, ‘measures will be copied. - Ifthe beat ofthe destination and source songs are different, copying is not possible. - Ifother tracks contain data, the time signature of the copied. measures will be the same as the time signature of the other tracks. We [18 [ia Copy Track tobe copied ~ [474] 3/4 WA my [a7 [374 [37a Track that was copied ~ [470] S/H [SE [WS Other track Ga T3:A4P4-6 Put Pattern SONGOG Quantize Insert Measure Delete Measure Erase Measure EDIT MEAS bPattern A aC ° E E 64 BP Pattem fo00- 199 —_| Patiernto put Olt Dest Track 1-8 Track into which the Pattern will be put EM Dest Measure [001 ~ 999 Measure into which the Pattern will be put [PUT] Put the Pattern: This function puts (assigns) a Pattern into a specified measure of a Track. The Track will contain only a pattern number, not the actual data. (To copy the data from a Pattern, use P4-7 Copy From Pattern.) + Put Pattern Track - Uses less memory. = When the Pattem is modified, the playback will be affected. (1) Specify the Pattern to put ({B)). (2) Specify the Track ({D}) and measure ({EJ) to put the Pattern into. (3) Press [PUT] ((G)) to put the Patter. - When creating anew Track, first set the Track program etc in PO REC/PLAY, and write the settings into memory. ‘© After this function is executed, measure ([E]) will automatically move forward the length of the Pattern. ‘* When you put a Pattem into a measure, the data of that measure will be erased. ‘If other Tracks contain data, the Pattem you put will be played with the same time signature as the other Tracks. Ifyou put a pattern by mistake, press the COMPARE key to restore the previous data before editing again. 99P4-7 Copy From Pattern SONG&B Quantize Insert Measure EDIT MEAS bPattern lelete Measure rase Measure Neat COPY] A 8 c D E E cS HW BiPa Patten (000 - 999 Pattern to copy ‘| DT Dest Track 8 [Track wo be edited im Dest Measure ‘001-999 ‘Measure into which the Pattern will be copied @ ~ ficory) Copy the Pattern This function copies the data from a specified Pattern into a Track. + Copy From Pattern Patton Track = Data can be edited in the Track ~ Playback will not be affected when you modify the Pattern 100 (1) Specify the Pattern to copy (BI). (2) Specify the destination Track ({D)) and measure ((E), {G) Press [COPY] ((G)) to copy the Pattern + When this function is executed, the measure will advance by the length ofthe Pattern, «If other Tracks contain data the time signature of the data copied from the pattem will be the same as the other Tracks “Ifyou copy by mistake, press the COMPARE key to restore the previous data before editing agai,Pages Edit Pattern SONGG PATTERN bTemro. Erase Pattern, Get From Track Bounce Patt ern Copy Pattern ABO Oo & F.@ GP | Pater Number 000-99 Pattern ro record 4d B= | tempo Tempo Measure 00-99 | Measure display _ Resolution 3-7 Unit to which time willbe corrected = Metronome OFF/ON Turn metronome Off/On _ Add / Remove [ADD] Add data ee | IRMV) Remove data [ae [ieRa) aed — P5-1 Real Time Recording ‘This function allows you torecord a Patternin realtime. When creating a new Pattern or when you want to modify the beat or Jength of the Pattern, make settings in P5-4 Pattern Parameter. This function allows you to realtime record, delete, and modify Pattern data, = When creating anew Patter, first use F6-3 Pattern Initialize to set the beat (time signature) and length (number of measures), and erase the data that was previously in that Pattern (For Patterns which contained no data, you can also set the beat etc.) (1) Select the Pattern ({A]) to create. You may also select Patterns that were created by step recording, copy, etc. Set the keyboard MIDI channel to match the Track selected in F0-1 Play/Rec. (2) Set the tempo ({B)), resolution ({D}), and metronome (On/Off (IED). These can also be modified after you start recording. (3) Press REC 10 make the indicator light, and then press START/STOP to begin recording. In Pattern realtime recording, when the last measure of the Patternends, you ‘will return tothe first measure and recording will continue, The data of each pass will be added (overdubbed) to the previous data. If you make a mistake, you can delete the incorrect data (see below). ‘In Pattern realtime recording there are two ways to erase data, - After starting the Patter, press [ERA] ((H]), and all data existing over the time while the key is pressed will be erased. - After starting, press All/Remove ({G)) to select “RMV". Press a key and the data for that note will be removed while you continue pressing the note. While applying an effect such as Joystick or Pitchbend, the data for that controller will be removed. (4) Press START/STOPand recording will stop. To play the Pattern, start again without pressing REC. Toadd datato the Pattern, repeat steps (2) ~ (4). ‘*InPattern realtime recording, tempo settingsand operations, will not be recorded, Use a tempo that is comfortable for recording. ‘* When creating a Pattern, the Programs of currently selected. ‘Tracks will sound. (When a Pattern is putintoa Track, it will use the Program of that Track.) * Control data such as joystick or pedal data can also be recorded in a Pattern, However, be careful to return the controllers to their normal position before the end of the Patter, to avoid “stuck” controllers or pedals when that Pattern is copied into a Track. Also, remember that over- dubbing several passes of the same control change can result in unnatural effects. °* When recording with a high resolution and repeating overdubs, a note you intended for the beginning of the Pattern will sometimes be recorded atthe end. In such cases, record using a lower resolution. 101P5-2 Step Recording SONGS PATTERN Pattern Number Erase Pattern Get From Track Bounce Pattern Copy Pattern CREC + 57S to Start? me co DCE CF (B [rnen Cs 5 SONGOO Step REC Beat Pattern = 000 (easyn Foo cation = . 95% Free -MO@1--Beat104704- To== ERSTI Ae @ > ef ew a T= |S ne gn Step 132-1/1 [Basic note length (32nd note J — whole note © ) ‘Triplet / Dot Modify the note length Tip Mosil of aot engl peciied by Step 4 Noe length specific! ty Sep ioe Dowel ote of note engi specified by Step J | [poeds [ey Dynamic Nove velocity | (very soft — very loud) @ | suce Teno Note duration Staccato (notes are released quickly) Normal note duration | Tenuto (notes are held tong) | [specityares | put) | Specify a tie (only when a note has been Go back one step ‘This is where you step record a Pattern, When ereating a new Pattern or when you want to modily the time signature or length ofthe Pattern, make settings in PS-4 Pate Parameter. (1) Specify the Pattern to record ({C). (2) Press REC to make the indicator light, and press START/STOP to begin step recording. G) Follow the procedure explained in step (3) and following of P3-1 Track Step Recording. 102 ‘in Patter step recording, when the last measure of the Pattern ends, you will return to the first measure and recording willcontinue. The dataof each pass willbe added (overdubbed) to the previous data [RST] ({F) and [TIE] ((G) can be used as explained in P3- 1 Step Recording. = When you press (H)) you will move back one step as specified by the steptime, andany data whichexistedinthat step will be erased, (See P3-1 Step Recording.) - When creating a Patter, the Program of the Track selected in PO-01 Play/Rec will be used,5-3 Event Edit SONGS PATTERN bPattern Number Real Time Rec Erase Pattern Get From Track Bounce Pattern attern Parameter | Copy Pattern (REC + S/S to Start? F 6 H A 8 c D E BH [Panem 00-199 Patter to edit | ‘This function allows you to event eit a Pattern. (2) Press REC to make the indicator tight, and press (1) Select the Patter to edit ((C). START/STOP to begin event editing G) The remaining procedure is the same as explained in steps (4) and following of P3-2 Track Event Edit, P5-4 Pattern Parameters SONGOS PATTERN Pattern Number Real Time Rec Erase Pattern Ster Recording Get From Track Bounce Pattern Copy Pattern Beat: 64/64 Length@1 CSETI A 8 co Dd & FG 4 ap | Patern Number 000 - 199 Patiern to edit a } @ | Pattern Beat 01/04 ~09/04, | Time signature of Pattern | 01/08 - 16/08, | O1/6- 16/6 | Pattern Length 01-99 Length of Pattern (number of measures) a SEN Set the specified Patter parameters These settings determine the time signature and length (2) Press [SET] ({G)) and the parameters will be set. (number of measures) in each Pattern () Specify the Pattern ([A]) whose parameters you want 10 ri Weattern Nunber edit, and set the beat ([B}) and length ({E)). If the specified Pattern is used in Track, the display willshow ‘the number ofthe Track in which that Pattern is used. (If ‘you edit a Pattern which is being used in a Track, that ‘Track may not play back correctly.) 103P5-5 Erase Pattern SONGGO Real Time Rec Step Recording Event Ed Pattern Parameter it PATTERN bPattern Number et From Trac Bounce Pattern Copy Pattern CERASE] A 8 © ° = F S H [{B)_[Pauem Number 000 - 199) Pattern to erase i | @ {ERASE} Brase the Pattern ‘This function erases a Pattern, (1) Specify the Pattern ({B}) to be erased. If the specified Pattern is used in a Track, the display will show the number of the Track in which that Pattern is used, (2) Press {Erase} ({G)) to erase the Pattern, “Ifyou erase a pattern by mistake, press the COMPARE key to restore the previous data before editing again. PS-6 Get From Track SONGES Real Time Rec Bent est ounce Pattern “ a Pattern Parameter | Cory Pattern Trki Néai — PATTERN bSource Sond PoGe CGETI A 8 € D E F 6 K Source Song ong from which io getmeasures —- | Seceerenee eens Source Measure | 1-999 | Number of first measure to get Pattern ~[o= 199 [Pasem number into which data wil be placed GET} [ [Get the data into the Patera ‘This function places data from Track into a Pattern, allowing data recorded as a Track to be used as a Pattern, The number ‘of measures tha will be copied is determined by the length of the Pattern as specified in PS-4 Pattern Parameters. (1) Specify the Song ({A)), Track ((B)), and measure ([C}) of the data, and the Pattern (EI) into which the data will be copied. Q) Press [GET] ((G)) to execute the operation. "If you get a pattern by mistake, press the COMPARE key to restore the previous data before editing aga 104 ‘This function cannot be executed if the specified range of ‘measures contains a Patter, Ifa note overlaps the specified range of measures, the tie will be deleted, * Editing operations not available for Pattems (such as quan tize) can be performed by copying the Pattern data to an empty Track, editing the data, and copying the data back to a PatternP5-7 Bounce Pattern SONGGa PATTERN bSource Pattern eal Time Event Ed ter Recording Pattern Parameter irase Pattern, Rec. BOUNCE] A 8 oo © * @ 4 B)P | Source Pattern = 199 DP | Dest Panem [00 = (BOUNCE) __| Execute bouncing This function combines the data of two Patterns into one Pattern, (1) Specify the source Pattern (the Pattern to bounce, [B]) and the bounce destination Pattern ({D)). (2) Press [BOUNCE] ({G}) to execute the operation, PS-8 Copy Pattern ~ After the bounce operation, the data of the source Pattern will be erased. ‘©The time signature and length ofthe destination Pattern will be used for the newly combined data *If you bounce by mistake, press the COMPARE key to restore the previous data before editing again. SONGS Real Time Ever Pati PATTERN eter Resore ing i tern Parameter bSource Pattern Erase Pattern Get From Track Rec CCOPYI [BIP | Source Patten Dy | best Pattern 000 - 199 {cory} [Esceeconvine | This function copies a Pattern to another Pattern. (1) Specify the source Patter (the Pattern to copy, [B]) and the copy destination Pattern (ID). (2) Press [COPY] ({G) to copy the Patter ‘If you copy by mistake, press the COMPARE key to restore the previous data before editing again. ‘©The newly copied data will have the time signature and Jength of the source Pattern, ‘* When the copy operation is used, the previous data of the destination Pattern will be lost * Ifyou copy by mistake, press the COMPARE key to restore the previous data before editing again. 105Page 6 Effect For details of the effect parameters, refer to “Effect Parameters” (page 52). SONGGO EFFECT ot Effect mn Fete ne | a | 88 ue? sassa 6-3 Effect 2 Type Post Eifec 2 Parmeter | EEFECT2_@12Hal1 : Pes Eftct2 Panmeter| “2.1-D876.