KORG
KROSS 2
SYNTHESIZER WORKSTATION
More features, more sounds, more possibilities.
A state-of-the-art platform with ever greater functionality.
The mobile synthesizer workstation that does everything.
■
A rich selection of more than 1,000 powered-up presets
■
128MB of expansion PCM memory is built-in, and option libraries are supported
■
The rich expressive power of the EDS-i sound engine, and a rich selection of effects with 134 types
■
Superb sampling functionality and 16 sampler pads
■
A panel layout that lets you access functions without confusion
■
Realtime control section for quick parameter editing
■
Favorite function lets you register and instantly recall up to 128 frequently-used sounds
■
Quick layer/split can be specified by a single button
■
Ultra-lightweight compact body; the 61-key model weighs only 3.8 kg, the lightest in its class
■
Long operating life, with six AA batteries allowing up to seven hours of use
■
A color lineup with a peerless finish that exceeds its class
■
Audio player/recorder that can be easily triggered by the pads
■
Sequencer, drum track, and arpeggiator to support your song production
■
A rich array of input jacks for singer-instrumentalists or vocoder performance without requiring additional equipment
■
Also functions as a USB audio interface
KROSS 2, the long-awaited successor of the KROSS, is a compact, portable workstation with a huge range of sounds. While
maintaining its identity as ultra-lightweight, compact, and capable of running on batteries, this new model dramatically enhances
KROSS’s sounds and functionality. In addition to a total of more than a thousand preset sounds, expansion PCM memory has been
newly added. Also new is a pad sampler that allows full-fledged sampling, and USB audio/MIDI interface functionality. The color
scheme is even more stylish, and the user interface allows intuitive operation even by beginners.
Effortlessly select the sound that you want to play, shape it to match your imagination, sample a sound, create phrases and rhythms,
record your vocal or guitar, bring KROSS 2 on stage, and perform. Whatever you artistic vision, you can make it happen. KROSS 2 is a
versatile synthesizer platform made with creative freedom in mind.
Even more powerful preset sounds,
with specialized optional expansion sounds
A rich variety of more than 1,000 preset sounds
инструкцияKorg KROSS 2
3
Посмотреть инструкция для Korg KROSS 2 бесплатно. Руководство относится к категории Синтезаторы, 1 человек(а) дали ему среднюю оценку 7.8. Руководство доступно на следующих языках: английский. У вас есть вопрос о Korg KROSS 2 или вам нужна помощь? Задайте свой вопрос здесь
- About this manual
- Table of Contents
- Introduction to the KROSS
- Setup
- Playing and editing Programs
- Playing and editing Combinations
- Favorites function
- Sequencer
- Using Effects
- Arpeggiator function
- Drum Track function
- Step sequencer
- Pad Sampler
- Audio recorder
- Pad audio play
- Using Drum Kits
- Overall settings for the KROSS, and saving/loading data
- Appendices
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Количество вопросов: 0
Главная
| Korg | |
| KROSS 2 | |
| Синтезатор | |
| английский | |
| Руководство пользователя (PDF) |
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Page: 1
ii
About this manual
The manuals and how to use them
The KROSS comes with the following manuals.
• Quick Start Guide (printed)
The manuals listed below can be downloaded from the Korg
website.
• Operation Guide (PDF) (this document)
• Parameter Guide (PDF)
• Voice Name List (PDF)
• Quick Start Guide (PDF)
You can also watch video manuals on the Korg website.
• Video manual
http://www.korg.com/
Quick Start Guide
This provides a simple explanation of the KROSS’s functions.
To begin, please read the Quick Start Guide.
Operation Guide (this document)
Put simply, the Operation Guide is designed to answer the
question, “How do I do this?”
It explains the names and functions of each part of the KROSS,
basic operation, an overview of each mode, how to edit sounds,
record on the sequencer, and so on. This guide also explains the
basics of effects, the Arpeggiator, Drum Track, and Drum Kits.
Finally, it also contains a troubleshooting guide as well as
supplemental information such as a list of specifications.
Parameter Guide
The Parameter Guide is designed to answer the question,
“What does this do?”
Organized by mode and page, the Parameter Guide includes
information on each and every parameter in the KROSS.
Voice Name List
The Voice Name List lists all of the sounds and setups that are
in the KROSS when it is shipped from the factory, including
Programs, Combinations, Multisamples, Drumsamples, Drum
Kits, Arpeggio Patterns, Drum Track Patterns, Demo Songs,
and Template Songs.
