Korg Electronic Keyboard 61key User Manual

Operation Guide

E 4

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Table of Contents

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Automatically importing a Program

into Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . 42

Introduction to the KROME . . . . . . . . . . . . 1

Front and rear panels. . . . . . . . . . . . . . . . . . . . . . . . . 1

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Objects in the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Playing and editing Combinations . . . .4 3

Playing combinations . . . . . . . . . . . . . . . . . . . . . . . 43

Selecting Combinations. . . . . . . . . . . . . . . . . . . . . . . . . . 43

Using controllers to modify the sound . . . . . . . . . . . . 45

Performing with the arpeggiator or drum track . . . 45

Basic Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

About the KROME’s modes . . . . . . . . . . . . . . . . . . . . . . . . 7

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Easy Combination editing. . . . . . . . . . . . . . . . . . . . 46

Changing the program of each timbre. . . . . . . . . . . . 46

Adjusting the mi x . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 6

Simple editing using the knobs. . . . . . . . . . . . . . . . . . . 47

Saving a Combination you’ve edited . . . . . . . . . . . . . 47

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 5

Turning the power on/off . . . . . . . . . . . . . . . . . . . . 15

Connecting the AC adapter. . . . . . . . . . . . . . . . . . . . . . .15

Turning the power on . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Turning the power off . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Detailed Editing with Combinations . . . . . . . . . . 47

Restoring edited settings. . . . . . . . . . . . . . . . . . . . . . . . . 48

Layers, Splits, and Velocity Switches . . . . . . . . . . . . . . 48

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Altering Programs to fit within a Combination . . . . 51

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Automatically importing a Combination

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Connecting a damper pedal, foot switch, or

foot pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Connecting the KROME to a compute r . . . . . . . . . . . .20

Connecting MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . .20

Playing and editing Programs . . . . . . . .2 1

into Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . 52

Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Program information. . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Performing with the arpeggiator or drum track . . .26

Creating songs (Sequencer mode) . . . .5 3

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

About the KROME’s Sequencer . . . . . . . . . . . . . . . . . . . 53

Sequencer mode structure . . . . . . . . . . . . . . . . . . . . . . . 53

Transport control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Easy Program editing. . . . . . . . . . . . . . . . . . . . . . . . 27

Adjusting the E Q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Adjusting the volume balanc e . . . . . . . . . . . . . . . . . . . .27

Using realtime controls to edit the sound or

effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Using Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Comparing the unedited sound . . . . . . . . . . . . . . . . . .30

Saving your edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Playing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Preparations for recording . . . . . . . . . . . . . . . . . . . . . . . 57

Recording MIDI in real time . . . . . . . . . . . . . . . . . . . . . . 60

Step recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Recording multiple tracks from an external

sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Recording System Exclusive event s . . . . . . . . . . . . . . . 6 4

Recording patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Other way to record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Detailed Editing with Programs . . . . . . . . . . . . . . 31

Before you start editing . . . . . . . . . . . . . . . . . . . . . . . . . .31

An overview of the edit pages . . . . . . . . . . . . . . . . . . . .32

Basic oscillator settings. . . . . . . . . . . . . . . . . . . . . . . . . . .32

Creating time-varying changes (LFO and EG). . . . . .35

Diverse modulation settings

(AMS and AMS mixer ). . . . . . . . . . . . . . . . . . . . . . . . .36

Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Making controller assignments . . . . . . . . . . . . . . . . . . .41

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Drum Track settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Track view edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Piano Roll Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

iii

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Table of Contents

Creating an RPPR pattern. . . . . . . . . . . . . . . . . . . . 71

Creating RPPR data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Realtime-recording an RPPR performance . . . . . . . .72

Adjusting Global KROME setings . . . . 109

How Global mode is structured. . . . . . . . . . . . . . 109

Global settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Basic setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

Pedal and other controller settings . . . . . . . . . . . . . .111

Creating user scale s . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Setting Category Names . . . . . . . . . . . . . . . . . . . . . . . .112

Creating and playing a Cue List . . . . . . . . . . . . . . 74

Creating a cue list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Converting a cue list to a song. . . . . . . . . . . . . . . . . . . .75

Saving your song . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using Effects . . . . . . . . . . . . . . . . . . . . . . . . 77

Loading & saving data . . . . . . . . . . . . . . 113

An overview of the KROME’s effects . . . . . . . . . . 77

Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Saving data on the KROME . . . . . . . . . . . . . . . . . . . . . .113

Writing to internal memory . . . . . . . . . . . . . . . . . . . . .115

Editing names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Saving to SD card (Media–Save) . . . . . . . . . . . . . . . . .118

Using the KROME as a data filer. . . . . . . . . . . . . . . . . .119

Routing effect settings . . . . . . . . . . . . . . . . . . . . . . 79

Program Effects settings. . . . . . . . . . . . . . . . . . . . . . . . . .79

Using effects in Combinations and Songs . . . . . . . . .81

Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Data that can be loaded. . . . . . . . . . . . . . . . . . . . . . . . .120

Loading data from SD card (Media–Load ). . . . . . . .120

Dynamic modulation, Common FX LFO . . . . . . . 82

Dynamic modulation (Dmod). . . . . . . . . . . . . . . . . . . . .82

Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Media utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Formatting media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

Setting the current time. . . . . . . . . . . . . . . . . . . . . . . . .123

Arpeggiator function . . . . . . . . . . . . . . . . 85

Using the arpeggiator while you play . . . . . . . . 85

Using the arpeggiator in Program mode . . . . . . . . . .85

Using the arpeggiator in Combination mode. . . . . .88

Arpeggiator settings in Combination and

Sequencer modes . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Linking the arpeggiator to programs or

combinations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Creating a user arpeggio pattern . . . . . . . . . . . . . . . . .91

Regarding arpeggiator synchronization. . . . . . . . . . .96

Appendices . . . . . . . . . . . . . . . . . . . . . . . . 125

Restoring the factory setting s . . . . . . . . . . . . . . . 1 25

Loading the preloaded dat a . . . . . . . . . . . . . . . . . . . . .125

Initialization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Audio output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Programs and Combinations . . . . . . . . . . . . . . . . . . . .127

Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Drum Track function . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

MID I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Damper pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Connections with a computer . . . . . . . . . . . . . . . . . . .129

Drum Track function . . . . . . . . . . . . . . . . 97

Performing with the Drum Track function . . . . 97

Using the Drum Track function in Program

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Using the Drum Track function in Combination

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Drum Track function settings . . . . . . . . . . . . . . . 100

Drum Track function settings in Program

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Drum Track function settings in Combination

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Drum Track function settings in Sequencer

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Synchronizing the Drum Track function. . . . . . . . . 102

Creating a Drum Track pattern. . . . . . . . . . . . . . . . . . 103

Error messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Error and confirmation messages. . . . . . . . . . . . . . . .130

Specification s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 34

Operating requirements . . . . . . . . . . . . . . . . . . . . . . . .135

MIDI Implementation Chart . . . . . . . . . . . . . . . . . 136

Using Drum Kit s . . . . . . . . . . . . . . . . . . . . 1 05

Drum Kit Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Before you start editing… . . . . . . . . . . . . . . . . . . . . . . 105

Editing a Drum Kit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

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Introduction to the KROME

Front and rear panels

Front panel

4 5

* The diagram shown is for KROME-61

(For details, please see “Using realtime controls to edit

the sound or effects” on page 28.)

1. Volume

VOLUME knob

4. Arpeggiator

This knob adjusts the volume of the AUDIO OUTPUT

L/MONO, R outputs, as well as the volume of the

headphone jack. (See page 15)

ARP button

This button turns the arpeggiator on/off. The button

will be lit if the arpeggiator is on. (See page 85)

2. SW1, 2 and Joystick

5. DRUM TRACK

SW1 and SW2

These buttons are used to control the programs or

effect parameters, or to turn the joystick lock function

on/off. (See page 24)

DRUM TRACK button

This button turns the Drum Track function on or off.

This button also indicates the operating state of the

drum track. (Unlit: off, Blinking: waiting for trigger,

Lit: on. See page 97.)

Joystick

You can control synthesis parameters or effect

parameters by moving the joystick up/down/left/right.

(See page 24)

6. Effect buttons

3. REALTIME CONTROLS

These realtime controllers consist of four knobs and

one button. You can use them to do the following

things.

• Control the sound and effects of programs and

combinations

• Control the arpeggiator

MASTER FX button

TOTAL FX button

These buttons turn the master effect and total effect on/

off. When the button is on (LED lit), the effect settings

of the program, combination, or song will be enabled.

When the button is off (LED unlit), the corresponding

effect will be off.

The on/off status of these buttons is remembered even

when you switch programs, combinations, or songs.

(See page 110)

SELECT button, knobs 1–4

Use the SELECT button to select the functions

controlled by knobs 1–4. By using knobs 1–4 you can

control the sound, effects, and arpeggiator.

(For details, please see “Realtime control knobs” on

page 25.)

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Introduction to the KROME

7. Display

12. Save (Write)

Display

WRITE button

The TouchView display features simple touch control

and selection of numerous features and parameters.

(See page 4)

Use this button to save programs, combinations, global

settings, drum kits, or arpeggio patterns to internal

memory (see page 9).

You’ll also use this button to save songs to media (see

page 75).

When you press this button in the appropriate mode or

page, a Write dialog box will appear. Press the button

once again to save the data.

8. Mode

COMBI, PROG, SEQ, GLOBAL, MEDIA buttons

KROME has five different modes, each one is

optimized for a specific set of functions.

13. Sequencer

Press one of these buttons to enter the corresponding

mode.

The buttons in this section are used for operations in

Sequencer mode, such as recording and playback (see

page 54). The REC (●) button is also used to save a

program or combination, or when using the Auto Song

Setup function (see page 59).

For more details, please see “Selecting modes” on

page 9.

9. PROG/COMBI BANK

PAUSE ( ) button

REW ( ) button

FF ( ) button

LOCATE ( ) button

REC ( ) button

A, B, C, D, E, F buttons

These buttons select program banks A–F and

combination banks A–D (see page 21, and page 44).

You can also use these buttons to select the bank of

timbre programs in a combination, or the bank of track

programs in a song (see page 46, and page 57).

START/STOP (

) button

If you want to select a GM bank, use the numeric keys

(see page 22) or the Bank/Program Select menu (see

page 22).

14. TEMPO controls

TEMPO knob

This knob adjusts the tempo of the arpeggiator, drum

track, or internal sequencer.

10. VALUE controllers

Use these controllers to edit the parameter that’s

selected in the display.

TEMPO LED

This LED will blink at quarter‐note intervals of the

current tempo.

INC and DEC buttons

VALUE dial

0–9, –, ., and ENTER buttons

Together, these controls specify and confirm the value

of the selected parameter. (See page 10)

TAP button

By pressing (or tapping) this button on the beat, you

can enter the tempo used by the arpeggiator, drum

track, or internal sequencer (see page 25).

COMPARE button

Compares your current edited sound to the sound

before it was edited.

For more details, please see “Compare function” on

page 11.

15. Headphone

Headphone jack

Connect your headphones here.

11. PAGE SELECT, EXIT

This jack will output the same signal as the AUDIO

OUTPUT L/MONO and R jacks.

The headphone volume is controlled by the VOLUME

knob.

PAGE button

When you press this button, a list of the pages within

the selected mode will appear in the display. Press the

button of the desired page. (See page 9)

EXIT button

Press this button to return to the main page of the

current mode. (See page 9)

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Front and rear panels Rear panel

Rear panel

1. Power supply

3. PEDALS

Be sure to see “Turning the power on” on page 15 and

follow the correct procedure described there.

Note: The KROME has an auto power‐off function that

automatically turns off the power when the keyboard

or front panel buttons have not been used for a certain

length of time. With the factory settings, this is set to 4

hours (see “A uto power ‐off function” on page 16).

You can connect a damper pedal, foot switch, and foot

pedal to these jacks. This gives you a broader range of

functions and effects to control. (See page 18)

ASSIGNABLE PEDAL jack

ASSIGNABLE SWITCH jack

DAMPER jack

Power switch

This switch turns the power on/off. (See page 15)

4. MIDI

MIDI lets you connect the KROME to a computer or

other MIDI devices, for sending and receiving notes,

controller gestures, sound settings, and so on. (See

page 20)

AC adapter connector

The included AC adapter is connected here.

(See page 15)

Connections must be made with the power turned

off. Please be aware that careless operation may

damage your speaker system or cause

malfunctions.

MIDI IN connector

MIDI OUT connector

5. SD

Cable hook

Use this to secure the cable of the included AC adapter.

After connecting the AC adapter, loop the cable

around the hook located on the KROME’s rear panel so

that the cable won’t get pulled out inadvertently. Leave

enough slack on the plug end so that you can

disconnect it if you want to. (See page 15)

SD card slot

You can insert an SD card here, and use it to save/load

KROME programs, combinations, or song data. (See

page 118)

Be careful not to bend the base of the plug any

more than necessary.

6. USB

USB connector

(for connecting to computer)

2. AUDIO OUTPUTS

You can connect your computer to this connector.

Using a single USB cable, your KROME can send and

receive MIDI information directly to and from a

computer, without requiring a MIDI interface. (See

page 20)

AUDIO OUTPUT L/MONO & R jack

These are the stereo audio outputs. Use the VOLUME

knob to adjust the volume. (See page 17)

Note: The USB connector of the KROME is only able to

transmit and receive MIDI data.

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Introduction to the KROME

c: Tab

Objects in the display

Most pages are divided into two or more tabs.

The KROME uses Korg’s TouchView graphical user

interface.

d: Parameters

The parameters for various settings are shown in the

By pressing or dragging objects shown in the display,

you can select programs or combinations, or edit

parameter values. Here we’ll explain the names and

functions of these objects.

display.

e: Edit cell

a: Mode button

g: Check boxes

l: Stopwatch button

When you touch a parameter in the display, the

parameter or parameter value will usually be

highlighted (displayed in reverse highlighting). This is

called the edit cell, and the highlighted item will be

available for editing.

b: Current page

k: Menu command button

j: Popup

button (2)

i: Popup

button (1)

Use a value controller such as the VALUE dial (see

page 2) to edit the value.

Alternatively, you can edit the value by pressing the

edit cell and using your finger to drag in the direction

of the triangles that appear. (The shading of the

triangles will change in three levels; this function will

become available when the darkest shading is

reached.)

e: Edit cell

f: Sliders and knobs

d: Parameters

c: Tab

h: Toggle buttons

a: Mode button

This indicates the mode that’s currently selected.

When you press this button, the Mode menu will

appear. In the mode menu, press the name of the mode

that you want to move. If you select the currently

selected mode, the Page Select menu for that mode will

appear. Even in another mode, pressing the right side

of the name will display the Page Select menu for each

mode.

To close the menu, press the Close button or the EXIT

button.

If you access this menu from Global or Media mode, it

will include an item named Return. If you press

Return, you will return to the mode where you were

before selecting Global or Media mode.

In addition, you can display the edit pad by pressing

twice in succession on the edit cell, or by holding it

down for a time and then releasing it (see page 6).

f: Sliders and knobs

To edit the value of an object shaped like a slider or

knob, press it to move the edit cell. For details on how

to edit the value, please see “e: Edit cell,” above.

The parameter will be active if it is checked, and

inactive if it is unchecked.

Mode menu

When selected in Program,

When selected in Global or

Combination, or

Media mode

Sequencer mode

g: Check boxes

The presence or absence of a check mark in these boxes

will enable/disable parameters or functions. Putting a

check mark in the box will enable the item, and

clearing the check mark will disable it.

h: Toggle buttons

This type of button will change its function or switch

on/off each time it is pressed.

b: Current page

This indicates the current page within the selected

mode.

Play/Rec/Mute button (Sequencer mode)

Solo On/Off button (Sequencer mode)

On/Off button for Effect

Beginning on the left, this area shows the mode button,

page number: name, and tab name.

Mode button

Page number and name

Tab name

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Front and rear panels Objects in the display

* Dialog box

i: Popup button (1)

When this button is pressed, a popup menu will

appear, showing the parameter values that are

available for selection.

To enter the parameter value, press the desired value in

the popup menu.

When you select a menu command, you’ll see a screen

containing the settings needed to execute the

command. This is called a dialog box. The dialog box

that appears will depend on the menu command that

you select. Some commands, such as Exclusive Solo,

do not display a dialog box.

* Popup menu

This switches the popup menu

Text edit button

display between locked and

unlocked.

When locked, the pin will be shown

closed, and the popup menu will

remain displayed even after you

press a parameter value. When

unlocked, the pin will be shown

opened, and the popup menu will

close immediately when you press a

parameter value.

Cancel button

OK button

* Text edit button

j: Popup button (2)

When you press this button, the text edit dialog box

appears for changing the names of Programs,

Combinations, Songs, etc. For details, please see

“Editing names” on page 117.

When you press this button, a tabbed menu will

appear.

To close a tabbed menu, press the OK button or Cancel

button.

Character Set Selects

the type of character.

Text

Cursor

Scroll bar

Use this when you need to see parameter values that

extend beyond what can be shown in the display at

one time.

Character

buttons

Press here to scroll to left or right.

Shift button

Switches

between

Press here and slide to left or

right to scroll to the desired

location.

Press here to scroll to the

corresponding location.

uppercase and

lowercase

characters.

Delete button

Deletes the

character to the

left of the cursor.

Cursor buttons

Move the cursor

to left or right.

Cancel button, OK button

If you are satisﬁed with the text

that you input, press the OK

button. If you wish to discard

your input and exit the text edit

box, press the Cancel button.

k: Menu command button

* Menu

Space button

Insert a space at

the cursor location.

Clear button

Delete all characters

of the text.

When this button is pressed, a list of menu commands

will appear.

The menu commands that appear will differ

depending on the selected page.

You can also select up to ten menu commands by

holding down the ENTER button and pressing a

numeric key 0–9. The menu will close when you press

the display in a location other than the menu, or when

you press the EXIT button.

* OK and Cancel buttons

After performing other operations in the dialog box,

you can execute the command by pressing the OK

button. To cancel without executing, press the Cancel

button. (The operation will occur when you press and

release the button.) The dialog box will close.

The EXIT button corresponds to the Cancel button,

Done button, and Exit button.

* Done, Copy, and Insert buttons

Menu command button

There are buttons which perform function when they

are pressed and released, such as Done, Copy, and

Insert (similar to the OK and Cancel buttons explained

under “* Dialog box,” above).

Menu button

l: Stopwatch button

When you press the button on the upper right of the

display, the time elapsed since power‐on will be

displayed. You can use the START/STOP button and

RESET button to measure elapsed time. This is

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Introduction to the KROME

convenient when you want to check the time during a

live performance or rehearsal, or to determine the

approximate playback time of a song.

• START/STOP: Starts or stops the stopwatch

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

Value slider / Wheel pad

When you hold down an edit cell, slider, or knob for a

while and then release it, the wheel/value slider will

appear.

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

SLIDER

m: Radio buttons

Press a radio button to select one value from two or

more choices.

WHEEL

m: Radio buttons

* Edit pad

Numerical input pad / calculator

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

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

Global P0: Basic Setup– System Preferences (see

page 111).

If you press an edit cell, slider, or knob twice in quick

succession, a pad for inputting numbers or using a

calculator will appear. The various buttons have the

following functions.

• OPERATION DIRECT/CALCULATE: Switches

between numerical input pad and calculator.

* EG, Velocity Split

You can change the values of a EG or velocity split

object by dragging in the display.

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

• Ent: Enters the number from the pad into the

parameter, and closes the pad.

• RECALL: Copies the parameter value into the pad.

• Close: Closes the pad.

Numerical input pad

Calculator

Note: Some parameters cannot use the calculator

function.

* Realtime control popup

Bank and number select pad

When you use a REALTIME CONTROLS knob, a

popup will indicate the function that’s being controlled

and its value. A certain length of time after you stop

using the knob, this popup will close automatically. If

you press the popup while it’s displayed, it will stay

visible, allowing you to enter the value using a value

controller such as the numeric keys.

If you press twice in succession on Program Select,

Combination Select, or Timbre Select, the bank and

number select pad will appear.

Bank and number select pad

Note: If you don’t want the realtime control popup to

appear, clear the “REALTIME CONTROL Pop‐Up”

check box in the menu located in Global P0: Basic

Setup– System Preferences.

• BANK: Selects the program or combination bank.

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

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Basic Information About the KROME’s modes

Basic Information

Sequencer mode

Sequencer mode lets you record, playback, and edit

MIDI tracks. You can:

About the KROME’s modes

The KROME has numerous functions that let you play

and edit programs or combinations, record and play

back sequence data, and manage media. These

functions are grouped into “modes.” The KROME has

five modes.

• Use the sixteen‐track MIDI sequencer to record and

play back songs.

Record a single MIDI track at a time, or record as

many as all sixteen tracks simultaneously. You can

also record exclusive messages.

• Use multiple tracks to record and play back

performances generated by two arpeggiators.

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

the drum track.

Program mode

Programs are the basic sounds of KROME.

In Program mode, you can:

• Select and play Programs.

• Use one arpeggiator in your performance.

• Play back Drum Track patterns while you perform

using a Program.

• Edit songs.

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

module.

• GM/GM2 playback is also supported.

• Use the Tone Adjust function to easily edit the

program of each track.

• Use up to five insert effects, two master effects, and

one total effect.

• Record patterns and assign them to individual

keys, using RPPR (Realtime Pattern Play/

Recording).

• Edit Programs

You can use the realtime controls and the Tone

Adjust function to easily edit the program.

You can adjust the parameters and settings of the

oscillators, filters, amps, EGs, LFOs, effects, arpeggi‐

ator, drum track, etc.

You can use up to five insert effects, two master

effects, and one total effect.

Plus, you can create drum programs using drum

kits (as created in Global mode).

• Create a Cue List that will play back multiple songs

in the order that you specify.

• Create user Drum Track patterns.

Combination mode

Global mode

Combinations are sets of up to 16 programs that can be

played simultaneously, letting you create sounds that

are more complex than a single Program. In

Combination mode, you can:

• Select and play Combinations.

• Use multiple timbres to play arpeggio patterns

generated by two arpeggiators.

Global mode lets you adjust overall settings for the

entire KROME, and edit drum kits, arpeggio patterns.

In Global mode, you can:

• Adjust settings that affect the entire KROME, such

as master tune and global MIDI channel.

• Create user scales.

• Create drum kits using drumsamples.

• Create user arpeggio patterns.

• Rename program, and combination categories.

• Set the function of the assignable pedals and

assignable buttons.

• Use one or more timbres to play back the patterns

in the drum track.

• Use the KROME as a 16‐track multitimbral tone

generator.

• Edit Combinations

• Transmit MIDI System Exclusive data dumps.

You can use the tone adjust function to easily edit

the program of each timbre.

Media mode

You can save or load data using an SD card. In Media

mode, you can:

• Save and load Programs, Combinations, Songs, and

Global setup data.

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

You can assign Programs to each of the 16 Timbres,

each with separate volume, pan, EQ, and keyboard

and velocity zones; make settings for effects, arpeg‐

giator, drum track.

Plus, you can use up to five insert effects, two mas‐

ter effects, and one total effect.

• Perform file operations such as copying data to or

from media.

• Export and import sequences to and from SMF

(Standard MIDI Files).

• Use the Data Filer function to save or load MIDI

System Exclusive data.

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Introduction to the KROME

Relational diagram of the KROME’s modes

PROGRAM

OSC 1

Insert / Master / Total Eﬀect

Multisample 1

Drum Kit

IFX 1

MFX 1

MFX 2

TFX

Multisample 5

Multisample 6

Multisample 7

Multisample 2

IFX 5

Multisample 3

Multisample 4

PITCH1

Arpeggiator

Multisample 8

AMP1/

FILTER1

DRIVER1

OSC 2

Multisample 1

Drum Kit

Multisample 5

Multisample 6

Multisample 7

Multisample 2

Multisample 3

Multisample 4

PITCH2

DrumTrack

DRUMS PROGRAM

Multisample 8

AMP2/

FILTER2

DRIVER2

COMBINATION

GLOBAL MODE

Insert / Master / Total Eﬀect

DRUM KIT

Key Assign

TIMBRE

TIMBRE 1 PROGRAM

PROGRAM

IFX 1

MFX 1

MFX 2

TFX

TIMBRE 10

TIMBRE 11

TIMBRE 12

TIMBRE 13

TIMBRE 14

TIMBRE 15

TIMBRE 16

TIMBRE 2

TIMBRE 3

TIMBRE 4

TIMBRE 5

TIMBRE 6

TIMBRE 7

TIMBRE 8

PROGRAM

Drumsample 1

Drumsample 2

Drumsample 3

Drumsample 4

Drumsample 5

Drumsample 6

Drumsample 7

Drumsample 8

PROGRAM

IFX 5

Arpeggiator

PROGRAM

AARRPPEEGGGGIOIO PPAATTTTEERRNN

Drum Track

Preset Pattern: P0 - 4

User Pattern

SEQUENCER

MIDI TRACK 1...16

Insert / Master / Total Eﬀect

TRACK

TRACK 1

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

TRACK 8

PROGRAM

IFX 1

MFX 1

MFX 2

TFX

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

TRACK 16

PROGRAM

IFX 5

MEDIA MODE

PCG

Arpeggiator

PCG / SNG

PCG

PROGRAM

Drum Track

DRUM KIT

Preset Drum Track Pattern

User Drum Track Pattern

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Basic Information Basic operations

Basic operations

After you’ve turned on the KROME, here’s how to

perform basic operations, such as selecting modes and

pages.

Selecting modes

In order to use a particular function on the KROME,

you must first select the appropriate mode.

• Press one of the front panel mode buttons to enter

the corresponding mode.

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

view.

P0: Play is the page you’ll normally use when

performing on the KROME. (The same is true in

Program mode.) Editing is done in other pages.

COMBI button:

PROG button:

SEQ button:

GLOBAL button:

MEDIA button:

Combination mode

Program mode

Sequencer mode

Global mode

Media mode

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

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

• Alternatively, you can press the Mode button

located in the upper left of the display, and select

the desired mode from a menu (see page 4).

For a summary of each mode, please see “A bout the

KROME ’s m odes” on page 7.

Note: The selected mode is shown in the upper left of

the display, and also indicated by the lit status of one of

the above mode buttons.

Note: By pressing the GLOBAL or MEDIA button

twice, you can select the previously‐selected mode

(Combination, Program, or Sequencer).

Selecting page group and tabs

Each mode has a large number of parameters, which

are grouped into pages. These pages are further

subdivided by tabs; with up to twelve tabs per page.

Note: The page that appears will be showing the tab

that you most recently selected.

Using the PAGE button plus the numeric keys 0–9

to access different pages

• Make sure that the desired mode is selected.

• Hold down the PAGE button and use the numeric

keys 0–9 to specify the page number that you want

to view.

For this explanation we’ll use Combination mode as

an example.

The specified page number will appear. The page

that appears will be showing the tab that you most

recently selected.

Selecting a page group

Moving by selecting a page group

Note: In pages consisting of multiple pages such as P5–

1, P5–2, P8–1, and P8–2, the first page (P5–1, or P8–1)

will be selected.

The Page Select screen shows a list of the page groups

within each mode. Select the desired page group from

this list.

Using the EXIT button to move between pages

1. Press the PAGE button.

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

Play) of each mode, pressing this button will take you

to page 0.

This button makes it easy to return to the main page of

the current mode:

• Press it once to go to the previously‐selected tab on

the main P0: Play page (Play/REC page in

Sequencer mode).

Alternatively, you can access the mode menu and press

the mode button, and then press the right side of the

menu (see page 4).

The page select menu will appear.

The page where you were immediately before pressing

the PAGE button is shown in a darker color for your

reference.

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

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

you had previously selected a parameter on this

page, that parameter will be selected.

• Press it a third time to select the main parameter on

the P0: Play page, such as the Program name in

Program mode.

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Introduction to the KROME

When a dialog box is open, this button cancels the

settings made in the dialog box and closes the dialog

box, just like pressing the Cancel button.

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

the menu.

Functions that use the ENTER button in conjunc-

tion with another button

ENTER has a few special functions when it is pressed

in combination with other buttons.

By holding down the ENTER button while you press a

numeric key (0–9), you can select up to ten menu

commands from within the current page.

Selecting pages

• You can access tabbed pages by pressing the tabs

While a dialog box is displayed, the ENTER button

corresponds to the OK button. (The EXIT button

corresponds to the Cancel button.)

In Sequencer mode, you can hold down the ENTER

button and press the LOCATE ( ) button to use the

menu command Set Location.

shown in the bottom line of the display.

This example shows the Program T01–08 page

through Mixer T01–08 page of Combi P0: Play.

Other

Specifying a program bank or combination bank

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

COMBI BANK A, B, C, D buttons

Use these buttons to change banks when selecting

Programs or Combinations. The LEDs in the buttons

light up to show the current bank.

In Program mode, these buttons select the Program

bank.

In Combination mode, these buttons have two

functions:

• When you’re selecting Combinations, they choose

the Combination bank.

• When you’re assigning a Program to a timbre

within the Combination, they select the Program

bank.

Selecting a parameter and editing the

value

1. Press the parameter that you want to edit.

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

highlighted. Edit the value.

• The way that the value will change depends on the

type of parameter or object. (See “Objects in the

display” on page 4.)

In Sequencer mode, when a track’s Program name is

selected, these buttons change the Program bank.

The value in the edit cell can be edited by using the

value controllers (VALUE dial, INC/DEC buttons,

numeric keys 0–9, – button, (.) button, ENTER but‐

ton, etc.).

Using the keyboard to enter a note number or

velocity value

By playing a key while pressing a parameter that

specifies a note number (such as G4 or C#2) or a

velocity value, you can directly enter that note number

or velocity value. (This is not available in menu

command dialog boxes.)

3. You can use knobs 1–4 to edit parameters that are

assigned to the control surface.

Note: You can use the COMPARE button to compare the

sound you’re editing with the original unedited sound.

Tempo input

TEMPO knob, TAP button

You can set the tempo by turning the TEMPO knob or

by repeatedly pressing the TAP button.

INC/DEC buttons

Use these when you wish to make small changes in the

value.

VALUE dial

COMPARE button

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

This control is convenient when you want to scroll

through a very long list of selections.

You can use this button to return the settings of an

edited program, combination, or song to their original

state. Refer to the following section.

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

(.) button

These buttons are convenient when you know the

exact value that you want to enter. Use the 0–9, –, and

decimal (.) buttons to enter the value, and then press

the ENTER button to confirm the entry.

The – button inverts the sign (+/–) of the parameter

value; the decimal (.) button inserts a decimal, for

entering fractional values.

Note: When selecting “Program Select” (see page 21),

you can select a GM bank by holding down the 0

button and pressing the (.), 1–9, or – buttons.

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Basic Information Basic operations

Compare function

Selecting and executing menu

commands

Program, Combination mode

Use this when you wish to compare the edits you have

made to a program or combination’s sound with the

un‐edited original (i.e., the sound that is written into

memory).

Menu command button

When editing a program or combination, press this

button. The LED will light up, and the last‐written

settings for that program or combination number will

be recalled. When you press the COMPARE button

once again, the LED will go dark and you will return to

the settings that you were editing.

1. When editing a program or combination, press

this button.

The LED will light up, and the last‐written settings for

that program number or combination number will be

recalled.

2. Press the COMPARE button once again.

Note: The LED will go dark and you will return to the

settings that you were editing.

If you edit the settings that are recalled by pressing the

COMPARE button (i.e., the settings that are written

into memory), the LED will go dark, and it will not be

possible to return to the previous edits by pressing the

COMPARE button again.

Menu button

The utility functions provide commands that are

specific to each page, such as Write (save) or Copy. The

available utility functions will depend on the selected

page.

For example, the utility functions in Program mode let

you write (save) the settings, or let you perform

convenient editing operations such as copying settings

between oscillators or effects, or a Sync function that

lets you edit two EGs together.

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

button.

The menu command will appear.

2. Select a menu command by touching it with your

finger.

A dialog box for the selected menu command will

appear.

Check‐type commands will not display a dialog box;

their status will be switched, and the list will close.

By holding down the ENTER button and pressing a

numeric key 0–9 you can access the dialog box for the

first ten utility functions without going through the

menu.

• If you want to close the list without selecting a

command, press the display somewhere other than

the list, or press the EXIT button.

Sequencer mode

In Sequencer mode, you can use the COMPARE button

to make “before and after” comparisons immediately

after using realtime recording or step recording to

record a song, or after performing an edit on a track.

For example, this can be used effectively when

realtime‐recording a MIDI track for a song.

1. Realtime‐record a MIDI track. (Take 1)

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

(Take 2)

3. Press the COMPARE button. The LED will light

up, and take 1 will be recalled.

4. Press the COMPARE button once again. The LED

will go dark, and take 2 will be recalled.

3. For a parameter in a dialog box, select it by

pressing it with your finger, and use the VALUE

controllers (e.g., VALUE dial or INC/DEC buttons)

to enter its value.

When selecting a program or combination number in a

dialog box, you can also use the BANK button to enter

the bank as an alternative to using the VALUE

controllers.

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

button.

5. If at step 3 you once again realtime‐record on the

same track (take 3), the Compare function will

now be referencing take 1.

6. If at step 4 you once again realtime‐record on the

same track (take 3), the Compare function will be

referencing take 2.

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

EXIT button.

The dialog box will close.

In this way, the Compare function lets you recall the

previous recording or the previous state of event

editing.

Note: If you continue editing when the COMPARE

button is lit, the button will go dark. This now becomes

the musical data that will be selected when the

COMPARE button is dark.

Global mode

The Compare function that brings back the settings

prior to editing is not available in Global mode.

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Introduction to the KROME

Writing/saving

Shortcuts

After editing, you should write or save your changes as

necessary.

For example if you’ve edited a program, your changes

will be lost if you select another program or turn off

the power. The same applies to a combination.

Settings you edit in Global mode and songs will be

remembered as long as the power is on, but your

changes will be lost when you turn off the power,

unless you write these changes into memory.

Selecting a GM bank program

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

–.

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

press 1–9.

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

(.).

• You can write or save by pressing the WRITE

button twice.

For more details on the Write operations, see the

following pages.

Moving between pages within a mode

• By holding down the PAGE button and pressing a

numeric key 0–9 you can jump to the

corresponding page.

• Programs → p.30

Access the menu commands in each page (up

to ten items)

• Combinations → p.47

• Effect presets → PG p.67

• Global settings (pages 0–4) → p.116

• Drum kits → p.116

• By holding down the ENTER button and pressing a

numeric key 0–9.