£46 _ HD4@ 7-88 wee 9:31 Potties Peamen [C-SERTAL J” OutS = OFF Outa =~ OFF a st you press the PAGES key while a song is playing, the If you want to use effect stings crested a8 att ofa EFFECT page will appear allowing youtocditthevarious Program, ue the Copy Efe (P77) fonction effect parameters. +Do not ehange the Effect Type, since this may fet he musical playback Page 7 Song P7-1 Next Song SONGO@ SONG Piext Sons Scale Ture Det /AeteT curve Copy Effect TSTOPS A 8 co © Fo # e [re Song OFF/00-19 | Specify the next song to be played o (STOP) Selec he nox song and then Nop ray) Contin playing isnot Song ‘This function allows youto specify aSongtobe sclected(and_~ When et to PLAY, playback will continue with he spec played) when the curently selected Song ends fied Sons WhensetioSTOP. playback willsopatthebegimingofihe _ * When Next PLAY is selected there maybe alight day specified Song wen the Soni selected 106P7-2 Rename Song SONGOB Sees Foot Controller SONG Scale Type Yel/Aft.T Curve Copy Effect @8:Mlew Song C¢icp1 A 8 co bo & Ff Go 48 14 Move the cursor left 7 ic Move the cursor right ‘This function sets the Song name, = Use (cursor key (GJ) and P (cursor key (H)), the VALUE slider, and the UP( &, DOWN( ¥ ) keys to set the Song name. P7-3 Metronome soa @ABCOEFGHI JKLMNOPORST! SONGGG Next Song bLead In SONG se7tg Type el AEt, T Curve Cory Effect © E a & oD Bo Metronome Panpot ‘A, dsl — 1:9, B,C, | Panpot forthe metronome sound cip.b ‘These settings determine how the metronome will sound for ‘each Song. «Lead In specifies the number of measures which the metronome will countdown before realtime recording begins. ‘* The metronome volume ({D}) and panpot ({F}) can also be set. ‘* Using the metronome will decrease the simultaneous note capability of the T1/T2/T3 by one note. 107P7-4 Foot Controller SONGGG Rename Rext Song SONG bController 1 Scale Type YelvAft.T Curve Cory Effect Song (Seq StartvStor ] A Bo pO OG {a Foot Controller 1 ‘The function assigned to Pedal 1 | Seq StarvStop ___| A footswitch will star¢stop the sequencer. | Effect ON/OFF | A footswitch will tum Effect 1 on/oft | Effect 2ON/OFF | A footswitch will turn Effect 2 on/of | Volume A foot controller will regulate Volume VDF Cutoff ‘A foot controller will regulate VDF Cutoff Effect Control | A foot controler will regulate the Effect 1 Balance | Effect 2Control_|A foot contol wil regulate the Etec 2 Balance Data Entry | A foot controt will function as @ data entry control Foot Controller 2 Same as foot contolier 1 ‘This selects the function assigned to Pedal 1 and Pedal 2. - Depending on the type of function that is selected, connect, cither a Footswitch (on/off type) or a Foot Controller (continuous type) to the Pedal 1/2 jack. = The actual control range of the foot controller will be determined by various parameter settings for the function, being controlled, Seq Start/Stop: A footswitch will start or stop the Se- ‘quencer. Effect 1 ON/OFF: A footswitch will turn effect 1 on/off. Effect 2 ON/OFF: A footswitch will tum effect 2 on/off, Volume: A foot controller will regulate the volume of the selected Track. If other Tracks are set to the same MIDI channel, their volume will also be controlled. VDF Cutoff: A foot controller will regulate cutoff frequency (tone) forthe selected Track. IfotherTracks ae set tothe same ‘MIDI channel, they will also be controlled, Effect 1 Control: A foot controller will regulate the balance between the direct sound (the sound before it is processed by effect 1) and the sound of the effect. As the pedal is advanced, the effect sound will increase. 108 Effect 2 Control: A foot controller will regulate the balance between the direct sound (the sound before it is processed by effect 2) and the sound of the effect. As the pedal is advanced, the effect sound will increase. Data Entry: A foot controller will perform the same function asthe front panel VALUE slider. If you select a parameter for iting and specify “Data Entry” for the foot controller function, you can use a foot controller to adjust that parameter while playing, * Be sure toconnect either a footswitch (on/off type) ora foot controller (continuous type), as appropriate forthe function you have assigned. ‘When no pedal or footswitch is connectedto the pedal jacks, assign them to Seq Start/Stop or Effect ON/OFF. ‘Please be sure to use a Korg EXP-2 as a foot controltes.P7-5 Seale Type SONG8S Rename Next Song Metronome Foot Controller SONG bScale Tyre Ons lel Aft. 7 Curve Copy Effect User Programmable (a TSeMT: BH Kev= E A 8 c ° E F A H Seale Type | Equal Temp. ‘Equal temperament (equal temperament) Equal Temp. 2 Equal temperament, but with random detuning applied to (equal temperament, random piteh) | each note played Pure Major Pure major temperament Pure Minor Pure minor temperament User-defined pitch for each note of the scale. Tonic note for pure temperament ‘This selects the scale (temperament) for the Song, Equal Temp. (equal temperament): The temperament most ‘widely used in keyboard instruments today, equal tempera iment allows free transposition to all Keys; Le., a chord will sound the same in any Key. Equal Temp.2 equal temperament, random pitch): temperament, but with slight randomness applied o the pitch of each note. This is useful when simulating the natural irregularities in pitch that are found in many acoustic instru- ‘ments. P7-6 Vel/ Aft.T Curve Pure Major: Pure major intonation produces in-tune chords for the specified major scale. Select a key (tonic) of C—B. Pure Minor: Pure minor intonation produces in-tune chords for the specified minor scale, Select a key (tonic) of C—B. User Programmable: By specifying a pitch offset of +50 cents for each of the 12 notes (C—B) of the equal tempered scale, you can create your own unique temperament, Make settings in GLOBAL mode page 5 User Scale. "The selected scale type will be used in common by the Programs of all Tracks. SONGS Rename Next Song Metronome Foot Controller SONG belocity Curve ong Aft.T Curver4 c o E F 6 H Select the velocity curve; ie., the way in which key velocity (how hard you play TA [Velocity Curve 128 2 note) wil affect volume or tone TD [Atertouch Curve | 1-8 | Selecttn aftenouch curve; ie. the way in which afertouch (how hard you press down after playing note) wil affect volume or tone. ‘This specifies the velocity curve and aftertouch curve for each Song, + Velocity Curve allows you to select one of 8 curves to determine how key velocity will affect volume or tone. + After Touch Curve allows you to select one of 8 curves to determine how aftertouch will affect volume or tone. ~The velocity /aftertouch curves specified here will beused when recording note data, This will have no effect on data that has already been recorded. 109P7-7 Copy Effect SONGBS Next Song Rename Song Metronome Foot Controller SONG bSource Mode ‘This function copies only the Effect parameters from a Song, ‘Combination, or Program in internal memory. The data will bbe copied into the Song currently being. (1) Select the mode containing the memory whose Effect parameters you want to copy ((BI). 110 fron ET] - 22 COPY] A 8 oc 0 © fF G@ 4 PROGRAM Copy from a Program COMBINATION Copy from a Combination SONG Copy from a Song ‘A00 — A99, B00 B99 | Program from which to copy 0-99 Combination from which fo copy 0-19 Song from which to copy (COPY! Execute the copy operation | edited number.) (2) Select the number you want to copy. (When copying from a Song, select the Song number; when copying from a Program, select the Program number: when copying from a Combination, select the Combination (3) Press [COPY] (1G)) to copy the effect parameters from the specified memory.7. GLOBAL MODE In this mode you can make settings that affect the entire TI/ 72/13 (overall tuning, and MIDI-related settings), and assign drum sounds to a Drum Kit. Functions in Global mode Press the BANK SELECT / PAGE SELECT keys (0-9) and the PAGE+ PAGE- keys to select the page for each function, ‘With theexceptionof some MIDI-related parameters, setings made in this mode are memorized even when the power is, turned off. It is not necessary 10 write these settings into memory. (—_ Pose Function Parameter to set PO GLOBAL 4 Master Tune, Key Transpose Overall pitch adjustment, overall transposition | 02 ‘MIDI Channel, Clock Source Specify MIDI global channel, MIDI clock 03 Local, MIDI Overflow Local on/off, MIDI overflow on/off | o os MIDI Fterng Transmssion reception switches fr cach ype of MIDI message Damper Switch Polarity Specify the polarity of the damper footswitch i Drum Kit 1 Assign drum sounds P2 Drum Kit2 Assign drum sounds P3 | Drum Kit 3 ‘Assign drum sounds Ps Drum Kit 4 ‘Assign drum sounds Ps | User Seate Set the user scale P6 PROTECT oI Program Memory Protect Memory protect on/off for Program parameters 62 Combination Memory Protect “Memory protect on/off for Combination parameters 63 Sequencer Memory Protect Memory protect on/off for Sequence data P7 MIDI Data Dump ‘Transmit various parameters and sequence data as a MIDI exclusive message mPage 0 Global 0-1 Master Tune / Key Transpose 0-2 MIDI Channel / Clock Source PO-3 Local / MIDI Overflow 0-4 MIDI Filtering 0-5 Damper Switch Polarity GLOBAL GLOBAL bMaster Tune Feo: | Sfockaccres® rise ie rm Le yt ol MIDI Oo 1 OFF PREBIO '“AFITION ERTUsO eMtLix Damrer Switch Polarity = — A 8 c D E F 6 H PO-1 Master Tune / Key Transpose [al Master Tune ~50— +50 “12-412 o Key Transpose ‘Adjust the overall pitch of the TI/T2/T3 (steps of | cent) Transpose the overall pitch of the TI/T2/T3 (chromatic steps) ‘These parameters determine the pitch of the entire T1/T2/T3. ‘* Master tune adjusts the tuning of the entire T1/T2/T3 over arange of + 50 cents. Use this when tuning the T1/T2/T3 to other instruments. ‘¢Key transpose adjusts the pitch of the entire T1/T2/T3 over arange oft octave, in chromatic steps (-12~+12). This can P0-2 MIDI Channel / Clock Source bbe used when you need to play songs of a difficult key signature in an easier key. This setting applies to the data that is recorded by the sequencer, and to the data that is transmitted from MIDI (OUT. However, data played back by the sequencer will not be affected by this setting @ MIDI Channel AI-Al6 [eke camel on -ceive or transmit data @ Clock Source ‘MIDI channel determines the transmission and reception channel for musical data in Program mode, Combination changes in Combination mode, and for system exclusive data, - These messages will be transmitted from MIDI OUT A. ~ Musical data in Combination mode and Sequencer mode will be transmitted on the channel specified in each mode. If you want to receive MIDI clock data from an external sequencer etc. to determine the playback tempo, set Clock 12 Source to “EXT”. (The T1/T2/T3 internal tempo settings will have no effect.) Use this setting when synchronizing the T1/T2/T3 to an external device. - Ifno MIDI device is connected to MIDI IN, be sure to set this to “INT”, - Start, stop, continue, song select, and song position messages will be received from external MIDI devices only when this is set (o “EXT”. ~ When the power is turned on, this will be set to “INT ~ When set to “INT”, MIDI clock data will be transmitted from all MIDI OUTs. 1 |P0-3 Local / MIDI Overflow OFFION ‘MIDI local mode switch BH [tocat Conver | spi overnow OFFION MIDI overflow mode switch =| —_ ‘* When local control is set “Off”, the T-series’ keyboard and. controllers (joystick, aftertouch, etc.) will be disconnected from its tone generator. (However, they will transmit MIDI data.) Normally you will leave this set “ON”. - When local control isset"OfT",the sequencer will transmit, and receive only MIDI data, and will sound only in response to data received from MIDI IN. - When the power is turned on, this will be set “On” ‘* When Overflow is set “On”, When Overflow is set “On”, note on/off data that exceeds the maximum simultaneous, note capacity will be re-transmitted from MIDI OUT. P0-4 MIDI Filtering If you have connected another T1/T2/T3 or an M1/MIR to MIDI OUT A, this allows you to increase the simultaneous note capacity, ~ Be sure that the T1/T2/T3/M1/MIR connected to MIDI OUT A is set to the same Program or Combination. (Ifan MI/MIR is connected, avoid using parameters which the MI/MIR does not have.) - If MIDI OUT is connected toa device other than a T1/T2/ T3/MIUMIR, set this “OF” = When Overflow is set“On”, be sure thatthe data transmitted from MIDI QUT A jis not retumed to MIDI IN; ie., make sure that the data is not echoed back. Combination / Program Change | 7 © PROG ‘When set t0 “x”, the specified type of MIDI data will neither be transmitted nor received. ‘These parameters allow you to disable reception and trans. mission of specified types of MIDI data. (This is known as “filtering” ) Data will be filtered when its recorded by the sequencer, but not when itis played back. ‘* When Combination / Program Change is set “x”, Com- bination (Program) changes will neither be transmitted nor received. ‘* When Control Change is set to “x”, control change messages will nether be transmitted nor received, PO-5 Damper Switch Polarity After Touch x10 | Control Change x70 | | Exclusive | xro | ‘¢ When After Touch is set to “x”, aftertouch data will not be received, © When Exclusive is set to “x", system exclusive messages for parameter changes will neither be transmitted nor received, ‘System exclusive parameter changes are used by personal computer voice editing programs. ‘When two T1/T3s are connected and Exclusive is set 10 “0”, you will be able to simultaneously edit the voice data, of both units + When the T1/T3 is connected to other types of MIDI devices, set this to "X", Lj} ‘The damper switch is used as a damper switch or hold pedal. While itis depressed, released notes will continue sustaining as though they had not been released, ft Select the polarity of the footswitch connected to the. sen jack ‘* Damper Switch Polarity selects the polarity of the damper foot switch. When using types of footswitch such as the Korg PS-1, set this to “ footswitch § set this to“#". ~ If a damper switch is not connected, set this to “-", When using other types of 113Page 1 Drum Kit 1 GLOBAL DRUM _KITi bKick 1 +060 L+08 pemmen ‘ S ort ' bbe S +008 Li c ° E F 6 4 P2-1 Drum Kit 1 # [index | 0-89 | Drumsoundtoedit 8 Inst 85.