PDF versions
The KROSS PDF manuals are designed for easy navigation
and searching. They include extensive PDF contents
information, which generally appears on the side of the
window in your PDF reader and lets you jump quickly to a
specific section. All cross-references are hyper-links, so that
clicking on them automatically takes you to the source of the
reference.
Video Manual
This video illustrates the main functionality of the KROSS.
Conventions in this manual
References to the KROSS
The KROSS is available in 88-key, and 61-key models. The
manuals refer to all models without distinction as “the
KROSS.”
Abbreviations for the manuals: PG
In the documentation, references to the manuals are
abbreviated as follows.
PG: Parameter Guide
Symbols , , Note, Tips
These symbols respectively indicate a caution, a MIDI-related
explanation, a supplementary note, or a tip.
Example screen displays
The parameter values shown in the example screens of this
manual are only for explanatory purposes, and may not
necessary match the values that appear on the LCD screen of
your instrument.
MIDI-related explanations
CC# is an abbreviation for Control Change Number.
In explanations of MIDI messages, numbers in square brackets
[ ] always indicate hexadecimal numbers.
What is ?
(Resonant structure and Electronic circuit Modeling
System) is Korg’s proprietary technology for digitally
recreating the numerous factors that produce and influence a
sound, ranging from the sound-production mechanisms of
acoustic instruments and electric/electronic musical
instruments, to the resonances of an instrument body or
speaker cabinet, the sound field in which the instrument is
played, the propagation route of the sound, the electrical and
acoustic response of mics and speakers, and the changes
produced by vacuum tubes and transistors.
* All product names and company names are the trademarks
or registered trademarks of their respective owners.
Thank you for purchasing the Korg KROSS SYNTHESIZER WORKSTATION. To help you get the most out of
your new instrument, please read.
Page: 2
iii
Table of Contents
About this manual. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Introduction to the KROSS. . . . . . . . . . . . . . . .1
Front and rear panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Items in the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Basic Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
About the KROSS’s modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Turning the power on/off. . . . . . . . . . . . . . . . . . . . . . . . . .17
Connecting the AC adapter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Turning the power on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Turning the power off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Using batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Connecting foot controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Using an SD card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Connecting the KROSS to a computer . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Connecting MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Playing and editing Programs . . . . . . . . . . 27
Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Program categories and numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Performing with the arpeggiator, drum track or step sequencer. . . . . 28
Quick Layer/Split function . . . . . . . . . . . . . . . . . . . . . . . . .29
Quick Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Quick Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Combination settings made by Quick Layer/Split . . . . . . . . . . . . . . . . . 30
Easy program editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Using the Tone Adjust and EG Adjust functions . . . . . . . . . . . . . . . . . . . 31
Adjusting the volume balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Using REALTIME CONTROLS to adjust the sound or effects . . . . . . . . . . 32
Comparing the unedited sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Detailed Editing with Programs . . . . . . . . . . . . . . . . . . . .34
Before you start editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
An overview of the edit pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Basic oscillator settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Creating time-varying changes (LFO and EG) . . . . . . . . . . . . . . . . . . . . .38
Diverse modulation settings (AMS and AMS mixer). . . . . . . . . . . . . . . .39
Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Making controller assignments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Using the step sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Automatically importing a Program into Sequence mode. . . . . . . . . . .44
Playing and editing Combinations . . . . . . . 45
Playing combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Selecting Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Combination categories and numbers . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Using controllers to modify the sound . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Performing with the arpeggiator, drum track or step sequencer . . . . .46
Editing a combination . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Summary of the edit pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
A suggested approach for editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Comparing with the sound before you started editing. . . . . . . . . . . . . .48
Changing the program of each timbre . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Using the Tone Adjust and EG Adjust functions. . . . . . . . . . . . . . . . . . . .49
Saving a Combination you’ve edited. . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Using REALTIME CONTROLS to adjust the sound or effects . . . . . . . . . .49
Layers, Splits, and Velocity Switches. . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Status settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Changing the program settings to match the combination. . . . . . . . . .51
Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Using the step sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Automatically importing a combination into Sequence mode . . . . . . .52
Favorites function . . . . . . . . . . . . . . . . . . . . . 53
What is the Favorites function? . . . . . . . . . . . . . . . . . . . . 53
Using the Favorites function. . . . . . . . . . . . . . . . . . . . . . . 53
Recalling a favorite sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Registering a sound in Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Convenient ways to use favorites . . . . . . . . . . . . . . . . . . 54