• User arpeggio pattern → p.116

• User Drum Track patterns → p.103

Input note number values or velocity values

• While holding down the edit cell in the display,

Preset/user Drum Track patterns are saved in

internal memory even when the power is turned

off. Patterns that you create in Sequencer mode can

be converted into user Drum Track patterns and

saved in internal memory.

press a note on the keyboard.

Alternatively, select the edit cell in the display, and

then hold down the ENTER button and press a note

on the keyboard.

Note: You can also use a MIDI note‐on message instead

of the keyboard.

Note: While a dialog box is displayed, the ENTER

button will perform the same function as the OK

button. This means that you can’t use this method to

enter a note number or velocity value in a dialog box

that contains an OK button.

• User template songs → PG p.164

Preset/user template songs are saved in internal

memory even when the power is turned off. Track

settings and effect settings of a song you create can

be saved in internal memory by using the menu

command Save Template Song.

• For details on writing to internal memory → p.115

Refer to the following pages for more information

about saving.

• Saving a song → p.75

Specifying the location in a song

In Sequencer mode, sets the current location as the

Location (equivalent to the Set Location menu

command)

• Saving to media (Media– Save) → p.118

Note: On the KROME, the action of writing to internal

memory is called “Write,” and the action of saving to

an SD card device is called “Save.”

• Hold down the ENTER button and press the

LOCATE ( ) button.

ENTER button

Assigning a name (renaming)

You can edit the name of an edited program,

combination, song, drum kit, or arpeggio pattern.

• While a dialog box is displayed, this button

performs the same function as the OK button.

You can also change the names of the program and

combination categories.

For details, please see “Editing names” on page 117.

EXIT button

This button makes it easy to return to the main page of

the current mode:

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

the main P0 page.

2. Press the EXIT button. You will move to the

previously selected parameter of the P0 top page

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

3. Press the EXIT button. You will move to the

following parameter of the P0 top page.

Prog: Program Select

Combi: Combination Select

Seq: Song Select

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Basic Information Basic operations

In any page of Program or Combination mode,

pressing EXIT a maximum of two times will

immediately allow you to use the numeric keys or

INC/DEC buttons to select programs or combinations.

In Sequencer mode, pressing EXIT a maximum of three

times will allow you to select a song.

EXIT button (in dialog boxes)

When a dialog box is displayed, this has the same

function as the Cancel, Done, or Exit button.

Initialize the KROME

• With the power off, press the power switch while

holding down the ENTER button and numeric key

[0].

(While data is being loaded, the display will

indicate “Now writing into internal Memory.”)

The result will be the same as when you’ve

executed Load Preload/Demo Data All.

(See page 125)

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Introduction to the KROME

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Setup

Turning the power on/off

Connecting the AC adapter

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

2. Connect the DC plug of the included AC adapter

to the power supply jack on the KROME’s rear

panel.

You must use only the included AC adapter. Using

any other AC adapter might cause malfunctions.

3. Connect the power cord to the AC adapter.

4. Plug the power cord into an AC outlet.

Be sure to use an AC outlet of the correct voltage

for your adapter.

5. Use the KROME’s cable hook to fasten the cable so

that the DC plug does not become accidentally

disconnected.

If the auto power‐off function is enabled, the time

until auto power‐off turns off the power will be

shown when the system starts up. If this dialog

box does not appear, the auto power‐off function is

disabled; the power will not turn off automatically

(see “A u to power ‐off function” on page 16).

AC adapter connections

4: Cable hook

1: Power

supply jack

Power switch

When fastening the

cable to the cable

hook, take care not

to bend this portion

any more than

AC adapter

3. Turn on the power of the external equipment that’s

connected to the KROME’s AUDIO OUTPUT L/

MONO and R jacks, such as powered monitor

speakers.

4. Use the KROME’s VOLUME knob and the volume

controls of your external equipment to adjust the

volume to a suitable level.

2: Plug into AC outlet.

necessary.

3: Power cord for AC adapter

Note: The page that appears when you turn on the

power will depend on the Power‐On Mode setting (see

page 110).

Turning the power on

1. Turn the KROME’s VOLUME knob all the way to

the left so that the volume is down.

If external equipment such as powered monitor

speakers are connected, lower their volume as well,

and then turn off their power.

2. Press the power switch on the KROME’s rear

panel to turn the power on.

Turning the power off

When you turn off the power, unsaved data will be

lost. Be sure to save any important data such as

edited sounds or global settings (see page 12).

If the KROME’s auto power‐off function is

enabled, its power will automatically turn off if

there has been no user input for a certain length of

time. Unsaved data will be lost even if the power is

turned off by the auto power‐off function.

The display will show the model name and software

version. (The illustration shows the screen that will

appear with the factory settings. This may change

without notice.)

1. Turn the KROME’s VOLUME knob all the way to

the left so that the volume is lowered.

2. If external equipment such as powered monitor

speakers are connected, lower their volume and

then turn off their power.

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Setup

3. Press the power switch on the KROME’s rear

panel to turn the power off.

1. While this message is displayed, press the Change

Setting button in the dialog box.

The KROME’s internal data may be damaged if the

power is turned off while data is being written into

internal memory, such as during a Save operation.

Never turn off the power while processing is being

performed.

The following dialog box will appear.

The following message is displayed while data is

being written into internal memory.

“Now writing into internal memory”

If writing to internal memory could not be

completed successfully, the KROME will

automatically repair the internal memory by

initializing it the next time you turn on the power.

This is not a malfunction. If this occurs, the

following message will appear in the display;

press the OK button.

The internal memory has been corrupted, likely

due to an interruption of power while the system

was writing/saving data. This has been repaired

and the affected Bank has been initialized.

A small amount of electrical power is used even

when the power is off (STANDBY). If you won’t be

using the KROME for an extended period, turn off

the power and unplug the power cord from the

AC outlet.

2. Press the popup button to select the length of time

after which the power will turn off. If you don’t

want the power to turn off automatically, choose

the Disabled setting.

Changing the setting during operation

1. Press the GLOBAL button. (Alternatively, press

the mode button and choose GLOBAL.)

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

3. Press the System Pref. tab to access the System

Preferences page.

4. In “Auto Power‐Off,” specify the amount of time

when you want the power to turn off. If you don’t

want the auto power‐off function to automatically

turn off the power, choose the Disabled setting.

Auto power-off function

The KROME supports an auto power‐off function that

automatically turns off the power when the keyboard

(*)

or front panel buttons have not been used for a

certain length of time.

* Usage of the VOLUME knob is not included.

Note: With the factory settings, the time until

automatic power‐off will be approximately four hours.

When the power turns off, the settings you had

been editing will be lost. Make sure that you save

important settings before this occurs.

Auto power-off warning message

Changing the auto power-off setting

When the specified length of time has elapsed without

any user input on the KROME, a message will appear,

warning you that the auto power‐off function is about

to turn off the power.

If you want to change the setting so that the power

does not turn off automatically, proceed as follows to

disable the auto power‐off function.

Making the change in the dialog box immediately

after start-up

If the auto power‐off function is enabled so that the

power will turn off automatically, the dialog box will

appear immediately after start‐up, indicating the time

until automatic power‐off will occur.

If you want to continue using the system, press the

keyboard, a button, or the display. The Auto power‐off

function will be reset. If the same specified length of

time elapses with no user input, the same message will

appear again.

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Connections Turning the power off

Connections

Connections must be made with the power turned

off. Please be aware that careless usage may

damage your speaker system or cause

malfunctions.

Connections to computers

Pedal connections etc.

ASSIGNABLE PEDAL

ASSIGNABLE SWITCH

Computer

DAMPER

USB

AUDIO OUTPUT

R L/MONO

MIDI OUT

Connections to MIDI equipment

MIDI cable

MIDI IN

AC adapter power

supply connector

MIDI IN

MIDI OUT

Power cable

(Included)

INPUT

to an AC outlet

Connecting the AC adapter

MIDI keyboard

Powered

monitors, etc.

Analog audio output

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Setup

Audio connections

The KROME does not contain built‐in speakers. In

order to hear the sound of your performance, you’ll

need to connect audio equipment such as powered

monitors, a mixer, a stereo set or headphones.

Connecting a damper pedal,

foot switch, or foot pedal

If you connect an optional damper pedal, foot switch,

or foot pedal to the KROME, you’ll be able to control

the KROME using your feet.

Connecting audio equipment

The KROME’s audio output is designed to

produce a signal level that is higher than consumer

audio equipment such as CD players. For this

reason, performing at high a volume may damage

your speakers or equipment. Please use caution

when adjusting the volume.

1. Minimize the volume of all connected equipment,

and turn off the power.

2. Connect the KROME’s OUTPUT L/MONO and R

jacks to the input jacks of your powered monitor

speakers or mixer.

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

R sound will be mixed for monaural output. In order to

take full advantage of the KROME’s capabilities, we

recommend that you listen in stereo.

If you’re playing back through your stereo audio

system or a cassette‐radio that has external input

connectors, connect the KROME to the jacks that are

marked LINE IN, AUX IN, or external input. (You

might need to obtain the appropriate adapter plug or

conversion cable.)

Connecting a damper pedal

When you press the damper pedal, the notes you’ve

pressed will be sustained so that they will continue

even after you take your hands off the keyboard. This

is also called a sustain pedal; it has the same function

as the damper pedal of an acoustic piano.

If the optional Korg DS‐1H damper is connected, you’ll

be able to take advantage of the “half‐damper” effect,

where the depth that you press the pedal will vary the

damper amount. If any other type of pedal is

Powered monitor speakers

INPUT

connected, it will function as a damper switch.

In Combination or Sequencer mode, you can also select

settings so that the damper will apply to some sounds

but not to other sounds.

L/MONO

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

ASSIGNABLE PEDAL/SW1/DAMPER jack.

2. Depending on which assignable jack you have

connected the pedal to, set the controller type

(Type) to Damper, and set the Polarity as

PHONES

appropriate (see page 202 of the Parameter Guide).

Note: The half‐damper sensitivity is adjusted to a

standard value when the KROME is shipped from the

factory. If the half‐damper pedal you’re using does not

respond appropriately, please adjust the sensitivity

(see page 217 of the Parameter Guide).

Headphones

Connecting headphones

Using headphones at high volume for an extended

time may cause hearing damage. Please avoid

excessively high volume levels.

Connecting a foot switch

1. Connect the stereo mini‐plug of your headphones

to the KROME’s Headphone jack.

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

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

switch can perform a wide variety of functions, such

as:

• An assignable source for modulating sounds and

effects

2. Use the VOLUME knob to adjust the headphone

volume.

The KROME’s Headphone jack will output the same

signal as the OUTPUT L/MONO and R jacks.

The output from the OUTPUT jack is not turned off

even if headphones are connected to the Headphone

jack.

• Portamento on/off

• Program select up or down

• Sequencer start/stop or punch in/out

• Tap Tempo

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

• Arpeggiator on/off

• Switch the Drum Track on/off

• Use various KROME controls (realtime control

knobs, joystick, SW1/SW2, etc.)

4. Set the “Foot Switch Polarity” to match the

polarity of the pedal you’ve connected.

If you’ve connected the optional PS‐1 or PS‐3 pedal,

choose (–) KORG Standard.

Now, the foot switch will step through the Programs,

one by one.

This button will always function in the same way

regardless of the Program, Combination, or Song

you’ve selected. You can assign the function in the

Global mode.

5. If you want to preserve this setting even when the

power is turned off, be sure to Write the data. (See

page 116)

6. Press the PROG button to enter Prog P0: Play, and

press the foot switch to change the Program.

Note: This setting applies to selecting Combinations, as well.

Note: With the Program Up/Down method, you won’t

be able to select programs while the Bank/Program

Select or Category/Program Select menus are open.

Use the “Assigning the foot switch to Value Inc/Dec”

method described below.

Using a foot switch to select Programs

You can select programs by using a foot switch

connected to the ASSIGNABLE SWITCH jack. By

assigning the appropriate function, you can increment

or decrement the program number in steps of one.

This lets you change Programs without using your

hands–great for quick Program changes in live

performance situations.

There are two ways of doing this: by assigning the foot

switch to Program Up/Down, or to Value Inc/Dec. Each

of these is suited to a particular application, as

described below.

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

screen

Assigning the foot switch to Value Inc/Dec

This lets you use the Assignable Foot Switch to duplicate

the functions of the front‐panel INC or DEC buttons.

This method is convenient if you want to open the

Bank/Program Select menu or the Category/Program

Select menu and switch programs while viewing the

program or combination menu.

1. Follow steps 1–2 under “Assigning the foot switch

to Program Up/Down,” above.

• VALUE Inc/Dec: When performing while a list such

as the Category/Program Select menu is open

Assigning the foot switch to Program Up/Down

Assigning the foot switch to Program Up or Program

Down lets you directly control Program changes from

the foot switch. For most situations, this is the more

straightforward method.

2. At the top of the page, set the Foot Switch Assign

parameter to Value Inc (or Value Dec).

3. Now, the foot switch will act just like you’re

pressing the front‐panel INC or DEC buttons.

To set this up:

Note: The foot switch will work like this for the entire

KROME–not just when the Bank/Program select menu

or Category/Program Select menu is open.

1. Connect a foot switch to the rear‐panel

ASSIGNABLE SWITCH input.

Use an optional PS‐1 pedal switch.

2. Access the Global P2: Controllers– Foot

Controllers page.

Connecting a foot pedal

If you connect an optional EXP‐2 foot controller or

XVP‐10 expression/volume pedal to the ASSIGNABLE

PEDAL jack, you can use it to apply modulation to

sounds or effects, or to adjust the overall volume.

This pedal will always function in the same way

regardless of the Program, Combination, or Song

you’ve selected. You can assign the function in the

Global mode.

Like the Assignable Foot Switch, described above, the

Foot Pedal can be used for many different functions,

including:

• Master Volume

• Channel Volume, Pan, or Expression

Proceed as follows.

• Assignable sound modulation, as several different

AMS or Dmod sources

• Effects Send level control

• Use various KROME controls (realtime control

knobs, Joystick, SW1/SW2, etc.)

Press the GLOBAL button to enter Global mode.

Press the PAGE button to access the GLOBAL Page

Select. Press P2 Controllers, then press the Foot

Control tab in the display.

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

Program Down.

If you choose Program Up, the next program number

up will be selected each time you press the foot switch.

If you choose Program Down, the next program

number down will be selected each time you press the

foot switch.

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

ASSIGNABLE PEDAL jacks.

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

Controllers– Foot Controllers page “Foot Pedal

Assign” to assign the function controlled by the

foot pedal. (See page 111, and pages 202, 350 of the

Parameter Guide)

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Setup

Controlling an external MIDI tone

generator from KROME

If you want to use the KROME’s keyboard, chord

trigger switches and other controllers, sequencer, and

arpeggiator to play or control an external MIDI sound

module, use a MIDI cable to connect the KROME’s

MIDI OUT connector to the MIDI IN connector of your

external MIDI sound module.

Connecting the KROME to

a computer

USB connection

The KROME provides both MIDI and USB connectors

as standard equipment. By connecting the KROME to

your computer via USB, you can use it as a controller

and MIDI sound module for your DAW software with

single cable convenience; and with out the need for a

MIDI interface.

MIDI OUT

MIDI IN

By using the dedicated editor, you can edit some of the

parameters of the KROME from your computer as

though it were a software plug‐in.

KROME

MIDI keyboard

Note: The USB connector of the KROME is only able to

transmit and receive MIDI data.

Controlling KROME’s tone generator

from an external MIDI device

When you wish to play or control the KROME’s tone

generator from an external MIDI keyboard or

sequencer etc., use a MIDI cable to connect the MIDI

OUT connector of the external MIDI device to the

MIDI IN connector of KROME.

Before you connect the KROME to your computer

via USB, you must install the KORG USB‐MIDI

driver on your computer.

Connecting via the MIDI connectors

You can connect the KROME to your computer via

MIDI by using a commercially available MIDI

interface.

MIDI IN

MIDI OUT

Note: For more about MIDI interfaces, refer to the

owner’s manual of the MIDI interface you’re using.

Some USB‐MIDI interfaces may be unable to

transmit or receive the KROME’s MIDI exclusive

messages.

KROME

MIDI keyboard

Controlling two or more external MIDI

tone generators from KROME

You can also use a MIDI patch bay to control multiple

MIDI devices.

Connecting MIDI devices

By connecting the KROME’s MIDI connectors to an

external MIDI device you can transfer sound settings

and performance data such as note messages between

your external MIDI device and the KROME.

KROME

About MIDI

MIDI OUT

MIDI IN

MIDI stands for Musical Instrument Digital Interface,

and is a world‐wide standard for exchanging various

types of musical data between electronic musical

instruments and computers. When MIDI cables are

used to connect two or more MIDI devices,

performance data can be exchanged between the

devices, even if they were made by different

manufacturers.

MIDI OUT

MIDI IN

MIDI

patch bay

MIDI keyboard

MIDI IN

MIDI tone generator

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Playing and editing Programs

About the KROME’s Programs

Programs are the basic sounds of the KROME.

You can play them by themselves, layer them together

in Combinations, or play a different Program on each

of the 16 MIDI tracks, either from the internal

sequencer or from external computer‐based

sequencers.

This section of the manual takes a quick look at playing

Programs, including tours of the front‐panel

controllers and basic editing techniques.

Playing Programs

This is shown in the top line of the display.

Mode button

Page number and name

Tab name

Selecting Programs

There are several different ways to select Programs.

Each one is convenient in a different way:

Bank

number

• Using “Program Select” and the VALUE

controllers:

• Using the Bank/Program Select menu:

• Using the Category/Program Select menu:

• Find

Program Select

(Program number and name)

Category Select popup button

(Category number and name)

Program Select popup button

If a different page is shown, press the EXIT button a

few times to return to the Prog P0: Play– Main page.

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

If it’s not selected, press “Program Select” in the

display or press the EXIT button to highlight the

indication.

4. Select the program you want to play.

You can use the following methods to select a program.

• Use the INC or DEC buttons.

• Using a foot switch: page 19

• MIDI program change messages let you select

Programs remotely, from either a MIDI sequencer

or an external MIDI controller

For details, please see below.

Selecting a program using “Program

Select” and the VALUE controllers

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the program number,

and press the ENTER button.

1. Press the PROG button. (The LED will light up.)

(Refer to the illustration below for the buttons.)

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

select a bank.

Alternatively, you can use the mode button (see

“Selecting modes” on page 9).

When you select a different Bank, the button’s LED will

light up, and the selected bank will appear on the left

side of the display.

The KROME will enter Program mode.

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

2: PROG P0: Play

1: Mode name

(button)

3: Program Select

4: Numeric keypads

ENTER button

1: ROG buttons

5: BANK A–F buttons

4: INC/DEC buttons

Velocity meter

4: VALUE dial

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Playing and editing Programs

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

button. The B button will light up, and the name Bank

B will appear on the left side of the display.

Selecting by Bank/Program Select

You can select Programs from a menu organized by

Program bank.

• To select a GM bank, you’ll use the numeric keys.

GM: Hold down 0 and press –.

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

ber 1–9. For banks that do not have variation

sounds, the basic GM sounds will be recalled. (An

“*” will be appended to the beginning of the pro‐

gram name.)

1. Press the Program Select popup button.

The Bank/Program Select menu appears.

Bank/Program Select menu

g(d): Hold down 0 and press (.).

Auditioning the sound

Play the keyboard to audition the program you’ve

selected.

The velocity meter shows the note‐on velocity.

• This shows the velocity value of note‐on events for

the global MIDI channel, such as the keyboard,

MIDI IN, and arpeggiator. (If multiple note‐on

events are received simultaneously, the highest

velocity value is shown.)

• Since this shows the note‐on velocity values, it will

not be affected by the settings of the volume knob

or by changes in the audio signal level.

In this illustration, Bank A is selected. The menu

displays the Programs contained in that bank.

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

select banks.

3. Press one of the program names in the center area

to select a program.

The selected program will be highlighted, and the

program will change.

Alternatively, you can use the INC/DEC buttons to

switch programs.

Overview: Program Banks

As program banks, the KROME provides the six banks

A–F and the GM banks (GM–g(d)). With the factory

settings, the KROME has 640 preload programs in

banks A–E. Bank F contains only initialized programs.

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

Play the keyboard or press the chord trigger buttons to

hear the program you selected.

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

shown.

By repeatedly pressing this Variation button, you can

successively step through the banks, allowing you to

recall a GM2 sound set (see “To select a GM bank” on

page 22).

5. When you are satisfied with the selected Program,

press the OK button to close the menu.

With the exception of the GM–g(d) banks, you are free

to save by overwriting these program memory areas.

You can also save these programs on an SD card.

Programs are organized into six banks as shown in the

following table.

Program bank contents

Bank Prog. No.

Explanation

With the factory settings,

these banks contain a wide

variety of preloaded

programs that use the

internal multisamples,

effects, and arpeggiator.

Factory

Programs.

A…E 000…127

If instead you press the Cancel button, the selection

you made here will be discarded, and you will return

to the program that had been selected before you

opened the menu.

Initialized

Programs.

Use these to create a

program from scratch.

000…127

001…128

GM2 main

programs.

These banks contain 256

GM programs and nine GM

drum programs that are

compatible with the GM2

sound map. The programs

of these banks are read-

only.

g(1)…

g(9)

GM2 variation

programs.

Bank GM contains the GM

programs. GM lets you

select 128 programs

numbered from 001–128,

and g(1)–g(d) lets you

select nine drum

GM2 drum

programs.

g(d)

001…128

programs.

You can’t write (save) data

to these banks.

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Playing Programs Selecting Programs

Find

Selecting by Category/Program Select

You can select Programs from within a category, such

as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded

Programs are organized into 16 categories, each with

several sub‐categories.

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

name.

1. Access the Bank/Program Select menu or the

Category/Program Select menu, etc.

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

want to search.

Note: The programs included in the selected tab will be

1. Press the Category Select popup button.

The Category/Program Select menu appears.

Category/Program Select menu

the subject of the search.

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

access the dialog box.

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

In the illustration above, the Keyboard category is

selected. The menu in the center column area shows

the Programs which belong to that category.

2. Press the tabs to the left and right of the display to

select a different category.

Enter the alphanumeric characters that you want to

find, and press the OK button. For example if you want

to find programs that take effective advantage of SW1

or SW2, enter “sw”.

5. If you select the “Ignore Case” check box,

uppercase and lowercase characters will not be

distinguished in the search.

The name of the selected category will be displayed in

full in the top right‐hand corner.

6. Press the Find button to begin searching.

Search results are shown in “Found.”

3. Press one of the program names in the center area

to select a program.

The selected program will be highlighted, and the

program will change.

If one or more items are found, the number of items

and the first found program will be displayed.

Alternatively, you can use the INC/DEC buttons to

switch programs. Touch the scroll ribbon at the bottom

of the screen to see all of the Programs in that category.

Press the Prev. button or Next button to find the

previous or next program. This will cycle through the

found items within the tab.

Play the keyboard or press a chord trigger button to

hear the program you selected.

You can play the keyboard to audition the program

that was found.

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

Jump to Sub button to access the Sub Category/

Prog Select menu.

Press the left tabs to select a sub‐category.

Note: You can’t select tabs for a sub‐category that has

no associated programs.

If no items are found, the display will indicate

“nothing.”

7. If you are satisfied with the selected program,

press the OK button to close the menu.

The selected program will be selected in the menu you

selected in step 1. If you are satisfied with the selected

program, press the OK button to close the menu.

Select a program as described in step 3 above.

If you want to search for a different program, or if no

items were found, press the Cancel button.

8. Press the tab that you want to select next, and

search as described in steps 3–7.

If you press the Cancel button, this selection will be

discarded, and you will return to the program that had

been selected prior to opening the menu.

Press the OK button to confirm your selection, or press

the Cancel button to discard it. You will return to the

main category.

5. When you are satisfied with the selected program,

press the OK button to close the menu.

If instead you press the Cancel button, your selection

will be discarded, and you will return to the program

that had been selected when you opened the popup

menu.

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Playing and editing Programs

Program information

In the Prog P0: Play– Main page you can view the

following information about the selected program.

OSC Picture: This is a graphic that represents the

program’s oscillator.

Using Controllers

In addition to using the keyboard, the KROME lets you

control the sound by using the joystick, SW1 and SW2

buttons, knobs 1–4, damper pedal, and foot switch or

foot pedal.

These controls let you modify the tone, pitch, volume,

effects, etc. in realtime as you play.

OSC Oct: For a double oscillator or double drums, this

indicates “Oct” (the basic pitch of the oscillator).

SW1, SW2: This indicates the function that’s assigned

to the SW1/SW2 buttons, and the on/off state of the

buttons.

Realtime Controls – TONE CONTROLS/USER

CONTROLS/ARP CONTROLS:

[SW1], [SW2]

(Lock

function)

This shows information about the functions of the

REALTIME CONTROLS knob that’s currently selected.

Use the SELECT button to choose the functions that

will be controlled by the knobs. For more information

about these functions, please see page 28.

Joystick

EQ (Low, Mid[Hz], Mid, High): This shows the 3‐band

EQ settings. You can use the value controllers to edit

the values.

Joystick

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

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

Each of the four directions can be used to control a

different function, such as modulating Program or

effects parameters. These assignments can be different

for every Program, but generally, they do the following:

Effect Controls– IFX, MFX, TFX:

This shows the effects that are assigned. The KROME

provides insert effects 1–5, master effects 1 and 2, and a

total effect. For the master effects, you can edit the

return levels.

Velocity Meter:

Standard Joystick functions

This meter shows the note‐on velocity value.

Controller

Move the joystick…

Left

Normally controls…

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

MIDI IN, and arpeggiator etc. (If multiple note‐on

messages are received simultaneously, the highest

velocity value is shown.)

Name

JS–X

JS+X

JS+Y

JS–Y

Pitch bend down

Pitch bend up

Vibrato

Right

Up (away from yourself)

Down (towards yourself)

Filter LFO (wah)

Realtime Controls

- Tone Controls

- User Controls

- Arp Controls

For details, please see page 82.

OSC

Picture

Eﬀect Infomation

IFX 1-5

Joystick Lock

This function lets you maintain the effect that had been

applied prior to releasing your hand from the joystick.

OSC Oct

MFX 1, 2,

Send level

(On/Oﬀ)

TFX (On/Oﬀ)

SW1,

SW2

You can use the SW1/SW2 buttons or a foot switch

connected to the KROME to lock the current position

so that the effect will continue even after the joystick

returns to the center position. For details, please see

“Locking the Joystick” on page 25.

Velocity Meter EQ

SW1, SW2

You can use these buttons to control program

parameters via AMS (Alternate Modulation), or effect

parameters via Dmod (Dynamic Modulation).

They can also transpose the keyboard by octaves, turn

portamento on/off, or to lock the position joystick.

Each button can work as either a Toggle or Momentary

button. In Toggle mode, the assigned function is

switched between on and off each time the button is

pressed. In Momentary mode, the assigned function is

active on only as long as you hold down the button.

In Program mode, you can check the assignments of

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

For details, please see “Program information” on

page 24.

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Playing Programs Using Controllers

When you write a Program or Combination, the on/off

status of the SW1 and SW2 buttons is saved.

1. Press the SELECT button to select the realtime

control function between TONE, USER, or ARP.

For details, please see page 82.

TONE, USER: Use the knobs to modify the sound or

effects (see page 28).

ARP: Use the knobs to control the arpeggiator (see

Locking the Joystick

page 86).

1. Using the standard factory sounds, select Program

C027: Semi Distortion Guitar.

You can freely switch between these functions without

losing your current edits.

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

When you turn one of these knobs, that knob’s function

and value will appear in a popup.

(You can prevent this popup from appearing. See

page 111.)

To select a program, make sure that you are in Program

mode, and press the PROG BANK C button, numeric

key 2, 7, and then the ENTER button.

2. While holding down a key, move the joystick in

the –Y direction (toward yourself).

The tremolo effect will deepen.

3. While keeping the joystick in the –Y direction

(toward yourself), press the SW2 button. (The SW2

button LED will light up.)

There will be a slight amount of play when turning

the knob near its minimum or maximum positions.

When you press the button, its LED will light up, and

the modulation effect at this point will be maintained.

4. Release the joystick, and play the keyboard.

The modulation will stay the same as it was when SW2

was pressed. Even if you move the joystick toward

yourself, the sound will not change.

TEMPO knob and TAP button

This adjusts the tempo for the KROME as a whole,

including:

• Arpeggiator

• Drum Track

5. Press the SW2 button once again to release the

Lock function.

• Songs in Sequencer mode

• Tempo‐synced LFOs

• Tempo‐synced (“BPM”) delay effects

Keyboard

TEMPO LED

The KROME’s keyboard provides the following two

types of control.

The LED will blink at quarter‐note intervals of the

current tempo.

TEMPO knob

This knob adjusts the tempo. It’s a convenient way to

make continuous adjustments.

Note: If the Global P1: MIDI– MIDI Basic page MIDI

Clock parameter is set to External MIDI, External USB,

or if it is set to Auto and a clock is currently being

received via MIDI, then neither the TEMPO knob nor

the TAP button will have any effect.

Velocity

Velocity is a measure of how hard you play a note on

the keyboard. This can be used to modulate many

different aspects of the sound, such as volume,

brightness, or the character of the attack.

Note Number

Sounds can be programmed to change in character

based on the note being played.

TAP button

You can set the tempo of the Arpeggiator or Drum

Track function in Program, Combination, and

Sequencer modes by lightly pressing or tapping the

TAP button several times on the beat. In Sequencer

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

As you play higher or lower on the keyboard, the note

number can modulate the timbre ‐ such as becoming

brighter as you play higher notes. Envelopes may also

become faster or slower; the volume may change; and

so on.

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

TAP button. The tempo will be entered when you press

the button twice, but you should tap several times in

order to increase the precision. The average of the last

sixteen taps will be specified as the tempo.

Realtime control knobs

The realtime controls consist of four knobs and the

SELECT button. These controls function as follows.

During playback, lightly press the TAP button several

times at the desired tempo. The tempo will follow your

tapping in realtime. This is a convenient way to match

the tempo in realtime to the beat of a different source.

• You can apply modulation to sounds or edit them.

• You can control the arpeggiator.

You can use tap tempo control whenever the

TEMPO knob can be used. For example in

Sequencer mode, tap tempo control will not be

available if you are playing a song where the

Tempo Mode setting is set to Auto. (See page 110

of the Parameter Guide)

Note: You can also use a foot switch connected to the

ASSIGNABLE FOOT SWITCH jack to control the tap

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Playing and editing Programs

tempo function (see page 18, and pages 202, 349 of the

Parameter Guide).

Performing with the

arpeggiator or drum track

Damper pedal / Foot switch / Foot

pedal

For details on using the damper pedal, foot switch, or

pedal to control the sound, please see “Connecting a

damper pedal, foot switch, or foot pedal” on page 18.

Based on note data that it receives from the keyboard

or from the MIDI IN connector, the arpeggiator can

generate a wide range of phrases and patterns

including arpeggios, guitar or keyboard backing riffs,

bass phrases, or drum patterns. By setting SELECT to

ARP and using the knobs, you can vary the duration

and strength of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

The drum track uses a rich variety of drum patterns to

play the KROME’s high‐quality drum programs. You

can select any program and play along with the drum

patterns.

Of course you can also synchronize the arpeggiator

and the drum track patterns and use them together.

For more about the drum track, please see page 97.

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Easy Program editing Adjusting the EQ

Easy Program editing

The fastest way to create the sound you need is to start

from a preload program that’s close to what you have

in mind, and edit that program.

Simple editing can be done within the various pages of

P0: Play where you perform. You can adjust the EQ

and volume level, and in the Tone Adjust page you can

use the sliders and buttons to perform various useful

edits. You can also use the front panel realtime controls

to intuitively adjust the cutoff, resonance, and release

time.

Adjusting the volume balance

A program’s sound consists of up to two “oscillators”

which are played mainly from the keyboard, and one

“drum track” which automatically plays the rhythm

section.

The volumes of the oscillators and the drum track can

be adjusted in the Prog P0: Play‐ Mixer & Drum Track

page.

Note: There’s also a “mute function” which

individually silences these, and a “solo function”

which mutes all sounds other than the specified one.

If you want to do detailed editing, use the editing

pages P1 and following.

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

page.

Adjusting the EQ

OSC Play/Mute Drum Track Play/Mute

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

Prog P0: Play– Main page.

Note: This EQ will affect both oscillator 1 and oscillator

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

2. On the display, select the EQ gain knob or the

center frequency of the Mid sweep EQ that you

want to edit.

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

edit the value.

You can also edit the value by dragging left or right on

a knob or edit cell in the display.

Volume

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

dial etc. to adjust the volume of oscillators 1 and 2

and the drum track.

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

OSC1 and OSC2 sliders to adjust the direct sound of

the close‐miced drum kit and the ambient sound of the

drum kit captured with more space.

Note: With single‐oscillator programs, you won’t be

able to control oscillator 2.

3. You can press the Play/Mute button in the display

to toggle the Play/Mute status of oscillators 1 and 2

and the drum track.

4. You can press the Solo button in the display to

toggle the Solo On/Off status of oscillators 1 and 2

and the drum track.

The function of the Solo button will switch each time

you select “Exclusive Solo” in the menu (see page 64 of

the Parameter Guide).

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Playing and editing Programs

Knob 3: EG INT

Using realtime controls to edit

the sound or effects

You can use the realtime controls (the SELECT button

and knobs 1–4) to modify the sound and control the

arpeggiator.

1. Press the REALTIME CONTROLS SELECT button

to switch the realtime control function between

TONE, USER, or ARP.

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

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

up.

This adjusts the filter EG intensity (the depth of how

the EG affects the filter).

Using the knob will change the amount of how the

filter is affected by the EG. Normally, turning the knob

toward the left will make the filter EG shallower, and

turning the knob toward the right will make it deeper.

Since the filter EG operates relative to the filter cutoff

frequency, both knobs 1 and 3 will control the tonal

change produced by the filter.

Level

Note: If CC#70–79 are assigned to REALTIME

CONTROLS A mode and B mode, the sound that you

edit using knobs 1–4 will be saved when you write the

program. Arpeggiator settings you adjust in C mode

will also be saved.

Time

2. Modify the sound by turning the knob that you

want to control. See below for details.

Knob 4: RELEASE

This adjusts the filter and amp EG release time,

changing the time from note‐off until the sound is no

longer heard.

Turning the knob will change the release time of the

filter EG and the amp EG. Normally, turning the knob

toward the left will shorten the release time, and

turning the knob toward the right will lengthen it.

TONE controls

In TONE section you can turn knobs 1–4 to control or

edit the following items.

Note: When a knob is in the center position

(12 o’clock), the parameter will have the value

specified by the program.