__| Select drum sound CO-G8__| Key assigned to drum sound -120-+120 _ | Pitch adjustment of pm { octave 7 Inst Level -99-+99 | Level adjustment for each sound Inst Decay 99-499 | Decay time adjustment for each sound TPan | A,9:1-1:9,B, |Ouputselection | CCD. D ‘This is where you edit the Drum Kitused asa sound source by ‘a Program in Drum Kit mode. Up to 60 types of drum sound can be assigned to each of 4 Drum Kits (1 ~ 4). ‘Index selects the drum index to edit ~The display will scroll when the index setting is modified, ‘or when you press CURSOR UP (DOWN) at the top (bottom) line. - An index for which no drum sound is assigned will be indicated by the display “No Assign”. (When assigning a new sound, select an index which displays “No Assign”) 4 ‘lnst is where you select the drum sound used by that index (The back cover has alist ofthe drum sounds.) = IFan optional PCM card containing drum soundshas been inserted, card sounds can also be selected using the VALUE slider. (When playing Programs which use PCM card drum sounds, be sure that the appropriate card is inserted) -Ifdrum sounds are loaded into the PCM RAM (optional for the'T2/T3), drum sounds loaded from a PCM disk ean also be selected, Drum sounds from PCM RAM will be displayed with aD" in font oftheir name. (When playing 2 Program which uses a PCM disk sound, be sure thatthe appropriate disk has been loaded.) = Select "No Assign’ for each Index which you don't need to assign, and set Key ({C)) to an unused Key‘¢Key determines the key (CO ~ G8) assigned to that index, (The note name for an octave setting of 8 will be displayed.) - Youwill notbe able toselectkeys which have already been, assigned to another sound. + You can assign a single sound to be played by more than one key. - Keys which have not been assigned a sound will automatically be given the sound assigned to the next higher key. (However the pitch will change according to the scale.) Example: ‘ise LJLI] ae ‘SNAREL ‘These notes will play SNARE 1 (at different pitches) Page 2- 4 Drum Kit 2-4 Details are the same as for Page 1 Drum Kit 1 «Tune, Level, and Decay are parameters which determine the pitch, volume, and VDA decay time for each drum sound, ~ When the corresponding Program parameter is modified, the volume etc. of the entire Drum Kit will be affected. - Other Program parameters will also affect the entire Drum Kit. = When you play the keyboard inthis page, the parameters of the Program selected in Prog A/B mode willbe used. In cother words, ifa Program with (for example) a slow attack hasbeen selected, the drum kit will not sound right. Ifthe drum sound isassignedto C,C+D, or D, and the Program ‘mode setting Effect Placement ofthe Program is turned off, there will be no sound from 1/L, 2/R, or the headphones. ‘*Tune adjusts the pitch of an assigned key over a range of 120 ~ +120 (in steps of 10 cents, + 1 octave). ‘Level isan adjustment relative to the oscillator level setting in Program mode, over a range of -99~ +99. ‘*Decay is an adjustment relative to the VDA EG decay setting in Program mode, over a range of -99 ~ +99. ‘Pan specifies the output; A, A:B (9:1 ~ 1:9),B,C, C+D, D. Page 5 User Scale GLOBAL _USER SCALE +00 +86 [+09 | +00 | +00 A 8 c ° = F @ H Lt PS-1 User Scale c-B -30-+50 | Pitch offset (in cents) for each note of the equal tempered scale| ‘This function determines the pitch for each note ofthe User Scale — the scale used when User Scale is selected as the Scale Type in Edit Program mode P7-2, Edit Combi mode PS- 5, or in Sequencer mode P7-5. = These settings for the 12 notes will be extended over the entire range (in each octave) of the T1/T2/T3. "5Page 6 Memory Protect GLOBAL 6-1 Program Memory Protect P6-2 Combination Memory Protect, PROTECT in Memory Protec’ 0 P6-3 Sequencer Memory Protect Seuuence Memory Protect. OFF A 8 c 2 E E c H ‘These settings prohibit writing for internal memory parame: ters. P6-1 Program Memory Protect Program Memory Protect OFF/ON ‘Memory protect for Program parameters in internal memory ‘When Program Memory Protect is set “On”, it will not be possible to write Program parameters into intemal memory. P6-2 Combination Memory Protect ‘Combination Memory Protect OFF/ON Memory protect for Combination parameters in intemal ‘memory ‘When Combination Memory Protect is set “On”, it will not be possible to write Combination parameters into internal ‘memory. P6-3 Sequencer Memory Protect ‘Sequencer Memory Protect OFF/ON ‘Memory protect for Sequence data in internal memory ‘When Sequence Memory Protect is set “On”, it will not be possible to write Sequence data into internal memory. 116MIDI Data Dump ‘The T1/T2/T3 can transmit Parameter and Sequence data from its internal memory to another T1/T2/T3 or MI/M3R. connected via MIDI. ‘When transmitting data toa MI/MIR, parameters will be converted in the same way as when using a PROG DATA, card. (For details, refer to the Operation Guide, page 14 “PROG DATA cards”) ~ When this page is selected, MIDI data dumps can be transmitted and received regardless of the MIDI Filtering Exclusive setting, ~ To receive data, be sure that memory protect is tumed “Off”, and that the global MIDI channels of the transmitting and receiving devices match. No other operations are necessary. ~ By using a MIDI device that is able to save exclusive data, you can store voice data and sequence data in an extemal device. - Exclusive data will be transmitted from MIDI OUT A. Data type I Length of message ‘Time requited for transmission Program (200) approx. 37 K approx. 12 seconds. MI Programs (100) approx. 16 K approx. 5 seconds Combinations (100) approx. 27 K approx. 9 seconds MI Combinations (100) approx. 14K approx. 4 seconds Global data approx. 2K approx. 1 second MI Global data approx. 1K approx. 1 second Sequence data 5K-256K 2-80 seconds Cantino Program T1K-326K 20 100 seconds For details of the exclusive message data format, refer to the ‘end of this manual. Page 7 Data Dump P7-1 Dump Program GLOBAL lume COMmbinal Qume Global Dume Seauence DATA DUMP bData Format Dume_All Data Rev Sample Dume Ton CDUMPI AB G0 CE Foe oH Dump to T1/T2/T3, Dump to MIMI (| jumpy Execute dump ‘This function transmits (dumps) Program parameters to another TI/T2/T3 of MI/MIR connected via MIDI. (When transmitting to another T1/T3 select “Dump to TI/T2/T3", when transmitting to a MI/MIR select “Dump to MIMIR”, (2)Press [DUMP] to execute the data dump. ~ When transmitting to or receiving from a M1/MIR, set the MI/MIR to Large Program Allocation, ~ Programs B00-B99 will not be transmitted in MI format, - When the T1/T2/T3 receives a M1 format Program Data oe stave HD ALY = ABY, wWP7-2 Dump Combination GLOBAL DATA DUMP bData Format Dump All Data Rev Sample Dume Dump Globa Dump Sesuence COUMPI AB oc 0 & fF 6 4# ] Dump to T1/T2/T3, ‘Transmit all Combination parameters Dump to MI/MIR ‘Transmit all Combination parameters in MI format [DUMP} Execute dump This function transmits (dumps) Combination parameters to. __(2)Press [DUMP] to execute the data dump. another T1/T2/T3 or M/MIR connected via MIDI - When transmitting to or receiving from a MI/MIR, set the MI/MIR to Large Program Allocation. - Some Combination parameters will not be transmitted in M1 format. (When transmitting to another TI/T2/T3 select “Dump to T1/12/T3", when transmitting to a MI/MIR select “Dump to MI/MIR”. P7-3 Dump Global GLOBAL DATA DUMP bData Format Dume Program, . Dump All Data Rev Sample Dump CDUMPI A 8 c © E F 6 4 Dump to T1T2/T3 ‘Transmit all Global parameters Dump to MI/MIR ‘Transmit all Global parameters in M1 format {DUMP} Execute dump ‘This function transmits (dumps) all Global parameters except __(2)Press [DUMP] to execute the data dump. for MIDI settings toanother T1/T2/T3 orMI/MIR connected « Index 30 ~ 59 of each Drum Kit will not be transmited via MIDI. in MI format. (1)When transmitting to another T1/T2/T3 select “Dump to ‘TI2/T3", when transmitting 1 a MI/MIR select “Dump to MIMIR”. 18P7-4 Dump Sequence GLOBAL DATA DUMP Dume Program Dump Combination Dume_All Data Rev Sample Dume [DUMP] Execute dump ‘This function transmits (dumps) all sequence data to another ‘T1/T2/73 connected via MIDI. - Press [DUMP] to execute the data dump. = Itis not possible to dump sequence data to a MI/MLR. P7-5 Dump All Data DATA DUMP Dume Program, Dume Combination Dume Global Dume Seauence GLOBAL COUMPI E F 6 4 (DUMP] [Execute dump ‘This function transmits (dumps) all Program parameters, ‘Combination parameters, Global parameters, and Sequence - Press [DUMP] data to another T1/12/T3 connected via MIDI. to execute the data dump. = Itis not possible to dump All Data data to a MI/MIR. 119P7-6 Receive Sample Dump (for the T2/T3 only if PCM RAM option is installed) GLOBAL Bump Gli Qume Program | Oume konbination ol Oume Seauence DATA DUMP al BOUND 26 C¢3chd c D 6 H I [-€] (cursor teft) ‘Move the cursor left | (m) (cursor right) ‘Move the cursor right This function receives PCM data from a MIDI device (sam- pler, etc.) that conforms to the MIDI Sample Dump standard, and adds it to the Drum Sounds. *For the T2/T3, this function can be selected only ifthe PCM RAM option has been installed. (Connect the MIDI OUT of the transmitting device to the MIDI IN of the T1/T2/T3. = Transmission time will be reduced if you connect the MIDI OUT A of the T1/T2/T3 to the MIDI IN of the transmitting device. (2)Make sure that the T1/T2/T3 global channel matches the channel of the transmitted sample dump message (the method of setting this will differ for each device). 120 @)Use (cursorkey [G]), P (cursorkey [H]).the VALUE slider, and the A/ W keys to specify the name of the drum sound to be received, (initiate transmission from the transmitting device. ~ Regardless of the settings of the transmitting side, the transmitted PCM data will be added to the end of the Drum Sounds. (Reception will not be possible ifthe insufficient space in PCM memory.) = Its not possible to delete or rename @ received Drum Sound. = Itis not possible to initiate sample dump transmission from the T1/T2/T3. Therefore, ifthe other device cannot send a transmission request (this. includes the T1/T2/ T3), PCM data transmission is not possible.8. DISK / CARD MODE (DISK) In this mode, data from a disk or memory card can be loaded (copied into internal memory) or saved to adisk or RAM card (copied from internal memory). * Sequence memory data and PCM RAM data is lost when the poweris turned off. Before turing the power off, be sure to save important data to disk *Itisnot possible tostore all T1/T2/T3 parametersinaRAM card. Unless you are creating a RAM cad to be used by a MI/MIR, save data to disk, not card. (For details, see the Operation Guide.) Functions in Disk / Card mode ‘*Only 3.5 inch disks marked “High density, double sided, double track” can be used. These disks are usually called “MP2HD”, “MFD-2HD", “MF2-256HD", ete + We suggest that you use Korg MF-2HD floppy disks. + The T1/T2/T3 can use Program ROM cards for the M1/ MIR. + Please use the Korg MCR-03 RAM card. Page | Function I PO | DISKLOAD1 Pl | DISKLOAD2 p2 | DISK SAVE P3 | MIDIDATA FILE pa | CARDLOAD ps___| CARD SAVE [Load disk data into internal memory (copy all data) Load disk data into intemal memory (copy individual Combinations, et.) Save internal memory data to disk ‘Transmit MIDI bulk data (load, save) Load memory card data into internal memory Save internal memory data to memory card Files ‘The TH/T2/13 uses two types of disk format; Program/Se- ‘quence and PCM. A Program/Sequence disk can contain 4 files, and a PCM disk can contain 1 file. ProgramySequence disk A single file of # Program/Sequence disk contains the emtire contents of the T1/T2/T3 internal memory except for PCM RAM data, APCM disk contains the entire contents ofthe T1/ 72/13 internal memory including PCM RAM data. (For the 72/73, the PCM RAM option must be installed.) PCM disk 121Loading from disk ‘These functions load data from disk into internal memory. When you load data, the data that was in the specified loading destination will be lost. The following types of data can be loaded. ‘All Combinations, Programs, and Global parameters (P0-2) All data (PO ~ 1) ‘All sequence data AIL PCM data (P0-4) | 1 Multisound 1 Drum Sound ‘MIDI Data File (P3-1) *In order to load PCM data (Multisound data, Drum sound data) into the T1/T2/T3, PCM RAM (sold separately) is e- quired. ‘Never remove the disk while the data is being loaded (the display shows “Now Loading”) Page 0 Disk Load-1 PO-1 Disk Load All Data When the data has been correctly loaded, the display will show “Completed”, If an error message appears, re-inser the disk in the disk drive, and try the load operation once again. (Referto page 152 “Error Messages” foran explan- tion of each error message.) + Loading is not possible if memory protect is tumed On in Global mode. (Defeat memory protectin Global modePage 6) DISK LOAD-1 bFile Load DSM PCM Data ros ? Sequence Coad if Coad All PCM Data CLOADI A 8 c o E F S H ] FILE A-D [Specify the disk file to be loaded. [LOAD] _ | Execute loading Alll data in the specified disk file will be loaded into internal memory. (1) Insert the disk into the disk drive. (2) Specify the disk file 10 be loaded ([A), file A ~ file D). 122 = Itis not possible to specify files B — D for a PCM format disk, (3) Press (LOAD] ((G)). Then, if you are sure you want 10 execute loading, press [YES] (E)). To quit without loading, press [NO] (G).P0-2 Disk Load All Combi / Prog / Glob DISK LOAD~1 bFile Load DSM PCM Data ELOADI © E FE S H ‘This function loads all Combinations, Programs, and Global parameters from a specified disk file into intemal memory. ‘The procedure is the same as explained in PO-1 Load All Data, P0-3 Disk Load All Sequence DISK Load All Data Load DSM PCM Data LOAD-1 bFile CLOADI c D E F 6 4 L ‘This function loadsall Sequencedata from aspecified disk file into intemal memory. The procedure is the same as explained in PO-1 Load All Data. P0-4 Disk Load All PCM Data (for the T2/T3, only when optional PCM RAM is installed) DISK LOAD-1 Load All Data Load DSM PCM Data Load Combi/Prog tLoAD] c o E FE a H &@ 1LOaD} Execute loading ** Forthe T2/T3, his function can be selected only when PCM RAM is installed. ‘This function loads PCM data from disk into PCM RAM (optional). (1) Insert a disk containing PCM data into the disk drive. (2) Press [LOAD] ((G)). Then, if you are sure you want to execute loading, press [YES] ((ED. To quit without loading, press [NO] ([G). + Itisnot possibie to select files B—D fora PCM format disk. 123P0-5 Disk Load DSM-1 PCM Data (for the T2/T3, the PCM RAM option must be installed) DISK LOAD-1 »DSM-1 PCM Bank bLoad DSM PCM Data Load All Data Load CombivProg Load All Seauence Load All PCM Data ie meeoank 1 + Bank 2} CLOADI e AB ° e ¢@ 4H (A | DSMIPCMBank | 142/143/144/ Specify which DSM-i PCM memory bank is be loaded DAB 244] 344 @_ | Loap Execute loading *Forthe T2/T3,thisfunctioncanbeselectedonlyifthePCM (3) Press [G]. Then, if you are sure you want to execute RAM option has been installed. loading, press [YES] ((E]. To quit without loading, This function loads PCM data (Multisound) from @ DSM-1 Press [NO] (G. performance disk into PCM data RAM. = The previous PCM memory data will be lost. = It is not possible to load PCM data from a work disk. Save All Multisounds in the two banks will be loaded, and in the data to a DSM-I performance disk before loading. addition, all sounds inthe Multisounds willbe added tothe () Insert the DSM-1 performance disk into the disk drive, 4m sounds. (2) Specify the PCM memory banks (two banks) I—4into ~The total number of sounds is fimited to 100, (Sounds which to load the data, ‘exceeding this limit will be discarded.) ~Toload only a specific Multisound / Drum Sound, first save the data to a T1/T2/T3 PCM disk, and then load 1 Multi- sound /1 Drum sound. - Since the data must be converted, a considerable amount of time is required to load a DSM-1 disk. We recommend that you re-save the data as a T1/T2/T3 PCM disk. 124Page I Disk Load-2 P1-1 Disk Load 1 Combination DISK LOAD-2 File Load } Drum Kit 834 | jay ei Soun oad num sour Tnt?c@8 ELOADI eee eee mae aa Fie ‘A=D [Specify We dink ie Tom which wo load a Combination — (G_ Disk Combination | 00 ~99 | Specify the Combination from the file being loaded Tal Contin |_00=59 | Sey fac ery Conan ino whieh a wowed [wor [seve ting This fonction loads one Combination fom ads ile = tis notpossibleto select es BD for aPCM format sk. - Use the P1-2 LOAD 1 Program function to load the Pro- grams used by that Combination into the numbers. (1) Insert the disk into the disk drive, (2) Specify the disk fite containing the Combination to be same Program approximately 0/ When you press [C], no other operations will be possible for 1.6 seconds while the Combination name area of the disk is being searched. ~ When searching ends, the name of the disk Combination will be displayed in the upper right of the LCD. loaded ({A}), the Combination number ({C)), and the (3) Press [LOAD] ({G)). Then, if you are sure you want 10 internal memory Combination number ((E]) into which execute loading, press [YES] ({E]). To quit without the Combination is to be loaded loading, press (NO] ({G)). 125P1-2 Disk Load 1 Program DISK LOAD-2 bFile lultiSoun Load 1 Drum soun =——> IntiAad CLOADI ce . E F 6 H File =D [Specify te dik He om which Toads Program Disk Program 720853 | Spite Prog om il being ed [lneral Progam 100-899 [ Specify enteral memory Program no which he aa wb ded | (LOAD) | Execute loading This function loads one Program from a disk file (1) Insert the disk into the disk drive. (@) Specify the isk file containing the Program tobe loaded (AD, the Program number ({C), and the internal ‘memory Program number ((E]) into which the Program is tobe loaded. P1-3 Disk Load 1 Song + Itis not possible toselect files B—D fora PCM format disk, - When you press [C},no other operations will be possible for approximately 0.4 - 1.6 seconds while the Program name area of the disk is being searched. - When searching ends, the name of the disk Program will be displayed in the upper right of the LCD. (3) Press [LOAD] ([G)). Then, if you are sure you want to execute loading, press (YES) ({E}). To quit without loading, press [NO] ((G)). LOAD-2 >File Loa Loa | Bitig Load num sound ea CLOADI c D E F 6 H ‘This function loads one Song from a disk file. = When loading a Song that uses patterns, load the necessary patterns first. (1) Insert the disk into the disk drive. (2) Specify the disk file containing the Song to be loaded ({AD, the Song number ([C)), and the internal memory ‘Song number ({E]) into which the Song is to be loaded. + Itis not possible to select files B-D for a PCM format disk. 126 [Fite ‘A=D__ | Specify the disk file from which to load a Song [Disk Song 00-19 | Specify the Song from the file being loaded [Internal Song 00~ 19 | Specity the internal memory Song which te data wil be loaded | (LOAD) | Execute loading = When you press (C},no other operations willbe possible for approximately 0.4 - 1.6 seconds while the Song name area of the disk is being searched. = When searching ends, the name of the disk Song will be displayed in the upper right of the LCD. (3) Press {LOAD} ({G)). Then, if you are sure you want 10 execute loading, press [YES] ((E]). To quit without loading, press [NO] ([G).P1-4 Disk Load 1 Pattern DISK LOAD-2 bFile i Load 1 Di Kit reaq t Beas? toad 1 Multisound Load i Drum sound Pees =— A 8 © D £ E [Fie ‘A=D__| Specify the disk file from which to load a Pattern [G | Disk Pater 00-199 | Specify the Pattern from the file being loaded [EB] _| Internal Pattern | 00-199. | Specify the internal memory Pattern into which the data will be loaded il @ ILOAD] | Execute loading This function loads one Patter from a disk file. (2) Insert the disk into the disk drive. (3) Press [LOAD] ((G). Then, if you are sure you want 10 execute loading, press [YES] ((E)). To quit without loading, press [NO] (GD. (2) Specify the disk fie containing the Pattern to be loaded ((AD.the Pattern number ((C)), and the intemal memory Pattern number (fE]) into which the Pattem is 10 be loaded. = Itisnot possible to select files B—D fora PCM format disk. PI-5 Disk Load 1 Drum Kit DISK LOAD-2 bFile oa lultiSoun Load 1 Drum sound IntiKiti CLOADI A 8 c ° E F 6 H [A [Fite A=D__ | Specify the disk file from which to load a Drum Kit [| Disk Drum Kit 1-4 | Specify the Drum Kit from the file being loaded [E_|temat Drum Kit 1=4 _| Specify the internal memory Drum Kit into which the data will be loaded a {LOAD} | Execute loading ‘This function loads one Drum Kit from a disk file. () Insert the disk into the disk drive. (3) Press [LOAD} ({G)). Then, if you are sure you want to execute loading, press [YES] ((E]). To quit without loading, press [NO] (IG). (2) Specify the disk file containing the Drum Kit to be loaded ([A). the Drum Kit number ((C), and the internal memory Drum Kit number ({E]) into which the Drum Kit is to be loaded. = Itisnotpossibleto select files BD fora PCM format disk aP1-6 Disk Load 1 Multisound (for the T2/T3, only when optional PCM RAM is installed) DISK LOAD-2 ELOADI s Multisound 00) Specify the Multisound to be loaded go _| | woapy Execute loading ‘This function loads one Multisound from a T1/T2/T3 PCM disk and adds it to the Multisounds in PCM RAM. *For the T2/T3, this function can be selected only if the optional PCM RAM has been installed, (1) Insert the disk into the disk drive. (2) Press [Aland pecify the Multisound to oad. The Multi- sound name will be shown in the upper right of the display. (No other operations will be possible fora few seconds while the Multisound name area of the disk is being searched.) @) Press [LOAD] (IG). Then, if you are sure you want 10 execute loading, press [YES] ((E}). To quit without loading, press [NO] ([G)). P1-7 Disk Load 1 Drum Sound (for the T2/T3, onl The loaded Multisound will be added after the Multisounds already in PCM RAM. (AIll the sounds it contains will be added after the drum sounds.) ‘It is not possible to delete Multisounds from disk or from PCM RAM. You will have to save all PCM data to disk, clear PCM RAM, and load the desired Multisounds once again, ‘PCM RAM can be cleared by loading a freshly formatted PCM disk, or by turning the power off. ‘© After loading the desired Multisounds and Drum sounds, remember to save the data toanew disk using the P2-4 Disk ‘Save All PCM Data function, since PCM RAM data will be lost when the power is tured off. ly when optional PCM RAM is installed) DISK 1 1 1 1 Prog Song Pattern LOAD-2 Load 2 Drum Kit oad 1h nd Combi EE ery CLOADI 6 Drum sound 00- Specify the Drum sound to be loaded @ (Loa) ‘| Execute loading This function loads one Drum sound from a T1/T2/T3 PCM, disk and adds it to the Drum sounds in PCM RAM, “For the T2/T3, this function can be selected only if the optional PCM RAM has been installed, 128 ‘+The procedure is the same as explained for P1-6 LOAD 1 MULTISOUND.Saving to disk Use these functions to save data from internal memory to disk. ‘When datais saved toadisk file which already exists, the old data of that disk file will be lost. Youcan use the disk protect slider to keep important disk data from being accidentally overwritten. ‘The following types of data can be saved to disk. All Combinations, Programs, Global parameters (2-2) ‘lll Sequence data (P2-3) ‘All PCM data (P24) All data (P2-1) ‘MIDI datafile (P3-2) It is not possible to rewrite an individual Combination, Pro- gram, Song, Pattem, or Drum Kit inside a file, Load the file You want to edit (but remember to first save the current Contents of internal memory as a different file) and edit tin memory. *For the T2/T3, the separately sold PCM RAM option must, be installed in order to save PCM data (Multisound data Drumm Sound data). A newly purchased disk must be “formatted” before it can bbe used to store data. 2HD disks used by another device _must also be formatted before they can be used to store T1/ ‘T2/13 data. For details, see P2-5 Format Disk. ‘While data is being saved to disk and the display shows “Now Saving”, do not remove the dis ‘When the data has been correctly saved, the display will show “Completed”. Ifan error message appears, r-insert the disk in the disk drive, and try the save operation once again. (Refer to page 152 “Error Messages” for an explanation of each error message.) 