Attack Level

Break Level

note-on

Level

note-off

Knob 1: CUTOFF

This adjusts the filter’s cutoff frequency. Adjusting the

cutoff frequency will modify the brightness of the

sound.

Release Level

Sustain Level

Level

Time

Release

time

Slope Time

Decay Time

Attack Time

Sutart Level

Example:

Frequency

High

Low

1. Select program “Category: KEYBOARD A066:

Dark R&B Piano.

Cut off

frequency

This is an electric piano sound. Let’s try modifying the

sound a little.

Knob 2: RESONANCE

2. Press the REALTIME CONTROLS SELECT button

This adjusts the filter’s resonance level.

to select TONE (the LED will light‐up).

Adjusting the filter resonance level will boost the

sound in the region of the frequency, giving a

distinctive character to the sound.

3. While you play, slowly turn knob 1 (filter

frequency) about 3/4 toward the right.

The piano sound will become more like a synth sweep.

4. Next, turn knob 2 (filter resonance) about 3/4

toward the right as well.

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

1 to the left and right.

Raising the resonance will change the sound as though

you were playing through a wah pedal.

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Easy Program editing Using Tone Adjust

USER controls

Using Tone Adjust

The Tone Adjust function lets you edit the parameters

of the program. The program parameters that are most

effective for editing will be assigned to the controllers

in the display.

In the USER section you can turn knobs 1–4 to control

various aspects of the sound such as volume,

portamento time,

pan, filter and amp EG, pitch LFO, and master effect

send level.

In USER, the most useful functions are assigned

individually for each preload program.

The table below shows the standard assignments of the

Realtime Controls knobs:

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

This page shows and reflects data generated by the

tone adjust function, letting you view the parameter

assignments and their precise values.

Knob

TONE1

TONE2

TONE3

TONE4

MIDI CC

Normally controls…

Filter Cutoff Frequency

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

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

use it. (You can edit the value of a slider by

dragging it in the display.)

Filter Resonance

Filter EG Intensity

EG Release Time

Note: You can assign the principal program

parameters to the various controllers in the display. For

details, please see page 7 of the Parameter Guide.

USER1, 2 Varies for each Program

USER3

USER4

Often Chorus Depth - but can vary per Program

Often Reverb Depth - but can vary per Program

For example:

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

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

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

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

the display.

Slider 5 is assigned to F/A EG Attack Time; slider 6 is

assigned to F/A EG Decay Time; and slider 8 is

assigned to F/A EG Release Time.

ARP controls

In the ARP section you can control the arpeggiator in

realtime.

For details on functionality, please see page 86.

4. Raise each of the three sliders so that they are

about 4/5 of the way to the top.

The display should show their values as between +60

and +70. This means that you have edited the filter EG

and amp EG attack, delay, and release to longer values.

Saving the edits you made by moving the

knobs

The realtime control knobs are an ideal way to modify

the sound while you perform. As needed, press the

front panel WRITE button to Write the Program into

memory and save the sound you’ve edited. (See

“Saving your edits” on page 30.)

5. Play a few notes.

Notice that the sound has changed from an electric

piano into a soft pad. Next, let’s add just a bit of filter

modulation, to make the sound more rich.

However for Realtime Controls USER knobs 1–4,

the edited settings can be saved only if you’ve

assigned CC#70–79.

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

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

(OSC1 filter LFO1 intensity). It will adjust the amount

of filter modulation produced by LFO1.

7. Lower slider 2 slightly so that the display indicates

about –6.

8. Play a few more notes.

The filter modulation has added some shimmer to the

sound. Now, maybe it could use a bit more edge…

Internally, a single knob usually affects several

different parameters. When you write a Program, the

edits are saved into the individual program

parameters, and not to the knob itself.

After writing the Program, you’ll notice that the knobs

have returned to their center positions–since the old

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

Assigning Realtime Controls USER functions

to knobs 1–4

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

display.

You can assign the functions that knobs 1–4 will

perform when Realtime Controls USER is selected.

(See page 41)

These are programmed to raise the Filter Cutoff and

Filter Resonance, respectively. Switches are just on/off,

but you can set a specific value for the On position;

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

10. Press each of the two switch buttons.

The sound now has a more interesting character, due

to the filters. Since it’s brighter, we’ve also restored

some of the electric piano character.

Pretty easy, huh? Note: depending on the parameter,

you may occasionally hear glitches in the sound as you

move the control.

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Playing and editing Programs

Changing parameter assignments

Comparing the unedited

sound

The factory Programs include default assignments of

Tone Adjust parameters to the sliders, and buttons in

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

assignments. To do so:

Using COMPARE

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

When you’re in the process of editing a sound,

pressing the COMPARE button will recall the last

saved version of the sound, as it was before you started

editing.

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

assigned parameter.

A popup window will appear, with a long menu of

parameters. You can tell various things about the

selections, just from the way they appear in the menu:

For details, please see “Compare function” on page 11.

Parameters which affect only OSC1 or OSC2 are

prefixed with [OSC1] and [OSC2], respectively.

Parameters which affect both Oscillators, but which are

specific to Programs, are prefixed with [OSC1&2].

The other group of parameters at the beginning of the

list, are “Common.” That is, you can use them with

most Programs.

Parameters can only be assigned to one Tone Adjust

control at a time. If a parameter is already assigned, it’s

grayed out.

Saving your edits

After you’ve edited a program, you must save it if you

want to keep the changes you’ve made. If you re‐select

the program or turn off the power after editing, your

edits will be lost.

1. Press the WRITE button.

The Write Program dialog box will appear. If you want

to modify the writing‐destination or name, you can do

so (see page 117).

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

the program.

3. Select a parameter from the menu.

The parameter is now assigned to the control. To close

the list without making any changes, press a location

in the display outside the popup window, or press the

EXIT button.

For details, please see “Writing a Program or

Combination” on page 115.

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

For details, please see “Saving to SD card (Media–

Save)” on page 118.

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Detailed Editing with Programs Before you start editing

Detailed Editing with Programs

You can create original sounds by editing a preloaded

program or by editing an initialized program. The

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

For details, please see “Saving your edits” on page 30.

OSC (oscillator) 1/2

The OSC (oscillator) generates the waveform that is the

basis of the sound. On the KROME, the oscillator

consists of multiple sampled sounds such as a

multisample or a drum kit (drumsamples).

The KROME provides two oscillators; OSC1 and

OSC2. You can create more complex programs by

combining these.

Before you start editing

The three elements of sound: pitch,

tone, and volume

The OSC, which is the basis of the sound, can be

controlled by modulating its pitch, filter, amp, EG, and

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

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

and volume.

Note: Pitch EG is shared by OSC1 and OSC2.

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

(amplifier)” sections that allow you to control these

elements.

The “pitch” section modifies the pitch, the “filter”

section modifies the tone, and the “amp” section

modifies the volume.

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

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

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

Effects

As effects, you can use five insert effects, two master

effects, and one total effect.

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

By choosing the desired effect for each processor and

editing its parameters, you can apply a wide range of

effects such as modulation, distortion, and

reverberation.

EG, LFO, AMS, and controllers

Arpeggiator

In addition to the three elements listed above, a sound

can vary according to the passage of time, the pitch

range in which it’s played, or by performance

expressions.

A program can use one arpeggiator. You can select an

arpeggio pattern, specify the range that the pattern will

be developed within, and specify the range of notes or

velocities that will trigger the arpeggiator.

Such aspects can be controlled by modulators and

controllers such as the EG (envelope generator), LFO

(low frequency oscillator), and joystick. These

modulators and controllers apply change to the basic

program.

Take a look at the illustration “Program structure”

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

Pitch, Filter, Amp. You can see how the EGs and LFOs

affect each section.

As shown in the illustration, each program consists of

sections such as OSC 1/2, effects, and the arpeggiator.

Program structure

Program Basic/Controllers: P1

Common LFO: P5–10

Controllers: P1–3

Arpeggio: P7–1, 2

DrumTrk Pattern: P7–4, 5

Tone Adjust: P0–7

OSC1 LFO1: P5–1

OSC1 LFO2: P5–2

Master

Eﬀect

1, 2: P9

Routing: P8–1

OSC1, 2

OSC1 Setup: P2–1,

OSC1 Velocity: P2–2

Total

Eﬀect

: P9

Insert

Eﬀect

Filter1(A/B): P3–1

Amp1/Driver1: P4–1

AUDIO OUTPUT

L/MONO, R

3Band EQ

: P4–10

1…5: P8

OSC1 Pitch: P2–3

Amp1 Mod: P4–2

Filter Key Track: P3–2

Filter1 Mod: P3–3

Filter1 LFO Mod: P3–4

Insert Eﬀects

Master Eﬀects

Filter1 EG: P3–10

OSC1 AMS Mix: P6–1/2

Common KeyTrack: P6–9/10

Amp1 EG: P4–3

FX Control Bus

OSC 1

OSC 2

Pitch EG : P2–10

Filter

Eﬀects

OSC / Pitch

Ampliﬁer

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

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Playing and editing Programs

An overview of the edit pages

In order to do detailed editing, you’ll need to access the

edit pages in the display.

The preceding section “Easy Program editing” on

page 27 explained how to use the Prog P0: Play page to

do simple editing. For more detailed editing, you’ll use

the P1 and following edit pages.

Basic oscillator settings

Here you can specify the type of program, select the

basic waveform (multisample or drum kit), and specify

whether it will play polyphonically or monophonically

(poly/mono).

Program type setting (single, double,

drum kit)

Page

Main content

Here you can specify the program type.

Select and play programs. (see

page 21)

Broadly speaking the program type will be either “a

program that uses a multisample” or “a program that

uses a drum kit” (see “Multisamples and Drum Kits”

on page 33).

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

Program Basic “Oscillator Mode” setting, which

specifies which type the oscillators will use. Up to two

can be used simultaneously for each type.

Oscillator and Drum track level

settings. (see page 27)

Simple drum track editing. (see

page 98)

P0: Play

Simple arpeggiator editing. (see

page 86)

Tone Adjust settings. (see page 29)

Basic program settings, such as

Oscillator mode. (see page 32)

SW1, 2, and knob settings. (see

page 41)

• Multisample: Single, Double

• Drum kit: Drums, Double Drums

P1: Basic/

Controllers

Oscillator selection and pitch settings.

(see page 33)

P2: OSC/Pitch

P3: Filter

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

Amp 1, 2 (volume) settings. (see

page 40)

Amp 1, 2 driver and pan settings.

3-band parametric EQ settings.

P4: Amp/EQ

P5: LFO

LFO settings. (see page 35)

P6: AMS/Common AMS Mixer settings. (see page 36)

KeyTrack

Common keyboard tracking settings.

P7: Arpeggiator/

Drum Track

Arpeggiator settings. (see page 88)

Drum track settings. (see page 100)

Single (single program) uses one oscillator, and

Oscillator output bus and master effect

send level settings. (see page 79)

Insert effect routing, selection, and

settings. (see page 79)

Double (double program) uses two oscillators.

P8: Routing/IFX

Drums (drum program) is similar to a single program,

but uses a drum kit (created in Global mode) instead of

a multisample. Double Drums (double drum

program) uses two drum kits. By using an ambience‐

type kit as the second drum kit, you can give a wider

sense of space to the sound.

Master effect routing, selection, and

settings. (see page 80)

Total effect selection and settings. (see

page 80)

P9: MFX/TFX/LFO

For details on how to access each mode and page,

please see “Basic operations” on page 9.

Polyphony

Polyphony is the number of notes that can be played

simultaneously, such as in a chord. The polyphony

depends on the program type.

Program type

Single

Polyphony

120

Double

Drums

120

Double Drums

Note:

• Double Programs and Double Drums use twice as

many voices as Single Programs.

• Stereo Multisamples use twice as many voices as

Mono Multisamples.

• If using velocity crossfade switching, the

multisample will use twice as many voices as usual.

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Detailed Editing with Programs Basic oscillator settings

for each string, so that the multisample would

consist of six samples.

Oscillator image setting

• As the name suggests, Drum Kits are optimized for

playing drumsamples.

You can specify the program oscillator image that’s

shown in the P0: Play– Main page. Adjust this setting

in Prog P1: Basic/Controllers– Program Basic Oscillator

Mode “OSC Picture 1” and “2.”

Velocity splits, crossfades, and layers

1. Press the “OSC Picture 1” or “2” popup button (>)

or the image icon shown at right; the dialog box

will appear.

Each oscillator provides eight velocity zones. This lets

you switch between multisamples or drumsamples

according to the velocity (speed) at which you play a

key.

By specifying the threshold (boundary value) where

each zone will respond, and the amount of crossfading

(the overlap between zones), you can specify how your

keyboard playing dynamics will switch or layer the

multisamples or drumsamples. You can use this to

make the following types of setups.

• Velocity splits, where multisamples (or

drumsamples) are cleanly switched at the threshold

• Velocity crossfades, where multisamples (or

drumsamples) are smoothly crossfaded over a

specified range outside the threshold

• Velocity layers, where two multisamples (or

drumsamples) are layered when you play a

specified range outside the threshold

2. To select an image, press an image in the list in the

lower part of the screen, or at the left or right in the

upper part.

3. Press the OK button to confirm your choice.

Note: If “Oscillator Mode” is set to Drums or Double

Drums, the velocity settings pre‐specified for the drum

kit will be used, and therefore will not be shown in the

screen. The velocity zone settings of a drum kit can be

edited in Global P5: Drum Kit (see page 105). You can

jump automatically to Global P5 by pressing the Jump

to DrumKit Edit button shown on the screen.

Polyphonic/monophonic playing

The Voice Assign Mode selects whether the Program

will play polyphonically (Poly) or monophonically

(Mono).

When this is set to Poly, you can play both chords and

melody lines. When this is set to Mono, only one note

will sound even if you play a chord.

Normally you’ll set this to Poly, but Mono is useful

when playing sounds such as synth basses, synth

leads, and other solo instruments.

Selecting Multisamples

Let’s create a simple velocity crossfade between two

Multisamples, using just OSC1.

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

Try switching between Poly and Mono, and listen to

the results.

2. Set the Multisample On/Off for multisample1 and

multisample2 to On.

Set the Multisample On/Off for multisample3 and

multisample4 to Off.

Working with Multisamples

What is a multisample?

A sample is a digital recording of a particular

instrument or waveform (or other natural or artificially

processed sound) recorded at a specific pitch. A

multisample is a collection of similarly voiced samples,

used to create the same type of sound ‐ piano, bass,

guitar, strings, organ ‐ across the entire keyboard, as

the basis of a program. The oscillators of single and

double programs use multisamples. There are 583

multisamples available in this instrument.

Bank

Slider

Multi-

sample

On/Off

You can assign up to four multisamples to each

oscillator and switch between them by velocity.

By dragging the slider to the left, you can select each

multisample and view its settings.

3. Select Stereo as the Multisample Bank for

multisample1 and multisample2.

There are two main types of Multisample Banks:

Mono, and Stereo. Note that stereo Multisamples will

require twice as many voices as mono Multisamples.

Multisamples and Drum Kits

Multisamples and Drum Kits allow you to play

samples in different ways.

• Multisamples lay out one or more samples across

the keyboard. If we use the example of a simple

guitar multisample, one sample could be assigned

Multisamples are organized by category such as piano,

guitar, bell, etc.

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Playing and editing Programs

4. Press the Multisample popup button for

multisample1.

Assigning a drum kit

What is a drum kit?

Drum kits are created or edited in Global mode. For

each note of the keyboard, you can assign up to eight

drum instrument samples, and use layering,

Multisample popup button

crossfading, or velocity switching to switch between

them. Then, in Program mode, you can adjust filter

and amp settings, and specify effects and routing to the

audio output jacks. (See page 105)

To use a drum kit in a Program, set Oscillator Mode to

Drums or Double Drums, and choose one of the 48

user drum kits or the nine GM2 drum kits.

This brings up a list of Multisamples, organized by

category. Use the tabs on the left of the display to

browse through the different categories.

5. Select a Multisample by touching its name in the

list. You can also use Find to search for a

Multisample.

6. Press the OK button to confirm your selection.

7. Perform the same steps for multisample2,

selecting a different Multisample than for

multisample1.

Now that you’ve assigned Multisamples to

multisample1 and multisample2, let’s set up the

velocity ranges and crossfades.

Selecting a drum kit

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

Basic page.

2. Set “Oscillator Mode” to Drums or Double

Drums.

Multisamples have now been assigned to multisample

1 and 2.

8. Specify the velocity range and crossfade range.

Press the Velocity tab to access the OSC1 Velocity page.

Set the multisample 2 “Threshold Velocity” to 001, and

turn “Crossfade” Off.

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

Setup page.

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

You can also set “Threshold Velocity” by dragging the

bottom edge of the line graph.

With these settings, Multisample2 will sound for notes

played with a velocity of 79 or less, and Multisample1

will sound for notes played with a velocity of 80 or

greater.

The Velocity Split meter shows the oscillator’s eight

multisamples and the velocity zones of each oscillator.

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

lets you see which multisample and oscillator will

sound for that specific velocity.

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

“Curve” to Linear.

4. Specify the basic pitch of the oscillator. For a drum

kit, set “Octave” to +0 [8ʹ].

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

The two multisamples will fade across the range from

80 to 100, with multisample 2 fading‐out while

multisample 1 fades‐in. This produces a smooth

change without any sudden switch.

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

Setup page to adjust the “Level” of the two

multisamples.

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

4. Select the Shape parameter, and use the VALUE

dial to move through its different settings, from

–99 to +99.

Notice how the shape of the waveform becomes more

curved, and how –99 emphasizes the lower part of the

shape, and +99 emphasizes the upper part.

Creating time-varying

changes (LFO and EG)

Using LFOs

You can use the cyclic change produced by the LFO

(Low Frequency Oscillator) to modulate numerous

aspects of the sound.

Each Program has two LFOs: LFO1 and LFO2. There is

also a single Common LFO, shared by both Oscillators.

While LFO1 and LFO2 are separate for each voice, the

Common LFO is shared by all voices in the Program.

This makes it useful when you want all of the voices to

have an identical LFO effect.

You can use these LFOs to modulate many different

Program parameters, including:

• Pitch (for vibrato)

• Filters (for wah effects)

• Volume (for tremolo)

• Pan (for auto‐panning)

The LFOs can modulate many other parameters, in

addition to those listed above.

5. Select the Phase parameter, and use the VALUE

dial to sweep through its range of values.

Notice how the waveform shifts from side to side.

Among other things, this lets you offset the LFOs from

one another in time, which can create interesting

organic effects.

6. Use the Freq (Frequency) parameter to set the

speed of the LFO.

7. Use the Fade and Delay settings to control the way

the LFO sounds at the beginning of the note.

For more information on LFOs, please see page 42 of

the Parameter Guide.

All of these parameters control the way that the LFO

works. In order for the LFO to actually affect the

sound, you can use the dedicated LFO routings on the

Filter, Pitch, and Amp pages, or use the LFOs as AMS

sources for a wide variety of parameters.

Using EGs (Envelope Generators)

Using the basic LFO

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

An envelope creates a modulation signal by moving

from one level to another over a specified time, and

then moving to another level over another period of

time, and so on.

Waveform

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

Amp. These produce time‐varying changes in pitch,

tone, and volume respectively. They can also be used to

modulate a number of other program parameters via

AMS.

Attack Level

note-on

note-off

Break Level

Level

Release

Level

Sustain Level

2. Select the Waveform parameter.

Time

Release Time

Use the INC and DEC buttons to scroll through the

different waveforms, and look at their shapes in the

graphic display.

Decay Time

Attack Time

Slope Time

Sutart Level

There are a number of waveforms to choose from. Each

are suited to different applications:

Triangle and Sine are the classic LFO shapes for

vibrato, tremolo, panning, and filter wah effects.

Note: The parameters that can be modulated by an EG

and the range of values will differ depending on the

EGs provided for each section.

Square is useful for gated on and off filter and amp

effects, and can create trills when modulating pitch.

The Guitar waveform is designed especially for guitar

vibrato; it bends only upwards from the base value.

Saw and Exponential Saw Down are good for

rhythmic filter and amp effects.

Random 1 (S/H) creates the classic sample‐and‐hold

effect, which is great for modulating a resonant filter.

3. After looking at the different waveforms, select

Triangle.

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Playing and editing Programs

output signal can be used to modulate a variety of

parameters.

Diverse modulation settings

(AMS and AMS mixer)

This also means that the original, unmodified inputs to

the AMS Mixers are still available as well. For instance,

if you use LFO 1 as an input to an AMS Mixer, you can

use the processed version of the LFO to control one

AMS destination, and the original version to control

another.

Finally, you can cascade the two AMS Mixers together,

by using AMS Mixer 1 as an input to AMS Mixer 2.

For details, please see “6–1: OSC1 AMS Mix1” on

page 46 of the Parameter Guide.

Using AMS

AMS (Alternate Modulation Source) lets you modulate

program parameters using controllers, EG, or LFO as

the modulation source. Extremely creative types of

modulation are possible; for example, you can use a

single controller to simultaneously modulate multiple

parameters, or you can use an EG to modulate an

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

filter.

Tips for using AMS

AMS (Alternate Modulation Source) refers to any of

the assignable modulation sources in KROME,

including:

• Controllers of the KROME itself, such as the

joystick, SW 1/2, and the realtime knobs

When making settings for alternate modulation, think

of the effect that you wish to produce, what type of

modulation will be necessary to produce that effect,

and what parameter of the oscillator, filter, or amplifier

needs to be controlled.

• Incoming MIDI controllers

• Modulators such as the Filter, Pitch, and Amp EGs,

the LFOs, or the AMS Mixers

Next, select a source (AMS) and set the Intensity. If

you proceed logically in this way, you will achieve the

desired effect.

For example in a guitar sound program where you

want to use the joystick to control the feedback, you

would make assignments so that the joystick controls

the filter frequency and resonance.

Intensity is a parameter that sets the degree (speed,

depth, amount etc.) of how AMS will control the

modulation.

A number of frequently‐used modulation routings,

such as using the joystick to vary the pitch, are

provided as additional, dedicated routings, separate

from AMS.

Note that not all AMS sources may be available for

some modulation destinations.

For details on alternate modulation and AMS, please

see below.

Controller Setup page

For each program, the function of Realtime Control

knobs 1‐B–4‐B and the SW1 and SW2 buttons can be

assigned in the Prog P1: Basic/Controllers– Controllers

Setup page.

For details, please see “Setting the functions of SW1

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

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

• “Alternate Modulation Sources (AMS)” on page 339

of the Parameter Guide

• “Creating Vibrato” on page 37

• “Pitch EG” on page 37

• “Filter EG” on page 39

• “LFO modulation” on page 39

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

• “LFO1/2” on page 40

Using the AMS Mixers

The AMS Mixers combine two AMS sources into one,

or process an AMS source to make it into something

new.

For example, this lets you use an LFO to modulate a

filter’s resonance while also modulating it by an EG.

Although resonance has only one AMS input, using

the AMS mixer makes this possible. You could also do

things such as using the filter EG to control the amount

of LFO1. The wide variety of other possibilities include

using the joystick to control the amount of pitch EG,

allowing the joystick to apply bend only to notes

played while you hold down the foot switch, or

changing the response of a realtime controller.

The AMS Mixer outputs appear in the list of AMS

sources, just like the LFOs and EGs. An AMS mixer’s

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Detailed Editing with Programs Controlling Pitch

Portamento

Controlling Pitch

Portamento makes the pitch change smoothly when

you play the next note before releasing the previous

note.

The Time parameter controls how long it will take the

pitch to change. As this value is increased, the pitch

will change over a longer time. With a value of 000,

there will be no portamento.

Pitch bend

Pitch bend smoothly changes the pitch upward or

downward, similar to how a guitarist can “bend”

strings. On the KROME, you will normally use the

joystick to control pitch bend in realtime.

You can turn Portamento on and off via SW1 or SW2,

by assigning them to Porta.SW CC#65.

The JS (+X) and JS(–X) settings specify the amount of

pitch change (in semitones) that will occur when MIDI

pitch bend messages are received or when the joystick

is moved to left or right. A setting of +12 allows the

pitch to be controlled a maximum of one octave

upward; a setting of –12 allows the pitch to be

controlled a maximum of one octave downward.

Note: You can also control pitch bend using a

controller other than the joystick, or via MIDI.

Ribbon (#16) specifies the amount of pitch change (in

semitone units) that will occur when MIDI control

change message #16 is received. With a setting of +12, a

value of 127 will raise the pitch one octave, and a value

of 0 will lower the pitch one octave.

Creating Vibrato

You can use an LFO to create vibrato.

LFO1 Int. or LFO2 Int. sets the depth of how the

selected LFO will affect the pitch. With a setting of

+12.00, vibrato will produce a maximum of ±1 octave of

pitch change.

JS+Y Int specifies the amount of vibrato that the LFO

will produce when the joystick is pushed away from

you.

Intensity (AMS Intensity) specifies the depth of

vibrato that will be applied by the LFO when

modulated by the selected AMS (Alternate Modulation

Source). For example, if the panel switch assignment

for SW1 is set to SW1 Mod. (CC#80) (Prog 1–7a), and

you set LFO1 AMS to SW1: CC#80 and specify an

appropriate value for Intensity, vibrato will be applied

when you turn SW1 on or when MIDI control change

#80 is received.

Pitch EG

When the Intensity value is set to +12.00, the pitch EG

specified in the Pitch EG page will produce a

maximum of ±1 octave of pitch change.

To realistically simulate the slight change in pitch that

occurs when a string is plucked or at the attack of a

brass or vocal sound, you can use the EG to create a

subtle change in pitch at the attack.

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Playing and editing Programs

Using Filters

The filters allow you to diminish or emphasize

specified frequency areas of the sound.

The tone of the sound will depend significantly on

the filter settings.

The basic filter settings, including the routing, type,

cutoff frequency, and resonance, are set on the P3–1:

Filter page.

Filter Routing

Low Pass: This cuts out the parts of the sound that are

higher than the cutoff frequency. Low Pass is the most

common type of filter, and is used to make bright

timbres sound darker.

High Pass: This cuts out the parts of the sound that are

lower than the cutoff frequency. You can use this to

make timbres sound thinner or more buzzy.

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

Filter Routing parameter controls whether one or both

of the filters are used, and if both are used, it controls

how they are connected to each other.

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

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

Band Pass: This cuts out all parts of the sound, both

highs and lows, except for the region around the cutoff

frequency. Since this filter cuts out both high and low

frequencies, its effect can change dramatically

depending on the cutoff setting and the oscillator’s

multisample.

With low resonance settings, you can use the Band

Pass filter to create telephone or vintage phonograph

sounds. With higher resonance settings, it can create

buzzy or nasal timbres.

The Serial routing uses both Filter A and Filter B. The

oscillator first goes through Filter A, and then the

output of Filter A is processed through Filter B.

Parallel also uses both Filter A and Filter B. The

oscillator feeds both filters directly (and allow

independent settings for each), and the outputs of the

two filters are then summed together.

The 24dB(4Pole) routing merges both filters to create a

single 4‐pole, 24dB/octave filter (12dB for Band Pass

and Band Reject). In comparison to Single, this option

produces a sharper roll‐off of frequencies beyond the

cutoff frequency, as well as a slightly more delicate

resonance. Many classic analog synths used this type

of filter.

Band Reject: This filter type–also called a notch filter–

cuts only the parts of the sound directly around the

cutoff frequency. Try modulating the cutoff with an

LFO to create phaser‐like effects.

Filter Types and Cutoff Frequency

Serial and Parallel Routing

Oscillator

Filter A (Low Pass)

Filter B (High Pass)

Low Pass

Filter A (Low Pass)

High Pass

Band Pass

Oscillator

Filter B (High Pass)

Filter Types

This selects the parts of the sound that will be affected

by the filter, as described below. With the Serial and

Parallel routings, you can independently set the types

for Filter A and Filter B.

Band Reject

The filters will produce very different results

depending on the selected filter type.

Cutoff Frequency

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Detailed Editing with Programs Using Filters

Resonance

LFO modulation

Resonance emphasizes the frequencies around the

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

Common LFO. Among other applications, LFO

modulation of the filter can produce the classic “auto‐

wah” effect.

The Filter1/2– LFO Mod. page lets you set up the

following parameters separately for each LFO:

cutoff frequency, as shown in the diagram below.

When this is set to 0, there is no emphasis, and

frequencies beyond the cutoff will simply diminish

smoothly.

At medium settings, the resonance will alter the timbre

of the filter, making it sound more nasal, or more

extreme. At very high settings, the resonance can be

heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, please

see “Key Follow” on page 29 of the Parameter Guide.

Low resonance

High resonance

Intensity to A and Intensity to B specify how much

the LFO changes the tone.

JS‐Y Intensity to A and JS‐Y Intensity to B specify the

depth of the wah effect produced by the LFO when the

joystick is moved toward yourself, or when CC#2 is

received.

The AMS setting selects an AMS modulation source to

scale the amount of the LFO applied to Filters A and B.

The two filters share a single AMS source, with

separate intensity settings.

For example if AMS is set to SW1: CC#80, turning SW1

on will apply an auto‐wah effect (see page 37).

Modulating the filters

You can modulate the filter cutoff frequency using the

Filter EG, the LFOs, keyboard tracking, and other

built‐in and MIDI controllers. This is a great way to

add a rich variety of tonal change to the sound.

Keyboard Track

Filter EG

Most acoustic instruments get brighter as you play

higher pitches. At its most basic application, keyboard

tracking re‐creates this effect by increasing the cutoff

frequency of a lowpass filter as you play higher on the

keyboard. Usually, some amount of key tracking is

necessary in order to make the timbre consistent across

the entire range.

The Filter EG is a multi‐stage envelope, which you can

use to modulate the filter as well as other Program

parameters. The EG itself is set up on the EG tab; the

way that it affects the filters is controlled by the

parameters described below, on the Filter1/2–

Modulation page:

The KROME keyboard tracking can also be much more

complex, since it allows you to create different rates of

change over up to four different parts of the keyboard.

For instance, you can:

• Make the filter cutoff frequency increase very

quickly over the middle of the keyboard, and then

open more slowly–or not at all–in the higher

octaves.

• Make the cutoff frequency increase as you play

lower on the keyboard.

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

effects.

The Intensity to A and Intensity to B settings control

the basic amount of EG modulation for filter

frequencies A and B, respectively, before other

modulation.

The Velocity to A and Velocity to B settings let you use

velocity to control the amount of EG modulation.

The AMS setting selects an AMS modulation source to

scale the amount of the Filter EG applied to Filters A

and B. The two filters share a single AMS source, with

separate intensity Into A or to B settings.

How Key Track works: Keys and Ramps

The keyboard tracking works by creating four ramps,

or slopes, between five keys on the keyboard.

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

Ramps” on page 28 of the Parameter Guide.

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Playing and editing Programs

Pan - Use DKit Setting

Use DKit Setting applies when Oscillator Mode is set

to Drums or Double Drums.

If this is checked, the Program can use a different pan

position for each drum sound, as specified by the

Drum Kit. If this is unchecked, all drum sounds will

use the Program’s pan position.

The factory presets and GM drum kits use individual

pan positions for the different drums, so normally it’s

best to leave this checked.

Using the Amp section

The Amp section includes controls for volume, pan,

and the driver circuit.

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

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

sources.

Each Oscillator has its own Amp section: Amp1 for

OSC1, and Amp2 for OSC2.

Background - what does “Amp”

mean?

Amp modulation

Different sounds have characteristic shapes to their

volume levels.

For example, the volume of a piano note begins at a

high volume the instant you play the note, and then

decreases gradually.

The volume of an organ note, on the other hand,

remains constant as long as you continue pressing the

key.

The volume of a note on a violin or wind instrument

can be varied during the note by the musician (i.e., by

regulating the amount of pressure on the bow or the

force of the breath).

The basic volume level is set by the Amp Level

parameter. You can then alter this using the

modulation sources below:

Volume

Piano

Volume

Organ

Volume remains constant

until note is released

Volume decays

gradually

Keyboard Track

This lets you vary the volume relative to the note you

play.

Time

For details, please see “Keyboard Track” on page 39.

Pan

Amp Modulation

Velocity Intensity is used by most programs to

decrease the volume of softly played notes and

increase the volume of strongly played notes, and the

Amp Modulation parameter adjusts the depth of this

control.

Normally you will set Amp Modulation to positive (+)

values. As this setting is increased, there will be

greater volume difference between softly played and

strongly played notes.

LFO1/2

Specifies how the LFO’s will produce cyclic changes in

volume (tremolo effect).

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

set an LFO1 Intensity, LFO2 Intensity value.

Intensity (AMS Intensity) adjusts the depth of how the

tremolo effect produced by the LFO will be affected

when you assign an AMS (LFO1 AMS, LFO2 AMS).

Pan

The main Pan parameter controls the stereo position

after the signal has passed through the oscillator, filter,

and amp.

Normally you’ll set this to C064, so that the sound is

centered equally between the left and right speakers.

For example, if you set AMS to JS‐Y: CC #02, tremolo

will be applied when you push the KROME’s joystick

down (toward yourself), or when CC#02 is received.

To create a stereo effect when Oscillator Mode is set to

Double, set the Amp1/Driver 1 page Pan to L001, and

the Amp2/Driver2 page Pan R127. This will make

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

speaker.

With a setting of Random, the pan will change

randomly each time you play a note on KROME,

producing an interesting effect.

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Detailed Editing with Programs Making controller assignments

Amp EG

Making controller

assignments

The Amp EG lets you control how the volume changes

over the course of a note.

Setting the functions of SW1 and SW2

SW1 and SW2 are the two buttons above the joystick.

These on/off buttons can perform a number of different

functions, such as modulating sounds or effects, or

locking the modulation values of the joystick.

Also, each one may work either as a toggle, or as a

momentary switch. In Toggle mode, each press

alternates between on and off; in Momentary mode,

the switch only changes for as long as you hold it

down.

Each Program, Combination, and Song stores its own

settings for what the buttons will do, and whether each

button is on or off (based on their current states when

the data is saved).

You can set up Panel Switch Assign on the Controllers

Setup page.

Every instrument has its own characteristic volume

envelope. This is part of what gives each instrument its

identifiable character.

Conversely, by changing the volume contour–for

instance, applying a string‐like Amp EG curve to an

organ multisample– you can produce interesting and

unusual sounds.

Mode

Page

Piano

Programs

Prog P1: Basic/Controllers

Combi P1: Controllers

Seq P1: Controllers

Combinations

Songs

Note: The on/off status of the SW1 and SW2 buttons

will be preserved when you write the program or

combination.

Note: You can use SW1/2 as alternate modulation or

effect dynamic modulation sources to control program

parameters or effect parameters.