129Page 2 Disk Save All P2-1 Disk Save All Data OISK SAVE bFile Format Disk ave i7Pros gave All Seauence Save All PCM Data CSAVEI A 8 c o E F o H FILE ‘A—D___ | Specify the disk file into which the data will be saved @ [SAVI Execute saving ‘This function saves all internal memory data to disk. (@) Press [SAVE] ([G)). Then, if you are sure you want to execute saving, press [YES] ({E). To quit without (1) Insert the disk into the disk drive. (Make sure that the saving, press [NO} ([G)). write protect slider of the disk isin the Write Permit position.) (2) Specify the disk file into which the data will be saved ((Al ile A ~ file D). It it not possible to specify files B-D fora PCM format disk. P2-2 Disk Save All Combi / Prog / Glob DISK SAVE bFile Format Disk ave equence Save All PCM Data ESAVEI A 8 c D E F c 4 ‘This function saves all Combinations, Programs, and Global [parameters to disk. The procedure is the same as explained in 2-1 Save All Data. 130P2-3 Disk Save All Sequence Format Disk ESAVET This function saves all Sequence data from intemal memory to disk. The procedure is the same as explained in P2-1 Save All Data, P2-4 Disk Save All PCM Data (for the T2/T3, only when optional PCM RAM is installed) DISK SAVE Save All Data Save Combi7Prog Format Disk TSAVEI FT [a |_taver | Execute saving “This function saves all PCM datain PCM RAM (optional) to (1) Insert the disk int the disk drive, (Make sure thatthe aPCM disk write protect sliders inthe Write emit position) ‘For the T2/13, this function can be selected only if PCM (2) Press(SAVE], Then i you re sure you wanttoexecute RAM (sold separately) has been installed, saving, press [YES] ([E}). To quit without saving, press {NO} (IG). 131Formatting a disk P2-5 Disk Format (for the T2/T3 when PCM RAM option is not installed) DISK SAVE Save All Data Save Combi-Prog CFORMATI c ° E F 6 4 P2-5 Disk Format (for the T1, and for the T2/T3 with PCM RAM option) DISK SAVE Format Tyre Pa eonence PEN BOES CFORMATI © E E @ H ‘This function formats a floppy disk (2HD type) for use by the vir2sr3, - Anewly purchased floppy disk must be formatted before it can be used to store data. 2HD floppy disks used by other devices must also be formatted before they can be used to store T1/T2/T3 data. ‘Whena disk is formatted, all its data iserased. Be careful not to format a disk containing important data, and use the disk, ‘write protect slider to prevent accidents. (1) Insert the: (2 For the TI (and for the T2/T3 with the PCM RAM option), Select the disk format ([A]). (For details of the disk format, see page 14 of the Operation Guide.) into the disk drive 132 [PROG / COMBI / SEQ4 FILES Select Program / Sequence disk format | PCM J PROG/ COMBI / SEQ Select PCM disk format | [FORMAT] Execute formatting (initialization) (3) Press [YES] ((GD). Then, if you are sure you want to format the disk, press [YES] ((E)). To quit without formatting, press [NO] ({G)). ~ Be sure that the write protect tab on the disk is in the open (write permit”) position. - Formatting takes approximately 2 minutes. = Do not remove the disk while formatting is taking place (while the display shows “Now Formatting”). = When formatting is completed, the display will show “Completed”, [fanerrormessage appears, re-insert thedisk into the disk drive and try the operation once again. If an error appears again, try formatting a different disk. (For an explanation of each error message, see “Error messages” page 152.)MIDI data file ‘The T1/T2/T3 can receive MIDI Exclusive data (sound data etc. specific 10 each device) from external devices and save this data to disk. ~ Each file can store up to 64 Kbytes of MIDI data. - Since each device handles MIDI exclusive messages in different ways, it may not be possible for the T1/T2/T3 to save data from acertain device even if that device is able to use exclusive messages. = In order to save/load a MIDI data file, the sequencer data memory must be at least 33% free Page3 Data File P3-1 Disk Load MIDI Data DISK DATA FILE bFile ave lata {LOADI A 8 © 2 E ian File A-D__ |Specify the disk file to be loaded 7 @ {LOAD} | Execute loading This function loads exclusive data (unique data for each device) that was received from an external MIDI device using the P3-2 Save MIDI Data function, and transmits this data from MIDI OUT. (1) Insert the disk into the disk drive. (2) Specify the file ({A], file A — file D) to be loaded. = Itisnot possible to select files B -D fora PCM format disk. (3) Press [LOAD]. Then, if youare sure you wantto load the data, press [YES] ((E}). To quit without loading, press [No] (Gp. ~ The data will be transmitted from the MIDI OUT A jack. - Donot remove the disk while the “Now Loading” message appears in the display. 133P3-2 Disk Save MIDI Data DATA FILE bFile CSAVE] A 8 c E FE SG H File ‘A—D__ | Specify the disk file into which the data will be saved @ [SAVE] _ | Execute saving ‘This function receivesa MIDI system exclusive message from an external MIDI device, and saves the data to disk. Data received from when this function is selected to when youpress [SAVE] ([G)) will be saved. *To save a MIDI Data File, the sequence data memory must be at least 33% free. (2) Insert the disk to which you will save the data into the disk rive, making sure that the write protect tab on the disk in the open (“write permit”) position. (2) Specity the file ({A], file A—file D) into which the data will be saved. + Itisnot possible to select files B ~D fora PCM format disk, (3) Operate the MIDI device connected to the T1/T2/T3 MIDI IN to make it transmit the system exclusive data you want to store, Different devices will call this function by various names, such as “Data Dump”, “Transmit Ex- cclusive Data”, etc. Consult the manual for your device. 134 - The display will indicate the number of bytes in the received message. - Exclusive messages from more than one device may be received, up to a total of 64 Kbytes of data, (If you will be saving data from two or more devices of the same type, you will need to distinguish the data in some way, for instance by transmitting the data on different MIDI channels. Korg devices allow you to specify the transmission channel of exclusive data.) If more than 64 Kbytes of data was received, an error message will appear, and the received data will be canceled. (4) When finished receiving, press [SAVE] (IG). Then, if ‘you are sure you want to save the data, press [YES] (ED). To quit without saving, press [NO] ((G)). ~ Do not remove the disk while the “Now Saving” message appears in the display.Program Card loading and saving ‘These functions load and save data using a ROM/RAM card, ‘The following groups of parameters can be Loaded. 100 Combinations / 100 | 1 Combination Programs / Global | | Program parameters 1 Drum Kit (P4.1.2) 50 Combinations /50 | Programs / All sequence | | | (P44) (4-5) (P46) data Global parameters (P4-1) All sequence data (P4-1,3) ‘The following groups of parameters can be saved. 100 Combinations / 100 Programs / Global parameters 5-1) Page 4 Card Load P4-1 Card Load All Data © A RAM card will not hold all the T1/T2/T3 parameters, so unless you are creating a card that will be used for the M1/ MIR, save data to disk. (Parameters that can be saved to disk are listed in the Operation Guide, page 15.) ‘ltisnotpossible to store T1/T2/T3 sequence data ina RAM card. ‘Program ROM cards for the MI/MIR and RAM cards saved by the MI/MIR can be loaded into the T1/T2/T3. ‘Also, Combinations and Programs created on the T1/T2/T3 can be saved toa RAM card and used by the MI/MIR. (For details, see the Operation Guide, page 14.) * Use a Korg “MCR-03” Memory Card RAM (256 KBits). ‘*Loading data into internal memory will overwrite the data previously in internal memory. ‘It is not possible to load if Memory Protect is tumed On. (Defeat memory protect in Global mode.) Loa Load oMbi/Prog All Seauence Combi Destination Load 1 Prog. Load 1 Drum Kit LOAD CLOADI c D E F 6 4 ‘COMBI PROG A/ SEQ ‘COMBI / PROG B / SEQ J Specify whether you wantto load the 100 Programs from the card into internal | memory Progratns AQ0 — A99 or into BOO - B99. [LoaD) [Execute tating ‘This function loads all data from a ROM/RAM card (Combi- nations, Programs, Global parameters, Sequence data) into internal memory: (1) Press [A], and specify whether you want to load the 100 Programs from the card into internal memory Programs 'A00 ~ A99 oF into BOO ~ B99. (For program sequence cards, specify AO ~ A49 or BOO ~ B49.) (2) Press [LOAD|((G). Then, if you are sure you want to load the data, press [YES) ([E). To quit without loading, press [NO} (IG). + When Combi / Prog A / Seq is selected, Programs BOO— B99 (CO0—C99 in the MI/MIR) used by a Combination will be replaced with AO0—A99 when loading 135P4-2 Card Load All Combi/ Prog /Glob CARD LOAD is oad eS Load 1 Combi 1 Load 1 bDestination Drum Kit CLOADI c Combi/Prog A Select which 100 Programs Combi/Prog B (A00-A99 or B00-B99) to load from card. [LOAD] Execute loading This function loads all Combinations, Progr ams, and Global parameters from a ROM/RAM card into internal memory. ‘The procedure is the same as for P3-1 Load 4-3 Card Load All Sequence je | All Data. CARD LOAD Load 1 Pi Load 1 oD Brum Kit This function loads all sequence data from a ROM/RAM card into internal memory. Press [LOAD] ({G)). Then, if you are sure you want to load the data, press [YES] ({E}). To quit ‘without loading, press [NO] ([G). 136P4-4 Card Load 1 Combination CARD LOAD bSource Load All Dat dt Prog [Gag ConbizProg Sad 1 Drum Kit Inti C@a CLOADI A 8 © D E E S 4 ssa ws = | f) [intcomst | 00-99 _| Specify the internal memory into which the Combination will be loaded | we | “| twoapy [Execute toad | This function oads a Combination from acard. Use the P4-5 (2) Press [LOAD] ({G)). Then, if you are sure you want to Card Load 1 Program function to load each Program used by toad the data, press [YES] ([E). To quit without loading, the card Combination. press (NO] (GD. (1) Specify the card Combination ((C} t be loaded, and the internal Combination memory (E]) into which it will be loaded. P4-5 Card Load 1 Program CARD LOAD bSource Load All Data Load Combi/Prog Sesuence oa Load 1 Combi Int:Ag@ CLOADI A 8 c D E F 6 4 [CARDPROG | 00-99 | |IntPRoG A00—A99, | S} | B00 - B99 [LOAD] | Execue loading This function loads a Program from a card (2) Press {LOAD} (IG). Then, if you are sure you want to (1) Specify the eard Program ({C)) to be loaded, and the toad the data, press [YES] (IED. To quit without loading intemal Program memory ((E) into which it will be press [NO] (IG). loaded, 137P4-6 Card Load 1 Drum Kit CARD bSource LOAD Load 1 Load @11 Data Coad Combi-Prog Coad All Sesuence Combi Intikitd CLOADI © 2 E E s 4 This function loads a Drum Kit from a card (1) Specify the card Drum Kit ({C}) to be loaded, and the internal Drum Kit memory ({E])) into which it will be loaded. Page 5 Card Save P5-1 Card Save All Prog / Combi / Glob CARD DRUMKIT] 1-4 | Specify the Drum Kit to be loaded from card INT DRUM KIT 1=4 | Specify the internal memory into which the Drum Kit will be loaded [LOAD] | Execute loading (2) Press [LOAD] ((G)). Then, if you are sure you want to toad the data, press [YES] ({E). To quit without loading, press (NO} ({GI). CARD SAVE Destination CSAVEI c D E F s H BB) [COMBI/PROGA COMBI/ PROG B Save all Combinations, Programs A00 — A99, and Global parameters Save all Combin: 1s, Programs B00 — B99, and Global parameters G@ | tsaver Execute saving ‘This function saves (writes) intemal memory data toa RAM card. The protect switch located on the upper part of the card ‘must be tured Off, (1) Press [B], and specify whether to save Programs AQQ— A99 or BOO—B99, (2) Press [SAVE] ([G)). Then, if you are sure you want to save the data, press [YES] ({G]). To quit without saving, press [NO] ((H]). 138 ‘© When data is saved to acard, the card will automatically be formatted. This will erase all data which was previously in that card. Use the eard protect switch to prevent important ‘card data from being accidentally erased. ‘*When Combi / Prog A is selected, Programs AQQ—A99 used by a Combination will be replaced with BOO—B99 (COO—C99 for the MI/MIR) when saving.eet 71. 