Organ

Strings

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

and SW2 Mod.(CC#81).

For an example of assigning the SW1 button as an

effect dynamic modulation source for a program, and

using it to control an effect, see page 82.

Drive

For a complete list of the possible assignments, see

page 348 of the Parameter Guide.

Note: If you want to keep these settings after the power

is turned off, you must save them (see page 116).

The Drive circuit adds saturation and overdrive to the

sound, for everything from subtle fattening to drastic

distortion. Unlike an overdrive effect, Drive processes

each voice individually, so the timbre stays the same

regardless of how many voices are being played.

The two main parameters, Drive and Low Boost, work

together to create the overall effect.

Drive controls the amount of edge and bite in the

timbre. Low settings will produce mild saturation, and

higher settings create more obvious distortion.

Often, it’s useful to increase the Low Boost along with

the Drive.

Note: even when the Drive amount is set to 0, the

Drive circuit still affects the timbre. If your goal is a

completely pristine sound, use the Bypass control

instead.

Low Boost is a special low‐frequency EQ which

controls the body character of the sound. The specific

EQ frequencies affected will change with the Drive

setting.

Higher amounts increase the bass boost, and will also

intensify the effect of the Drive parameter.

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Playing and editing Programs

Setting the functions of Realtime

Controls USER knobs 1–4

When the Realtime controls is set to USER, the four

knobs on the right function as Realtime knobs 1–4.

These can perform a number of different functions,

such as modulating sounds or effects, adjusting effects

send levels, and so on.

Each Program, Combination, and Song stores its own

settings for what the knobs will do.

When using the sliders for AMS or Dmod, it’s

important to understand that creating an assignment is

a two‐step process. First, you assign the knob to send a

MIDI controller, such as Knob Mod.1 (CC#17). Second,

you assign that MIDI controller to modulate one or

more Program or effects parameters.

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

Controllers Setup page (See “Setting the functions of

SW1 and SW2,” above).

Arpeggiator settings

According to the note data received from the keyboard

or from the MIDI IN connector, the arpeggiator will

automatically generate a wide range of phrases or

patterns including arpeggios, guitar or keyboard

backing riffs, bass phrases, or drum patterns. When the

realtime controls ARP is selected, you can use the

knobs to vary the duration and dynamics of the

arpeggiated notes.

For more about the arpeggiator, please see page 85.

Drum Track settings

You can use the KROME’s rich variety of drum

patterns to accompany you with high‐quality drum

programs while you perform using a program.

Playing along with Drum Track patterns is often a

useful way to come up with new phrases.

For more about the Drum Track function, please see

page 97.

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

(CC#17), Knob Mod.2 (CC#19), Knob Mod.3 (CC#20),

and Knob Mod.4 (CC#21), respectively.

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

Program’s filter and amp EG attack time:

1. Press the MODE PROG button to enter Program

mode.

2. Access the P1: Basic/Controllers– Controllers

Setup page.

Effects

For details, please see “Using Effects” on page 77.

Press the PAGE button to access Page Select, and

choose “P1 Basic/Controllers.” Press the Controllers

tab.

3. Press the Realtime Controls Knob Assign “Knob

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

(CC#73).

4. Press the CONTROL ASSIGN REALTIME

CONTROL button to select USER. (The LED

USER will light up.)

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

and amp.

Automatically importing a

Program into Sequence mode

You can use the Auto Song Setup feature, which

automatically copies the settings of the program or

combination and puts the KROME in record‐standby

mode when you simply press the REC (●) button.

Then you can press the SEQUENCER START/STOP

(

) button to begin recording.

For details, please see “A uto Song Setup function” on

page 59.

For details, please see page 348 of the Parameter

Guide.

Note: If you wish to keep these settings after the power

is turned off, you must save the Program,

Combination, or Song (see page 116).

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Playing and editing Combinations

As with Programs, each Combination has five insert

effects, two master effects, and one total effect for

shaping and transforming the sounds of the individual

Timbres.

This section of the manual takes a quick look at playing

Combinations, including a tour of the front‐panel

controllers and basic editing techniques.

About the KROME’s combinations

Combinations let you split and layer up to 16 Programs

at once.

A Combination is made up of 16 Timbres (Note that

you don’t have to use all 16 Timbres). Each Timbre is

assigned a Program, along with parameters for key

range and velocity zones, mixer settings, MIDI channel

and controller filtering, and so on.

Playing combinations

Selecting a program using

“Combination Select” and the VALUE

controllers

1. Press the COMBI button. (The LED will light up.)

(Refer to the illustration below for the buttons.)

Alternatively, you can use the mode button (see

“Selecting modes” on page 9).

The KROME will enter Combination mode.

2. Access the Combi P0: Play– Program T01–08 page.

This is shown in the top line of the display.

Selecting Combinations

There are several different ways to select

Combinations. Each one is convenient in a different

way:

• Using “Combination Select” and the VALUE

controllers:

• Using the Bank/Combination Select menu:

• Using the Category/Program Select menu:

• Find

• Using a foot switch: page 19

• Sending MIDI program change messages to select

Programs remotely:

Mode button

Mode, page number

and name

Tab name

For details, please see below.

Bank

number

Combination Select

(Combination number and name)

Combination Select popup button

Category Select popup button

(Category number and name)

If a different page is shown, press the EXIT button

several times to move to the Combi P0: Play– Program

T01–08 page.

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

If it is not, press “Combination Select” in the display to

highlight it.

4. Select the combination you want to play.

You can use the following methods to select a combination.

2: COMBI P0: Play

1: Mode name

3: Combination Select

(button)

4: Numeric keypads

ENTER button

5: BANK SELECT

A–F buttons

1: COMBI button

4: INC/DEC buttons

4: VALUE dial

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Playing and editing Combinations

• Use the INC or DEC buttons.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the combination

number, and press the ENTER button.

5. Press a COMBI BANK A–D button to switch

banks.

When you select a different Bank, the button’s LED will

light up, and the selected bank will appear on the left

side of the display.

Velocity meter

For example, to select bank B, press the COMBI BANK

B button. The B button will light up, and the name

Bank B will appear in the left side of the display.

Overview: Combination Banks

With the factory settings, the KROME contains 384

preloaded combinations that are GM2 compatible. In

addition to these, there are 128 combinations to store

sounds that you create, or store optional sound

libraries.

Auditioning the sound

Play the KROME’s keyboard to hear the combination

you’ve selected.

Key zone preview allows you to check the timbre’s

layer and split settings, as well as how the arpeggiator

is used.

Combinations are organized into four banks as shown

in the following table.

Combination bank contents

• The keyboard area indicates the last (single) note‐

Bank

A, B, C

Combi. No.

000...127

Explanation

Factory Combinations

Initialized Combinations

on that was received on the global MIDI channel.

• The key zone area shows the timbres that will

sound at the key position, differentiated by several

colors according to the settings of each timbre.

000...127

Selecting by Bank/Combination

Select menu

You can select Combinations from a list organized by

Combination bank.

• Press the Combination Select popup button to

access the menu and make your selection.

The selection method is the same as in “Selecting by

Bank/Program Select menu” on page 22; Refer to that

page for details.

Green: Timbres that are sounded on the global MIDI

channel, such as by the keyboard.

Yellow: Timbres that will sound only when the

arpeggiator is on (see page 90).

Orange: Timbres that will sound only when the drum

track is on.

Bank/Combination Select menu

Blue: Timbres whose timbre channel is set to

something other than the global channel. These will

not be sounded by the KROME’s keyboard,

arpeggiator, or drum track, but will sound in response

to MIDI note‐on messages from an external device.

Purple: These timbres are used to play an external

sound module. They do not sound on the KROME.

None: Timbres whose timbre status is off. These will

not sound.

The velocity meter shows the note‐on velocity value.

• Note‐on velocities from the keyboard, MIDI IN,

arpeggiator, and drum track are shown for each

timbre/channel. (If multiple note‐on events occur

simultaneously, the highest velocity value will be

shown.)

• Since this shows the note‐on velocity values, it is

not affected by the setting of the Volume slider nor

by changes in the audio signal level. Also, the meter

will respond even if key zone settings or velocity

zone settings are such that the note is not sounded.

Timbres whose Play/Mute and Solo settings allows

them to play are shown in a dark color, and timbres

that are muted are shown in a light color.

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Playing combinations Using controllers to modify the sound

Selecting by Category/Combination

Select menu

You can select Combinations arranged by category,

such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded

Combinations are organized into 16 categories, each

with several sub‐categories.

• Press the Category Select popup button to access

the menu and make your selection.

Using controllers to modify

the sound

The KROME provides a variety of controllers that you

can use to vary the sound, such as the joystick, the

SW1, SW2 buttons, and the control surface knobs. It

also provides chord trigger buttons.

For details, please see the corresponding explanation

for Programs: “Using Controllers” on page 24.

The selection method is the same as in “Selecting by

Category/Program Select menu” on page 23; refer to

that page for details.

Performing with the

arpeggiator or drum track

Category/Combination Select menu

Based on note data it receives from the keyboard or

from the MIDI IN connector, the arpeggiator can

generate a wide range of phrases and patterns

including arpeggios, guitar or keyboard backing riffs,

bass phrases, or drum patterns. When the realtime

controls ARP is selected, you can use the knobs to vary

the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

The Drum Track function uses a rich variety of drum

patterns to play the KROME’s high‐quality drum

programs. You can perform along with the drum

patterns, or synchronize Drum Track patterns with the

phrases generated by arpeggiator.

For more about the Drum Track function, please see

page 97.

Find

You can search for a combination by a portion of its

name.

The procedure is the same as explained in “Find” on

page 23. Please see that explanation for details.

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Playing and editing Combinations

Easy Combination editing

You can edit any of the Combinations shipped with

KROME. You can create your own combinations by

editing a preloaded combination, or by starting from

an initialized combination.

Adjusting the mix

Adjusting the volume of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

This page shows the volume, pan, and Program

assignments for all 8 Timbres.

A combination has sixteen timbres; you can assign a

program to each timbre and specify its volume and

pan, the key range in which the program will sound,

and how its sound will be routed to the effects. You can

create simple setups such as detuned sounds, split, or

layers, or highly complex orchestra‐like setups.

Even without moving to the various pages for detailed

editing, you can make dramatic changes just from

within the Combi P0: Play page. You can also edit

using the control surface’s knobs on the front panel.

Changing the program of each

timbre

Changing the Programs assigned to timbres (1–16) is a

quick way to dramatically alter the sound of the

Combination.

2. In the display, press the timbre 1 volume slider

and slide it up or down to adjust the volume.

1. Access the Combi P0: Play– Program T01–08/T09–

16 page.

In this page you can view the program assigned to each

timbre 1–16, and the play/mute and solo status of each.

You can also highlight the numerical area of the slider

and use the VALUE dial or the numeric keys to adjust

the value.

If you check Hold Balance, moving any one of the

volume sliders (volume values) will cause the volume

of the other timbres to change as well, maintaining the

relative volume balance between timbres 1–16. This is a

convenient way to adjust the overall volume.

Selected

Timbre Info

Timbre No.

Category/Timbre

Program Select

Bank/Timbre

Program Select

Adjusting the panning of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

Program Select

Play/Mute

2. Press the timbre 1 pan knob, and slide it left/right

to adjust the panning.

Solo On/Oﬀ

You can also highlight the numerical area of the knob

and use the VALUE dial or the numeric keys to adjust

the value.

Timbre pan interacts with the pan stored in the

Program. A setting of C064 reproduces the Program’s

oscillator pan settings. Adjusting the Timbre Pan will

move the sound to left or right while preserving the

pan relationship between the oscillators. A setting of

L001 is far left, and R127 is far right.

2. Use any of the following methods to select a

Program for each timbre.

• Choose Program Select, use numeric keys 0–9 to

input the program number, and press the ENTER

button.

• Choose Program Select and turn the VALUE dial or

use the INC/DEC buttons.

• If the Program Select parameter is selected, the

PROG BANK A–F buttons will switch program

banks. (If Timbre Program Select is selected, the

BANK button LED of the program bank selected for

that timbre will light up.)

• From the Bank/Program Select menu you can view

and select programs by bank.

• From the Category/Program Select menu you can

view and select programs by category.

• You can transmit MIDI program changes from a

connected external MIDI device. (See page 359 of

the Parameter Guide)

Note: To select the timbre program via MIDI program

change the timbre’s status must be set to “INT.”

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Detailed Editing with Combinations Simple editing using the knobs

Simple editing using the

knobs

You can use the Control Surface to perform a variety of

edits.

For example, you can use the control surface to adjust

the Filter cutoff or resonance. You can also use it to

vary the depth of an effect, or to change the way in

which the arpeggiator generates a phrase.

For details, please see “Realtime control knobs” on

page 25.

Saving a Combination you’ve

edited

After you’ve edited a combination, you must save it if

you want to keep the changes you’ve made. If you re‐

select the combination or turn off the power before

saving, your edits will be lost.

1. Press the WRITE button.

The Write Combination dialog box will appear. If you

want to change the writing destination or the name,

make the appropriate changes (see page 117).

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

the data.

For details, please see “Writing a Program or

Combination” on page 115.

You can also save combinations on an SD card as PCG

files.

For details, please see “Saving to SD card (Media–

Save)” on page 118.

Detailed Editing with Combinations

You can edit the preloaded combinations (Banks A–C)

that the KROME is shipped with, or start with an

initialized Combination to create your own original

sounds.

You can use the factory Programs to create new

Combinations, or use your own custom Programs.

Note: If you’re in the process of editing a Program in

Program mode, and you use that Program in a

Combination, you’ll hear the edited version in

Combination mode as well.

About the edit pages

In the Combi P0: Play page you can select and play

combinations. Here you can also use the control

surface’s knobs and the tone‐adjust function for quick

editing, or to edit the settings of the arpeggiator or

drum track. In the other pages you can edit the sound

in greater detail.

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

please see “Basic operations” on page 9.

Combination structure and corresponding pages

Controllers: P1–1

DrumTrack: P7–7

Tone Adjust: P0–7

Timbre1

Program

Routing: P8-1, 2

Parameters

3Band EQ

Arpeggio: P7–1, 2, 3, 4, 5

Timbre2

Program

Parameters

3Band EQ

Master

Eﬀects

1, 2: P9

Timbre

Timbre3

Program

Parameters

3Band EQ

Insert Eﬀects

Master Eﬀects

Total

Eﬀects:

Insert

Eﬀects

1…5: P8

AUDIO OUTPUT

L/MONO, R

Timbre4

Program

Parameters

3Band EQ

FX Control Bus

Timbre16

Program

Parameters

3Band EQ

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

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Playing and editing Combinations

A suggested approach for

editing

First, select a Program for each Timbre, on the P0:

Play– Program T01–08 or T09–16 page. (Note that you

don’t have to use all 16 Timbres)

Layers, Splits, and Velocity

Switches

Within a Combination, you can use note range and

velocity level to define the “zone” in which a specific

timbre will play.

Next, create any desired keyboard or velocity splits,

layers, or crossfades between the different Timbres.

You can do this on the P4: Zone/Delay– Keyboard

Zones page.

After this, adjust the volumes of the Timbres (back on

the Program Select/Mixer tab), and set up any other

Timbre parameters as desired.

The Programs assigned to each Timbre can be played

in three ways: as part of a layer, a split, or a velocity

switch. A Combination can be set to use any one of

these methods or to use two or more of these methods

simultaneously.

Layer

To add finishing touches to the sound, set up the Insert,

Master, and Total Effect as desired (on the P8: Routing/

IFX and P9: MFX/TFX/LFO pages, respectively.) These

effects can be different from those associated with the

individual Programs in Program mode, if desired.

Layers cause two or more Programs to play

simultaneously when a note is played.

Program A

Program B

Layer:

Two or more programs sound

simultaneously.

In addition, you can make arpeggiator and drum track

settings (on the P7: ART/DT page) and controller

settings (on the P1: Controllers page) to create the

finished Combination.

Split

Splits cause different Programs to respond on different

areas of the keyboard.

Soloing timbres

You can use the Control Surface’s Solo function to hear

the sound of each timbre by itself.

For details, please see “Solo On/Off” on page 72 of the

Parameter Guide.

Program B

Program A

Split:

Diﬀerent programs will sound in

diﬀerent areas of the keyboard.

Velocity Switch

Velocity Switches cause different Programs to respond

depending on the velocity (how hard you play the

notes).

Restoring edited settings

Program B

Program A

Strong

Soft

Keyboard playing

dynamics

Using COMPARE

Velocity Switch:

When you’re in the process of editing a sound,

pressing the COMPARE button will recall the saved

version of the sound, as it was before you started

editing.

Keyboard playing dynamics

(velocity) switches between

diﬀerent programs.

On the KROME, you can use a different Program for

each of up to sixteen Timbres, and combine two or

more of the above methods to create even more

complex setups.

For details, please see “Compare function” on page 11.

Program A

Program D

Program C

Strong

Soft

Keyboard playing

dynamics

Program B

Example:

B and C/D are split. In the lower

keyboard range, A and B are

layered. In the higher keyboard

range, C and D are switched by

velocity and layered with A.

As an additional possibility, you can set the slope for a

key zone or velocity zone so that the volume

diminishes gradually. This lets you change a split into a

keyboard crossfade, or a velocity switch into a velocity

crossfade.

Keyboard X-Fade (keyboard

crossfade):

Program B

Program A

As you play from low notes to

high notes, the volume of A

will fade out, and the volume

of B will fade in.

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Detailed Editing with Combinations Layers, Splits, and Velocity Switches

Creating Key Splits and Layers

Creating Velocity Switches

Next, let’s create a simple velocity switched

Combination, like the diagram below:

Splits and Layers

Let’s create a Combination that combines both splits

and layers, like the diagram below:

127

Timbre 1

Timbre 2

Brass

Velocity

switch

Strings

Timbre 1

Timbre 2

Timbre 3

Piano

Brass

Strings

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a brass sound for Timbre 1, and a strings

sound for Timbre 2.

C–1

B3 C4

1. Access the Combi P0: Play– Program T01–08 page.

3. Access the P3: Timbre Parameters– MIDI T01–08

page.

2. Select a piano sound for Timbre 1, a brass sound

for Timbre 2, and a strings sound for Timbre 3.

4. For Timbres 1 and 2, set Status to INT and MIDI

Channel to Gch (the Global Channel).

3. Access the P3: Timbre Parameters– MIDI T01–08

page.

5. Access the P4: Zone/Delay– Vel Z T01–08 page.

6. Set Timbre 1’s Top Velocity to 127, and its Bottom

Velocity to 64.

4. For Timbres 1–3, set Status to INT and MIDI

Channel to Gch (the Global Channel).

You can also enter a velocity value by selecting the

parameter and then playing a note with the desired

velocity on the keyboard while holding down the

ENTER button.

5. Access the P4: Zone/Delay– Key Z T01–08 page.

6. Set Timbre 1’s Top Key to G9, and its Bottom Key

to C4.

7. Set Timbre 2 to a Top Velocity of 63, and a Bottom

Velocity of 1.

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these

let you fade in and fade out sounds gradually over a

velocity range, instead of a simple hard switch.

In the case of the example above, you could set the

velocity zones of the two Timbres so that they partially

overlap. Then, set the Top Slope and Bottom Slope so

that the sound changes gradually, instead of changing

suddenly between velocity values of 63 and 64.

You can also enter a note value by selecting the

parameter and then playing the desired note on the

keyboard while holding down the ENTER button.

7. Set Timbres 2 and 3 to a Top Key of B3, and a

Bottom Key of C–1.

Key Zone Slope

In addition to “hard” splits, where the sound changes

abruptly, you can use the Slope parameters to

gradually fade a sound in or out over a range of keys.

In the example above, you could set the Bottom Key of

timbre 1 to G3, and set the Top Key of timbre 2 to G4,

so that these two timbres overlap.

Next, if you set the Bottom Slope of timbre 1 to 12, and

set the Top Slope of timbre 2 to 12, the sound will

change gradually instead of changing suddenly.

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Playing and editing Combinations

MIDI filter settings

MIDI settings

For each MIDI Filter item, you can specify whether or

not the corresponding MIDI message will be

transmitted and received. The checked items will be

transmitted and received.

Timbre Parameters MIDI page

Status

The MIDI filters don’t turn the functions themselves on

or off. Instead, the filter just controls whether or not

that MIDI message will be transmitted and received.

This controls the status of MIDI and the internal tone

generator for each Timbre. Normally, if you’re playing

an internal Program, this should be set to INT.

If the status is set to Off, EXT, or EX2, that Timbre’s

internal sounds will not be played. Off simply disables

the Timbre entirely. The EXT and EX2 settings allow

the Timbre to control an external MIDI device.

For example, if portamento is on, portamento will be

applied to the internal KROME sound even if Enable

Portamento SW is unchecked.

As another example, let’s say that you’ve selected a

bass Program for Timbre 1, and a piano Program for

Timbre 2, with the goal of creating a bass/piano split.

You could choose the following settings so that

pressing the damper pedal affects only Timbre 2’s

piano sound:

1. Access the P5–1: MIDI Filter <1> T01–08 page.

2. Un‐check the Enable Damper box for Timbre 1.

3. Check the Enable Damper box for Timbre 2.

For details, please see “Status” on page 81 of the

Parameter Guide.

Bank Select (when status=EX2)

When the Status is set to EX2, these parameters allow

you to transmit MIDI Bank Select messages to external

MIDI devices.

MIDI Channel

Timbres that you wish to play from the KROME’s

keyboard must be set to the global MIDI channel. Your

playing on the keyboard is transmitted on the global

MIDI channel, and will trigger any timbre that matches

this channel. Normally you will set this to Gch. When

this is set to Gch, the MIDI channel of the timbre will

always match the global MIDI channel, even if you

change the global MIDI channel.

On some preloaded Combinations, Timbres used

by the arpeggiator may have their MIDI Channels

set to something other than Gch. These will be

timbres that play only when the arpeggiator is on,

which is a very useful technique for creating

“Apreggiator based” Combinations.

For details, please see “A rpeggiator settings in

Combination and Sequencer modes” on page 89.

In particular, note the relationships between

arpeggiator A/B assignments and MIDI Channel.

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Detailed Editing with Combinations Altering Programs to fit within a Combination

Timbre Parameters: Pitch

Altering Programs to fit

within a Combination

You can make various changes to Programs within the

context of a particular Combination to make them fit

better with other Programs, or to create particular

sonic effects. These changes do not affect the original

Programs, or how those Programs sound in other

Combinations (see page 81 of the Parameter Guide).

Timbre Parameters: OSC

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

• In a layer‐type combination, you can set two or

more timbres to the same program, and create a

richer sound by using Transpose to shift their pitch

apart by an octave or by using Detune to create a

slight difference in pitch between the two.

• In split‐type combinations, you can use Transpose

to shift the pitch (in semitone units) of the

programs specified for each key zone.

Note: If you wish to change the playback pitch of a

drum program, use Detune. If you change the

Transpose setting, the relationship between the notes

and drum sounds will change.

Force OSC Mode

If you wish to force a polyphonic program to sound

monophonically, set this either to MN (Mono) or LGT

(Legato). Conversely, set this to Poly if you wish to

force a monophonic program to play polyphonically.

Normally this should be set to PRG, so that the sound

will play as set by the original Program.

Use Program’s Scale, Scale

This specifies the scale for each timbre.

If you check Use Program’s Scale, the scale specified

by the program will be used. Timbres where this

parameter is not checked will use the Scale setting.

For details, please see “Force OSC Mode” on page 82 of

the Parameter Guide.

OSC Select

If the timbre is using a Program where the Oscillator

Mode is Double or Double Drums, and you want only

OSC1 or OSC2 (not both) to sound, set this to OSC1

(only OSC1 will sound) or OSC2 (only OSC2 will

sound).

Normally, this should be set to BTH (Both).

Portamento

If the Program uses portamento, but you’d like to

disable this for the current Combination, set this

parameter to Off.

Conversely, if you want to force the portamento to be

on, or just to change the portamento time, set this to a

value of 001–127. The portamento will change to use

the newly specified time.

Normally, this should be set to PRG.

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Playing and editing Combinations

Delay

Arpeggiator settings

You can set some Timbres so that they don’t sound

immediately at note‐on. This can create cool effects,

and more dramatic layers.

You can specify the delay for each Timbre either in

milliseconds (ms), or in rhythmic values which sync to

the system tempo.

According to the note data received from the keyboard

or from the MIDI IN connector, the arpeggiator will

automatically generate a wide range of phrases or

patterns including arpeggios, guitar or keyboard

backing riffs, bass phrases, or drum patterns. If the

SELECT button is set to ARP, you can use the knobs to

vary the duration and dynamics of the arpeggiated

notes.

If you set the Delay to Key Off, the Timbre will sound

when the note is released.

For more about the arpeggiator, please see page 85.

Drum Track settings

While you perform using a combination, you can use

the KROME’s rich variety of drum patterns to play

high‐quality drum programs.

Playing along with Drum Track patterns is often a

useful way to come up with new phrases.

For more about the Drum Track function, please see

page 97.

Editing Programs with Tone Adjust

Using Tone Adjust, you can create detailed edits to

Programs within the context of the Combination.

These edits will not affect the original Program, or any

other Combinations which use the Program. To edit a

Program with Tone Adjust:

Effects

For details, please see “Using Effects” on page 77.

Select a timbre in the Timbre field of the P0: Play– Tone

Adjust page. Then select the parameter that you want

to adjust, and use the VALUE controllers to edit the

sound.

Automatically importing a

Combination

into Sequencer mode

The Auto Song Setup feature automatically applies the

settings of the current Combination to a song.

For details, please see “A uto Song Setup function” on

page 59.

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Creating songs (Sequencer mode)

Overview

About the KROME’s Sequencer

Sequencer mode structure

Sequencer mode is structured as follows.

The sequencer brings together the KROME’s numerous

functions such as its arpeggiator, RPPR, high‐

performance effects, and controllers, allowing you to

take advantage of these in a wide range of situations.

Songs

This sequencer is a 16‐track MIDI sequencer that can

store up to 128 songs and 210,000 MIDI events. You can

use it to record and play back notes for the internal

sound generator as well as for external MIDI sound

modules.

A song consists of tracks 1–16, a master track, song

parameters such as the song name, arpeggiator, Drum

Track function, effect and RPPR parameters, and 100

user patterns.

A maximum of 128 such songs can be created on

KROME.

Tracks 1–16 consist of setup parameters (such as each

track’s program, pan, and volume) located at the start

of the song, and the musical data itself. The master

track consists of tempo and time signature data (see

“Setup parameters & Musical data” on page 106 of the

Parameter Guide).

When you turn off the power, the settings created

in Sequencer mode, the song data, any user

pattern data, and Cue List that you recorded will

not be backed up. If you wish to keep this data,

you must save it on an SD card before turning off

the power, or perform a MIDI data dump to save

the data on an external data filer etc.

If you wish to write the programs, track

parameters, effects, and arpeggiator settings etc.

selected for a song as a template song, use the

menu command Save Template Song.

Immediately after the power is turned on, KROME

will not contain any song data, so if you wish to

play a song on the sequencer, you must first load

data from SD card, or receive a MIDI data dump

from a MIDI filer. For details, please see page 118,

and page 219 of the Parameter Guide.

Song recording and editing

Song recording is performed on tracks.

You can record tracks in either of two ways; realtime

recording or step recording. For realtime recording

you can choose one of six recording modes.

You can edit tracks by using Event Edit operations to

modify the recorded data or insert new data, and by

using Track Edit functions such as Create Control Data,

which generates and inserts pitch bend, aftertouch, or

control change data.

Patterns

There are two types of patterns: preset patterns and

user patterns.

Preset patterns: Patterns suitable for drum tracks are

preset in internal memory, and can be selected for any

song.

User patterns: Each song can have up to 100 patterns.

When using a pattern in a different song, use the

Utility menu commands Copy Pattern or Copy From

Song etc. to copy the pattern. The pattern length can be

specified in units of a measure.

Each pattern consists of musical data for one track. It is

not possible to create patterns that contain multiple

tracks.

You can use these patterns by placing them in a track

(Put to Track menu command) or by copying them

(Copy to Track menu command). You can also use

patterns with the RPPR function of a song (see

page 71).

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Creating songs (Sequencer mode)

PAUSE ( ) button

Recording and editing a pattern

You can record a pattern in either of two ways: realtime

recording or step recording. However, unlike realtime‐

recording to a track, you can select only one recording

type (loop recording) when realtime‐recording to a

pattern.

You can edit the pattern to correct mistakes in the

recorded data, or use event editing to insert new data.

You can use the Get From Track menu command to

obtain a desired region of performance data from a

track and use it as pattern data. Conversely, you can

use the Put to Track or Copy to Track menu

commands to place or copy a pattern’s performance

data into a track.

This button pauses the playback of the song. When

paused, the button’s LED will light up. Press PAUSE

(

) once again to resume playback, and the LED will

turn off.

REW ( ) button

When the Song is playing or paused, this button will

rewind the song. When you press and hold this button,

its LED will light up, and the playback will rewind.

(Rewind is disabled during recording, and while the

Song is stopped.)

Note: You can use the FF/REW Speed menu command

to specify the fast‐forward and rewind speed.

FF ( ) button

How Sequencer patterns are related to Drum

Track patterns

The patterns of the Drum Track function you use with

a Program or Combination are related to Sequencer

mode patterns as follows.

When the Song is playing or paused, this button will

fast‐forward the song. When you press and hold this

button, the button will light up, and the playback will

fast‐forward. (Fast‐forward is disabled during

recording, and while the Song is stopped.)

Preset patterns are a common library that can also be

used by the Drum Track function.

User patterns cannot be directly used by the Drum

Track function, but they can be converted to user Drum

Track patterns and used with a Program or

Combination. If you convert a user pattern, it will be

stored in internal memory, and this data will not

disappear even when you turn off the power.

LOCATE ( ) button

By pressing the LOCATE ( ) button you can move to

a specified locate point. By default, you’ll move to

001:01.000.

To change the locate point that’s assigned to the

LOCATE ( ) button, use the menu command Set

Location. Alternatively, you can set the locate point

during playback by holding down the ENTER button

and pressing the LOCATE ( ) button.

Cue List

START/STOP (

) button

The cue list allows you to playback multiple songs in

succession. The KROME lets you create twenty cue

lists. Each cue list lets you connect up to 99 songs and

specify the number of times that each song will repeat.

The menu command Convert to Song lets you convert

the songs in a cue list into a single song.

For example you can use a cue list to create the

backing, convert the cue list to a song, and then add

solo phrases on unused tracks.

This starts or stops recording and playback in

Sequencer mode.

REC ( ) button

Pressing this button will enter record‐ready mode.

Once you’re in record‐ready mode (shown by the

button’s lit LED), you can begin recording by pressing

the SEQUENCER START/STOP (

) button. For

details, please see “Recording MIDI in real time” on

page 60.

Buttons in the display (the transport

bar)

The transport buttons in the bottom line of the display

can also be used to control sequencer recording and

playback in the same way as the front panel

SEQUENCER buttons.

The transport buttons will appear when you press the

“<” button on the lower right side of the display and

drag it toward the left. To close them, press the “>”

button and drag it toward the right.

Transport control

These controls let you play back, record, fast‐forward,

or rewind the sequencer.

Front panel buttons

You can use the front panel SEQUENCER buttons to

control recording and playback on the sequencer.

REW

PAUSE

<, >

SET LOCATE REC START/ PAUSE REW

STOP

popup LOCATE

LOCATE

REC

START/

STOP

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Playing Songs Playback

Playing Songs

Changing the volume, mute, and solo

settings of each track

In the SEQ P0: Play/REC– Prog T01–08, T09–16, Mixer

T01–08, and T09–16 pages you can change the volume,

mute, and solo settings of each track.

Playback

In order to play back song data in the sequencer, you

must first record, load or dump song data into the

KROME.

Let’s start by loading and playing the demo song data.

For details, please see “Listening to the demo songs”

on page 21 of the Quick Start Guide.

1. Press the SEQ button or MODE button to enter

Sequencer mode.

Muting a specific track/Monitoring a

specific track (Mute/Solo functions)

The KROME provides a Mute function that lets you

silence specified tracks 1–16, and a Solo function that

lets you hear the specified track or channel by itself.

These functions can be used in various ways. For

example you can intentionally mute or solo specific

tracks, or listen only to the rhythm section of the

previously‐recorded tracks while you record new

tracks. Let’s try out the Mute and Solo functions.

The P0: Play/REC– Program T01–08 or T09–16 page

will appear. If this is not displayed, press the EXIT

button about three times.

2. Use “Song Select” to select the song you want to

play back.

You can press the Song Select popup button and

choose from a list. If you select an empty list, a new

song will be created.

You can also select a song by using the INC/DEC

button or VALUE dial. However if there is no song,

you can’t make a selection using the VALUE

controllers.

1. Use “Song Select” to select the song that you want

to play back.

2. Press the SEQUENCER START/STOP (

button.

)

3. Press track 1 Play/Rec/Mute.

Meter

Tempo

Location

Song S

Popup

Song Position Bar

Track Select

The display will change from Play to Mute, and the

playback of track 1 will no longer be heard. In this way,

the “mute” function allows you to silence a specified

track until the track is un‐muted.

elec

Press track 2 Play/Rec/Mute. The display will change,

and the playback of track 2 will also be muted. To

cancel muting, press Play/Rec/Mute once again.

Category

Program Select,

& Popup

Play/Mute/Rec

Solo

3. Use the numeric keys to input the number of the

new song that you want to create, and press the

ENTER button. (For example, press the 1 switch

and then the ENTER button.) A dialog box will

appear.

If you pressed the Song Select popup to access the

Song No. dialog box, press the desired song number to

open the dialog box.

• Pan sets the pan position of each track, and Volume

sets the volume level of each track.

4. Specify the tone generator and MIDI channel that

will be played by each track.

Press the PAGE button to access SEQ Page Select, and

press “P3 Track Parameters” The P3: Track Parameters

page will appear. Press the MIDI 1–8 tab (or the MIDI

9–16 tab) to access the MIDI T01–08 page (MIDI T09–16

page).

4. Use “Set Length” to input the desired number of

measures and press the OK button.

You can change the number of measures later if

desired. For details, please see “Set Song Length” on

page 176 of the Parameter Guide.

5. Press the OK button to create the song.

Tip: You can use the ENTER button instead of the OK

button.

• Use Status to specify whether each track will play

the internal and/or external sound generator.

Normally when using the KROME, you will select INT

or BTH.

INT: During playback, the KROME’s internal tone

generator will play the MIDI data recorded on that

track. When you use the KROME’s keyboard or

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Creating songs (Sequencer mode)

controllers, you will be playing and controlling the

track selected by Track Select.

the notes will be recorded with the timing at which

you play them.