72,73 MIDI IMPLEMENTATION 1. TRANSMITTED DATA 1 cuamiey vessacss Status | seeond[ Tae serpin Teme ood aca OSLL ANGE] GOO 0000 we 1002 amen) oxke keke | Orve vor? ala i wer eneiwttt sexta o00 oat | oer sve] rites Yeuision Gor sac — |e sexs ams | 000 010 | oer rer] wP aetition Ger sian» — | € tors ams] o00 0110 | ter oer] ate entey 6) CE sider, Aree) 2 | 8 teu} ono o120| tee wre] ete ney ab) ce steer, area) av | & rex ama | ot to | sen v0} taper ft baer east) | ven aan] 010 oro} our in| saper oo btper fea» fc sit man 0 | oe) ot eres Crema) oe |e 1 oma] one | oe] oe mare Came anin ye | tt ama} ee eee | or vr | cnet tte 10 | coe | | crac 118 sna ore sr. ~ |= caange (Fegan or Cosi) | F | | moreno tot ana} ovwy www] === ===] Chasned Pressure (After Touch ) t tuo ease |_ ote vote | oe ste |_ eter cage oy stick) > ¢ ‘enn KID{ Channel Ho-(O~15) Usvally Global Channel” hen using Sequencer” each Track’ s channel tnd when in Coabination Mode. exch Viabre's chuntel Atvays Enabled ¢ Control On P Frown 1: Enable shen After Touch On E: Gnabled wher Exclusive On @ + Enabled men Sequencer is Playing). tecording®) BAe 51 TLS Wek Hau 9120. Keys + Transpose) T° Hak HRAAPLO~11S (TOReys + Transpone) Th: AAR RAMA 24~108 (BLKeys + Transpose) #2: Prop. Prog. Conbi.E. Condi Hose Only 43: Seq recoréed Dats. External assigned pedal and Costrol Rusber assigned Joy Stick use ell e101 ares 1:2 sysri4 coon wessuces ‘State [Second | Tad THEE OOTOT GL GT] ann A tnt ent | tte ses | ~~ Deseription Tag Position Pointer ME TIT + Least significant EMR ABBAS Hoot signi fveant Song Select 5.5588 : Song No “Transeits wher Sequencer Wade Cinternal Cheek) 5. SYSTEN REALTINE wBscACES TT 1006] — Traine €Foce wm uni oo stare 4 ut ion | continue 4 HEL 1100] Stop ” Liu 10] Active sensing es TeansalTe wher Sequencer Youe (intersal Clea 1-4 OKUVERSAL SYSTEN EXCLUSIVE AESSAGES 1st Byte» L11L 0000 (F0) = Exclusive statar 2nd Byte = OLL 1110 (TE) Mom Reeltine Message | fra ayte + dcce cece (co) : Chanel Keaber #5) Ath Byte + Osss esse Coe) © Sub IDL | ) J. Sh Byte = oss ass (st) = Su 192 (Su IBLSer) or header Sih Bye + sed Ste) © De } 15 co ase = S0~0F = haat Cant Sa ar — ETE] tet vin Pear sie be ie Oe] a tet tse reco ce |) stpte mee ctr 8] | a: Beierape ress &% | oi | top totr reeiesin 8] | tooer set eter to factave 8 02 | Inguiry 1D Reply ol ‘on, off in DATA DUKP Page. D | Cane JO] except Inquiry 1D Repty) al ae aa lo eS |e | v5 sate reste sues 11 ovoo (F0) + Exctusve States 7 Seu Bye = oo ea Cn) © form 12 olotat eo | BL kar 4th Byte = 0010 110 C26) + Th. ‘© ogo) 1001 (18) + Lg 10 ) Sun Byte = Off £FFF (EF): Function Cate Btn Byte = Ocdd ed (ae) + Data 13 10 1st Byte Dad Byte = 0100 0010 (42) = KORE 10 | | | | | nu orn (FT) 5 ad of Bretusive BOK Jove unetion code List ane Description | oe bata 7 | ALL pao sumo awe ve | 46 | uu nmrisono wae par | | roe ctmos Q 41) PARAMETER CHANGE | Jo ‘co | Proctax pazaneTeR Dor lo]o 4c | sul raooean pamareven purr = J] "| 0) 4s | consinarion parwerer vor | O10 4 | AL comaiarion eazuetaz poe |G) ~ | a | Aue ssaosice pata Der Jo} jo si | Glosat pave pore Jo} }o so | ALL pavaccve. cu. pe. seq) owwr }O} | 4 | nivrisoow preweeree OUP | O 26 | Receive wessacs romuar Extor | 2 | DATA Loxo cowpLreD | 24 | buva Loa exsoe i | waite couPLeTsD zz | naire exwoe sisted when Bi Request Hossage is © + Node of No is changed by sv Ds Date dump oy SH (Cont respond to Exclusive Oe OFF ) Bs BL tessaze received 2. RECOGNIZED Fe oar, wpssaaes RECEIVE DATA Suef teat] eT — Tee aE 1000 ona | Okkk kkk | Oxxx xxax | Note Off Ta 1001 nnn | Okkk kkk | 0000 0000} Note off ja 1001 ann) oetk atte | dey seer] ote 02 ‘ coy vee iat 1011 sma] o%0 0001 | vey swe | fLteh Aoteation ¢ 1011 mama] 0000 0010] vey ove | Ye Hossein he 1011 amma | 000 o110| eve vv ate xt C8) wale 1011 ann] 0700 111 | over wre | Yt c veut anan| 0010 o110| ove vrw| oat Eetry ist) nale von saa} 100000} etx nt | uae on ¢ ten aan} 1800800) ob sae aaper Os ¢ vo1t naa 01106000 ee 6000} ara tcrenst nals tort ness} 0120 001 | eo00 0000 | o4Te Becreaest nua} e sent am cx amo| owt oo arcreneeer can tee) ot | E tot anun| 01100101 €000 0000} 9c Paraaeter Bo (ASH) Tuned a0 | 1011 nana! dece cece | Orv vrrw | Controt bat (Por Seq. Recording) | @ | fee eee-00™10) vert aman} 01st s010| ote om | coca contro ort 4 yout an{ o1st oie} ous uit] ocat contros 08 4 tout naa} 011 1011] e200 0900] AL nots orf A vou aan 11 10x} ef ono ant oes ott Ja 1014 aun) 0111 1110 600 cane | ne a TRMSHITTED B44 1 + Frog. E Prog, CooblB Coebi Mode Only #2; Date beyond velue of #9 are assigned 8 nev vs ue by subtracting 10 ee 10000, 12-2 11: atter Proceisieg (Walle Exclusive On) ‘Trangaite Exclusive Mosssge(0ATA LOAD COMPLETEDJor(DNTA LOAD ERROR).it 2 SYSTEN COMIN MESSAGES 2-5 SYsTia BICLISIVE MESSAGES or aT oS Sioa teeta nen force lying ocardan Ta ani oat mae | Gog Pam ces inh | He miter os a uci es so won) sss] =a] Se te ET STStSpOr f} o “eam wx me nga = ep eee un me want 8 8/S[8] | |e seer rere Receive when in Sequencer Mode (External Clock) ‘ALL MULTISOOND KANE DUMP REQUEST O/O/O/0 to Exclusive Oo Off Poca putt to? tus 1°18, ts Pe 3 ser sie suc vata ate var west 0/0|8]o}olo} étomrs em Se aR —— Stanton usar ba es 8 me Thi] Wal Gor x ft comiron suuete sar waest | @/0[0|0]0|0] Fries re woe it ine| ear x Ai Sues ts ea 8/8 ]/3/3)°)0} §: See we LULL 1011 | Contiawe # GLOBAL DATA DUMP REQUEST @/d/o}o (As ANY OTRER ¥ODE mit| aa x ‘ithe cmt eta or ne | 8/9 [| THE 0] fete eae ‘nian ners er tne 8/9}3/8 ‘#4 Receive when in Sequencer ixternal Clock) ee | vom * ee a COMBINATION WRITE REQUEST jo fxg, ser pcre min «7 | a ee somo mate oer ofojofo Sob 12 “Description J does not resrons to Exctssive on. orf | 40 | procian raRaneree Dux? Ilo sais ay ee ee 2/0/8]0 i fesni meant won) 4s | Stoney ururer pe 8 Sats buy net 3 | it contento set er e|slolo oy | fe keteeet tn 2 | AL Se bc or 8/3 /9/8 te | tp raat tert | tiesto 8\o/o/9 fat | semis eons 4 | ithe comes var — 810]/3/0 |S | an 4 | iisteone mats ar 8|9/8]0 eters fe |e ce ojolofo} | Lee 4a | panaueren cunnce Jo}o 8 Sat petra ren cust Lo |ze 3. MIDI EXCLUSIVE FORMAT CR teeing T tran) (a) a seaones oar nar mast f ae sarin (2 we wouest fs Fic isa | ELT Ht earns oT x0" | AL SEWIENE DTA UU REHEST| 188 Tove ta | BRLRTE ut toon ome ont onib) | aor mecst vm iia | or iu et _| gor eevee IM seneage ad Tana Fact oy Fn nen These Ny perenne aod Tan oy Fao eae core no ae x (a) mon ester po sewst 8 te acc ec rah BY | LITE FEE Tea | HERI Ba ovo iid | coma tau Dwr MeeEsT on oor oto | recta PARTE oe Retest. 108 cove oxo | mew sn une | eceivoe thr aesnge aad WeaTig TeavdO ov as esse Tecelver TH bevsge an Tsay FACT oF Fe wesogs (2) AL pun som nae uu age 8 (uy a tue. com roe 80 ou HoMEST 7 in Tero Towns | STE wane Feat wee | BRE Het or it) | ALL oFO SOD AWE DOP tgtest ir oto 0a | AL DAACUA.a nes» DEP aa om foro once | ten dete Sant ‘tore 1b core oto | hen ger witout] sor sive Tie wees Bad Tramsaie FeTTo TOT ase TRieher TH Seasnge- TORTS RCT OFFS este (9.2 esto pa ber mae z (0 wurisoo pana nop anaest e [7 Bese pe Desert owe eve | BELSTIE woer eat ie we | BCLTIE Hn oor o1io” | aL ation aM DOP eawest st oor otek | ADTISOM PutMETT DMP BEQUEST SH tow oone | rer tue Sut Sore 1) tian _| ea wut ort) por Receives this sessage only if the PCH BAK bas been installed. Teeniee Hi neange-tad WaniTie TROT oy RCT testes Aecrves this sennge and trennita Fee“ of Feet ete 5> Ape ana Do? ast 8 (ya vtec sn sous & ite Desc iTaE a Foca aa Gy | SLT Water freee at | Bu Ween oot 100. | alt noce PApuETER DMP ABest 1k oot eet | procar miteReost a tow ome | Praree aun ‘ere 5 cove vee | Progras Bu one tian | wr Stor vyop | ite Prouan Ne 0-18 ele HT Bae SDT TanTTS TRIE POT ee out ene mit saath se meet : Woceor nT sennge" W100 Toe TT aE TTS Tae or Fue sees a a (ag) cussion me woyesr & Aarne | DOLSTIE wanet m ean ont tao! | coumstion rere var aeaest oon oa ing | BCGSTE pee tion Sor coor 10:0” | vsinrion ITE weourst a8 Tesies hiv aesape tnd Wantito Fac ov Fnc tessnee oor eo) 2) AL covsisnioneaatees ovr srquist 8 ee eral feted [tree __f__Pescription eceives this nessage, writes the data and transeits Panc-2t or Funcv22 wessage. Tove tn Cy | ELSIE Wie font tot | ace comtMMMe® DAP eget 18 (voc pataere oe at ton ooo ie Torco tina | or Toran | ELST We Tecevae Thy Senge and Waneaive WSCAD oF ORO Bese oo oto” | rroca Pameex our om teae ace | Date ott) non | or aceives {NTs sossage © Gala and Tansaiis Fane'TH oF Pune aessage Receives FunesJ0 acssoge. and frasaite this aeteage # dats. Thon the Prouan fois chanted by SE. transoits This eessage & dataev (181 ALL pooceay paRavene® oor Rt frie rps Description Factz. tn. TWT8) | GRCLUSTVE HEADER 100 1100 PROGRIM FaBARETEROOKP a ooo 00ce |} Tek wore 3-29 aed aaaa | (wot uu ou | eo eceives FanevlG aessage. and transalts hs aessage 2 data ‘Transeits this wessege b data by DATA DU. {382 conaLysTiog paRaErER vor RT Bite —_beseriptieg —— Facv2 Sn 06 | EYCLISTVE HoeR 100 2001 | CORBURATION PARAKETER DM we wat ataa | oats note 6) uu ou_| gor eceives Panel nessage. and trasslis this aessage & date Heceives Func=1D aessoge, abd asseits this aessage & data Transats tis message date by DATA DINE eceives ay pessoge & Gata. and Tansaite Fune-T) or Func-24 wessoge Heceives Foneel8 aessege, ané trantalte this assage # date ranselts this aessage 4 ctta y DATA DME Tecelves tile eeseope & date, ond (ransete PROPS or Fune-2t wesseee Feceives this sessege 1 Gata and transla FanoPS oF Fune-24 wessnee When the Combi No is changed oy SY transaits This Bessag0 & cata (212 ALL comsinaTioN pawneree oowP RT — 5) Serer igtlca Farge an 26c16) | ICSITE Wane 100 1:01 ALL CORBINATION PARMETER DOXP «oH ‘ao 0000 ee cous bate wont 9 uu ou fo Foceives this naseage 4 Gala. ond Traasait TaaePS or Fune-04 weesaee (181 aL seovence pans pene 8. T028 enty) bie Deseret Foci 3n. CIB) | GTCUUSTVE HEADER ‘00 4000, ‘AGL SEQUENCE DATA DORP an ‘oo 0000, Asse sess seq tata Size ore 10-1 ontrot Date wore 10-29 ede dats Sequence Deta wore 0-3) buen | aor (19) euopaL wate OOP RAT ar ——imreigtion [Ficez to 2eCia) | ERCUISIVE Weapee 101 000, (Labi BaTh DOP su ‘000 0000, add sess ete ote un out son Taceiven UATo aossoge A ia, aod Transits PonevdU or Func"24 nossage. Receives Figc-OEwessage. and transeits this pessage & ta Teansats this wssage & ata by DATA DOW (20) MLL pATACcLoBN Coby. Pros. sea) puNP__ TPS oats) = ate descr iptiae a2 9n 06010) | HCUUSTVE RENDER 101 0000 | ALL DATA(GLAL COMBI PROG SEG) DOP SoH ven onc0 sss ssss | Seq ata Size (nore 10-1) } uss aess | tate wore 12) uu om__|_gor ocelves 105 aeisage 4 Gata. aad (anselia FIRCTD or Fune24 message Aoceives Fune-OF aessage, and transaits this sessuge & dat Traneeite this eessage & ara by DATA DOP. (2 wom easuaereR pou? Rt beeen 1 CUSIVE wesoew 0100 0100 | AULTISOOND PaRwuereR ou a 008 anes | Yonder of Msltisound wore 18) use dead | bate OTE 16) uu on | po Toceivos end Trnsaats This aassage only 17 Wo POU AM has been installed. Receives this eessage A data. and traneatts Func-28 or Fun24 aessoge Receives Puoe-I6 sestoge. and transeite this sessage data, Note: then this Mltisound Paraseter chap it rocei¥ed. Drun sounds Loaded fron x POV disk nd POM data received af Deas sounds via Saaple Duap can be used as 8 Wltisound ‘20> woe cance O28 only). T bre eseription Foe an B60) | USING BENDER 100 1110 one cee aa 005 axe ode Date wore 1.2) 00 tote Progran Bonk aot 2.353) su ou, ink ‘oceiven this eevaege # Gate changes the Wode/Bsak an translit Func-23 or Fune:24 hen the Kode 18 changed by SF. trapsaite this nessage deta.ve 2) PABAAETER CHANGE 5 wwe view | value (LSB bit6-0) crwe veey | Value (ASB Bit15-7) uno ear a Faw 35.06 | EYCLISIVE Babee ‘100 obo | PABAKETER cARGE 000 apop | Paraneter Page woo osss | Parageter Stage 000 Opop | Paraseter Position a cris 6.7) rae 67> rate 6.7) (fore 12) (Hore 13) Roenives this setsagp B Gata and Walt Then the Paraeeter No. is changed by St TunerOh oF Fuce24 sessene ‘ranseite this wesage @ date A) DRUK-KIT AND HULTISOOND PARMETER CANCE | ____ Description ‘woo cote | Beak ton sane | rum tit / kultisound Mber Gage sese | Inder / Sound Ruster ‘100 peep | Peraseter husber ny erve | Yaloe Gs vit6~0) Orv wvew | Yatoe (asp yitia~7 mn oni_| sor DROW KIT AND HULTISOUND PARKEETER CUANGE 538 (ore 17) (wore 17) (ote 17) crane ®) (ore 12) p (ore 19) Wacelves thie sessage 0 Gata. and Wanwaive 5) ALL DRO SOUND HAE Taner oF Fone wesscus RT ‘100 c1it | ALL BRO SOIND Nave ‘0000 ood | POH Date Ban see aese | Mater of Dros Sound uae aaaa | ante su on_| sor Bie eseription —— Face dn-38 | EVOLIGIVE READER am Vote 1 vote 1) (ote 1 received via Sa Teceived stoes, the extra Dron Sounds 6) AL WOLTESOEND MAE ‘heeiven FuncvIF eestagn and Wransale THs aessage @ data or transaits Furce2 aessuee oceives this eetsage only then col. ané transits Puac-23 or Fune-24 xessoue Note: The tronsnitting device can send mages for a Druas sounds lonéeo trou 9 PCR disk snd Le Dune It the tunber of Grae Sounds oa the POL RAI exceeds the nusber of Tl be delete. t FOw2in Je | EFCLISIVE HEADER ido ole | ALL NOLTISOOND MAME ‘gon once | PeX Bate Bank ess sess | Mueber of Hultisound ass ates | Dato aur os_| tox aa 1 wots 18) (WoTe 16) ote 1) Weceive PuNGTIO essage and Wanwalte THe Tovrnae Tate or transalts Pune26 aessuge (2 owe asa t “ate ~Teceriptiea Fite 3n 28 | HCLisIve Hoe ‘100 0oi0 | NODE DxTa en 000 anes | dade Date (wore D> 000 0a0e | Progran sank (wore 3-3) 01s Goer | card Variation aoTe « ‘ote alee | PEN Honory Status «nore 6) uous} oor > MDL IR DATA FORIAT OR z -_ te | ___tescriptin | Face Sn 26C1N) | CYCLONE Rennes muon] gor ‘Transabte (7s pessage oben DATA WHITE IDI has boon Ga 2) waITE Baton r Bate Teacrigtiea rs Se ‘ol0 obl0 | RITE ERROR mk uu on_| oor ‘Trantaite tale eessage shoo DATA FAITE MIDT Bas BOY Boon oceives FUGCVID nesbage. ond Transl This wevwage W Gata 1 nessge Cex dete Tengthy soo o110 IDI 1H OXTA FORMAT ERROR 288 uuu out at ‘rapsalts C16 aecsage won thore ls an error In Te WI (20) DATA vono conte z te | teseription Five te 26CIAT | ERCOSVE WEIDER ‘9010 0011 DATA LOAD COMPLETED 8 uuu ou iat ‘Transelts (NTS eeasage Woon DATA LOAD PROCESSING bave been coapleted (200 DATA vo nao 1 ———erigiion ieLaSTVE Renee ‘onto 0100 DATA LOAD Ee20R on nu ou io ‘ansuite {hiv eessage tion DATT [OND PIOGHSING fave aot been completed (ex: protected? 1) HASTE cousLereD r arte —peseription—— Poa? dn 86 | CLISTVE aoe ‘ol0 ooo | WRITE coupuaTeD, om pleted empletessrt NOTE 1 = asan = 0 = CoBINATION 3 5 BpIT FROG ——_—a:DISK/CARD 1: eDIT cous. ¢ = Loma 2 > Progean 6: saoueicer WIE ase 60: Froed 2 Prog 8 MUTE 3-2 5 Uf product 1D Ls 26 0: fined C0: Prog Prog 8 NOTE S-3.5 Af aneae? or 2 CoO or 1 ottersise Coo Fined NOTE 4 cit.an = 0.0 card off P01: xe card cxon) soz: = = GAWD b= 1M care ee 0+ 61b 1100-190 £2 BAM Card (Protect off> 1 Gib 30: S0¥5e9 sa TO oy 2 Senvencer NOTE 5 = cc = 0: care of¢ Fe 02 Mo Pex Ru SLs Ne cere 1 12x Word Pow ea 22: FON Card In NOTE 8 = COMBINATION PARWETER OUNP FORMAT T1210: (Pa + CPorouoter ¥o. 288) 24onyte « Ta84s2 > ax841(102) > ETSByte NOTE # + ALL GOMBIAATION PARAMETER DONP FORMAT 11.12.10: (Combi. No. 00 (2408yt0)1. (See TABLE 2) coab. No 88.(2¢08/¢0)) 24on100Byte > THBM2BH — BHBK2BNCIH4) » OTARHBVtE (8. G00) NL MLB: (Caebs. No.00 C124Bytey]-- (Comb No 98 (184878003 2q00yte + THITTLID — BALTTLECYS) = 141TRByte S800 ALL SEQUENCE DATA DOMP FoeuAT (Soe HORE 4) lot = Sequesce Data Size (28yte) (ata S520 (216-00) (ata size (4it12-70) ave 10 10-2 = 11.72.13 Control Dota Duap Foraat «43228yte) Tontrot bets (ong Size(160) x 20 ~ 2000yte)), Iwattere Date ‘soot. {Song0-Trackh address (26te). (Soeg!-Trackh. addres. Cratternd aatcess (28yt0)) pattern Ene Adécese [ong0-Track8 Address) Songi9-Track8 Address) (s208yte) atternl09 Address) (4008yte), caste) ALR Cooteol Data Danp Forabt (13228yt6) : {conte bata (Song Siz008) x 10 + 908pte)2 Pao asta romwat ac0~ for MOE. ORI I eee eccieatne fem : a E (Sonad-Teect stress (2h/%e))-(Sone0-Trackb Address). DATA E8et = Bit x Te > i (Songi-Trckt Adtross)' [Song Traeb Addest) (byt) Powe no bo at =e! Ceatsernd aaress (287t)} TPattornb Addest) (OB) E OO) Wo leer] HE TH: (Pattern End daces® cated) i 1a any tat Tas oy 10°5 + Seaence Date Deny Forest m4 (Sewence et taal Byte}. eq ath Bata For para c iset stayed toa —e ee ee ee EC snmeronon te 0 ~ 97 Re in 9 BS ! 7 T on 00 a TO) CLT * 7 GUT : 28 is 7s ‘T1729 + 4tOste (Seq Dats Sielbyte © THA)B — BALIYE ae ae aa FRc 10-1102. 16-3 = 2GAHBDBe C97 Tec) NOTE 6 = Phocton Pannen DOR comtAr ( see THLE 1) MME + s22Bstertaiseg beta SizelBrte = TACHD — AciCH}OvLe ’ 10-1 10-2 10-3 » 46ACHLADpBE. (OEE Bee) “11.72.15 (Praoetr Ro 00, Pareneter Ho 158) 8oByte « 122206 — S208) » LaDBpte NOTE 7 + ALL PROGRAK PARAMETER BOKP FOREAT eT TD: Prog. A 00 (1bDBpt@7), [Prog 8 98 Ab0Byte)) 6or200Byt6 = 4S7IKT#9 + BrASTIA(UHB) + B65TROVEE CLI. Teed [Prog No.O0 (143Byte)} ~~. Prog. No.8 (148B7%6)) OTE £4 + SLOBALOATA DON FOBAAT (total tats (1942870) TLT2TS © [rue Hit Data (72408yt0)] DLs16abBy te = 7224840 + OxZ4d =184¢Byt0 MMR = (Draw ie bate Cri20eyte0)| 21s BAoByte = 112840 — 8129 + UBUBYtO (See raBLE 2) 14i00byte » 1204206 — B420424(148) = 18G4RBYte. (5.260)ort wre 12 yore 13 vane wot ore Lo | of t ore 1 ove 15 wore 16 wre 17 yore 18 ALL DATA (GLOBAL, COB. Ros. a> OOKP FoRKAT {tones betel ( See wore 1 [ALL Combination Paraeter Oatal- (See HOTE 9 ) [Ait Progras Peraseter Datel (See OTE 1) (aL Sequence Data) (See HOTE 10-2,10-3 ) ‘1,12.18 = 1701424000+22000+4922+4x(Se0 Data Sizebyte = 7384? “aeBtCLPbyte | (22. 7~85, Bee) 0141240011420015204roq Data SizelByte = TCH SseGHCLDByte (10.71.18) nae {WUHE DATA FORMAT BitlS-18 of Value Date és the Sign Flag. and cach bit has the sone value SEQUENCER CONTROL DATA ¢ me 4) Mo ]__paravere®_——Tovtacien = Wave ‘ai Tean © CORTROL DATE SARE 6 cour vata ame | sea T a] Te) [aor oencre eae Ine 3 YH ame TT GOAT or | wt cues ce) [Pare 1 1oe GoRTROL DATA RHR | SANE AS PATTERN O(2D00, 900) TT oul TTT I } CTT I cE ai ALL BRON SOUND RAKE DATA FORKAT (bras Sound 1 Mane (1085160) ‘0 Brus Sound Huater (been Sound 8 Mae C0Brt6)) ALL NULTISOUND NAME DATA FORT (olttsound | Nene (10109). ‘1 Hultisound Ruaber el isouad 9 Naze (108yt0)) AULTISoUND PazagETeR FomuaT See TABLE S > (uitésound 1 Data) (ltisound » Date) 15 Rasber of Multisoune O28 °0 DROW KIT PARIMETER CHANCE nanan + Drum it Nunber > 03 ees eaet = Todor sons ce IRLTISOIND PABKIETEE CEANGE ‘anna * Moltigouné Nenber = 0~2T 85 S886 © Sound Mander > DNacL {2 Haaber of Sound in Moltisound (See TABLE 5) cg + Pow card eo: POO RAL Receives and transits the nessage vith col only if tbe POX RAM tas boon Snstalted Tarr sone Feito =| [sans deb) oa] | | as is | sums ae $656 aa Ta TE} [oD DISSE) 1 rare peso spon | [sr | casey “| 980 (Start Mae) GT freer 01S] | SORT ~ sone -Taea DT AEE a BEDE SHEE HS SOWE-THAET DDEESS(3903 98017 PROTECT ete. 8) wit x 158 207 Sow ibd) PS 28 | SONG NAME (Tai) it ao Cm) | |_ patna ~ patreun 109 Data somes a) are rarer Te SA art EE | 1 A jes HACE T CONTROL BATA {e320 "eng Pattern aaarely 36] Puocean no. _ 4321) {Hy Toure cei SEQUENCE DATE Ter Tan re me SET = ay = zai oa GT | “eon Te] Pane ine se) 0 “Eyre ere ne atk io vsvoclTy WiNoo# TOR| cite} [308 | pata) at} “vevocity vhator porroy [_o1<7F | |__sguevee tata 2 ~ DL OUT Ae | [aes | sane as SEQUENCE pata Teaabe—aa0By ‘vipl_caawwen ———[-00~6F 16 L GL P34 COR HA OL FT SOUND -FAEAMETERSOORE G7 | SAME AS TRACK 1(56-~66) a 7 No] PARAMETER J DATAGHex) + VALUE aris Bh — vaf | nro rae oor tet aL aE 1) LIGOND ME ied) 2OTF Pierre roca nee oe { [ee ore conc 1 —|-so0s —— a7] | 10 | misono we cus io ear eames 2 [soot ——e-| |S 1 Bh ool iat] SOL TE oer ——30| [Th SOND NE a Pee_[-ru seus wey —boowes rsa] fiz ra Tee aerwoame Lesbos emer —| [Cie ei aa TE AEoWHE posse | re % Fir eniowoe La Te [~ oe i] wt —— axe BB ope RRO BIE 0 TMSPSE Seen ee Lier Tears se ‘omiGiNAL ey. ditswo: O~127 0% 1~_coaL Tate exit 25050 Te] SME AS SG W095 er 0 erst 00 | Ba cesses S80 { wut F cs 4 SiGe Ba ‘SHIE-AS SOIND 1 DATA (1120) x CaeID 2:DATA of MINBEE OF SOUND (ot t8et No. 09)a a COMBINATION PARAMETERS (1iAz 2) ne [FANT TTA = TE] 0 «© zen rear 1 (tae — Tas SELL canted 1 QUAL TEMP 2 To [____FauweTer_—“[DATACHex = VALUE ] [sce i 1S AFTER roien cig | oian 2 PURE mA ATi ow conrmoucen —______-| |_| sens ree Lae [Foor comaacise "|" osc 3: Re anon Yemen la Tae PT ee iat [poet comauiige 9 "[ oo=ar 4 Use ProceaK mit) via [Sous Wee wcoi ore [oe | covt.vane crn | 1s ie Sen WY 1s aera “10 eons aation vee — [or aC Lose Pat 22 titer cr FARM SLOBRL PARAMETERS | } 2: both 7 Cais > 158 ! ao + SEQ) onra roar 7 un) ae pae—TaTen) VAE a TRE THES —O TOR ACA) oATATSL) ornnesy omar 3 a | | ators — 7 H i i i [nee — | |e [ansten rove Ta SLO" ME s0-1_ mars ov/orr [ae paocean x0. Wa alae rarer Bese SNe td RELEASE THe Goon tier me yea) fae orev cae 2 | oper rout [ae =o Bite © ATTACK TIME POLARITY 0:6. = Yeloclty vent Tae Key Wo Leth a5 aer Tmisrosé [r= 8 essiesanue Peon T)|_to~oe WT bits © beat REE velvet fae a 3s nerine ce~ia=-$0~30-| [04 TUSSiOMBLE PEDAL) aOon #717 Sits: SLOPE THE eat: JL SFE: Me to Hest Ba 0 | TADS. BeTOTOE LD CSE Te) ood a8. bieT 5 RELESE Te sap sto tarp pea ead ro rt ary wees Ties a or 00 Terre To [Ow eo af ere we cine | mits; e250: sinaue ent Taso Vani) —ValutL7 [ey winor ported | 00st e-I~oe 1 ponaLe s10-3_aeran roc mT 48 | 2: oeew (ooia Geet [reer ret 0000 we | aL niapor sort [ore] Fe Cm oe Brent Tae Tae a a Catt os = ss 0: Taunele WAV) 10-¢_procear cues oo [oe gore [cea ore] | or ame —— Lites Aa. aor 000 [sexe tet] OOOO ORT pap poop [SF or coma piseo inte | Par T sraa | ai 2 On sav (AK Bren Tiss Protas Ne Ti 28 Puen oe [ae [ea =e 3 ecravece «PLD 2-00~198(400-~359) wy 18 TBR TST 37 at is ‘no-s_covtoy caves pee [rate iaeieo Me aur Fixed (ctoo moet [rise vet [Da oe Oe) __| os 50 eat Tine Valin Contra Wo BR PAE 26} 050 wk 00 65 Sune os MIDI Control Chane, TEL | etree Paocenn | OFRo—oOOETT| [erp 0 : tosee 8: fasignele Petal 1as_[ errerma wouune | oo=7e | | ~ mH AT -NDENAT pl ATTEN 2 aT: brrect | OUP wef Cfo BY] SME AS ORNETTL-OC2I~P7) -xC60xETT on : 0 oie 2 OL o—— ac G8 Bete | Ssance es {Cot > 00} Lea © : cr 26k bttect 2 talanee ea a > 8: Teapo [ise Arner rover cuit ["o1~os 10-0 bu, {bi [TERRA WEL cu [-01~08 ‘40-5 bitO s PROGRAN CHANGE -0:DIS, =1:ENA Re Pe A a touek conve | oro biel DEE Bar fo. —— Type Beat Pattors 1 ai 00 ied AFTER rouce s+ 00 font use Pattern Be oe 6 conrot. tance 10: Pattere continual eT =p wit ovr er 1 potters Start TE | SME AS Tineee 1” OTR eT 5 1b ama #75 0 + Penceancconernation) UP aw: 16/8 — oi = bom Soar I/e~IB 6 eh a as 03: epvect 1 on/orr si0-7_ Tauck ano [2 | root commouer 1 [oan ar o 2 ee “Foor conus 2 |" oo~o4 37 05 YouNe Beat Tas Bar TO Fe {comm wo o0=5 F101 ornare [ot rer bee =a i: FECT 1 CONTROL wr srice x 1~5:0~ 101 | ° 2 ETERNAL (coBi¥aTioN oA) Dor sti -¥ 085 O10)ert SEQUENCER CONTROL DATA. (rums4) _ PROGRAM PARAMETER ach STHGE Poston — opset TE (TALE 6 SFMT TOAD URE) [AERO ATL TA [osc [nearer — So nD CONTROL DATA Hoo | ar T sau_[0at_[ cto Te Te tet OF MIT Chanel CD] HE TTS [| aan acer PEE HOE Pare 19 GEL irk | a ey Te or} ator chaseet (te-8)) _ “ae | Sane AS PATTERN OCREDE DOTY ba Soe Te te te te te Td see 28 Hae past Oar DT TSE a0 _ _ Taice 0 Eee is{ sums arp | __SOMGD-TRNCRT_DATAAIDHESS 7a] 080-10 —_ | [16 aear_— #14 | SHB0 “DATA. ADDRESSCLS®).__| 99 (start aad? 1 Fassionaon5 — = ir — Taro Baa = 8) [af ose wr so ae | [erect Cie TY] tare ibs] | SURED RG ~ Soar ve Da DES 3 weer wir mere Dre 6 [3602 | T SMHE AS SONGD-TRACKI ADDRESS( 3600. 3601) ¢_[- scl Pron eG — os | 66 ("er [ee | 70 raorecr__(rr.8)| ris 5 [sce pire 86 os [10607 [10871008 19 |” NEXT_S0NG_WO_ — _ PAGE 1 WORE 3 a 20] SON RAT He eT HT RES bop aro == [20 | DATA ADDRESS. (LSB) fiche ae | sme me cra | fart Gieey | pe ae [Ear Cw S| aren ees} Aarne meen ee — i 30) aT Spat ES TEN TEED Fp seri ech 7 mn ss wet pe $8 ss] _ sag = : Fe 7 OTTO [nar roars 0, el eR, ae 7 ae S6_|_pmockay wo. | oo-~CT = now Bae | [4921 — cH Toa) aap TRANG. Tie. [sr [-eerer ener —— oa ~ SEQUENCE DATA ee iestY —— Shir Se_[-aey passe ——[eswin>aecae | [ie [para —— Toe $e hee eee So Tuo Ti Ls aera ers sos] (7 ase pate = SEE THRE Hue hase 3a [oso | (Ete cy — ef [a ie Tas ee rice eT ‘62 | KEY WINDOW sorTon |” 00~7F —} ase bata(2-Ly — #0, ToT vetocrny sess” [as [-vevocity Winbow ToPT o1~ TF — 4305 DATA (2-8) a) i i TecuNG ‘4_| VELOCITY ¥INDOF BOTTON | O1—7F ‘SEQUENCE DATA 3 ~ 2 ‘ig TINE VELOCITY SENSE | SMO sue SOL LE] |THE SME As SHOUEE DTK TOE : TiN LOT SE ‘68 | W1D) CHANNEL — 00~OF 3: 116 = «| wow ee —— SS TL Date it —| lor STS OUND-PRRAMETERSTOEE 5) ae ‘SANE AS TRACK 1(56~85) x 7 ee __[DATATHiox) = VALUE. TD _| VELOCITY SENSE SLTISOUND DATA (KBD TRACKING p3 je NuMBER OF SOUND [oot oxi | [one Tae veLocity saisé | 2 Ti [et | veloc oa STON Nu Ted] 207 a ihe Tes AFH Toe RTE | = i ee ia | tetra correo 1] | wurgno wae cst) Ta Se FE SOT BET oT FOOT cowrvouuse 2 —[~< SOUND DATA = a tot — [seu ne [oo~ “Ti_{_ seve werner = Tr are ttc — fete Seu [apse ee ecm w Teas @ [st[caprowbes caver ——|-oomee oman —| [1s ae a creer] FEV reve | s Tet aero poops] “S Po ols sats 152 | METRONOME LEAD IN| 0~2 TNE Cord -S0~ 50 sts) 3 epee ate ROGET [oo te —_— 4 7 {1 OT TRANSHOSE. v EFPECTI TYPE ut | ajc by" come oe TOC aren ran re See Fat ‘SONG {~18_ CONTROL DATA CBIR 53058 ee] erreete rvre ae TO | SHES SNE OCP TF if cee i ene ae a, eee Sons _ PLACEMENT __ aus ae [ecm Se Nae a TOD |i | SANE AS SOUND 1 DATA (1I~20) x (end) i A A [fost SORTOL ER soca srmer osu tae iee) — F# TST aa neort COMBINATION PARAMETER Acs STAGE rosiTioy ~ opts sume cuss ty — stage DRUM KIT AND MULTISOUND PARAMETER GIANCE PARMTER LIST (TLE 8) DIUM KIT PABAIETER CHAE 24: Syston Easenble 23 oaay / treeoto PARMETER [OATES TWAT] (0) Depts Wad 0 COE re aTST eat 1 Pattern a [owts. a1 ris. tra] [COL] Speed eo op |e ge Taste soit fe See wots co Fee este} {con EEG Eales] womst = Go ito] | oe) | x6 stoves sto | aie — 25 Rotary Spier co oa Poses] {| SE ea] fer em TAT WOT] 08) | speed Seater | [0 Crete a | peed te Fawn -10~10-) [oon Ss or eo=st-0o~ 100] POD) Belay Figs ——TomeraeTo—eesTse| etapa erat ie areas fia owrput $ pen | ooo1meS_sti-t} [ = EET an Mito 08 atl-2 Ons oo= a ag eae te 0 WLIECtoe Yo aia/s_ No 2/Le ay piroasett von oe ction ft Broa Sie, ta] TC aawes = ows] TO ees coat) * Gs ort Wiles Leen ort.cton [(oe)| ae Statue anta-a [bath ies eral ieexoes onan Biezede = 2 04 1:08 foie =o FT) cose scimant tonsa 66 so:01 pita0: > 2 en ont.» [CONT] See a | cowcet BER 0 Satre OSL bindudsefed Pare. -Issera) [(O8)| 20 Blah Tene em ce powoet —EEkine~ 1 saat HiLsk: Epfect raraneter tyte) 33 ye Ot iy See 00) 2 Thee To Toot te ROBE of WLTSODHO a CD (eter [_—Pueuerie —[onaGiex) WADE] 20 Fanaa os) re ber Stat = Not Ti BTL (C48 + tose 0: Live Ste) — POT] wie fe —— 2 lay {ela Be toi vere (GO| ever Tae] 0o~ATCEF:0 29.6089] FOOD ie Gale oor] Belay Tae DT opware + oowste dower = tise eg oe baron [RL Gime bea] Sc ‘wa{re belay —— coy [High Ge Oe omanise Gor E Level (oy ton fain fier det Tie 8 Tgomire + eo~son AREER CANCE foe cur 21 Wer Drive fee a = wo assich con cca ony] SoH FEST] [loo] Be fe ‘on | eed Sack a wee Onitce ontzcu ory ab oe Fase tet] [oy oa We eee Ben Ce iow a BASSE e734 “Wal” ip onitted fron the next table Te data [(02){ rive ST ea poe COL Polar / Piengee co~wees S878 Diwan of nat aust be 08 (G3) tera oa y Dom Seshne~ aiw fariy beflection 1.2.3 ep tig Pra dp ne Moaber of DRM SOUND in eee oo ok (60) | Depth ro aa | cup coat] oor] distention | wots we [esd see Sort #13} ry. copy oF Roca 408 [ste ee wo] resus aod eee Siorea bela Coty} toe aie resoe sie naa] sith = 8 Tf delay Hie 1 23 Bitter uae ee a worire + oowseo] (eee tae O08 HAH) Eee reac 00] “Bleed ——__] ss: =terce8 ‘3 _Deley_/ Fa Teak ack wrasse] [or emis Fie —| oot t1~10 aay 7 Peta ii Dp oes ote | [Roe ee tie | Fenced ot [aan ceca ra Delay Tse TT ypnapy + gen soo) LoDo tae Fea len ie ae ae (00) tea ea a (65) | Speed —— Tana aa-2 ot | oethace SoHEist 4. UNIVERSAL SYSTEM EXCLUSIVE MESSAGE (R :Receive (1 Sanpte Duap Header RT a Fi Te cz) Baclaeive Non-Boaltiee Rosier a Sauple Duxp Header (Sib 12) ssss | Scapie fusber (LSB first) vote 1) ce Saaple Forsat (Hore 2) te e4 es \ Sauple Ferioe (/Sanple Rete) USD fire0) su ex ex | Staple Length in fords (1S6 first) hb bh Bh J Sustain Leop Start Point Ford Nunber(t8B first) 11111 | Sustaie Lop fad Point Word Nueber(L88 first) tt oop Type ‘wate fH io Saaple Data packet nT whyie | —Descriptia = 4 Fo tt ce | Brclusive Nor-iealtine Header o Sample Bata Facket (Sub 10) u Running Packet Count (OTF) a ~ aa | data C120 bytes) % hack Sia (HOB of TE co 02 kk (120 bytes) > BH oy (Usage Dy tag E rte —[ —leseription_——— ] a ie ce | Exclusive Non-Ronitiae Header 8 Souple Paap Request (Sab 1D) sso | Requested Sosple wore @ (ok Et aye] —beseriptron 7 ACK (Seb 1D) we Packet hunter (on al bye | taneription Fa TE ce | Frclusive Non-Reltiae Header " ax (Sib 19) Fr enn Ey Ganesh ET Deseripivon Wo 78 ce] Eclusive Yor taitioe Bader » Cancel (Seb 10) » Packet Nuaber Ter z ayte [| _beseripivon Fa ie ce | Exclusive Nor-Bealtine Gender te ait «Sub 1D) » Packet Haber f en (8 Loop Point Teaneatt Rt ore 2+ at = 00 NOTE 4: 38 -00R-~AnK NOTE 6 = Detete A1t Loops (Loop muaber TF 1 Byte | — Description 0 TE ce | Exclusive Kon Reniting Header aS Loop Point Yessage (Sub 10 #1) a Loop Point Transaission (Sub 1D #2) ss00 | seupte Kuster cots © we 90 | Loop nuster (wots 5.6) Loop Type ore 3) ct €4 64 | Loop start aaaress. (Ls8 test) fee ee ee | Loop End Adéress (158 first) # Py (Toop Point Request E Bene ego eer] FO TE ce | Grelusive ton-Beaitiee Boater 6 Loop Point Hessage (Sub 1D #1) o Loop Point Request (Sab 1D #2) ss 00 | Ssopte Kuster ote 0 hsb | Loop Muster” css first) ore 5) ia oo 10) Tagaity 1D Regie E ute | _ Description FO Te ce | Gaclusive Hon Teal ties Header 6 Inquiry Kessage (S810 #1) a ID Request (Sb 19 42) HL eon Th Taga Dep r Byte] Descriptio 70 ie ce | Guclusive Nor Beaitiee Beader 6 Inquiry Message (Sub 1D #1) @ ID'Rephy (Sub 1D #2) 2 {ORC TD) GAanusecturers (0) 2600 | T172.12 10. Featly Code 186 first) oa.00 | we oth = 1:12 = 2:13 Center Code. 488 first) fr00 | ROU Roater I~ lnor Version 188 first) sea | Soft Version I~ (ajor Versioa, LSP fest) ia i TET GO~OF 7 Clabal Chanel Te Beceive Any Channel NTE 1: Seaple Yoaber As sgnored on receiving Seple Duap Header. and the sow sospie 16 ol ppendes 26 the last data abd given an interac saaple nse On tronseitting 86 $5 ~ 0088 Note 2 + e8 + OB~ICH Receive) sont Traeseit? Fortard Only TF: Loop Off Lf the received Loop type 6 Ot (neans backvaré/forvard). this is conterted inte 60 (Oran Sound D00~289) If the Sanple Wanber 8 over Bik. the aessage de senored OTE 5 + Loop cuaber is ienored on receiving. and the Loop pola Is set to the last loop point 0m tronseltting, 1009 aueher 16 eleays 0, ss LenoreERROR MESSAGES Common to all modes Error message Reason Battery Low (Intemal) ‘The internal memory backup battery is low. (Contact your nearby service department or dealer.) Memory Protected The Global mode memory protect setting is turned on for the memory into which you attempted to write data, Disk mode Error message Reason Drive Not Ready ‘A disk is not inserted into the disk drive. Protected Disk Formatting or saving is not possible because the write protect tab of the disk is in the write prohibit position (open). Move the write protect tab to the write permit (closed) position, and try the operation again, Disk Type Error “The disk is not for the TI/T2/T3. Or, you specified a file B—D for a disk in PCM. format. Data Eror “When saving data to disk or when loading data from disk, the data was incomplete and ‘meaningless. Or, the inserted disk is not formatted for the T1/T2/T3. Data errors are often caused by scratches on the disk surface, or by dust getting into the disk case. Or, the disk may not be fully compatible with the drive. Data errors can also be caused by dirty disk drive heads. If Data Brror occurs, take the following measures = Re-insert the disk and try the operation once again. = If you ate formatting or saving, insert another disk and try again. = Clean the disk drive heads, and try the operation again, (For details of how to clean the disk drive heads, see the Operation Guide page 17.) No File _, ‘The specified file does not exist on the disk _ Memory Overflow ‘When saving a MIDI Data file, the received data exceeded 64 Kbytes. Insufficient Memory Not enough sequence data memory is free, and MIDI Data files cannot be saved or loaded. No Multisound ‘The specified Multisound does not exist on the disk. ‘No Sound “The specified sound does not exist on the disk, or a sound to be saved does not exist in memory, PCM Memory Overflow ‘Multisound/sound loading cannot be done because there is not enough space left in the PCM RAM, or because the sound total has exceeded 100, Card mode Error message Reason Battery Low (Card) Card Format Mismatch Invalid (Blank) Card “The card memory backup battery is low. (Load the data from the card into internal memory, replace the card battery, and then save. the data from internal memory back into the card. | Remember that the card_will lose all data when the battery is replaced.) ‘You tried to read data that the card did not contain. ‘The inserted card contains no data, or is not for the M1/MIR/T1/T2/T3. No Card Inserted ROM Card or Protected Card ‘You tried to read or write data when a card was not inserted. ‘You tried to write data toa ROM card or to a RAM card whose protect switch was ON. 182Sequencer mode Error message Reason Blank Measure ‘There is no data in the measure specified. Blank Pattern ‘There is no data in the pattern specified. Blank Track ‘There is no daa i the track specified Measure Occupied by Pattem | Partof apateris included in the measure you specified for punch in or punch out, or the measure specified as destination in measure edit Punch In Mossure est Measure ie 4 Track Pattern Measure Overflow xecuting the editing operation would produce a track longer than 999 measures. Memory Full ‘The total numberof steps in all songs and patterns has used up the entire capacity of the sequence data memory. No Events Exist ‘The track/pattemn you specified in event edit contains no musical data. Pattern Across Source ‘When Copying from atrack, the specified source range contains partof apattern. Orduring Get operation, the specified source range includes part of a pattern or an entire pattern. [—Pattern Pattern a Se cI CopyiGet Get Pattern Conflicts with Events ‘The Bounce operation is impossible, since one track contains patterns and the other track contains events or patterns in the same measure. Track Protected ‘The protect setting for the specified track is ON. 153SPECIFICATIONS AND OPTIONS System Tone generator Keyboard Wave memory ‘Tone generator quantization Effects Number of programs Number of Combinations ‘Sequencer section Control inputs Outputs Floppy disk drive Card slots MIDI Display Options Power consumption Dimensions Weight 154 : Al-synthesis system (full digital processing) + 16 voice, 16 oscillator (single mode), 8 voice 16 oscillator (double mode) : TH/88 notes, T2/76 notes, T3/61 notes, initial and aftertouch : TL PCMROM4Mword(8Mbyte). PCMRAM S512Kword (1 Mbyte) T2/T3 PCM ROM 4 Mword (8 Mbyte) = 16 bit Two digital multi-effect units +: 200 Programs + 100 Combinations + 20 songs,200 patterns, maximum 50,000 notes _ 8 tracks, mult-timbres (dynamic voice allocation) Damper pedal, assignable footswitch (pedal) 1/2 IIL, 2/R, 3,4, headphone £35 inch, 2HD PCM data, Program/Combination/Sequence data PCM data, Program/Combination/Sequence data :IN, OUT AQ), OUT B (2), THRU + 64 x 240 dot full dot matrix backlit LCD EXK-T (12, T3 only), control wheel (T1 only), PCM data disk, RAM card (MCR-03), ROM card, PCM card SW 2 TL 1474 (W) x 507 (D) x 135.5 (H) mm £72 1268.3 (W) x 355 (D) x 111.5 (H) mm T3.1058 (W)x 355 (D) x 111.5 (H) mm :T135 Kg 7215.5 Kg, 13 13.6 Kg * Specifications and appearance are subject to change without notice for product improvement,TROUBLESHOOTING Problem Possible reason ‘The LCD shows nothing even though the power switch is ‘tumed on. + Is the power cable connected to an AC outlet? +s the contrast control turned all the way tothe left? No sound + Are the headphones or the amplifier connected to the correct ‘output jack? + Is the master volume raised? + Are any of the level-related parameters in the various modes set 100? + In Global mode, is the Local setting turned OFF? + Are you playing an area of the keyboard which does not produce sound due to split settings or key range assignments? ‘Cannot format a disk ‘Cannot save data to disk Cannot load data from disk + Is the write protect slider of the disk in the open position? + Is the disk correctly inserted? + Is the write protect slider of the disk in the open position? + Is the disk correctly inserted? + Is the disk a correctly formatted and reliable 2HD disk? + Is the disk correctly inserted? + Does the disk contain data? Cannot save data to card Cannot load data from card + Is the card protect switch turned ON? + Isa ROM card inserted? + Is the card inserted correctly?” ‘Is the card inserted correctly? + Does the card contain data? ‘Wrong sound «Is the inserted PCM card the one for which the sound was created? + Does PCM RAM contain the data that was used when creating the sound? Sequencer does not start Cannot record on the sequencer + Is the clock source set to EXT? + Does sequencer data exist? ‘+ Are memory protect or track protect turned on? 155‘T1UT2/T3 MIDI IMPLIEMENTATION CHART | | Transmitted Recognized Remarks | 1 nae | j | lnmrae T coseeengueseeees | are 4 Basic Default | 1-16 1~16 | Memorized | Channel Change | 1-16 1~16 | Default 3 Mode Messages x x Altered ORRICK | 9-120 *4 | O~ 127, 0-127 when transmitting: Sound range ok ok KK oe | 0~127 sequence data Note on O 9. V=t~ 127 | © 9n,Vet~127 | 2-126 when transmitting Note off x x | sequence data I — ‘Transmiv/receive when AFTER | | After Keys x Ps |TOUCHissert0 ENA in| | Touch ch's | O° ° GLOBAL mode J Pitch bend | ° ° " Control 1 ° ° Pitch modulation “1 Change 2 } 3 VDF modulation “1 6 6 | 5 Data entry (MSB) 2 7 } | fe Volume " 38 3 | } Data entry (LSB) 2 64 3 | } Damper pedal “1 96 3o ° | Data increment ” 7 6 © | Data decrement 2 100 x ° LSB of RPC for master tune *2 | tor | x 3 MSB of RPC for master tune *2 | o101 | O° fe) fl } | L | = ae Psu 20-9 | 0 o-m [Rauarmemeg Roe | Change Actual No. Jo ROK lena inGronATncae System Exclusive ° 2 | System :Song pos. ° 3 Common : Song sel | © 0-1» | 3 : Tune x | System Clock Oo Oo | 3 Real time: Commands a 3 3 | Aux :Local ON/OFF x ° | Message : All note off x | O wei | + Active sensig | ° | ° | Reset | x x | b = peeeeasecesneeererees ener — | NOTES: *1 Transmit/receive if CONTROL is set to ENA in GLOBAL Mode. *2 Transmit/receive if EXCLUSIVE is set to ENA in GLOBAL Mode. "3. When the clock is set to internal, these signals can be transmitted but cannot be received. If the clock | is:set to external, this situation is reversed. | **4 This applies to the T. For the T2, this is 16-115: for the T3, 24-108. | | **5_ When assigned to the Ass. Pedal, and when sending/receiving sequencer data, Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO OrYes Mode 3: OMNIOFF,POLY Mode 4: OMNI OFF, MONO x iNo 156Olosc Mode ssignHold SCI Pitch ES 1S02 Pitch EG wtotf KBD TRK
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