EXT, EX2, BTH: During playback, the MIDI data

recorded on that track will be transmitted from MIDI

OUT to play an external sound module. When you use

the KROME’s keyboard or controllers, MIDI data will

be transmitted to play and control the external sound

module selected by Track Select. (The MIDI channel of

the external tone generator must be set to match the

MIDI Channel of KROME tracks that are set to EXT,

EX2 or BTH.)

If Status is set to BTH, both the external tone generator

and internal tone generator will be played and

controlled.

• Use MIDI Channel to specify the MIDI channel for

each track.

8. Make other settings as necessary.

You can adjust the settings for the arpeggiator (P7:

ARP/DT), MIDI filtering (P5: MIDI Filter), etc. (See

page 89)

You may also wish to use Tone Adjust to tweak the

sound. When you are finished making these settings,

the basic setup is complete.

Normally you will set the MIDI Channel to a

different channel: 1–16 for each track. Tracks that

are set to the same MIDI channel will sound

simultaneously when you record or play back

either of the tracks.

Saving your song parameter settings

The song parameter settings you create here can be

saved as a template. If you use these settings

frequently, you can simply load one of the templates

you’ve saved.

For details, please see “Save Template Song (Save as

User Template Song)” on page 164 of the Parameter

Guide.

5. Adjust the effect settings.

Adjust settings for each effect in P8: Routing/IFX and

P9: MFX/TFX/LFO.

For details, please see “Using effects in Combinations

and Songs” on page 81.

6. Set the tempo and time signature.

Using template songs

• To set the tempo, you can turn the TEMPO knob or

press the TAP button at the desired interval.

Alternatively, you can select ꢀ (Tempo) in the P0:

Play/REC– Program T01–08 page (or similar page),

and use the VALUE controllers to set the tempo. Set

Tempo Mode to Manual.

• Next you will set the time signature. In this

example, we’ll explain how to set the time signature

using the “Meter” field. Normally, you specify the

time signature before recording the first track, and

then begin recording.

Loading a template song is an easy way to create

settings appropriate for a particular musical style. You

can also assign a drum pattern to a track at the same

time.

1. In the P0: Play/REC page, press the menu button

and choose “Load Template Song.”

A dialog box will appear.

a) Press the SEQUENCER REC (●) button, and set “Meter”

to **/**.

b) Press **/** to highlight it, and use the VALUE controllers

to set the time signature.

c) Press the START/STOP (

) button to begin

recording. When the pre‐count has ended and Locate

2. In the “From” field, choose the template song you

want to load.

3. If you check “Copy Pattern to Track too?”, a dialog

box for copying a pattern will automatically

appear after you execute the “Load Template

Song” operation.

If you execute the command without checking this,

only the template song you selected in step 2 will be

loaded.

4. Press the OK button to load the template song, or

press the Cancel button if you decide to cancel.

When you perform this operation, song settings other

than track Loop and RPPR will be copied.

If you executed this operation with Copy Pattern to

Track too? checked in step 3, the Copy Pattern To

Track dialog box will appear.

reaches 001:01:000, press the START/STOP (

)

button to stop recording. The time signature you

specified has now been recorded on the Master track.

If you press the START/STOP (

) button during the

pre‐count, the time signature won’t be recorded.

7. Set the “REC Resolution” if necessary.

When you record in real time on a track, this parameter

specifies how the timing of the recorded MIDI data

will be corrected. The timing will also be corrected

when you record automation data in real tme on an

audio track. (Data that was already recorded will not

be corrected.)

For example, let’s suppose that you recorded some

eighth notes in real time, but your timing was not quite

perfect, as shown in part 1 of the illustration below. If

REC Resolution were set to ꢁ when you recorded, the

timing would automatically be corrected as shown in

part 2 of the illustration. If REC Resolution is set to Hi,

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Recording Preparations for recording

Auto Song Setup function

1. Enter Combination mode.

2. In P0: Play page, select the desired combination

and edit the Arpeggiator etc. as desired.

Note: If you want to save the edited state of the

combination, use the Write Combination menu

commands.

3. Press the REC (●) button. Alternatively, select the

page menu command “Auto Song Setup.”

The Setup to Record dialog box will appear.

This dialog box is the same as the one that appears for

the Copy To Track (P10: Pattern/RPPR– Pattern Edit)

menu command.

5. In the “Pattern” field, select the pattern that you

want to copy.

In the To Track field, select the copy‐destination track.

In the Measure field, specify the starting measure of

the copy‐destination.

Following the pattern name for each of the 605 preset

patterns, the musical style and the name of the most

suitable Drums category program are partially

displayed.

By loading a drums track and the corresponding preset

pattern, you can instantly set up a drum track

appropriate for each preset template song.

4. To execute the Auto Song Setup function, press the

REC (●) button or the OK button. If you decide

not to execute, press the Cancel button.

You will automatically move to Sequencer mode, and

the settings of the combination will be copied to the

song.

The first unused song will be the copy‐destination

song.

6. To execute this operation, press the OK button.

When you execute this procedure, the Measure field

will count up automatically, showing how many

measures of the selected pattern have been placed in

the selected song. You can then copy another pattern if

desired, or add more measures of the same pattern.

When you’re finished, press the Exit button.

Contents automatically copied from a combi-

nation

The copied contents will be the same as when you

execute the menu command Copy From Combi with

the following settings in the dialog box. (See page 166

of the Parameter Guide)

Copying the settings of a combination

or program

• IFXs, MFXs, TFX checked

• Auto Adjust Arp setting for Multi REC checked

You can copy the settings of a combination or program

into the sequencer.

This can be done in the following ways.

Contents automatically copied from a pro-

gram

The copied contents will be the same as when you

execute the menu command Copy From Program with

the following settings in the dialog box. (See page 167

of the Parameter Guide)

• IFXs, MFXs, TFX checked

• Arp checked

• To set to Track 01

• Arp set to A

• with Drum Track checked

• To: Drum Track set to Track 10

• Check Recording Setup Multi REC

• Auto Song Setup

Auto Song Setup is a function that copies the

settings of the selected combination (in

Combination mode) or program (in Program mode)

to the song in Sequencer mode.

• Menu commands Copy From Combi or Copy From

Program. (See pages 166, 167 of the Parameter

Guide)

In Sequencer mode, you can use these page menu

commands to copy the desired settings.

• Set the Play/Rec/Mute setting to REC for tracks 01

and 10 (see page 101 of the Parameter Guide).

5. The KROME will automatically enter record‐ready

mode, and the metronome will sound according to

the Metronome setting (See page 119 of the

Parameter Guide).

6. Press the START/STOP (

realtime recording. To stop recording, press the

START/STOP ( ) button once again.

) button to begin

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Creating songs (Sequencer mode)

5. When you finish playing, press the START/STOP

) button.

Recording will end, and the location will return to the

point where you begin recording.

(

Recording MIDI in real time

When you’ve finished with “Preparations for

recording,” you can start recording.

If you press the PAUSE ( ) button instead of the

This is a method of recording what you’re playing on

the keyboard and your controller usage, in real time.

This method of recording is normally used one track at

a time, and is called single track recording.

As an alternative, multitrack recording allows you to

simultaneously record multiple channels of data onto

multiple tracks. This is the method you will use when

using the Drum Track function, the RPPR function, and

the arpeggiator to record multiple tracks of musical

data at once, or when you play back existing sequence

data on an external sequencer and record it onto

KROME’s sequencer in real time.

START/STOP (

) button, recording will pause.

When you press the PAUSE ( ) button once again,

recording will resume where you left off before

pausing. When you are finished, press the START/

STOP (

) button to stop recording.

The following recording setup parameters are also

available.

Overdub

Select this method if you wish to record additional

performance data by overdubbing it without erasing

the previously‐recorded data.

Recording setup

In P0: Play/REC– Preferences page Recording Setup,

select the realtime recording method you want to use.

Manual punch-in

Select this method when you wish to use the

SEQUENCER REC (●) button or a foot switch to re‐

record selected portions of a previously‐recorded

track.

Overwrite

By default, this recording method is selected.

Auto punch-in

This will record your performance by overwriting any

previously recorded data. All data following the

measure where you start recording will be erased.

Normally you will use this method to record, and then

modify the results by using other types of real‐time

recording or MIDI event editing.

1. Use Track Select to choose the track that you want

to record.

2. Set the Recording Setup to Overwrite.

Select this method when you wish to automatically re‐

record selected portions of a previously‐recorded

track.

Then, recording will occur only over the specified area

(Auto Punch In Start Measure–Auto Punch In End

Measure), rewriting it with the newly recorded data.

Loop All Tracks

Select this method when you wish to repeatedly record

over a specified area of a track, while continuing to add

data. This is suitable for creating drum patterns, etc.

For details, please see “A n example of realtime

recording” on page 61.

3. In “Location,” specify the location where you wish

to begin recording.

Multi (multitrack recording)

Use MIDI multi‐track recording if you want to

simultaneously record multiple tracks of different

channels, such as when recording the output of the

drum track, arpeggiator or RPPR functions, or when

recording from an external multi‐track sequencer.

Location

4. Press the SEQUENCER REC (●) button, and then

press the START/STOP (

) button.

If the Metronome Setup is still set to the default

settings, the metronome will sound for a two‐measure

pre‐count, and then recording will begin.

Play the keyboard and move controllers such as the

joystick to record your performance.

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Recording Step recording

An example of realtime recording

In this example, we’ll assign a drum program to track

01 and create the following one‐measure drum phrase.

Step recording

Step recording is the recording method where you

specify the duration and strength of each note, and use

the keyboard to specify the pitch of each MIDI note.

You can use the Rest button and Tie button of the

dialog box to input rests and ties.

Hi hat: F#3

Snare: E3

Bass drum: C3

Step recording is useful when you want to create

mechanically precise beats, or when you need to

record a phrase that would be difficult to play by hand

“in real time,” or when you find it difficult to play

extremely complicated or rapid passages.

1. Create a new song, and specify a drum program

for track 01.

Use Track Select to select track 01, and verify that you

hear a drum program. (See page 57)

2. Access the P0: Play/REC– Preferences page. In

Recording Setup, specify “Loop All Tracks” and

set it to M001‐M001 (see page 117 of the Parameter

Guide).

With this setting, measure 1 will be recorded

repeatedly. The newly recorded data will be added at

each pass.

An example of step recording

In this example, we’ll assign a bass program to track 02

and step‐record the following two‐measure bass

phrase.

3. Set “REC Resolution” to ꢂ. (See page 58)

4. Press the SEQUENCER REC (●) button, and then

the START/STOP (

The metronome will sound a two‐measure count‐

down, and then recording will begin.

) button.

Step

Time:

Select

Step

Time:

. 3 -

Measure/

Beat Tick

Note

Key, Button

C3 key

G3 key

001 / 01.000

001 / 01.360

001 / 02.000

001 / 02.240

001 / 02.360

001 / 03.120

001 / 03.240

001 / 04.000

001 / 04.240

002 / 01.000

002 / 01.120

002 / 01.360

002 / 02.000

002 / 02.240

002 / 03.000

002 / 03.240

002 / 03.360

002 / 04.000

002 / 04.240

002 / 04.360

5. As shown in the musical example printed above,

start by playing the C3 note of the keyboard to

record the bass drum for one measure.

6. Next, play the E3 note of the keyboard to record

the snare for one measure, and then the F#3 note to

record the hi‐hat.

Rest button

C4 key

Rest button

C4 key

Eb3

D3 key

7. Press the START/STOP (

recording.

) button to stop

Eb3 key

E3 key

8. Play back the result, and listen to the drum

performance that you recorded.

F3 key

Rest button

C3 key

Press the START/STOP (

) button. When you’ve

finished listening, press the START/STOP (

button once again to stop playback.

)

Rest button

F2 key

Tie

9. If you’re not satisfied with the result, press the

COMPARE button to return to the state prior to

recording, and then re‐record from step 4.

Note: When you’re finished recording, change the

Recording Setup back to the normally‐used Overwrite

(P0: Play/REC– Preferences page).

In addition, access the P0: Play/REC– Play Loop T01–

08 page, check Track Play Loop for track 01, and set the

Loop Start Measure and Loop End Measure to 001.

When you play back, track 01 will repeatedly play the

first measure.

Tie button

F2 key

Rest button

A2 key

A3 key

Rest button

1. Specify a bass program for track 02. Use Track

Select to select track 02, and verify that you hear a

bass program.

2. Access the P6: Track Edit– Track Edit page.

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Creating songs (Sequencer mode)

3. Set “From Measure” to 001.

With this setting, step recording will begin from

measure 1.

7. As described in steps 5 and 6, input the notes and

rests that follow the first C3 note.

In addition to the methods described in steps 5 and 6,

you can also use the following input methods.

• To input a rest, press the Rest button. This will

input a rest of the selected Step Time value.

• To enter a tie, so that two or more notes of the same

pitch will be played as a single unbroken note,

press the Tie button. When you press the Tie

button, the previously‐input note will be extended

by the Step Time length.

• To delete a note or rest that you input, press the

Step Back button. The previously‐input note will be

deleted.

• To input a chord, simultaneously press the notes of

the desired chord. Even if you do not press them

simultaneously, notes that are pressed before you

fully remove your hand from all keys on the

keyboard will be input at the same location.

4. Press the menu button, and press menu command

“Step Recording.”

A dialog box will appear.

• To audition a note without actually inputting it,

press the PAUSE ( ) button. Now when you play a

note on the keyboard, it will sound, but the note

will not be actually input. In this state, playing a

key will produce a sound, but will not input a note.

Press the PAUSE ( ) button once again to cancel

the record‐pause state, and resume inputting notes.

8. When you are finished recording, press the Done

button.

Press the SEQUENCER START/STOP (

to play back.

) button

Access the P0: Play/REC– Play Loop T01–08 page,

check Track Play Loop for track 02, set Loop Start

Measure to 001, and Loop End Measure to 002. track

02 will play measures 1–2 repeatedly.

9. If you’re not satisfied with the result, press the

COMPARE button to return to the state prior to

recording, and then re‐record from step 4.

5. In “Step Time,” use “Select” to specify the basic

timing value.

Input the first C3 note as ꢁ. (dotted eighth note).

Use the popup button to the left to select ꢁ.

You can choose a note value ranging from a whole note

(ꢃ) to a 32nd note (ꢄ).

Input a dotted note by selecting “.” with the popup

buttons at right.

When you begin step recording, all data in the

track that follows the measure where you began

recording will be erased. You need to be aware of

this if you begin step recording from a measure

mid‐way through the song.

You can specify “3” to input a triplet. If you want to use

the unmodified length of the note that’s selected at the

left, choose “–”.

“Note Duration” indicates the length that the note

itself will sound. Smaller values will produce a staccato

note, and larger values will produce a legato note. For

this example, leave this setting unchanged.

“Note Velocity” is the velocity (playing strength), and

larger values will produce a louder volume. Set this to

Key.

If you want to copy data into a measure that

already contains data, perform step recording in

an empty track, and use the Move Measure or

Copy Measure menu commands. (See page 179 of

the Parameter Guide)

If you want to edit or add to the recorded data, you

can use the Event Edit or Piano Roll function. (See

pages 169, 171 of the Parameter Guide)

If you select Key for this parameter, the velocity of how

you actually play the keyboard will be input.

6. On the keyboard, press and then release the first

C3 note that you want to input.

The data you input will appear in the display as

numerical values. On the upper right side, Measure

001 Beat Tick 01.000 will change to Measure 001 Beat

Tick 01.360. The next note you input will be placed at

this location.

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Recording Recording multiple tracks from an external sequencer

5. In the P3: Track Parameters– MIDI T01–08 and

T09–16 page, use MIDI Channel to specify the

MIDI channel of each track.

Set the MIDI channel of each KROME track to match

the MIDI channel of each external sequencer track.

Data from each channel will be recorded on the

corresponding KROME track.

Make sure that Status is set to INT or BTH.

6. Press the LOCATE ( ) button to set the location

to 001:01.000.

Recording multiple tracks

from an external sequencer

The playback from an external MIDI sequencer

connected to the KROME can be recorded

simultaneously using multi‐recording.

1. Make sure that the MIDI OUT of your external

sequencer is connected to the MIDI IN of the

KROME.

7. Press the SEQUENCER REC (●) button to enter

If it is not connected, turn off the power, make the

connection, and then turn the power on.

record‐standby mode.

8. Start your external sequencer.

2. In the Global P1: MIDI– MIDI Basic page, set

MIDI Clock to External MIDI. With this setting,

the KROME will synchronize to MIDI clock

messages from your external sequencer.

The KROME’s sequencer will automatically begin

recording when it receives the MIDI Start message

transmitted by your external sequencer.

Make sure that Receive Ext. Realtime Commands is

checked.

9. When playback has ended, stop your external

sequencer.

The KROME’s sequencer will automatically stop

recording when it receives the MIDI Stop message

transmitted by the external sequencer. You can also

stop recording by pressing the START/STOP (

button on the KROME.

)

After this, you can play back the newly recorded

sequence:

10. In the Global P1: MIDI– MIDI Basic page, set

MIDI Clock to Internal.

Set Tempo Mode to Auto in the Seq P0: Play/REC–

Program T01–08 page.

Press the START/STOP (

) button to play back.

3. Create a new song in Sequencer mode, and in the

P0: Play/REC– Preferences page, check the Multi

REC check box. Set Recording Setup to Overwrite.

Note: If the correct sounds are not selected when you

start playing back, you may be able to solve the

problem by using the menu command Event Edit (P6:

Track Edit) to re‐specify the Program Change data.

4. Press Play/Rec/Mute to select “REC” for the tracks

you want to record.

For the tracks you don’t want to record, select Play or

Mute.

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Creating songs (Sequencer mode)

2. Select Track 09 in “Track Select,” and record

parameter changes as desired.

Note: For this example, select an empty track. If you

want to record onto a MIDI track that already contains

data, set the P0: Play/REC– Preferences page

Recording Setup to “Overdub,” as described on

page 60.

Recording System Exclusive

events

Exclusive messages received from an external MIDI

device or the parameter changes produced when you

edit a track parameter or effect parameter can be

recorded in real time on any track.

During playback, the exclusive messages you recorded

will control the track parameters and effect parameters

of the song, and can be sent to external MIDI devices.

Note: You can use the menu command Put Effect

Setting to Track to insert an exclusive event containing

the parameter settings for an insert effect, master effect

or total effect into the desired location of a track, so

that these settings will automatically switch during

playback.

GM, XG, and GS exclusive messages can be

recorded on a track, but the KROME’s tone

generator will not respond to these messages.

• Select Track 09 in Track Select. Then press the

SEQUENCER REC (●) button and then the START/

STOP (

) button, and begin recording.

Recording internal parameter

changes

You can use SysEx for automation of internal KROME

effects and Program parameters.

Here we’ll explain how to record internal parameter

changes. As an example, we’ll explain how parameter

changes recorded on a different track can be used to

modify the parameters of the insert effect (IFX1)

applied to the program of track 1.

• At the appropriate time while recording, adjust the

parameter(s) that you want to realtime‐record.

In the P8: Routing/IFX‐ Insert FX Setup page, select

another effect for IFX1, and modify the effect

parameter values.

Note: In order to record system exclusive messages,

make sure that the Global P1: MIDI– MIDI Routing

setting Enable Exclusive is checked. Go to Global

mode and verify that this is checked.

Note: In addition to effect parameter changes, you can

also record parameters such as sound parameters. For

details on the parameters that can be recorded, please

see page 191 of the Parameter Guide.

3. Stop recording.

Note: Exclusive messages are always recorded on the

current track selected by Track Select. In this example,

they are recorded on MIDI track 9.

Note: In the MIDI event edit page you can view the

recorded exclusive events and their location. Exclusive

events are displayed as “EXCL”.

1. Select the desired program for MIDI track 1, and

route it to IFX1. Then record a phrase of about

sixteen measures.

To view these events, go to the P6: Track Edit– Track

Edit page, and select the menu command MIDI Event

Edit. Then in the Set Event Filters dialog box, check

Exclusive and press the OK button.

• In the P0: Play/REC– Program T01–08 page, use

“Program Select” to select the desired program for

MIDI Track 01.

• In the P8: Routing/IFX– Routing T01–08 page, route

the MIDI Track 01 Bus (IFX/Output) Select to IFX1.

Then in the P8: Routing/IFX– Insert FX Setup page,

select the desired effect for IFX1.

Exclusive events cannot be changed to a different

type of event. Nor can other events be changed

into exclusive events.

4. If you go to the page (e.g., P8: Routing/IFX) that

shows the parameters you adjusted in realtime,

you can watch the recorded changes be reproduced

while the song plays back.

• Select MIDI Track 01 in Track Select. Then press

the SEQUENCER REC (●) button and then the

START/STOP (

) button, and record a phrase

of about sixteen measures.

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Recording Recording patterns

Exclusive messages that will be recorded dur-

ing realtime recording

The following exclusive messages will be recorded.

(See page 191 of the Parameter Guide)

• Exclusive messages received from an external MIDI

device.

• Parameter changes in Sequencer mode.

• Master Volume universal system exclusive

messages assigned to a foot pedal or knob.

Recording patterns

Recording and editing patterns

You can record patterns in either of two ways; realtime

recording or step recording. However, pattern realtime

recording differs from song realtime recording in that

you can use only Loop type recording.

You can edit patterns by using Event Edit operations to

modify the recorded data or insert new data. You can

also use the Get From Track menu command to

convert a desired region of performance data from a

MIDI track into a pattern. Conversely, you can use the

Put to Track or Copy to Track menu commands to

place or copy the performance data from a pattern into

a MIDI track.

In addition, you can use the “Convert to Drum Track

Pattern” page menu command to convert a user

pattern to a drum track pattern. (See “Converting to a

Drum Track pattern” on page 103)

Using realtime controls to record

changes in a MIDI track’s pan, EQ,

volume, and tone adjust

By controlling the pan, EQ, volume, and tone adjust

parameters during realtime recording, you can record

these changes so that they will be reflected during

playback.

Use multi‐track recording if you want to modify the

settings of multiple tracks simultaneously.

Note: Controlling these parameters will transmit

control change or system exclusive messages. In order

for this data to be recorded, the Global P1: MIDI– MIDI

Routing Enable Control Change and Enable Exclusive

settings must be checked. Go to Global mode and

verify that these items are checked.

Note: Use Param. MIDI Out in Global P1: MIDI Basic

page to specify whether control change messages or

system exclusive messages will be transmitted when

you edit the Pan (CC#10), Volume (CC#7), or Send 1/2

level (CC#93 and CC#91) parameters.

Recording patterns in real time

When realtime‐recording a pattern, a pattern of the

specified number of measures will play back

repeatedly, allowing you to continue adding musical

data to it.

1. Create a new song, and as described in

“Preparations for recording” on page 57, set the

track to the program that will be used by the

pattern.

2. Access the P10: Pattern/RPPR– Pattern Edit page.

In this case, the Global P1: MIDI– MIDI Routing

settings Enable Control Change and Enable Exclusive

must be checked respectively.

REC Resolution

Remove Data

Pattern Select

Track

Select

3. Use Track Select to choose the track that you will

use to record the pattern.

The pattern will play back with the program and other

settings of the selected track.

4. Set “Pattern (Pattern Bank)” to User, and set

“Pattern Select” to U00.

User patterns U00–U99 can be created for each song.

5. Select the menu command “Pattern Parameter”.

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Creating songs (Sequencer mode)

A dialog box will appear.

Other way to record

Using the Drum Track function and

the arpeggiator to record on multiple

tracks simultaneously

You can use multi‐recording to simultaneously record

a multi‐track performance using the Drum Track

function and arpeggiator.

6. Set the number of measures in the pattern to a

“Length” of 04 (four measures), and set “Meter” to

a time signature of 4/4. Press the OK button.

For details, please see “Recording MIDI in real time”

on page 60.

7. As necessary, set “REC Resolution” to apply

realtime quantization.

8. Begin realtime recording.

Using the RPPR function to record on

multiple tracks simultaneously

You can use multi‐recording to simultaneously record

a multi‐track performance using the RPPR function.

For details, please see “Creating an RPPR pattern” on

page 71.

You can record in the same way as you did when

recording tracks with Loop All Tracks. (See “Loop All

Tracks” on page 60)

Press the SEQUENCER REC (●) button, and then press

the START/STOP (

) button.

After the pre‐count, pattern recording will begin. Play

the keyboard and use the joystick and other controllers

to record your performance.

When you reach the end of the pattern, the sequencer

will return to the beginning of the pattern and continue

recording. If you continue recording, the newly

recorded data will be added to the previously‐

recorded data.

9. If you want to delete specific data while you

continue pattern recording, you can press the REC

(●) button or check the “Remove Data” check box.

For details refer to step 6 of “Loop All Tracks” on

page 60.

10. Press the START/STOP (

recording.

) button to stop

If you made a mistake or decide to re‐record, press the

START/STOP (

) button to stop recording, and

press the COMPARE button. Then begin the pattern

recording procedure again as in step 8.

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Song editing Song

Song editing

You can apply a variety of editing procedures to a

song. The available types of editing procedures are

listed below.

measures. The Erase Measure command can also be

used to remove only a specific type of data. Unlike the

Delete Measure command, executing the Erase

Measure command does not cause the subsequent

measures of musical data to be moved forward.

Delete Measure: This command deletes the specified

measures. When the Delete Measure command is

executed, the musical data following the deleted

measures will be moved towards the beginning of the

sequence.

Insert Measure: This command inserts the specified

number of measures into the specified track. When you

execute the Insert Measure command, the musical data

following the insert location will be moved backward.

Repeat Measure: This command repeatedly inserts the

specified measures for the specified number of times.

When you execute the Repeat Measure command, the

measures will be inserted following the measure

specified by To End of Measure, and musical data

following the inserted data will be moved backward.

Copy Measure: This command copies the measures of

musical data specified as the “From” source to the

beginning of the measure specified as the “To”

location. When you execute the Copy Measure

command, the existing track data at the copy

destination will be rewritten.

Song

Load (Save) Template Song: Loads a song template

into the song (or saves a song as a template) (see

page 58).

Copy From Combination/Copy From Program: Copies

the settings of the specified combination/program to the

settings of the song that’s currently selected.

Copy From Song: This command copies all of the

setting data and musical data from the specified song

to the song that’s currently selected.

Rename song: Renames the selected song. You can

enter up to 24 characters.

Delete Song: This command deletes the currently

selected song.

FF/REW Speed: This allows you to set the speed at

which fast‐forward or rewind will occur when you

press the FF ( ) button or REW ( ) button.

GM Initialize: This command transmits a GM System

On message to the Sequencer mode, resetting all MIDI

tracks to the GM settings.

Set Song Length: This command changes the length of

the specified song. When it is executed, the length of

the master track will change, and the number of

measures played will change.

Move Measure: This command moves the specified

measures of performance data to another measure.

When you execute the Move Measure command, the

performance data following the move‐source measures

will move forward by the corresponding number of

measures, and the performance data following the

move‐destination will move backward (i.e., later in the

song) by the same number of measures.

MIDI tracks

Create Control Data: This command creates control

change, aftertouch, pitch bend, or tempo data in the

specified region of a MIDI track or the master track.

Erase Control Data: This command erases data such as

control changes, aftertouch, pitch bend, or tempo in

the specified range.

Quantize: This command corrects the timing of MIDI

data of the type you specify (note data, control change,

aftertouch, pitch bend, program change, etc.) in the

track.You can also adjust for swing.

Tracks

Step Recording: This allows you to specify the length

and velocity of each note numerically, and to input

MIDI data, the pitches, from the keyboard. You can use

the Rest button and Tie button to enter a rest or tie.

Event Edit: Here you can edit individual events of

MIDI data.

Shift/Erase Note: This command shifts (moves) or

erases the specified note numbers in a specified MIDI

track and range of measures.

Modify Velocity: This command modifies the velocity

values of notes in the specified area so that they will

change over time according to a selected curve.

Create Exclusive Data: This command creates

universal system exclusive messages or KROME

parameter change messages in the specified region of a

MIDI track.

Erase Exclusive Data: This command erases (deletes)

universal system exclusive messages or KROME

parameter change messages from the specified region.

Piano Roll: Allows you to edit notes, velocities, and

control changes in the piano roll screen. By selecting

and dragging events in the screen, you can edit their

pitch or timing, or delete or add events.

Erase Track: This command erases the data from the

specified track. It is not possible to erase the master

track by itself.

Copy Track: This command copies musical data from

the copy source track to the specified track.

Bounce Track: This command combines the musical

data of the bounce source and bounce destination

tracks, and places the combined data in the bounce

destination. All musical data in the bounce source will

be erased.

To delete all types of system exclusive message other

than those listed above, set the Erase Measure

command’s “Kind” field to Exclusive, and execute the

command.

Erase Measure: This command erases the specified

type(s) of musical data from the specified range of

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Creating songs (Sequencer mode)

Pattern

Track view edit

Here we’ll explain track view editing.

You can visually specify regions of measures in the

display, and then move, copy, or erase them.

For each track, event data such as notes, velocities, and

control changes are displayed (see the illustration

below).

Your editing will apply to the highlighted measures.

The range is shown in FROM MEASURE and To END

of MEASURE in the upper line.

You can move, copy, or erase data in units of measures.

Note: You can’t specify a region of measures unless a

tool is selected in the toolbox.

Step Recording (Loop Type): Here you can perform

step recording into a pattern.

Event Edit: Here you can edit individual events of the

musical data in a pattern.

Piano Roll: You can edit notes, velocities, and control

changes in the piano roll screen.

Pattern Parameter: This command specifies the

number of measures and the time signature of the

selected pattern.

Erase Pattern: This command erases the data from the

selected pattern.

Copy Pattern: This command copies the settings and

musical data of the selected pattern to another pattern.

Bounce Pattern: This command combines the musical

data of the bounce source pattern and bounce

destination pattern, and places the combined musical

data in the bounce destination.

Get From Track: This command takes musical data

from a MIDI track and loads it into the specified

pattern.

Examples of using the tools

Example)

Moving the events of measures 1–2 to measures 5–6

1. Press the

tool.

2. Drag over measures 1–2 to specify the edit region.

Put To Track: This command places a pattern into a

MIDI track.

Copy To Track: This command copies the specified

area of musical data from the specified pattern to a

MIDI track as musical data.

Convert to Drum Track Pattern: This command

converts a user pattern into a user drum track pattern,

which can then be used with the Drum Track in any

mode.

Load Drum Track Pattern: This command loads a user

Drum Track pattern into a user pattern.

3. Press the

tool.

Erase Drum Track Pattern: This erases the specified

Drum Track pattern.

4. Press measure 5 (the move‐destination measure).

Alternatively, drag the edit region to measure 5.

Indicate the selected region.

Linked with the identically-

named parameter of the

Track Edit page.

Location bar

Track name indication

Control message name indication

Note events

Scroll button

Tool box

(

Track View Setup)

Specify the starting

measure.

Track View area select

The bar at left indicates the

four tracks shown in the track

view area (in this example,

tracks 1–4).

Specify the ending

measure.

Move the events of the

selected measure(s).

Scroll button

Copy the events of the

selected measure(s).

Erase the events of the

selected measure(s).

Setup

Press this button to open

the Track View Setup

dialog box.

Jump to the piano roll.

(

Track View Setup)

Displays the values for the

control message name indicated

in the left of the screen

Pattern

Displays note events in a

one-octave range

Selected region

Velocity indication

Track View Setup)

Scroll button

(

Track View Setup)

(

Track view area

(

Track View Setup)

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Song editing Track view edit

5. In this example, an event exists in the move‐

destination measure, so the Drag Move dialog box

will appear.

4. While continuing to press, drag to the move‐

destination track, and release.

Overwrite will overwrite the source data over the

destination data (replacing the destination data with

the source data). Merge will combine the source and

destination data.

Press the OK button to execute the move.

If there are no events in the move‐destination

measures, this dialog box will not appear; the move

will occur immediately.

If the move‐destination measures contain events, the

Drag Move dialog box will appear.

Overwrite will overwrite the source data over the

destination data (replacing the destination data with

the source data). Merge will combine the source and

destination data. Press the OK button to execute the

move.

If there are no events in the move‐destination

measures, this dialog box will not appear; the move

will occur immediately.

The destination is overwritten

If you choose Overwrite

by the source data

If you choose Merge

The two sets of data are combined

Example)

Copying the events of measures 1–2 to measures 3–4

1. Press the

tool.

2. Drag over measures 1–2 to specify the edit region.

Example)

Moving the data of an entire track

1. Return the location to the beginning.

2. Press the

tool.

3. Press the left side of measure 1 in the track you

want to move.

3. Press the

tool.

4. Press measure 3 (the copy‐destination measure).

Alternatively, drag the edit region to measure 3.

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Creating songs (Sequencer mode)

The copy will be executed.

Piano Roll Editing

Piano Roll editing lets you enter, edit, or delete event

data such as notes, velocities, and control changes.

1. In the Seq P6: Track Edit‐ Track View page, specify

the track and measure that you want to edit.

2. Select the

tool in the Track View page or select

“Piano Roll” from the menu commands to access

the Piano Roll window. (See illustration below)

3. Make sure that the events you want to edit are

displayed in the note view area at the upper part

of the window or in the control view area at the

lower part of the window.

• Press the note view area selector, and use the value

controllers.

5. If desired, you can press another copy‐destination

to copy the data repeatedly.

Example) Copying the data of an entire track

You can copy the data of an entire track to another

track.

• Select the

tool, and drag.

Refer to “Example) Moving the data of an entire track.”

• Enter “Meas” or “#” in the event list.

In step 2, choose the

tool.

• Use the view control zoom buttons to zoom‐in/out.

• Switch the view area height selector.

4. Use the tool box to select a tool, and edit the data.

Note: If you want to undo an edit, press the Undo

button.

5. To play back the events, press the Play button. A

dialog box will open, and the song will start

playing. This allows you to check the results of

your editing.

6. You can change settings such as the note

resolution. Press the Setup button, and adjust the

settings in the Piano Roll Setup dialog box.

7. When you’re finished editing, press the Done

button.

Note events

The selected note event

Note view area

Toolbox:

Select or move a note.

Change the length of notes.

Enter notes.

Note view area select

Delete notes.

Select what will be

shown in the control

view area. (In this

example, velocity values

are shown.)

Move the note view

area that is displayed.

View area height select

Switch the note event

display

Control view area

Event list

Scroll (view control)

Zoom

Ends piano roll editing

The Piano Roll Setup dialog

Undo cancels the

preceding edit. Redo

returns to the state prior

to Undo.

Plays back the song. The Piano Roll

Edit Play dialog box will appear

when you press this button

box will appear when you

press the Setup button

(->see Piano Roll Setup).

(

Piano Roll Edit Play).

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Creating an RPPR pattern Creating RPPR data

Creating an RPPR pattern

RPPR stands for Realtime Pattern Play/Recording, and

is a function that lets you assign pattern data to each

key, and then play back that pattern simply by pressing

the key where it is assigned. You can realtime‐record

this performance.

Creating RPPR data

1. Create a new song, and choose a drum program for

track 1.

2. Access the P10: Pattern/RPPR– RPPR Setup page.

In this page, the RPPR function is automatically

turned on.

3. Select the key where the pattern will be assigned.

4. Select C#2.

• As described above, assign several other patterns

such as P003 and higher.

11. Press the C#2 key.

The assigned pattern will play.

12. Take your finger off the C#2 key, and press the D2

key.

You can also change this setting by holding down the

KEY edit cell and playing a note on the keyboard.

The pattern will change, and playback will begin. At

this time, the pattern operation will depend on the

Sync and Mode setting.

13. Set KEY to C#2, and set Sync to Measure. Make

the same setting for D2.

Now press the notes consecutively. Notice that the

patterns function in a different way.

With the Measure setting, patterns will be handled in

one‐measure units. The second and subsequent

patterns will start in sync with the end of pattern that

was previously played.

Note: C2 and lower keys are used to stop playback,

and cannot be assigned patterns.

5. Check “Assign” for C#2.

6. Set “Pattern Bank” to Preset, and set “Pattern

Select” to P001.

7. Set “Track” to Track01.

The selected pattern will be played according to the

settings (program, etc.) of the track you select here.

If you change the Mode setting to Once, the entire

pattern will playback to the end even if you release

your finger from the keyboard immediately.

• To stop playback, either press the same key once

again, or press the C2 or lower key.

For details on Sync, Mode, and Shift, please see

page 158 of the Parameter Guide.

• The assigned keys are also shown in the keyboard

graphic in the display.

• Keys where no patterns are assigned can be played

normally. Use Track Select to select the track you

want to play. For example you could assign backing

patterns for drums or bass to keys C#2–B2 and use

these keys to control the pattern playback, while

using the keys C3 and above to play a solo

performance in realtime. It’s a good idea to keep

your RPPR assignments within a specific range of

keys.

8. Assign patterns to other keys.

For “KEY,” press the INC button to select D2.

9. Press the Revert button.

The Assign, Pattern Bank, Pattern Select, and Track

settings will be given the previously (steps 5–7)

specified values.

10. Choose “Pattern Select,” and press the INC

button to select P002.

By using Revert in this way, you can work efficiently

when assigning contiguous (or nearby) pattern

numbers or tracks.

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Creating songs (Sequencer mode)

RPPR playback

Let’s use the RPPR pattern that you created to perform

in the P0: Play/REC– Program T01–08 page.

Realtime-recording an RPPR

performance

You can record the realtime performance generated by

RPPR.

1. Access the P0: Play/REC– Program T01–08 page.

RPPR On

Recording an RPPR performance

The RPPR playback can be recorded as performance

data on the track(s) assigned to each pattern. This

means that you’ll use either single track recording or

multi‐track recording, as appropriate for the track

settings or performance style of the RPPR you’re

playing.

On the other hand, even if RPPR uses only one track,

use multi‐track recording if you will be recording

another track at the same time.

You should also select multi‐track recording if you

specified the RPPR data using multiple tracks rather

than just a single track, and want to simultaneously

record the performance of multiple tracks.

2. Check the “RPPR” check box.

The RPPR function will be turned on. Set the RPPR on/

off for each song.

Here’s how you can record an RPPR performance and

a keyboard performance at the same time. Before you

continue, use the P0: Play/REC– Program T01–08 page

to assign a drum program to MIDI track 1, and a bass

program to MIDI track 2.

1. Assign several keys starting with C#2 to preset

patterns.

Check the C#2 Assign setting, and set Pattern Bank to

Preset and Pattern Select to the desired preset pattern.

For Track, select MIDI track 1 (Track 01) to which you

assigned a drum program.

3. Play the keyboard, and patterns will begin playing

according to the RPPR settings.

If you want to play RPPR phrases from an external

MIDI device, you can control them on the MIDI

channel of the track that’s selected in Track Select.

• Pattern playback for keys where the Sync setting is

Beat or Measure will synchronize to the pattern

playback of the very first key played.

• If you are playing the pattern in synchronization

(when Sync is Beat, Measure, or SEQ), the pattern

will start accurately if you play the note slightly

earlier than the timing of the beat or measure. Even

if you play the note slightly later than the beat or

measure (but no later than a 32nd note), it will be

considered to have started at the beat or measure,

and the beginning of the pattern will be

2. For each RPPR pattern, set Sync to SEQ.

With a setting of SEQ, RPPR patterns triggered while

the sequencer is playing or recording will start in

synchronization with the measures of the sequencer.

(See page 158 of the Parameter Guide.)

compressed so that the remainder of the playback

will be correct.

4. To turn off the RPPR function, uncheck the RPPR

check box.

Play RPPR while a song plays back

RPPR can be played in synchronization with the

playback of a song.

Pattern playback for a key with a Sync setting of SEQ

will synchronize to the playback of the song. Start the

song playback, and then press the key. The pattern

playback will start in synchronization with the

measures of the song.

3. Access the P0: Play/REC– Program T01–08 page.

4. Check the “RPPR” check box, and set Track Select

to MIDI Track 02.

Synchronization will be lost if you use the REW

(

) or FF ( ) buttons while a song is playing.

If the RPPR check box is selected, the RPPR function

will be turned on even in pages and tabs other than

RPPR Setup, allowing you to perform with the RPPR

function by pressing a key to which an RPPR is

assigned.

Note: In the note range C#2 and above, keys to which

no pattern has been assigned can be played to sound

the program of the MIDI track selected by Track

Select.

Note: If you want RPPR pattern playback to begin at

the moment that song playback begins, it is a good

idea to insert an empty measure containing no musical

data before the song playback begins.

Note: If the song is stopped, the pattern will

synchronize to the timing of the arpeggiator.

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Creating an RPPR pattern Realtime-recording an RPPR performance

5. Since you want the tracks you play via RPPR and

the track you play from the keyboard to be

recorded at the same time, check the Multi REC

check box.

Note: If Recording Setup is set to Loop All Tracks, it

will not be possible to select Multi REC. Set the

Recording Setup to Overwrite (see page 60).

6. Press the SEQUENCER REC (●) button to enter

record‐ready mode.

7. For the tracks you will be recording (MIDI Track 1,

2), press Play/Rec/Mute to make them indicate

REC.

Make sure that the tracks you’re not recording are

indicated as Play or Mute.

8. Press the LOCATE ( ) button to set the location

to 001:01.000.

9. Press the START/STOP (

) button, and then

press a key that plays an RPPR pattern.

Then press the key where the RPPR pattern playback is

assigned.

If the key where the RPPR is assigned is pressed

during the pre‐count before recording, RPPR pattern

playback will start the moment that recording begins

after the pre‐count.

Record the RPPR pattern playback and keyboard

performance.

When recording the playback of patterns triggered

by RPPR, the timing of the recorded events may be

slightly skewed. If this occurs, try setting REC

Resolution to a setting other than Hi.

10. When you are finished performing, press the

START/STOP (

) button.

Recording will end, and the sequencer will return to

the location where recording began.

If you made a mistake during your performance or

would like to re‐record, you can use the Compare

function (press the COMPARE button) to re‐record as

many times as you wish.

11. If you want to record other tracks, un‐check the

Multi REC (See step 5) or “RPPR” (See step 4)

check boxes as necessary.

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Creating songs (Sequencer mode)

Creating and playing a Cue List

A cue list allows you to play multiple songs in

succession. You can create the individual sections of a

song, such as the intro, melody A, melody B, chorus,

and ending, and then use a Cue List to assemble these

sections into a song by specifying the desired order

and the number of repetitions for each section. You can

then edit the cue list to efficiently try out different

structures for your song.

3. Set the last step to End.

If you set this to Continue to Step01, the cue list will

play back repeatedly.

4. In “Repeat,” specify the number of times that the

song for that step will be repeated. For this

example, set Step 02 S001: VERSE to 02.

5. Specify whether effect settings will also be

switched when the song at each step is played

back. If you want effect settings to change, check

the “Load FX?” check box.

For this example, check the “Load FX?” check box for

Step 01, which loads the effects.

6. To play back at the tempo that was specified for

each song, set “Tempo Mode” to Auto.

You can also use this as a jukebox function that will

play back completed songs in the order you specify.

Cue List

Step

Song

Repeat

S000: Intro

Intro

Chorus

S001:

S002:

Chorus

Chorus Chorus

04 S003: Chorus

A(Solo) Chorus Chorus Chorus Ending Ending

If this is set to Manu (Manual), playback will use the

tempo specified by “ꢀ =”.

S001:

S002:

S003: Chorus

S001: A (Solo)

S003: Chorus

10 S004: Ending

Creating a cue list

Each unit in a cue list is called a “step,” and each step

contains a song number and the number of repeats.

For example, suppose you’ve created the songs S000:

INTRO, S001: VERSE, and S002: CHORUS. Let’s use a

cue list to connect these songs together.

1. Access the Seq P11: Cue List page.

With the default settings, song S000 will be selected for

“Step” 01, and End will be selected for “Step” 02.

7. When you press the SEQUENCER START/STOP

(

) buttonh, playback will begin from the

step that is specified as the “Current Step.”

Song Position Bar

• Step: The arrow will indicate the step that’s

currently playing. indicates the currently selected

“Step.” The Song Position Bar located below the

song name shows the progression of the song

within the step. While stopped, you can specify the

Current Step and the display will change

accordingly.

2. Add a song to the Step area.

Select the “Song” for Step 02, and press the Insert

button. A song will be added to step 02. Press the

popup button, and then choose S001: VERSE from the

list.

In the same way, select the Step 03 “Song,” and press

the Insert button to add a song to Step 03. Set this to

S002: CHORUS.

When you press the Cut button, the selected step will

be deleted and temporarily saved. When you press the

Insert button, the song that was cut will be insert at the

selected step.

• M****: Indicates the starting measure of that step.

• Meter: Indicates the currently‐playing time

signature. This cannot be changed.

• The name of a cue list can be specified by the

Rename Cue List menu command.

• When you play the keyboard, the program of the

track selected by Track Select will sound. If a

different program is selected for each song, the

If you press the Copy button, the selected step will be

copied. If you press the Insert button, the copied step

will be inserted.

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Saving your song Converting a cue list to a song

program that’s specified for the song that’s

currently playing will play.

Saving your song

In order to ensure that the data you create is

reproduced faithfully, we recommend that you save

your data by using Save All so that the programs will

also be saved. However if you have not changed the

program numbers or sounds used in your song, saving

only the song‐related data (.SNG) will minimize the

size of the data.

Converting a cue list to a song

The Convert to Song menu command lets you convert

a cue list to a single song.

For details, please see “Convert to Song (Convert Cue

List to Song)” on page 189 of the Parameter Guide.

When you turn off the power, the Sequencer mode

settings, the recorded songs, and the user pattern

data will be lost.

1. Insert an SD card in the SD card slot.

With the card label facing upward, insert the connector

end of the card into the SD card slot and press it in

until you hear a click.

Make sure that the card is oriented correctly when

you insert it. Forcing it in the wrong direction may

damage the slot or the card, and the data may be

lost.

2. Press the WRITE button.

The Save Songs and Cue Lists Data dialog box will

appear. If you want to change the name, adjust the

appropriate settings (see page 117).

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

the data.

If data of the same name already exists, as message will

ask whether you want to overwrite the existing data. If

you want to overwrite the existing data, press the OK

button.

If the save‐destination directory is something

other than a DOS directory (e.g., if you’re in a

directory shown by opening a .PCG or .SNG file),

a message such as “File/path not found” will

appear, and you won’t be able to save the data. If

this occurs, move to Media mode, select the

appropriate save‐destination (i.e., a DOS

directory), and then execute “Save All” or “Save

SEQ.”

Saving a template song

If you want the programs, track parameters, effect

settings, and arpeggiator settings etc. used by a song to

be saved as a Template song, use the Save Template

Song menu command to save these settings.

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Creating songs (Sequencer mode)

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Using Effects

An overview of the KROME’s effects

You can choose from 193 different types of high‐

quality digital effects. The KROME provides five insert

effects, two master effects, and one total effect, together

with a mixer section that controls the routing of these

effects. All of these are stereo in/out.

Specific parameters of these effects can also be

controlled in real time from the KROME’s controllers

or via MIDI messages using Dynamic Modulation

(Dmod), by MIDI/Tempo Sync, or by using a common

LFO to apply synchronized changes to multiple

modulation effects.

Total Effect

The total effect (TFX) is stereo‐in/stereo‐out. The Dry

(unprocessed) side of the Wet/Dry parameter sends the

stereo input sound directly to the stereo output. The

way that the Wet (processed) side is output depends on

the type of effect, as follows.

Eﬀect

Mono In - Mono Out

Mono In - Stereo Out

Wet

Eﬀect

Stereo In - Stereo Out

Note: The Parameter Guide includes block diagrams

for each individual effect, which include the effect’s

input/output structure. (See page 251 of the Parameter

Guide)

Effect I/O

Insert Effects

Insert Effects (IFX 1–5) are stereo‐in/stereo‐out. If you

select Dry (unprocessed) for the Wet/Dry parameter,

the stereo input signal will be output in stereo without

being processed by the effect. If you select Wet (effect

applied), the processed signal will be output in one of

the following ways:

Eﬀect

Mono In - Mono Out

Mono In - Stereo Out

Wet

Eﬀect

Stereo In - Stereo Out

Master Effects

Master Effects MFX1 and MFX2 are stereo‐in/stereo‐

out. Send1 and Send2 determine the send level to the

Master Effects.

With Master effects, only the Wet (processed) signal

will be output. The output signals from the Master

Effects are routed to the L/R bus with the output level

specified by Return1 and Return2. These output

signals are mixed with the output signals from the bus

specified by Bus (IFX/Output) Select (P8– Routing

page in each mode) L/R, or with the output signals

from the bus specified by Bus (IFX/Output) Select (P8–

Insert FX Setup page in each mode) L/R, then routed to

the total effect.

Selecting “000: No Effect” will mute the output. The

processed signal will be output in one of the following

ways, according to the type of effects.

Eﬀect

Mono In - Mono Out

Mono In - Stereo Out

Wet

Eﬀect

Stereo In - Stereo Out

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Using Effects

Effects in each mode

Program mode

For programs, you can use insert effects to process the

final sound in the same way that you use the Filter,

Driver, Amplifier, and EQ (equalizer) to process the

sound from the oscillators (OSC 1 & 2). Next, the

master effects are used to create overall ambience such

as reverb, and you use the total effect to make final

adjustments. You can apply an effect in the same way

to the output of a drum track program. All of these

settings can be made independently for each program.

Combination and Sequencer modes

In Combination and Sequencer modes, you can use the

track EQ and insert effects to process the sound of each

timbre/track program. Then you can use the master

effects to create overall ambience, and use the total

effect to make final adjustments.

In Combination mode, you can adjust these settings for

each combination, and in Sequencer mode you can

adjust them for each song.

In Sequencer mode, you can switch between effects or

modify the effect parameters and record these changes,

so that effects will switch automatically or effect

parameters will be modified automatically as the song

plays back.

Program mode

Send

Return

Oscillator1

Oscillator2

Filter1

Filter2

Driver1

Driver2

Ampliﬁer1

Ampliﬁer2

Master Eﬀect 1, 2

OUTPUT

L/MONO, R

Insert Eﬀect 1–5

Total Eﬀect

Drum Track

Combination and Sequencer modes

Send

Return

Master Eﬀect 1, 2

OUTPUT

L/MONO, R

Timbre 1 /MIDI Track 1

Insert Eﬀect 1–5

Total Eﬀect

Timbre 16 /MIDI Track 16

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Routing effect settings Program Effects settings

Routing effect settings

The insert effects, master effects, and total effect have

the same structure in all modes, but the routing

settings will determine how the oscillators of a

program or the timbres of a combination or track of a

song will be sent to each insert effect, master effect or

total effect. In the pages that follow, we will explain

how you can adjust routing settings and effect settings

in each mode.

Insert effects

5. Access the Prog P8: Routing/IFX– Insert FX Setup

page.

Program Effects settings

Routing

1. Access the Prog P8: Routing/IFX– Routing page.

6. Choose the effect type that you want to use for

each insert effect IFX1–5.

When you press the popup button, all effects will be

displayed, organized into ten categories. Use the pages

located to the left and right to select a category, and

choose an effect from the desired category on the

display.

You can use the Copy Insert Effect menu command to

copy effect settings from another program etc. Also,

you can use Swap Insert Effect to exchange (for

example) IFX1 and IFX5.

7. Press the On/Off button to turn on the insert

effect.

Each time you press this button, the insert effect will

toggle on/off. When Off, the result will be the same as

when 000: No Effect is selected; the sound will be

output without being processed by the insert effect.

2. Use Bus (IFX/Output) Select to specify the bus

where the oscillator output will be sent. If you

want the oscillator output to be input to insert

effect 1, choose IFX1.

L/R: The output will not be sent to the total effect. After

bypassing the total effect, the sound will be sent to

AUDIO OUTPUT L/MONO and R.

8. Make Chain settings.

If the Chain check box is checked, the insert effect will

be connected in series. Since the output of the oscillator

is being sent to IFX1 in step 2, adjusting settings as

shown in the diagram above step 6, would connect all

five insertion effects IFX1  IFX2  IFX3 in series, so

that these effects would be inserted into the output of

the oscillator.

9. Adjust settings for Pan: #8, Bus (Bus Select), Send

1, Send 2 and FX Ctrl for the sound after it has

passed through the insert effects.

If you’ve specified a chain, the settings that follow the

last IFX in the chain will be valid (except for FX Ctrl).

Pan: #8: Sets the pan of the IFX output.

Bus (Bus Select): Specifies the output destination.

Normally you will set this to L/R.

Send 1, Send 2: Sets the send levels to the master

effects. For this example, set this to 127.

IFX1–5: The output will be sent to insert effect IFX 1–5.

Off: Choose this if you want the signal to be connected

in series to the master effects at the send levels

specified by Send 1 (to MFX1) and Send 2 (to MFX2).

3. OSC MFX Send specifies the send level from each

oscillator to the master effects.

This can be set only when Bus (IFX/Output) Select is

either L/R or Off.

If Bus (IFX/Output) Select is set to IFX1–5, the send

level to the master effects is set by Send1 and Send2

(Insert FX Setup page) after the signal passes through

the insert effects.

4. FX Control Bus sends the output of oscillator 1 and

2 to the FX Control bus. Use this if you want the

audio input to the effect to be controlled by a

different sound.

You can use the two FX Control buses to control effects

freely. For details, please see “FX Control Buses” on

page 238 of the Parameter Guide.

FX Control Bus: The FX Control Buses lets you create

effects “sidechains.” Sidechains let you control an

effect with one audio signal (the sidechain), while the

effect processes a completely different audio signal.

This is convenient for use with vocoders, compressors

and limiters, gates, etc. For details, please see “FX

Control Buses” on page 238 of the Parameter Guide.

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Using Effects

10. Access the P8: Routing/IFX– Insert FX Setup page,

and edit the parameters of the insert effect you

selected.

Master effects

11. The input levels to the master effects are set by

the Send 1, 2 levels (step 3 or 9). If Send 1, 2 are

zero, the master effects will not apply. Send 1

corresponds to MFX1, and Send 2 corresponds to

MFX2.

Press the IFX 1–5 tabs and edit the parameters.

Eﬀect Parameters

P (Eﬀect Preset)

Eﬀect On/Oﬀ

12. Access the Prog P9: MFX/TFX/LFO– Routing page.

Wet/Dry

Effect 1 On/Off: Turns the insert effect on/off. This is

linked with the on/off setting on the Insert FX Setup

page.

P (Effect Preset): Selects an effect preset. The KROME’s

internal memory contains “effect presets” which are

parameter settings for each effect from 001: Stereo

Compressor through 193: Early Reflections.

Effect parameters you edit are saved as part of each

program, but effect presets allow you to save and recall

your favorite parameter settings for each effect. If

you’ve come up with an effect setting you like, use the

menu command Write FX Preset to save it as a preset

so that you can easily recall it in a different program or

mode.

13. In MFX1 and MFX2, select the type of each master

effect.

The procedure is the same as when selecting an insert

effect (see step 6).

Note: You can only select a double‐size effect for

MFX1. For details, please see “Double ‐size effects,”

above.

14. Press the On/Off button to turn on the master

effect.

Each time you press this button, the master effect will

toggle on/off. When Off, the output of the master effect

will be muted.

15. Use Return 1 and Return 2 to adjust the output

levels of the master effects.

Note: For each effect, the Wet value of the Wet/Dry

parameter is the output level of the effect. The return

value is multiplied with this (“Return” = 127 will be

x1.0) to determine the actual output level of the master

effect.

16. Select the MFX1 and MFX2 pages, and set the

parameters for each selected effect.

For details on the parameters of each effect, see

page 251 and following in the Parameter Guide.

Double-size effects

Double‐size effects (172: St.Mltband Limiter – 193:

Early Reflections) use twice as much space as other

effects.

You can use double‐size effects for insert effects IFX1–

IFX4 and master effect MFX1. However, because it

takes up two units of effects power, the next‐numbered

effect will be unavailable. For example, if you’ve

selected a double‐size effect for IFX1, you won’t be able

to use IFX2. If you’ve selected a double‐size effect for

MFX1, you won’t be able to use MFX2.

For details on the “Program Effects settings” step 10.

Total Effect

17. If you use Bus (IFX/Output) Select to choose L/R

as the oscillator output, or if you set the post‐IFX

Bus to L/R, the signal will be input to the total

effect.

An example of when a double‐size effect is selected for IFX1

and IFX4

The output from the master effect is input to the total

effect via the Return 1 and Return 2 settings of the Prog

P9: MFX/TFX/LFO– Routing page.

After being processed through the total effect, the

signal is output from the AUDIO OUTPUT L/MONO

and R outputs.

18. Access the Prog P9: MFX/TFX/LFO– Routing page.

19. Choose the desired total effect for TFX. The

procedure is the same as when selecting an insert

effect. (See step 6)

You can’t use a double‐size effect as the total effect.

For details, please see “Double ‐size effects,” above.

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Routing effect settings Using effects in Combinations and Songs

20. Press the On/Off button to turn the total effect on.

4. Press the FX Control 1–8 tabs to access the FX

Control T01–08 pages.

Bus (IFX/Output) Select is the same as in the Routing

T01–08 page. You can set it from either page.

FX Control Bus sends the output of the timbre to an FX

Control bus. Use this when you want the audio input

to an effect to be controlled by another sound. There

are two FX Control buses, which gives you a great deal

of freedom for controlling effects freely. For details,

please see “FX Control Buses” on page 238 of the

Parameter Guide.

The total effect will toggle on/off each time you press

the button. If this is Off, the result will be the same as if

000: No Effect is selected. The input sound will be

output without being processed by the total effect.

21. Access the TFX page, and edit the parameters of

each effect to adjust the final sound as desired.

For details on the “Program Effects settings”, see step

10.

Using effects in Combinations

and Songs

In Combination, and Sequencer modes, you can

specify the routing of each timbre/track to the insert

effects, master effects and total effect. These settings

are adjusted in the same way in each of these modes.

We will be using the example of Combination mode in

our explanation here.

Insert effects

5. Access the Combi P8: Routing/IFX– Insert FX

Setup page.

Routing

1. Access the Combi P8: Routing/IFX– Routing T01–

08 page.

6. Select an insert effect in IFX1–5 and edit the

settings.

7. Access the IFX1–5 pages to edit the individual

effect parameters.

These settings can be adjusted in the same way. (See

page 79.)

You can use MIDI to control dynamic modulation

(Dmod) for each effect, the post‐IFX pan (CC#8),

and Send 1 and Send 2 levels.

An asterisk “*” is shown at the right of Ch01–Ch16

for the channel number of tracks routed to IFX. If

you’ve routed multiple tracks that have different

MIDI channel settings, this specifies the channel

on which they will be controlled.

2. Use “Bus (IFX/Output) Select” to specify the bus

where each timbre will be output. Choose IFX1 if

you want to send the output of a timbre to insert

effect 1.

The routing, insert effects, and chain settings are

shown graphically on the upper part of the page. In

this example, T01 (timbre 1) uses IFX1 and 2. T02 uses

IFX2, T03 uses IFX3 and 4, T02 and T05 use IFX4, and

T06 and T07 use IFX5.

Master effects and Total effect

These settings can be adjusted in the same way as on

page 80.

3. Use Send1 and Send2 to specify the send level of

each timbre to the master effects.

This can be set only if Bus (IFX/Output) Select is set to

L/R or Off.

You can control these effects via MIDI on the “Ctrl

Ch.” The specified MIDI channel will control

dynamic modulation (Dmod) for the Master and

Total Effect.

Note: The actual send level is determined by

multiplying this by the Send 1 or Send 2 settings for

oscillators 1 and 2 within the program selected by the

timbre. If the program parameter Send 1 or Send 2 is

set to 0, the resulting level will still be 0 even if you

raise this send level.

If Bus (IFX/Output) Select is set to IFX1–5, the send

levels to the master effects are set by Send1 and Send2

(Insert FX Setup page) following the insert effects.

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Using Effects

Dynamic modulation, Common FX LFO

When you move the joystick away from yourself and

press the SW1 button, the feedback level will increase,

and the delay sound will continue for a longer time.

The Amt setting specifies the feedback level that will

be in effect when the SW1 button is pressed. If Amt is

set to –10, pressing the SW1 button will reduce the

feedback level to 0.

Dynamic modulation (Dmod)

Dynamic modulation (Dmod) lets you use MIDI

messages or the KROME’s controllers to modulate

specific effect parameters in real‐time.

Dynamic modulation to control an effect pa-

rameter in realtime

As an example, let’s set up dynamic modulation to

control an effect parameter in realtime.

Finally, we can use the MIDI/Tempo Sync

function to synchronize the delay time to the

arpeggiator tempo.

6. Set BPM to MIDI.

7. For L, C, and R, set the Delay Base Note and Times

as desired.

For this example, set Delay Base Note to ꢁ and Times

to x1 so that the effect will be easily understandable.

The delay time will repeat at an interval of a 8th note.

1. As described in the procedure for “Program

Effects settings” on page 79, set IFX1 to 078: L/C/R

BPM Delay. Verify that you’re hearing a delay

effect.

2. Access the Prog P8: Routing/IFX– IFX1 page.

Now, we can set the Dmod to change the delay

level via the Joystick

3. Set Input Level D‐mod to +100.

4. Set Source to JS+Y: #01.

The delay sound will disappear.

The input level to the effect can be controlled by the

joystick. As you move the joystick away from yourself,

the delay sound will gradually increase.

8. Rotate the TEMPO knob, and the delay time will

change.

When you (push the joystick away from yourself and)

press the SW1 button, the feedback level will rise, and

the delays will become longer.

9. When you turn on the ARP button, arpeggiator

will begin playing.

Select any desired arpeggiator. When you rotate the

TEMPO knob, the delay time will change in

synchronization with the changing tempo of the

arpeggiator.

In addition, we can use Dmod to change the feed-

back level via SW1

5. In the P1: Basic/Controllers– Controllers Setup

page, set the SW1 function to SW1 Mod.CC#80,

and the Mode to Toggle.

Depending on the specific delay effect, you may

hear some unexpected noise if you change the

tempo while the delay is sounding. This is because

the delay sound becomes discontinuous, and is not

a malfunction.

Choose P8: Routing/IFX– IFX1 page. Set the Feedback

Src to SW1: #80, and set Amt to +30.

For some effects, you can synchronize the LFO

frequency to the tempo. Set the effect parameters

MIDI Sync to On, and BPM to MIDI. For details,

please see page 236 of the Parameter Guide.

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Dynamic modulation, Common FX LFO Common FX LFO

Common FX LFO

Two Common FX LFOs are available for modulation

effects, such as choruses, filters, phasers, etc. Normally,

the phase of the LFOs of multiple modulation‐type

effects will not be synchronized even if you set them to

the identical Frequency, since the LFOs are being

generated independently.

However, if you select Common 1 or Common 2 for the

LFO Type parameter of a modulation‐type effect, the

effect will use the one of the common LFOs instead of

its own individual LFO. This allows you to use a single

Common FX LFO to control two or more modulation‐

type effects such as flanger, phaser, or auto‐pan with

the same phase. Since you can make independent

settings for LFO waveform and phase offset for each

effect, you are free to create complex combinations of

effects.

Common FX LFO

LFO Type = Common1

Stereo Flanger

Common FX LFO1

Frequency[Hz]

Reset

Waveform = Triangle

Phase Oﬀset = 0 [deg]

Generate original LFO waveform

Stereo Phaser

Waveform = Sine

Phase Oﬀset = 0 [deg]

Stereo Auto Pan

Waveform = Sine

Phase Oﬀset = +90 [deg]

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Using Effects

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Arpeggiator function

Using the arpeggiator while you play

The arpeggiator is a function that automatically

Arpeggiator on/off

• Each time you press the ARP button, the

arpeggiator will be switched on/off.

generates arpeggios (patterns of individual notes

derived from a chord). Most arpeggiators produce an

arpeggio when you play a chord on the keyboard.

When the arpeggiator is turned on (the LED will light

up) and the selected arpeggio pattern will begin when

you play the keyboard.

Note: The on/off status is saved when you write each

The chord you played on

the keyboard is sounded as

an arpeggio (broken chord)

program.

In Combination and Song modes, the arpeggios

may not start when you press the ARP button ‐

depending on the saved settings. You may need to

play a keyboard (see page 90).

The KROME’s arpeggiator is also polyphonic, and can

produce a variety of chordal transformations or

phrases based on the pitch or timing of the notes you

play on the keyboard. These functions let you use the

arpeggiator to play a wide range of patterns including

drum or bass phrases, and guitar or keyboard backing

riffs. It is also effective to use the arpeggiator as part of

the sound‐design process when creating subtly‐

moving pads, synth‐sounds, or sound effects.

The KROME’s Dual Arpeggiator feature lets you use

two simultaneous arpeggio patterns in Combination

mode, and Sequencer mode. You can take advantage of

this in many ways, including a separate arpeggio

pattern for a drum program, and another applied to a

bass program, or using a keyboard split or velocity to

switch between two arpeggio patterns.

Adjusting the arpeggiator tempo

• Rotate the TEMPO knob or TAP button

to adjust the tempo.

The “ꢀ =” display in the upper right of

the LCD will change. The tempo can be

adjusted over a range of 40.00–300.00

bpm. The LED will blink in time with

the specified tempo.

As an alternative to using the TEMPO

knob or TAP button, you can also set the

tempo by selecting “ꢀ=” in the display,

using the numeric keys 0–9 to enter the tempo, and

pressing the ENTER button. You can also set the

tempo by using the VALUE controllers. The LED

will blink in synchronization with the tempo you

specify.

The KROME provides five preset arpeggio patterns:

the standard UP, DOWN, ALT1, ALT2, and

RANDOM. You can also create and store 1,028 of your

own user patterns. The factory settings contain a wide

variety of arpeggio patterns stored in these user

locations (see page 211 of the Parameter Guide).

Note: The tempo setting is also saved when you write a

program.

Note: The arpeggio playback speed is affected by the

Reso setting (Prog P0: Play– Arpeggiator page), or

Resolution (P7: ARP/DT– ARP Setup page).

Using the arpeggiator in

Program mode

1. Press the PROG button to enter Program mode,

and select a program. For details, please see

“Selecting Programs” on page 21.

2. Press ARP button (the LED will light) to turn on

the arpeggiator. Arpeggios will begin sounding

when you play the keyboard.

If the Global P1: MIDI– MIDI Basic page MIDI

Clock parameter is set to External MIDI, External

USB, or set to Auto and MIDI Clock messages are

being received, the display will indicate “ꢀ =” EXT,

meaning that the KROME is synchronized to an

external MIDI device. In this case, you won’t be

able to change the tempo by using the KROME.

3. As described in the following sections “Using

knobs 1–4 to control the arpeggiator” and

“Selecting an arpeggio pattern and specifying its

function,” move the controllers or modify the

parameters to change the way that the arpeggios

are played.

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Arpeggiator function

Turning the knob toward the left will shorten the

pattern length (“Length”) by half. Turning the knob

toward the right will shorten the interval of the

arpeggiated notes (“Resolution”) by half. When the

knob is in the center position (12 o’clock), the pat‐

tern will be as specified by the parameters Length

and Resolution (Global P6: Arpeggio Pattern–

Setup page).

Using knobs 1–4 to control the

arpeggiator

• You can control the arpeggiator by pressing the

SELECT button to select ARP and then turning

knobs 1–4.

If the arpeggio pattern selected by “Pat (Pattern

Select)” is one of the preset arpeggio patterns P0–

P4, turning the knobs will not produce any

change. These adjustments are available only if a

user arpeggio pattern U0000 (INT)–U1027 (USER)

is selected.

Note: The state of the knobs is saved when you write

the program.

Note: Depending on the program that’s selected, using

knob 4 may not produce any effect.

Adjusting the duration of the arpeggiated

notes

• Turn knob 1 to adjust the duration of the

Selecting an arpeggio pattern and

specifying its function

In the Prog P0: Play– Arpeggiator page you can select

an arpeggio pattern and specify how the arpeggiator

will function.

arpeggiated notes.

Rotating the knob toward the left will shorten the

duration of the notes, and rotating it toward the

right will lengthen the duration of the notes. At the

center position (12 o’clock), the note length will be

as specified by the program parameter: Gate (Prog

P7: ARP/DT– ARP Setup page).

• In Prog P0: Play, press the ARP tab to access the

Prog P0: Play– Arpeggiator page.

Note: The knob setting is saved when you write each

program.

Note: It is effective to use the SELECT button to select

TONE, and then adjust knob 4 (RELEASE).

Changing the dynamics of the arpeggiated

notes

• Turn knob 2 to adjust the dynamics of the

arpeggiated notes.

Turning the knob toward the left will make the

notes softer, and turning it toward the right will

make the notes stronger. When the knob is in the

center position (12 o’clock), the value of the pro‐

gram parameter Velocity (Prog P7: ARP/DT– Arp

Setup page) will be used.

Selecting an arpeggio pattern

An arpeggio pattern can be selected from preset

arpeggio patterns P0–P4 and user arpeggio patterns

U0000(INT)–U1027(USER). The factory settings

U0000(INT)–U0899(INT), U0900(USER)–U1027(USER)

contain a wide variety of preloaded user arpeggio

patterns.

Note: The state of the knob is saved when you write

the program.

Note: It is effective to use the SELECT button to select

TONE, and then adjust knobs 1 (CUTOFF), 2

(RESONANCE), and 3 (EG INT).

• Choose Pattern, and use the VALUE dial, INC/DEC

buttons, and popup menu to select an arpeggio

pattern.

Adding a shuffle feel to the arpeggio pattern

• If you turn knob 3, the timing of the arpeggiated

notes on even‐numbered beats will be shifted

forward or backward.

User arpeggio patterns can also be selected by using

the numeric keys 0–9 to input the pattern number

and then pressing the ENTER button.

Turning the knob toward the left will speed up the

timing of the even‐numbered beats. When the knob

is in the center position (12 o’clock), the timing will

be as specified by the program parameter Swing

(Global P6: Arpeggio Pattern‐ Setup page).

P0: UP

Changing the number of steps in the

arpeggio pattern

• By turning knob 4 (STEP), you can change the

number of steps in the arpeggio pattern.

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Using the arpeggiator while you play Using the arpeggiator in Program mode

P1: DOWN

Sounding an arpeggio in the order of the

pitches in the chord you played

DOWN

You can select whether the notes of the arpeggio will

be sounded in the order of the pitches in the chord you

played (regardless of the order in which you actually

played the notes), or in the order in which you played

the notes.

• Press the “Sort” check box in the display to make

this setting.

P2: ALT1

Checked: the arpeggio will play each note in the

order of its pitch, regardless of the order in which

you actually played the notes.

ALT1

Unchecked: the arpeggio will trigger each note in

the order in which you actually played the notes.

Sort

OFF, UP

P3: ALT2

Sort

ALT2

ON, UP

P4: RANDOM

RANDOM

Setting the arpeggio to continue playing

even after you have taken your hand off the

keyboard

You can select whether the arpeggio will continue

playing when you take your hand off the keyboard, or

whether the arpeggio will stop.

• Press the “Latch” check box to make this setting.

Changing the note value of the arpeggiated

notes

The Resolution parameter lets you set the note value

Checked: The arpeggio will continue playing even

after you remove your hand from the keyboard.

Unchecked: The arpeggio will stop playing when

you remove your hand from the keyboard.

of the arpeggiated notes, over a range fromꢄ 3 – ꢀ .

• Press Resolution, and use the VALUE dial, INC/

DEC buttons, or popup menu to select the desired

arpeggio note value.

Synchronizing the arpeggiator to your

keyboard timing

You can specify whether the arpeggio will begin at the

moment you play the keyboard, or whether it will

always play in synchronization to the MIDI clock

tempo.

• Press the “Key Sync.” check box to make this

setting.

Selecting the octave range where the

arpeggio is sounded

Use the “Octave” radio buttons to specify the range of

octaves where the arpeggio will play.

• Press an “Octave” radio button to make your

selection.

Checked: The arpeggio pattern will start from the

beginning when you press a key. This setting is suit‐

able when you want the arpeggio to start from the

beginning of the measure as you are playing in real‐

time.

Octave: 4

Unchecked: The arpeggiator will synchronize to the

MIDI clock timing.

Sounding both the arpeggio notes and the

notes you play

• Press the “Keyboard” check box to adjust this

setting.

Checked: The notes you play on the keyboard and

the notes played by the arpeggiator will both be

heard.

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Arpeggiator function

Unchecked: Only the arpeggiated notes will sound.

Using the arpeggiator in

Combination mode

In Combination mode the KROME provides dual

arpeggiators, allowing you to run two arpeggio

patterns simultaneously.

1. In Combination mode, select a combination (see

“Selecting Combinations” on page 43).

As you select various combinations, you’ll notice that

the ARP button LED will light up for some

combinations (see “Linking the arpeggiator to

programs or combinations” on page 91).

When you play the keyboard, the arpeggiator will

start. Even for other combinations, you can turn the

arpeggiator on by pressing the ARP button (the LED

will light up).

2. Listen to how the arpeggio can be modified as

described in the “Using knobs 1–4 to control the

arpeggiator” (above) and “Selecting an arpeggio

pattern and specifying its function” sections

(below).

Changing the duration of the arpeggiated

notes

The P7: ARP/DT– ARP Setup Gate parameter specifies

the duration of the arpeggiated notes. With a setting of

000–100(%), the duration will always be the specified

gate time. Step is available if you’ve selected

U0000(INT)–U1027(USER) as the Pattern; the gate

value specified for each step will be used.

You can also control this by using the arpeggio control

(ARP) GATE knob (see page 86).

The ARP button, TEMPO knob, TAP button, and

control surface ARP will apply to both

arpeggiators A and B. Their state is saved when

the combination is written.

Specifying the arpeggio pattern’s velocity

and other settings

In P7: ARP/DT– ARP Setup, the Velocity parameter

specifies the velocity of the arpeggiated notes. If you

choose a value in the range of 001–127, that velocity

value will always be used. If you choose Key, the

velocity value of how you played the key will be used.

Step is available if “Pattern” is set to U0000(INT)–

U1027(USER); this causes the velocity value specified

for each step to be used.

“Swing” offsets the timing of arpeggiated notes that

are even‐numbered (counting from the beginning).

“Velocity” and “Swing” can be controlled by knobs 2

and 3 respectively when SELECT is set to ARP.

Selecting an arpeggio pattern and

adjusting settings

In the Combi P0: Play– Arpeggiator page you can

select an arpeggio pattern and specify how the

arpeggiator will function.

• In Combi P0: Play, press the ARP A tab or the ARP

B tab to select the Combi P0: Play– Arpeggiator A

or B page.

Arpeggiator Run Timbre Assign

Specifying the zone where the arpeggiator

will function

In P7: ARP/DT– ARP Scan Zone you can specify the

range of notes (keys) and velocities where the

arpeggiator will function.

Select the arpeggiator(s) that will run

Use the Arpeggiator Run check boxes to specify the

arpeggiator(s) that you want to have running. The

arpeggiator(s) that are checked here will run when the

ARP button is on. However, the arpeggiator will only

play a timbre if the table next to the check boxes

assigns arpeggiator A or B to a timbre: T 1–16. You

change these settings in Combi P7: ARP/DT– ARP

Setup T01–08, T09–16 page Arpeggiator Assign (see

page 90).

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Using the arpeggiator while you play Arpeggiator settings in Combination and Sequencer modes

Arpeggiator-A, Arpeggiator-B

For each arpeggiator A and B, you can adjust settings

for Pattern (Select), Resolution, Octave, Sort, Latch,

Key Sync, and Keyboard (see page 86).

Checking the structure of a user arpeggio

pattern

Let’s see how the combination “A005: Boom Pow Pad”

(category: LeadSplits) is constructed.

• Select combination “A005: Boom Pow Pad”

(category: LeadSplits), and look at the Arpeggio

Play A page and Arpeggio Play B page.

• The drum programs of timbres 1–4 use the same

arpeggiator A pattern, but since the notes sounded

by each timbre are divided by key zone, each will

play only a portion of the arpeggiator pattern. Go to

the P0: Play–Program T01–08 page and try muting

each timbre 1–4 to hear the result. You can add

variety by using different combinations of timbres.

Arpeggiator settings in

Combination and Sequencer

modes

In Combination and Sequencer modes, you can use use

two arpeggio patterns simultaneously, thanks to the

KROME’s dual arpeggiator functionality. The settings

in each of these modes are adjusted in a similar way.

The following example shows how to adjust settings in

Combination mode.

The dual arpeggiator functionality lets you do the

following things.

• Assign an arpeggiator for each timbre. Choose from

Off, (arpeggiator) A, or (arpeggiator) B. ☞step 5

• Independently specify whether A and B will

• In “Timbre Assign” you’ll see that arpeggiator A is

assigned to timbres 1–5, and arpeggiator B is

assigned to timbres 6 and 7.

function. ☞step 6

• Select an arpeggio pattern and set parameters

independently for A and B. ☞step 7

When you play the keyboard, the drum programs of

timbres 1–4 will be sounded by the arpeggio pattern

of arpeggiator A. (Timbre 5 is a dummy program

used to play timbres 1–4. See page 91.)

Arpeggiator B will sound the programs of timbres 6

and 7.

• Make Scan Zone page settings so that you can use

keyboard range or playing velocity to switch

between normal playing and arpeggiated playing,

or to switch between arpeggiators A and B. ☞step 8

• Make settings for timbres that will be silent when

the arpeggiator is Off, and will sound only when

the arpeggiator is On. ☞step 10

• If you uncheck Arpeggiator Run A or Arpeggiator

Run B, it will stop.

If you check it once again and play the keyboard,

that arpeggiator will begin running.

• When you access the Combi P7: ARP/DT– ARP

Scan Zone page, you’ll see that the B “Top Key”

and “Bottom Key” parameters are set so that

arpeggiator B will run only for the notes B3 and

below. Arpeggiator A is set to run for any key.

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Arpeggiator function

7. On the Arpeggiator A and Arpeggiator B pages, set

the parameters for arpeggiators A and B.

Arpeggiator settings

The parameters for A and B are the same as for a

program (see page 86).

8. In the Scan Zone A/B page, specify the range in

which arpeggiators A and B will function.

1. Select Combi P0: Play– Program T01–08 page.

Select programs for the timbres that you wish to use.

For this example, select any desired program for

timbres 1–4.

The parameters for A and B are the same as for a

program.

2. Select Combi P3: Timbre Parameters, MIDI T01–08

page.

You can use keyboard ranges or velocity ranges to use

one or both of the arpeggiators, or to switch between

arpeggiators A and B. By using the Combi P4: Zone/

Delay– Key Zone T01–08 – T09–16 page, and Vel Zone

T01–08 – T09–16 page to set keyboard and velocity

ranges in conjunction with each other, you can create

even more variations.

9. If you wish to save the edited combination

settings in internal memory, turn off memory

protect in Global mode, and write the combination

(see page 115 and page 117).

For the timbres that you will be using, set Status to

INT, and set MIDI Channel to Gch or to the global

MIDI channel (set in Global P1: MIDI Basic MIDI

Channel).

For this example, set timbres 1–4 to a Status of INT,

and timbres 5–8 to a Status of Off. Set the MIDI

Channel of timbres 1–4 to Gch.

10. The “Status,” “MIDI Channel” and “Assign”

settings shown in the display of steps 2 and 3 can

be made so that certain timbres will sound only

when the arpeggiator is On, and will be silent

when the arpeggiator is Off.

Combination A001: Bossa Rose (SW1/2)

(Category: Keyboard)

Although this is a somewhat sophisticated editing

technique, we will describe the settings of one of the

preset combinations as an example.

3. Select Combi P7: ARP/DT– ARP Setup T01–08

page.

When you play a specific region of the keyboard, this

combines settings that cause the arpeggiator to play an

arpeggio using different sounds than whatʹs being

played by the keyboard, with other settings that cause

the arpeggiator sounds to remain completely unplayed

when the arpeggiator is off.

Before you play, make sure that the global MIDI

channel (Global P1: MIDI Basic MIDI Channel) is set

to 01.

Select combination A001: Bossa Rose (SW1/2), turn the

ARP button on, and play.

• Arpeggiator A is assigned to timbre 2 and 16. When

you play the keyboard, the bass riff arpeggio

pattern will sound the timbre 2 program.

4. Set “ꢀ (Temp)” to specify the tempo.

is shared by both arpeggiators A and B.

This is the same as for a program. However, the tempo

• The A Bottom Key and Top Key (Combi P7: ARP/

DT– ARP Scan Zone page) are set so that

arpeggiator A will function only for notes B3 and

lower.

• Arpeggiator A is also assigned to timbre 16, but this

is so that the timbre 2 program will sound only

when the arpeggiator is on.

5. Make “Arpeggiator Assign” settings.

Assign arpeggiator A or B to the desired timbres. Each

timbre will be played by the arpeggiator that has been

assigned to it.

6. Make “Arpeggiator Run” settings.

Check the arpeggiator(s) that you want to run. The

arpeggiator(s) checked here will run when the ARP

button is turned on.

Notice the timbre settings for timbre 2 and 16.

Timbre

Status

INT

Off

MIDI Channel

Gch

Assign

With the settings shown in the display for steps 2 and

3, turning the ARP button on will cause arpeggiator A

to run for timbres 1 and 2, and arpeggiator B to run for

timbre 3. When the ARP button is turned off, timbres

1–4 will sound as a layer.

If all timbres Assign status are set to Off, or if

Arpeggiator Run A or B is unchecked, the arpeggiator

will not function.

• If the arpeggiator is off, playing the keyboard will

sound the timbre(s) that are set to Gch or to the

global MIDI channel (in this case, 01). Since the

MIDI Channel of timbre 2 is set to 02, it will not

sound. Timbre 16 is set to Gch, but since “Status” is

Off it will not sound.

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Using the arpeggiator while you play Linking the arpeggiator to programs or combinations

• Notes from any MIDI channel that is assigned to a

timbre will trigger the arpeggiator. In this case,

these will be MIDI Channel 02 and Gch (global

MIDI channel). When the arpeggiator is on, playing

the keyboard will trigger arpeggiator A, which is

assigned to timbre 16 (Gch). Timbre 2 will be

sounded by arpeggiator A. Since the Status of

timbre 16 is Off, it will not sound.

Creating a user arpeggio

pattern

About user arpeggio patterns

The patterns that can be selected on the KROME’s

arpeggiator are called “arpeggio patterns.” There are

two types of arpeggio patterns: preset arpeggio

patterns and user arpeggio patterns.

• Since the Status of timbre 16 is Off, it will not

sound, regardless of whether the arpeggiator is on

or off. It is a dummy timbre that causes timbre 2 to

sound only when the arpeggiator is on.

Preset arpeggio patterns:

There are five patterns; UP, DOWN, ALT1, ALT2, and

RANDOM.

The functionality of these patterns is fixed, and cannot

be edited.

Combination A005: Boom Pow Pad

(Category: Synth)

Before you play, make sure that the global MIDI

channel (Global P1: MIDI Basic MIDI Channel) is set

to 01.

User arpeggio patterns:

There are 1028 patterns ‐ U0000(INT)–U1027(USER) ‐

which can develop chords or phrases in a wide variety

of ways, based on the pitches that you play on the

keyboard or the timing with which you play them.

Select combination A005: Boom Pow Pad, turn the ARP

button on, and play.

• Arpeggiator A is assigned to timbres 1–5, and

arpeggiator B is assigned to timbres 6 and 7. When

you press any note of the entire keyboard, the drum

programs of timbres 1–4 will be sounded by the

arpeggio pattern of arpeggiator A. When you play

the B3 or a lower note on the keyboard, the synth

programs of timbres 6 and 7 will be sounded by the

backing arpeggio pattern.

• The arpeggiator A parameters “Bottom Key” and

“Top Key” (Combi P7: ARP/DT– ARP Scan Zone

page) are set so that arpeggiator A will run for the

entire keyboard.

In Global P6: Arpeggio Pattern, Setup you can modify

these user arpeggio patterns, or create a new user

arpeggio pattern from an initialized condition. Edited

user arpeggio patterns can be written to internal

memory areas U0000(INT)–U1027(USER) (see

page 221 of the Parameter Guide).

In Media mode, you can also save user arpeggio

patterns to media.

Editing a user arpeggio pattern

• The B Bottom Key and Top Key (Combi P7: ARP/

DT– ARP Scan Zone page) are set so that

arpeggiators B will function only for the note B3

and below.

• Arpeggiator A is assigned to timbre 5 as well, but

this setting is so that the timbre 1 to 4 program will

sound only when the arpeggiator is on. Refer to the

preceding section “Combination Bossa Rose (SW1/

2).”

If you want to edit a user arpeggio pattern, you

must first make sure that memory protect is

unchecked. (See page 197 of the Parameter Guide)

If you enter this mode from the Program mode, your

editing will apply to the arpeggio pattern specified for

the selected program.

1. In Program mode, select a program which uses the

arpeggio pattern you wish to edit, or a program

that you wish to use as a basis for editing the

arpeggio pattern.

2. Press the ARP button to turn the arpeggiator on

(the button will light up).

Even if you entered Global mode from a program in

which the arpeggiator was turned off, you can use the

ARP button to turn it on.

Linking the arpeggiator to

programs or combinations

You can specify whether the arpeggiator settings

written to a program or combination will be recalled

when you switch programs or combinations, or

whether the current arpeggiator settings will be

maintained.

3. Select the Global P6: Arpeggio Pattern– Setup

page (see page 211 of the Parameter Guide).

With the factory settings, the former is selected. Use

the latter when you want to keep the same arpeggio

pattern running, and change only the program sound.

This setting is made in “Load ARP when changing”

(Global P0: Basic Setup, Basic page). (See page 110)

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Arpeggiator function

4. “Arpeggiator Select” will automatically be set to A

when you navigate to this page from Program

mode.

You can also select the step by pressing the Step line

in the parameter view at the bottom. You can also

edit by dragging in the parameter view.

5. In “Pattern,” select the arpeggio pattern that you

wish to edit.

For this example, select an empty user arpeggio

pattern.

Press the button to the left of the parameter view to

switch between Pitch (Pitch Offset) → Gate (Gate)

→ Vel. (Velocity) → Flam (Flam).

• Tone: Each step can sound a chord of up to 12 tones

(Tone No. 00–11). By touching and dragging the

overview on the right part of the screen or by using

the zoom scroll buttons above it, select the location

for entering tones in the zoom view below. Press

the touch grid to enter tones.

If a blank pattern is selected, playing the keyboard

will not start an arpeggio. Although preset

arpeggio patterns P0–P4 can be selected, they

cannot be edited.

When you edit a user arpeggio pattern, the

changes will have an effect anytime that this

pattern is used in Program, Combination, or Song.

When Step is selected, you can also enter tones by

using the numeric keys 0–9 and the “–” and “.” but‐

tons.

6. In “Length,” specify the length of the pattern.

Note: The Tone No. corresponds to the numeric keys

0–9 and the “–” and “.” buttons as shown below. Each

time you press a numeric key 0–9 or a “–” or “.” button,

the corresponding tone will turn on or off. The

horizontal lines of the grid in the center of the display

correspond to tones.

After the pattern has played for the length specified, it

will return to the beginning. This setting can also be

changed during or after editing. For this example, set it

to 08.

Set knob 4 (STEP) to the center position (12

o’clock) so that the values of the “Length” and

“Resolution” parameters (Global P6: Arpeggio

Pattern‐ Setup page) will be used.

Length: 8

Tone00–09: 0–9 buttons

Tone No.

Tone10: – button

Tone11: . button

Note: For the preload arpeggio patterns U0000(INT)–

U0899(INT), simply changing the “Length” can

significantly change the character of the pattern. Try

changing the length and listening to the result. (See

“Length (Pattern Length)” on page 211 of the

Parameter Guide.)

7. Make settings for the “ꢀ (Tempo),” “Resolution,”

“Octave,” “Sort,” “Latch,” “Key Sync.,” and

“Keyboard” parameters.

Step No.

Entering tones

Alternate: Set or reset the tone.

Pen (set only): Set the tone.

Erase (reset only): Reset the tone.

Tool: Opens the tool tablet. The tool tablet lets you

use various commands in a region you’ve specified in

the overview, or to copy and paste (see “Tool Tablet”

on page 214 of the Parameter Guide).

These are program parameters, but they can be set

from here as well.

If after accessing this page from Program mode,

you modify these parameters and wish to keep

your changes, return to Program mode and write

the program. These parameters are not saved by

“Write Arpeggio Pattern.”

Creating an example pattern

For this example, make the settings shown display step

8. In Arpeggio Pattern Setup, specify how the

arpeggio will be developed.

9. Press the

button to select Edit dialog.

Overview

Zoom Scroll

Tone Input

Resolution

1. Press the alternate button.

2. Enter tones in the touch grid as shown in the

illustration below.

Touch Grid

Parameter

View

A pattern consists of Steps and Tones.

• Step: Each user arpeggio pattern has up to 48 steps.

Starting with the first step, the arpeggiator will play

notes at intervals of the note value specified by

Resolution. The vertical lines of the grid indicate

the steps.

Use Step to select the step; then specify Pitch Off‐

set, Gate, Velocity and Flam for each step.

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Using the arpeggiator while you play Creating a user arpeggio pattern

3. When you play the keyboard as shown in the

Other examples of creating a user

arpeggio pattern

illustration, the arpeggiator will begin playing.

Tone 0 corresponds to the pitch of the lowest key of

chord you play on the keyboard. (If Sort is unchecked,

it will correspond to the pitch of the first note you

play.)

Melody pattern

4. For steps 01–08, make settings for “Pitch Offset,”

“Gate,” “Velocity,” and “Flam.”

Pitch Offset: This offsets the pitch of the arpeggio note

in semitones up or down. You can input the same tone

for each step, and change the Pitch Offset value for

each to create a melody using a single tone. (See

“Melody pattern”)

Gate: Specifies the length of the arpeggio note for each

step. With a setting of Legato, the note will continue

sounding either until the next note of the same tone or

until the end of the pattern. With a setting of Off, the

note will not sound.

Velocity: This specifies the strength of the note. With a

setting of Key, the note will sound at the strength of

how it was actually played.

1. Press the alternate button.

2. In the touch grid, set tone 0 for “Step” 01, 02, 03, 04,

05, 07, and 08 (i.e., all but 06).

3. Specify the pitch. Set the “Step” 02 “Pitch” to +10,

“Step” 05 “Pitch” to +12, and the “Step” 08 “Pitch”

to –2.

The Gate and Velocity settings you select here will

be valid if the Gate and Velocity parameters

(Program P7: ARP/DT– ARP Setup page) of the

program selected in Program mode are set to Step.

If these parameters have a setting other than Step,

the Gate and Velocity that were specified for each

individual step will be ignored, and all notes of the

arpeggio will sound according to the settings in

Program P7: ARP/DT– ARP Setup page. Be sure to

verify the settings of the program.

When editing Gate, Velocity, and Swing, use the

SELECT button to select ARP, and set knob 1

(GATE) and knob 2 (VELOCITY) to the center

position (12 o’clock).

4. Play a single key; the arpeggio will begin playing.

Chordal pattern

5. To change the user arpeggio pattern name, use the

“Rename Arpeggio Pattern” menu command. (See

page 221 of the Parameter Guide)

6. If you wish to save the edited user arpeggio

pattern to internal memory, be sure to Write the

user arpeggio pattern. (See page 221 of the

Parameter Guide)

If you turn off the power without writing, the edited

contents will be lost.

7. If you wish to save the state of the program at the

same time, return to Program mode and write the

program. (See page 115)

1. Press the alternate button.

2. In the touch grid, set tone 00 of “Step” 01.

3. In “Step” 03, 04, 06, and 07, set tones 00–04.

4. Select “Step” 01, and set “Gate” to Legato.

5. Select “Step” 06, and set “Gate” to Legato.

Note: To simulate the timing nuances of a strummed

guitar chord, select Flam. In Program mode, select an

acoustic guitar program, and choose the user arpeggio

pattern that you created here. In the Arpeg. Program

P7: ARP/DT– ARP Setup page, set Gate to Step.

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Arpeggiator function

Then return to the Global P6: Arpeggio Pattern– Setup

page. For odd‐numbered steps, set Flam to a positive

(+) value. For even‐numbered steps, set Flam to a

negative (–) value.

Let’s input the following rhythm pattern.

4. For each “Tone,” specify “Fixed Note No.”

Use the Fixed Note Setup button to open the dialog

box. Here you can assign a different drumsample (note

number) of the drum kit to each fixed note.

For this example, set Tone No. and Fixed Note No. as

follows.

Drum pattern

You can use the arpeggiator to play a rhythm pattern

by using “Fixed Note” with a drum program.

1. In Program mode, select a drum kit program.

For this example, select the preset program A017: Jazz

Dry/Amb1 Kit (Category: Drums).

2. In Global P6: Arpeggio Pattern, select the Setup

page, and parameter settings.

Tone No.

Fixed Note No.

C2 (kick)

F2 (snare)

F#3 (closed hi-hat)

A#3 (open hi-hat)

Arpeggio Tone Mode: Set this to Fixed Note. This will

cause the tone to always sound at the specified pitch.

Fixed Note Mode: If you set this to Trigger All Tones,

playing a single note on the keyboard will sound all

tones.

If you set this to Trigger As Played, the tones will be

sounded according to the notes you play on the

keyboard (see page 212 of the Parameter Guide).

The drumsample corresponding to each note number

will differ depending on the drum kit. It’s best to play

the keyboard to find the drum sound you want; then

hold down Fixed Note No. and play that note to enter

the desired note number.

5. Press the alternate button.

6. Enter the kick (Tone00).

In the touch grid, set tone 00 (C2) of Step 01 and 05.

7. Enter the snare (Tone01).

3. Select the Edit page.

In the touch grid, set tone 01 (F2) of Step 03 and 07.

8. Enter the closed hi‐hat (Tone02).

In the touch grid, set tone 02 (F#3) of Step 01, 02, 03, 05,

06, and 07.

9. Enter the open hi‐hat (Tone03).

In the touch grid, set tone 03 (A#3) for Step 04.

10. If Fixed Note Mode is set to Trigger As Played,

playing a single note on the keyboard will cause

only the kick (Tone00) to play.

Playing two notes on the keyboard will cause only the

kick (Tone00) and snare (Tone01) to play. In this way,

the number of keys that you play will be played by the

same number of tones.

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Using the arpeggiator while you play Creating a user arpeggio pattern

11. Set the parameters for each step.

Use Velocity etc. to add accents to the rhythm pattern.

7. If you wish to save the edited user arpeggio

pattern in internal memory, you must write the

user arpeggio pattern.

The Gate and Velocity settings you select here will

be valid if the Gate and Velocity parameters

(Program P7: ARP/DT– ARP Setup page) of the

program selected in Program mode are set to Step.

If these parameters have a setting other than Step,

the Gate and Velocity that were specified for each

individual step will be ignored, and the notes of

the arpeggio will be sounded according to the

settings of the Program P7: ARP/DT– ARP Setup

page. Check the settings of the program.

When specifying Gate and Velocity, press the

control surface ARP button, and set knob 1 (GATE)

and knob 2 (VELOCITY) to the center position (12

o’clock).

In this case, both user arpeggio patterns will be written

simultaneously. If you turn off the power without

writing, the edited contents will be lost (see page 221 of

the Parameter Guide).

8. If you wish to save the state of the combination at

the same time, return to Combination mode and

write the combination. (See page 115)

Note: When editing a user arpeggio pattern, pay

attention to the global MIDI channel, the channel of

each track, and the arpeggiator assignments, and make

sure that the arpeggiator you are hearing is the pattern

that you wish to edit.

Dual arpeggiator editing

Here we will use a combination as an example in our

explanation.

The same procedure applies when editing an arpeggio

pattern in Sequencer mode.

If you have entered this mode from the Combination

mode, the arpeggio pattern selected by the

combination will be affected by your editing.

1. In Combination mode, select a combination that

uses the arpeggio pattern you wish to edit.

For this example, select a combination where both

arpeggiators A and B are assigned.

2. Press the ARP button to turn on the arpeggiator

(the button will light up).

Even if the arpeggiator had been turned off when you

moved here, you can use the ARP button to turn it on.

However, if Arpeggiator Run A or B are not checked,

and if Arpeggiator Assign, is set to off, then the

arpeggiator will not function.

3. Select the Global P6: Arpeggio Pattern– Setup

page.

4. If you accessed this page from Combination mode,

use the “Arpeggio Select” A and B to select the

arpeggiator that you wish to edit.

If this is A, your editing will apply to the parameters

and user arpeggio pattern of arpeggiator A.

If this is B, your editing will apply to the parameters

and user arpeggio pattern of arpeggiator B.

5. Switch between arpeggiators A and B, and edit

their respective user arpeggio patterns.

If you wish to stop one of the arpeggiators, return to

Combination mode, and in Combination P0: Play–

Arpeggio A or the Arpeggio B page and uncheck the

Arpeggiator Run check box.

6. To modify the name of a user arpeggio pattern, use

the Utility “Rename Arpeggio Pattern.” (See

page 221 of the Parameter Guide)

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Arpeggiator function

Synchronization with Song Start

Regarding arpeggiator

synchronization

• If the arpeggiator is turned on (ARP button is on)

and is running, it will reset to the beginning of its

arpeggio pattern when a Song Start is received.

(This is unaffected by the Key Sync. setting.)

• In Sequencer mode when Key Sync. is unchecked

and the ARP button is on, if you start the

arpeggiator by pressing a key during the pre‐count

before recording begins, the arpeggiator will start

its pattern as soon as recording begins, and will be

recorded.

“Key Sync.” parameter

The timing of the arpeggiator notes depends on the

state of the arpeggiator Key Sync. check box.

If this box is checked, the arpeggiator will start

running at the first note‐on that occurs after you’ve

taken your hands completely off the keyboard.

Synchronization with external sequencer

playback

If this box is unchecked, the arpeggiator will run in

synchronization with the internal/external MIDI clock.

If “ꢀ (Tempo)” is EXT (i.e., if Global P1: MIDI MIDI

Clock is External MIDI or External USB) in Program,

Combination, or Sequencer modes, the arpeggiator

will synchronize to the MIDI timing Clock and Start

messages received from a connected MIDI device.

Below, we will explain how synchronization occurs

when the Key Sync. check box is not checked

(Synchronization with Song Start and with MIDI

realtime Start messages are excluded).

Note: Synchronization will occur in the same way if

MIDI timing Clock is Auto and MIDI realtime clock

messages are being received from a connected MIDI

device.

Synchronization between arpeggiators

A and B

In Combination and Sequencer modes, the two

arpeggiators can run simultaneously. In this case, if one

arpeggiator is already running, and you then run the

other arpeggiator (with “Key Sync.” unchecked), the

second arpeggiator will synchronize to the “ꢀ (Tempo)”

based on the first arpeggiator.

Synchronization with external MIDI timing clock

The arpeggiator will synchronize to the “ꢀ (Tempo)”

timing of the external MIDI timing clock.

Synchronization with MIDI realtime Start messages

If Key Sync. is checked, arpeggiators A and B will run

independently, each at their own tempo.

If the arpeggiator is turned on and running, an

incoming MIDI realtime Start message will reset the

arpeggiator to the beginning of its pattern (This is

unaffected by the Key Sync. setting).

Synchronization with the drum track

If you want the arpeggiator to synchronize to the drum

track pattern that’s currently playing, uncheck the Key

Sync. setting. In this case, the arpeggiator will

synchronize to the beat of the drum track pattern that’s

currently playing.

If you want the drum track pattern to synchronize to

the arpeggiator that’s currently running, turn on the

“Sync” setting (the Trigger parameter of the Drum

Track page of each mode).

Synchronization between the arpeggiator

and sequencer in Sequencer mode

If song playback is stopped

• The arpeggiator will synchronize to the “ꢀ (Tempo)”

based on the internal MIDI clock timing.

• If an RPPR pattern is playing in Sequencer mode,

the arpeggiator will synchronize to the beat based

on that pattern.

If you want the RPPR pattern playback to synchronize

to the arpeggiator that’s currently running, set “Sync”

to SEQ (SEQ P10: Pattern/RPPR– RPPR Setup page).

Pattern playback will synchronize to the “ꢀ (Tempo)”

timing of the arpeggiator.

While playing back or recording a song

• The arpeggiator will synchronize to the beat based

on the timing of the song.

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Drum Track function

Performing with the Drum Track function

The Drum Track function makes it easy to play the

KROME’s high‐quality drum programs using a wide

Using the Drum Track function

in Program mode

variety of Drum Track patterns.

It provides a convenient way for you to hear Drum

Track patterns while you try out various phrases on a

program or combination, or work out the outline of

your song. Then, when you’ve come up with some

ideas, you can use the Auto Song Setup function to

immediately start recording in Sequencer mode.

You can use preset drum patterns that cover a wide

range of musical styles, as well as user patterns that

you yourself created.

Turning the Drum Track function on/

off

1. In Program mode, select a program (see “Selecting

Programs” on page 21).

Preset

User

P001...P605

U000...U999

Preset Drum Track patterns

User Drum Track patterns

You can write your own patterns into U000–U999. User

patterns you’ve created in Sequencer mode can be

converted into user Drum Track patterns.

The Drum Track pattern will start immediately when

you press the DRUM TRACK button, or when you

play the keyboard after pressing the ON/OFF button. If

you’re starting the pattern by playing the keyboard,

you have the option of starting it by using a specific

range of notes or velocities.

In Program mode, the drum track has a dedicated

mixer channel (including EQ) and effect routing,

allowing you to control the drum track independently

from the sound of the program itself. In Combination

and Sequencer modes, the drum track is handled as a

conventional timbre or track, allowing you to select

programs, edit EQ settings, and specify the effect

routing in the same way as for conventional timbres or

tracks.

2. Press the DRUM TRACK button.

The ON/OFF button will light up or blink, depending

on the setting (Trigger Mode) of the program.

If lit: The Drum Track pattern will start according to

the Sync setting. When you turn it off, the pattern will

stop. (This will occur if the Trigger Mode parameter is

set to Start Immediately.)

If blinking: The Drum Track pattern will be ready to

start. It will start when you play the keyboard or when

a MIDI note‐on is received. (This will occur if the

Trigger Mode parameter is set to Wait KBD Trigger.)

Adjusting the performance tempo

• You can use the TEMPO knob or the

TAP button to adjust the performance

tempo.

This will change the “ꢀ =” value located

on the upper right side of the display.

You can adjust the tempo with a range

of 40.00–300.00 bpm. The LED located

above the TAP button will blink at inter‐

vals of a quarter note ( ꢀ ).

You can also adjust the tempo by choos‐

ing “ꢀ =” in the display. Use numeric keys 0–9 to

enter the tempo, and then press the ENTER button.

You can also use the VALUE controller to set the

tempo. The LED will blink at the tempo you specify.

Note: The tempo setting is also saved when you write a

program.

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Drum Track function

If the Global P1: MIDI– MIDI Basic page MIDI

Clock parameter is set to External MIDI, External

USB, or set to Auto and MIDI Clock messages are

being received, the display will indicate “ꢀ =” EXT,

and the KROME will be synchronized to an

external MIDI device. In this case, you won’t be

able to change the tempo by using the KROME.

Using the Drum Track function

in Combination mode

Selecting a combination and turning the

Drum Track function on/off

1. Press the COMBI button to enter Combination

mode, and select the desired combination. For

details, please see “Selecting Combinations” on

page 43.

Selecting a Drum Track pattern and

Drum Track program

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

Drum Track Play/Mute, Solo On/Oﬀ, Volume

Pattern

Bank/No.

Drum Track

Program

Drum Track

2. Press the DRUM TRACK button.

The ON/OFF button will light up or blink, depending

on the setting (Trigger Mode) of the combination.

If lit: The Drum Track pattern will start according to

the Sync setting. When you turn it off, the pattern will

stop. (This will occur if the Trigger Mode parameter is

set to Start Immediately.)

If blinking: The Drum Track pattern will be ready to

start. It will start when you play the keyboard or when

a MIDI note‐on is received. (This will occur if the

Trigger Mode is set to Wait KBD Trigger.)

2. Select a Drum Track pattern. Use “Pattern Bank”

to select the preset or the user bank, and use

“Pattern No.” to select the pattern number.

3. Use “Drum Track Program” to select the program

that will play the Drum Track pattern.

Note: You can only select programs of category

number 15 (Drums). If you want to use an original

program you created as the Drum Track program, save

it with “Category” set to 15 (see page 30).

Note: If you’ve selected an empty pattern, the DRUM

TRACK button will not function.

These parameters can also be set from P7: ARP/DT

page.

Adjusting the performance tempo

You can use the TEMPO knob or the TAP button to

adjust the performance tempo.

Setting the EQ, volume, mute, and

solo for the drum track pattern

In the Prog P0: Play– Mixer & Drum Track page you

can use a 3‐band EQ to adjust the sound of the drum

track program. You can also edit the volume, mute,

and solo settings.

Selecting a Drum Track pattern and Drum

Track program

Unlike its functionality in Program mode, the Drum

Track function in Combination mode does not have its

own dedicated track (timbre). The program that plays

the Drum Track pattern will use the timbre that you

specify.

1. In the Combi P0: Play– Program T01–08 page or

T09–16 page, select the timbre that you want to use

for the drum track, and then select the Drum Track

program.

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Performing with the Drum Track function Using the Drum Track function in Combination mode

In the following illustration, we’ve selected timbre 5

for use by the drum track.

2. Specify the MIDI channel of the drum track

timbre.

Be aware that if another timbre uses the same MIDI

channel, that timbre will also be played.

3. Access the Combi P7: ARP/DT– Drum Track page.

Specify the drum track’s MIDI channel Output. Set this

to match the MIDI Channel of the timbre you

specified in step 2.

4. Select a Drum Track pattern. Use “Pattern (Pattern

Bank)” to select the preset or user bank, and use

“Pattern No.” to select the pattern number.

Note: If you select an empty pattern, the DRUM

TRACK button will not function.

5. Press the DRUM TRACK button to verify that the

pattern plays correctly.

The method of triggering will depend on the Trigger

settings. If the Trigger Mode parameter is set to Start

Immediately, the Drum Track pattern will start when

you press the DRUM TRACK button. For details on the

Trigger settings, please see “7–4b: Trigger” on page 56

of the Parameter Guide.

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Drum Track function

Drum Track function settings

4. If “Trigger Mode” is set to Wait KBD Trigger,

specify the “Latch” setting. “Latch” specifies

whether the Drum Track pattern will continue

playing even after you take your hand off the

keyboard.

Drum Track function settings

in Program mode

Off: If the DRUM TRACK button is on (the LED will

blink), the pattern will start when you play the

keyboard (note‐on). The pattern will stop when you

release the keyboard (note‐off).

Starting/stopping the drum track

1. Access the Prog P7: ARP/DT– Drum Track Pattern

page.

On: If the DRUM TRACK button is on (the LED will

blink), the pattern will start when you play the

keyboard (note‐on). The pattern will continue when

you release the keyboard (note‐off). The pattern will

stop when you turn the DRUM TRACK button off (the

LED will go dark).

5. If “Trigger Mode” is set to Wait KBD Trigger,

specify the Keyboard Zone and Velocity Zone.

These settings specify the range of keys and velocities

that will trigger the Drum Track pattern when you play

the keyboard (or receive a note‐on).

Saving the on/off status

If “Trigger Mode” is set to Wait KBD Trigger, the drum

track’s on/off status can be saved in the program.

If “Trigger Mode” is set to Start Immediately, the drum

track’s on/off status will always be saved as “off,”

regardless of the state of the DRUM TRACK button.

2. “Trigger Mode” specifies how the Drum Track

pattern will be triggered.

Start Immediately: When you press the DRUM

TRACK button to turn it on, the LED will light up and

the Drum Track pattern will start according to the Sync

setting. It will stop when you press the DRUM TRACK

button to turn it off.

Wait KBD Trigger: When you press the DRUM

TRACK button to turn it on, the LED will blink and the

Drum Track pattern will wait to start. When you play

the keyboard or receive a MIDI note‐on, the Drum

Track pattern will start according to the Sync setting.

EQ adjustments for the Drum Track

program

You can adjust a three‐band EQ for the Drum Track

program.

If you turn “Auto Load Program EQ” on (selected), the

three‐band EQ settings specified for the program will

be automatically loaded when you switch Drum Track

programs. Normally you will leave this selected.

You are free to adjust the three‐band EQ settings that

are loaded automatically. These adjustments are

applied relative to the original settings of the program.

3. Specify the Sync setting.

Off: The Drum Track pattern will not synchronize to

the arpeggiator that’s currently running, but will start

immediately.

On: The Drum Track pattern will synchronize to the

arpeggiator that’s currently running.

100

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Drum Track function settings Drum Track function settings in Combination mode

MIDI transmission and reception for

the drum track

In Program mode, the Drum Track function transmits

and receives on the following MIDI channels.

Receive: If you’re controlling the triggering by playing

the keyboard, the drum track will receive on the global

MIDI channel.

Drum Track function settings

in Sequencer mode

The parameters for the Drum Track function are

structured in the same way as in Combination mode.

Assign the Drum Track program to the desired track 1–

16.

However, while a combination triggers the Drum

Track pattern on the global MIDI channel, a song

triggers the Drum Track pattern on the MIDI channel

specified by the Drum Pattern Input. Normally you’ll

set this to Tch. With the Tch setting, the MIDI channel

of the track selected by Track Select will automatically

be used as the trigger channel.

Transmit: The drum track will transmit on the MIDI

channel specified by Drum Track Prog MIDI Ch

(default: channel 10). (Note data etc. of the Drum Track

program will be transmitted.)

Note: MIDI transmission of the pattern data is enabled

if Drum Track Prog MIDI Out is selected. The default

setting is off (unselected).

For details, please see “Selecting a Drum Track pattern

and Drum Track program” on page 98.

The Drum Track program does not transmit or receive

program changes.

Drum Track function settings

in Combination mode

Unlike Program mode, Combination mode does not

have a dedicated track for the Drum Track function.

You’ll need to specify a timbre 1–16 as the one for use

by the Drum Track program.

Then set the drum track’s output MIDI channel Output

to match the timbre’s MIDI channel MIDI Channel so

that the Drum Track program can be played.

For details, please see “Selecting a Drum Track pattern

and Drum Track program” on page 98.

In Sequencer mode you can use the Drum Track

function while realtime‐recording a song track or

pattern.

The note‐on/off data transmitted by the Drum Track

pattern can be recorded as events in a track or pattern.

MIDI transmission and reception for

the drum track

In Combination mode, the Drum Track function

transmits and receives on the following MIDI channels.

Receive: If you’re controlling the triggering by playing

the keyboard, the drum track will receive on the global

MIDI channel.

You can’t use note data from the internal

sequencer as a trigger to start patterns for the

Drum Track function.

When you’ve used the Drum Track function with a

program or combination to come up with an idea for a

song, you can then use the Auto Song Setup function to

immediately start realtime‐recording (see page 59).

Transmit: The drum track will transmit on the MIDI

channel specified by the Drum Pattern Output setting

of each combination.

Set this to match the MIDI channel of the timbre you’ve

specified for the drum program.

MIDI transmission and reception for

the drum track

In Sequencer mode, the Drum Track function transmits

and receives on the following MIDI channels.

Receive: The drum track will receive on the MIDI

channel specified by the Drum Pattern Input setting of

each song. Normally you’ll set this to Tch and use the

KROME’s keyboard to control the triggering.

If the timbre’s Status is EXT or EX2, the note data etc.

of the Drum Track pattern will be transmitted.

Transmit: The drum track will transmit on the MIDI

channel specified by the Drum Pattern Output setting

of each song. Set this to match the MIDI channel of the

MIDI track where you’ve assigned the drum program.

If the track’s Status is BTH, EXT, or EX2, note data etc.

of the Drum Track pattern will be transmitted.

101

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Drum Track function

Sync settings

Key 1 on Key 2 on

Key 1 oﬀ

Synchronizing the Drum Track

function

Song

Patterns 1 and 2 are set to

Mode=Manual, and have

identical Sync settings

The Trigger “Sync” parameter

The trigger timing of a drum track will depend on the

setting of its Trigger Sync parameter.

Sync: Oﬀ

Pattern 1

Pattern 2

On (checked): The trigger timing will be quantized to

the nearest beat relative to the base tempo.

Sync: Beat

Pattern 1

Off (unchecked): If Trigger Mode is set to Start

Immediately, triggering will occur at the moment you

press the DRUM TRACK button. If this is set to Wait

KBD Trigger, triggering will occur at the moment you

play the keyboard.

Pattern 2

Sync: Measure

Pattern 1

Pattern 2

Synchronizing the drum track with the KAR-

MA function, Sequencer mode songs, pat-

terns, and RPPR performance

If you want the Drum Track pattern to play or be

recorded in synchronization with the arpeggiator that’s

currently running, a currently‐playing song, pattern,

or RPPR performance, turn Trigger Sync on.

Trigger Sync Off: If the Trigger Mode setting is Start

Immediately, the Drum Track pattern will be triggered

the moment you press the DRUM TRACK button. If

this is set to Wait KBD Trigger, the Drum Track pattern

will be triggered the moment you play the keyboard. It

will not synchronize to the arpeggiator that’s currently

running or to the song, pattern, or RPPR that’s

currently active.

Trigger Sync On: Triggering will synchronize to the

song that’s currently playing, pattern or RPPR

performance in units of a measure. Triggering will

synchronize to the arpeggiator that’s currently running

(in Sequencer mode if the song or pattern is stopped)

in units of a beat.

Synchronization with song stop

Synchronization with a song in Sequencer

mode

• When you press the SEQUENCER START/STOP

(

) button, the Drum Track function will stop

as well as the sequencer.

• If you want the Drum Track function to start

simultaneously with the start of recording, press

the DRUM TRACK button during the pre‐count

before recording (if Trigger Mode is set to Start

Immediately) or play the keyboard (if Trigger

Mode is Wait KBD Trigger). The Drum Tracks will

not be triggered immediately, but will be triggered

in synchronization with the sequencer the moment

recording starts.

Note: If you want to synchronize arpeggiator to the

Drum Track function that’s currently running , set the

Sync parameter (Prog/Combi/Seq P7: ARP/DT‐

DrumTrk Pattern).

Note: If you want to synchronize the RPPR pattern

performance to the Drum Track function that’s

currently running, set the Sync parameter (Seq P10:

Pattern/RPPR– RPPR Setup page) to Beat or Measure.

Slave operation

Connect the KROME’s MIDI IN to your external MIDI

device’s MIDI OUT, or connect the KROME’s USB B

connector to your computer’s USB port.

Set MIDI Clock (see page 111) to External MIDI or

External USB.

Note: If the KROME is set to MIDI Clock= Auto, it will

also synchronize to the external MIDI device in the

same way if MIDI timing clock messages are being

received from the external device.

Synchronization to MIDI clock

The arpeggiator function will synchronize to a tempo

based on the external MIDI clock timing.

Synchronization with MIDI realtime commands

In Sequencer mode, Song Start, Continue, and Stop

messages that the KROME receives will control song

playback and recording just as when you use the front

panel START/STOP (

) button. The KARMA

function also will be controlled in the same way as

when you use the front panel START/STOP (

button. (See “Synchronization with song stop”)

)

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Drum Track function settings Creating a Drum Track pattern

5. Use the To “Drum Track Pattern Select” field to

specify the user Drum Track pattern number that

will hold the converted data. When you execute

the command, the data will be overwritten onto

this number.

6. If you select the “All Patterns available in Song

***” option, all patterns in the song that contain

note data will be converted, starting with the

number you specified in step 3.

7. If you execute this command with “Note Only”

selected, only the note events will be converted.

8. Press the OK button or the ENTER button to

execute. If you decide not to execute, press the

Cancel button or the EXIT button.

Master operation

If you want an external MIDI device or computer to

synchronize to the KROME’s MIDI timing clock and

realtime commands, connect the KROME’s MIDI OUT

to your external MIDI device’s MIDI IN, or connect the

KROME’s USB port to your computer’s USB port.

Set MIDI Clock to Internal.

Note: The same applies if MIDI Clock=Auto and MIDI

realtime clock messages are being transmitted (see

page 111).

Synchronization via MIDI clock

The connected external MIDI device will synchronize

to the MIDI clock of the KROME.

9. As described in “Using the Drum Track function

in Program mode” on page 97, set the Drum Track

“Pattern Bank” to User, and set “Pattern No.” to

the user Drum Track pattern you converted. Then

play the Drum Track pattern.

Creating a Drum Track pattern

Once you’ve converted the pattern in this way, you’ll

be able to use it with the drum track in each mode.

These converted Drum Track patterns are held in

internal memory even after you turn off the power.

This means you can manage them together with the

programs and combinations.

Song

Drum Track

Program

/Combination

Preset

Pattern

Track/RPPR

Drum Track

100

User

Pattern

User

Drum Track

Pattern

Preparing a user pattern

You’ll first need to prepare the user pattern that you

want to convert to a Drum Track pattern.

Convert to

Drum Track Pattern

Internal memory (saved inside the KROME)

Sequencer memory

(Not saved internally;

save on external USB

media.)

To create a user pattern, you can realtime‐record it (see

page 65) in the Seq P10: Pattern/RPPR– Pattern Edit

page, or step‐record it (see page 167 of the Parameter

Guide).

Alternatively, performance data from a track can be

imported into a pattern, meaning that performance

data you’ve created in a track or SMF data you’ve

loaded in Media mode can be used as a user pattern. To

do this, execute the Get From Track menu command in

the Seq P10: Pattern/RPPR– Pattern Edit page (see

page 187 of the Parameter Guide).

If the drum pattern memory is insufficient, or if

there are not enough pattern slots, the error

message “Not enough Drum Track pattern

memory” or “Not enough Drum Track pattern

locations available” will appear, and the command

cannot be executed.

Tip: It’s a good idea to convert drum patterns that you

use frequently. Use “Load Drum Track Pattern” to load

them.

Converting to a Drum Track pattern

1. Press the SEQ button to enter Sequencer mode.

2. Access the Seq P10: Patern/RPPR– Pattern Edit

page.

3. Select the user pattern that you want to convert to

a Drum Track pattern.

Set Pattern to User, and use Pattern Select to select the

desired pattern.

4. Choose the menu command Convert to Drum Trk

Pattern to access the dialog box.

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Drum Track function

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Using Drum Kits

Drum Kit Overview

Before you start editing…

What’s a Drum Kit?

Selecting a drum program

A drum kit is a collection of drumsamples (drum set

sounds such as bass drum, snare, or cymbals, as well as

a wide variety of other percussion sounds), with each

sample assigned to a note of the keyboard.

Drum Kits are edited in Global Mode. While you’re in

Global Mode, you’ll play the kit that you’re editing as if

you were playing it from within the Program, Combi,

or Song which was selected before you entered Global

mode.

• Each key can play a different sound

So, before you enter Global mode, it’s best to select a

Program which is already set up for drums, with the

appropriate EG settings, effects, and so on. Just use the

Program Category select popup, and choose a drum

Program such as “Studio Standard Kit.”

• On each key, you can use up to eight Drumsamples,

with velocity crossfades

• Each key has separate settings for the most

important sound parameters, including volume,

filter cutoff and resonance, envelope attack and

decay, pitch, drive and low boost, and gain for each

band of the Program EQ.

Even if the program’s oscillator is set to Double

Drums, this page will show only the single drum

kit that is selected by Drum Kit Select.

For instance, you could combine high drive and

low cutoff frequency to create a lo‐fi effect on only a

few sounds, while the rest of the sounds remained

clear and pristine.

Matching the key of the keyboard

with the drum kit

In order for the note mappings to match the keyboard,

the Oscillator’s Octave setting needs to be +0 [8ʹ]. All

Drum Kit Programs should have this setting already. If

you’re unsure, you can check this yourself:

• Each note can be routed to different Insert Effects,

or have separate FX Send amounts. For instance,

you can send a snare sound through a dedicated

compressor.

You can use Drum Kits only in Programs whose

Oscillator Mode is set to Single or Double Drums.

1. Go to the OSC1 Setup tab of the OSC/Pitch page.

With a setting other than +0 [8ʹ], the relationship

between the keys and the Drum Kit sound map will be

incorrect.

Drum Kit memory structure

The KROME has over 161 Drum Kits, divided into

Internal, User, and GM (General MIDI) groups as

shown below. You can edit or write into any of the

locations except for the GM bank, which cannot be

erased.

2. Set the Global P0: Basic Setup– Basic parameter

“Key Transpose” to +00.

Make sure that Memory Protect is

disabled

Before you start editing, go to the Global P0: Basic

Setup– System Preferences page, and look in the

Memory Protect section. Make sure that Drum Kit is

not checked–if so, you won’t be able to make any edits.

Drum Kit contents

Bank

No.

00...31

Contents

Preload Drum Kits

User Drum Kits

GM2 Drum Kits

INT

User

32...47

48...56

GM 0

The 9 Drum Kits in the GM bank are compatible with

the GM2 sound map. The other Drum Kits may use

different mappings, where appropriate.

Drum Kits may be used by more than

one Program

When you edit a Drum Kit, all Programs that use that

Drum Kit will be affected. To avoid changing the

factory voicing, you may wish to copy Drum Kits to

empty locations in the USER banks before editing.

Using a drum kit in a program

(Oscillator Mode)

In the Program P1: Basic Ctrls– Program Basic page, set

the Oscillator Mode parameter to Drums or Double

Drums. Then for the oscillator, select the drum kit that

you want to use.

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Using Drum Kits

If Assign is checked, the key will have its own settings.

This is the default.

Editing a Drum Kit

If Assign is not checked, the key won’t have its own

settings. Instead, it will use the same settings as the

next higher note–except that the drumsamples will be

played at a lower pitch. The amount of pitch change

depends on the Pitch Slope parameter, on the Prog P2:

OSC/Pitch– OSC1 Pitch or OSC2 Pitch page.

Basic Editing

1. Select the Program that you wish to use while

editing the Drum Kit.

2. Access the P2: OSC/Pitch– OSC1 Setup page or the

OSC2 Setup page (Double Drums only), and press

the Jump to Drum Kit Edit button.

Use this setting when you want only to change the

pitch, such as with tom or cymbal sounds.

If you want to edit the OSC2 drum kit of a double

drums program, press the Jump to Drum Kit Edit

button from the P2: OSC/Pitch– OSC2 Setup page.

Velocity crossfade settings

For this key, let’s create a simple velocity crossfade

between two stereo drumsamples.

1. On the left side of the page, make sure that

Drumsample1 and 2 are turned On.

Just press the On/Off buttons to toggle them, if

necessary.

You’ll jump to the Global mode P5: Drum Kit– Sample

Setup page.

Note: If you enter Global mode by pressing the

GLOBAL button or the mode button, and then access

the P5: Drum Kit– Sample Setup page, the OSC1 sound

settings will be used.

2. In the same way, make sure that Drumsamples 3–8

are Off.

When they are turned off, most of their parameters will

be grayed out.

KEY Assign

Drum Kit

Select

3. Select Stereo as the Bank for Drumsample1 and

Drumsample2.

Drumsamples come in several types: Mono, Stereo,

VM.M, or VM.S. Mono are mono drumsamples, and

Stereo are stereo drumsamples. Stereo drumsamples

use twice as many voices as mono drumsamples.

VM.M and VM.S are respectively mono and stereo

versions of large‐capacity drumsamples.

3. In the top line of the display, use “Drum Kit

Select” to select the drum kit that you want to edit.

Drumsamples are organized into categories such as

bass drum or snare.

GM drum kits 48 (GM)–56 (GM) cannot be selected

here. (It is not possible to edit or write a GM drum

kit.) If you wish to modify the settings of one of the

drum kits 48 (GM)–56 (GM), you can use Copy

Drum Kit to copy it to 00 (INT)–47 (USER), and

then edit the copy.

4. Press the Drumsample popup for Drumsample1.

This brings up a list of Drumsamples, organized by

category. Use the tabs at the left of the display to

browse through the different categories.

For a list of the Drumsample names, please see the

Voice Name List.

4. Use the Key parameter to select the note that you

wish to edit.

To select a key, you can use any of the standard VALUE

controllers (the dial, numeric keypad etc.). As a

shortcut, you can also hold down the Key and play a

note on the keyboard.

This Key selection applies to all five Drum Kit editing

pages.

5. Use the Assign check box to specify whether the

key will have its own settings, or use the same

settings as the next higher note.

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Editing a Drum Kit

Fine-tuning the sound of each sample

1. If you like, adjust the Levels for the two

Drumsamples.

This can be very useful in creating a smooth velocity

split or crossfade.

2. As necessary, specify the tuning, EG parameters,

and filter.

Access the P5: Drum Kit– Sample Parameter page.

Adjust Tune, Attack (Amp EG Attack), Decay (Amp

EG Decay), Cutoff and Resonance for each

drumsample.

5. Select a Drumsample by touching its name in the

list.

3. You can also edit the drive, boost, and EQ for each

drumsample.

6. Press the OK button to confirm your selection.

Access the P5: Drum Kit– Drive/EQ page.

7. Switch the slot to 2, and make settings for

Drumsample 2 in the same way.

Adjust Drive, Low Boost, and 3 Band EQ Gain [dB]

for each drumsample.

Now that you’ve assigned Drumsamples to

Drumsample1 and Drumsample2, let’s set up the

velocity ranges and crossfades.

8. Access the P5: Drum Kit– Velocity Split page.

9. Set Drumsample2’s Threshold Velocity to 1, and

its Crossfade to Off.

4. Repeat “Basic Editing,” on page 106 to set up each

key of the Drum Kit.

5. You can also copy settings from one key to

another, using the Copy Key Setup menu

command.

Using Exclusive Groups

1. Access the P5: Drum Kit– Voice/Mixer page.

2. Use the Exclusive Groups to make one drum

sound cut off another drum sound ‐ such as closed

and open hi‐hats.

10. Set Drumsample1’s Threshold Velocity to 80.

You can edit the Threshold Velocity setting by

touching and dragging the graphic on the right

(see “* EG, Velocity Split” on page 6).

Now, Drumsample2 will sound when you play softly,

at velocities of 79 or less–and Drumsample1 will sound

when you play harder, with velocities of 80 or more.

For example, let’s say that you’ve assigned an open hi‐

hat and a closed hi‐hat to the same exclusive group:

The meter at the left side of the Velocity Split graphic

indicates the note‐on velocity value. This lets you

verify the drumsample that will be sounded by a given

velocity.

11. Next, set Drumsample1’s Crossfade to 20, and its

Curve to Linear.

• Play the open hi‐hat sound.

• While it’s still ringing, play the closed hi‐hat.

• The open hi‐hat sound will be cut off–simulating

the action of a physical hi‐hat.

Notice that the graphic now shows the two ranges

tapering into one another. Between 80 and 100,

Drumsample2 will fade out, and Drumsample1 will

fade in, creating a gradual velocity transition instead of

a hard split.

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Using Drum Kits

5. Use Send1 (to MFX1) and Send2 (to MFX2) to set

the send levels to the master effects.

Sustaining the sound even after the key is re-

leased (Hold)

Use the Hold function for instruments that should

continue sustaining even after the key is released, such

as a crash cymbal. The way this works will depend on

the settings of the program and drum kit.

Controlling pan for each key

To use separate pan settings for each key:

1. Access the Prog P4: Amp/EQ– Amp1/Driver1 or

Amp2/Drive2 page.

Set the Hold function as follows.

1. Access the Prog P1: Basic/Controllers– Note‐On/

2. Under Pan, make sure that the Use DKit Setting

Scale page.

check‐box is checked.

If you jumped to the Global P5: Drum Kit page by

pressing the Jump to Drum kit Edit button from

Program mode, you can return to Program mode by

pressing the Return to OSC button.

When Use DKit Setting is on, the Program will use the

pan settings for each key of the Drum Kit.

3. Access the Global P5: Drum Kit– Voice/Mixer

page.

4. Use “Pan” to specify the panning for each key.

2. Under Key Zone, make sure that the Hold check‐

box is checked.

Once you’ve turned on Hold for the Program, the

function is controlled on a note‐by‐note basis

according to settings within the Drum Kit.

3. Access the Global P5: Drum Kit– Voice/Mixer

page.

Saving Drum Kits

Once you’ve spent some time editing, you’ll want to

save your work.

The contents of your editing in Global mode are

preserved as long as the power is on, but will be

lost when you turn off the power. If you want to

keep your edits, you must execute the Write Drum

Kits function.

4. For each key, set the Enable Note‐Off Receive

parameter as desired.

If this check box is not selected, notes will be held, and

the sound will continue even after the key is released.

If it is checked, the key will not be held.

This will save all drum kits.

If you turn off Hold in the Program, no keys will be

held ‐ regardless of their Enable Note‐Off Receive

setting.

Controlling effects for each key

Drum Kits have their own, built‐in mixers. For each

key, you can control the Insert Effects bussing, Master

Effects sends, and pan.

To use separate bus settings for each key:

1. Access the Prog P8: Routing/IFX– Routing page.

2. Make sure that the Use DKit Setting check‐box is

checked.

When Use DKit Setting is on, the Program will use the

Bus Select and Effects Send settings for each key of the

Drum Kit.

When Use DKit Setting is off, the Program will ignore

the Drum Kit’s Bus Select and Effects Send settings.

3. Access the Global P5: Drum Kit– Voice/Mixer

page.

4. Use the Bus (IFX/Output) Select parameter to send

drum sounds through their own Insert effects, or

to the L/R outputs.

If you like, you can send each note to its own Insert

effect, or to the individual audio outputs, in addition to

the L/R outputs.

For example, you might send all snare sounds to IFX1,

all kick sounds to IFX2, and the remaining sounds to L/

Tip: In most preloaded drum kits, the drum

instruments have the same Bus (IFX/Output) Select

settings according to their type, as follows.

Snares  IFX1

Kicks  IFX2

Other IFX3

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Adjusting Global KROME setings

How Global mode is structured

In Global mode you can adjust overall settings for the

entire KROME. These consist mainly of the following

settings.

• Master tune

• Key transpose

• Effect global button

• Global MIDI channel

• Creating scales

• Damper pedal, assignable foot switch/pedal

• Category names for programs and combinations

• Creating user drum kits

• Creating user arpeggio patterns

Three types of data are handled in Global mode:

user drum kit settings (Global P5), user arpeggio

patterns (Global P6), and other global settings

(Global P0–4). Each of these has a respective

memory area to store its data. This data can also be

saved to various types of SD card in Media mode.

For details, please see “Writing Global settings,

User Drum Kits and User Arpeggio Patterns” on

page 116, and “Saving to SD card (Media–Save)”

on page 118.

The Compare function that lets you return to the

state prior to your editing (or undo edits) is not

available in Global mode.

For details on how to access each page, please see

“Basic operations” on page 9.

Global settings

You can adjust the transposition over a range of ±1

octave.

3. Use the Global mode P1: MIDI– MIDI Basic page

Convert Position parameter to specify the position

at which the transpose and velocity curve settings

will be applied.

PreMIDI is the normal setting. With this setting, the

Transpose setting described above and the Velocity

Curve described below will be applied to the KROME’s

keyboard performance data, and will affect both the

MIDI OUT and the internal sound generator. This is

also required in order to record the output of the

curves into the internal sequencer.

Basic setup

Tuning and

transpose

settings

Velocity/

curve settings

Effect bypass

settings

Link the

arpeggiator

Stop the

arpeggiator

and drum

track

PostMIDI applies the transposition and curves to

incoming MIDI, for adjusting the KROME response to

an external MIDI controller.

When simply playing the internal sounds from the

KROME keyboard, both settings work the same.

Tuning and Transposing

Tuning to another instrument

To adjust the tuning in fine increments, in order to

match other instruments or recorded music:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Adjust the Master Tune to the desired pitch.

The Master Tune is adjustable over a range of ±50 cents

(one semitone = 100 cents). When Master Tune is at 0,

middle A is tuned to 440 Hz.

Adjusting the keyboard response

Velocity curve let you adjust the way the KROME

responds to how you play on the keyboard. The

default setting should work for most players, but there

are many other choices to let you customize the

response to match your own style.

To set the velocity and after touch curves:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Set the Velocity Curve to suit your playing style.

Velocity Curve 4 is the default, and should work for

most players.

Transposing the keyboard

You can also transpose the keyboard in semitones, for

quick key‐changes (for instance, if the band decides to

play a song in F rather than E). To do so:

1. In Global mode, go to P0: Basic Setup– Basic page.

2. Adjust the Key Transpose as desired.

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Adjusting Global KROME setings

Curve 9 is designed specifically for playing piano

sounds from the weighted NH keyboards in the 73‐

note and 88‐note models.

For details on the other curves, see the graphic below,

as well as the “Velocity Curve” section on page 194 of

the Parameter Guide.

2. In the “Load ARP when changing” area, if the

“Program” or “Combination” box is selected,

switching programs or combinations respectively

will recall the arpeggiator settings written in that

program or combination.

3. Specify the position where the velocity curve will

be applied. For more about “Convert Position,”

please see “Transposing the keyboard,” above.

Disabling the arpeggiator and drum

track

1. Access the Global mode P0: Basic Setup– Basic

page.

2. If the “All ARP/DT Off” box is selected, all

arpeggiator and drum track functionality will be

turned off.

Velocity curves

Convert Position = PreMIDI

Velocity (Keyboard to MIDI Out)

Convert Position = PostMIDI

Velocity (MIDI In to sound engines)

127

MAX

Velocity

Even if the ARP or DRUM TRACK buttons are on, the

arpeggiator and drum track will not function.

eﬀect

Recalling the last-selected mode and

page at power-on

Soft

Strong

127

Bypassing the effects

You can bypass the KROME’s insert effects, master

effects, and total effects. These settings will bypass the

effects in all modes. If you’re using effects such as

reverb or chorus provided by an external effect

processor, mixer, or DAW, you can bypass the

KROME’s own effects so that they will not be used.

Select the

mode that is

selected at

power-on

Beep setting

Memory

protect

settings

1. Access the Global mode P0: Basic Setup– Basic

page.

2. Use the various Effect Global SW buttons to select

the effects that you want to bypass. The effect will

be bypassed if the check box is cleared.

Clearing the “IFX 1‐5” box: Bypasses the insert effects

Clearing the “MFX 1&2” box: Bypasses the master

effects

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the Power‐On Mode is set to Reset (factory

setting), KROME will automatically select the

Program mode P0: Play.

If the Power On Mode is set to Memorize, the location

(mode and page) and the program or combination

number that had been selected when you turned off

the power will be recalled.

Clearing the “TFX 1&2” box: Bypasses the total effects

“MFX1&2” and “TFX” can also be controlled by the

front panel MASTER FX button and TOTAL FX button.

This is convenient when you want to temporarily turn

off these effects during a performance.

Note: These parameters will always be turned on when

the KROME starts up.

Enabling a beep tone when the

display is pressed

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the “Beep Enable” check box is selected, a beep

tone will sound when you press an object in the

display. Clear the check box if you don’t want a

beep to sound.

Arpeggiator recall settings (Linking

the arpeggiator with programs or

combinations)

You can specify whether the arpeggiator settings

written into each program or combination will also be

selected when you select that program or combination,

or whether the arpeggiator will stay in its current state

without changing settings.

With the factory settings, the former will occur. You

can choose the latter behavior if you want to play

phrases and patterns with certain arpeggiator settings

while you switch only the sound between different

programs or combinations.

Protecting the memory

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If a Memory Protect check box is selected, the

corresponding write, data load, or song recording

operation will be disabled, thus protecting the

contents of memory.

1. Access the Global mode P0: Basic Setup– Basic

page.

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Global settings MIDI Settings

Other screen display settings (Edit

pad function and animation)

You can keep the edit pad (see page 4) or realtime

control popup (see page 6) from appearing, and

disable the animation that appears when a popup is

displayed.

1. Access the Global mode P0: Basic Setup– System

Preferences page.

2. If the “Value Edit Pop‐up,” “Realtime Controls

Pop‐up,” and “Animation” check box are cleared,

the respective function will be disabled.

MIDI Clock synchronization

The KROME can use its own internal tempo, or

synchronize to external clocks from either MIDI or

USB.

The best general‐purpose setting is Auto. This combine

the functionality of Internal and External MIDI/USB,

so that you don’t have to manually switch between the

two:

• If external clocks are being received, they control

the KROME tempo.

• If external clocks are not being received, the

KROME uses its internal tempo instead.

Note: If the KROME is processing large amounts of

musical data such as from the drum track or sequencer,

the realtime control popups or animation effects might

be disabled automatically in some cases.

Synchronizing to a USB-connected computer

If you want to synchronize the KROME’s tempo to a

computer connected via USB:

1. Go to the Global P1: MIDI– MIDI Basic page.

2. In the MIDI Setup section, set the MIDI Clock to

Auto.

MIDI Settings

Global MIDI

channel

Local

Control

on/off

Pedal and other controller

settings

MIDI clock

settings

In the Global mode P2: Controllers– Foot Controllers

page you can assign the functions of the assignable

buttons and assignable pedals. (See “Connecting a

damper pedal, foot switch, or foot pedal” on page 18.)

Assignable

button and

Assignable

Pedal settings

Global MIDI

filter settings

Global MIDI Channel

The Global MIDI Channel is the most important MIDI‐

related setting in the KROME. It determines the main

MIDI channel used for both Program and Combination

modes, for instance. To set the Global MIDI Channel:

1. Go to the Global P1: MIDI– MIDI Basic page.

2. In the MIDI Setup section, set the MIDI Channel

as desired.

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Adjusting Global KROME setings

Creating user scales

Setting Category Names

In the Global P4: Category pages you can assign names

to the categories and sub‐categories of programs and

combinations.

The Global P3: Scales page lets you create your own

original scales. You can create sixteen User Octave

Scales which allow you to specify the pitch of each note

in an octave (which will then be applied across all

octaves), and you can create one User All Note Scale

which allows you to individually specify the pitch for

every one of the 128 notes.