Specifying a program change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
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TableofContents
iv
Saving your Favorites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
About the KROSS’s Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Sequencer mode structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Playing back. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Playback methods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Preparations for recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Recording MIDI in real time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Performing with the arpeggiator drum track or step sequencer. . . . . .62
Recording your pad sampler performance. . . . . . . . . . . . . . . . . . . . . . . .62
Recording System Exclusive events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Song editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Saving your MIDI song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Using Effects. . . . . . . . . . . . . . . . . . . . . . . . . . 67
An overview of the KROSS’s effects. . . . . . . . . . . . . . . . . . 67
Effect I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Effects in each mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Routing and effect settings . . . . . . . . . . . . . . . . . . . . . . . . 68
Effect settings for a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Effect settings for a combination or song. . . . . . . . . . . . . . . . . . . . . . . . .70
Effect settings for audio input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71
Dynamic modulation (Dmod). . . . . . . . . . . . . . . . . . . . . . . 72
Arpeggiator function. . . . . . . . . . . . . . . . . . . 73
Using the arpeggiator while you play . . . . . . . . . . . . . . . 73
Using the arpeggiator in Program mode . . . . . . . . . . . . . . . . . . . . . . . . .73
Arpeggio pattern selection and operation settings . . . . . . . . . . . . . . . .74
Using the arpeggiator in Combination mode . . . . . . . . . . . . . . . . . . . . .75
Arpeggiator settings in Combination and Sequencer modes . . . . . . . .76
Linking the arpeggiator to programs or combinations . . . . . . . . . . . . .77
Creating a user arpeggio pattern . . . . . . . . . . . . . . . . . . . 78
About user arpeggio patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Editing a user arpeggio pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Regarding arpeggiator synchronization . . . . . . . . . . . . . 81
“Key Sync.” parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Drum Track function. . . . . . . . . . . . . . . . . . . 83
Performing with the Drum Track function . . . . . . . . . . . 83
Using the Drum Track function in Program mode . . . . . . . . . . . . . . . . . 83
Using the Drum Track function in Combination mode . . . . . . . . . . . . . 84
Drum Track function settings . . . . . . . . . . . . . . . . . . . . . . 85
Drum Track function settings in Program mode. . . . . . . . . . . . . . . . . . . 85
Drum Track function settings in Combination mode. . . . . . . . . . . . . . . 85
Drum Track function settings in Sequencer mode . . . . . . . . . . . . . . . . . 86
Synchronizing the Drum Track function . . . . . . . . . . . . . 86
The Trigger “Sync” parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Synchronization with song stop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Slave operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Master operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Step sequencer . . . . . . . . . . . . . . . . . . . . . . . 89
Performing with the step sequencer. . . . . . . . . . . . . . . . 89
Playback and settings in Program mode. . . . . . . . . . . . . . . . . . . . . . . . . 89
Step sequencer settings in Combination mode . . . . . . . . . . . . . . . . . . . 91
Step sequencer settings in Sequencer mode . . . . . . . . . . . . . . . . . . . . . 91
Using the step sequencer with Favorites. . . . . . . . . . . . . . . . . . . . . . . . . 92
Synchronizing the step sequencer. . . . . . . . . . . . . . . . . . 92
Pad Sampler. . . . . . . . . . . . . . . . . . . . . . . . . . 93
Performing with the pad sampler . . . . . . . . . . . . . . . . . . 93
Recording samples (sampling). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Editing a sample. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Playing samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
MIDI transmission and reception for the pad sampler function. . . . . . 97
Using samples in other ways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Exporting a sample. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Audio recorder. . . . . . . . . . . . . . . . . . . . . . . . 99
An overview of the audio recorder. . . . . . . . . . . . . . . . . . 99
About the audio recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Basic operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
AUDIO RECORDER SETUP window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Recording and playing audio . . . . . . . . . . . . . . . . . . . . . 101
Preparations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Recording the performance of the KROSS. . . . . . . . . . . . . . . . . . . . . . . 101
Recording external audio input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Playing back an audio song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Multi-track recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Preparing a new audio song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Convenient functions for playback and recording. . . . 104
Returning to the state before or after recording (Undo/Redo). . . . . . 104
Specifying how recording will start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
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TableofContents
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Loop playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Pad audio play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Importing or exporting WAVE files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Adjusting the volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
SD card-related messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Pad audio play. . . . . . . . . . . . . . . . . . . . . . . 109
Performing with the pad audio play function. . . . . . . .109
Specifying an audio song and assigning the song to a pad. . . . . . . . . 109
Using the pads to play back audio songs. . . . . . . . . . . . . . . . . . . . . . . . 109
Using Drum Kits. . . . . . . . . . . . . . . . . . . . . . 111
Drum Kit Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Before you start editing… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Editing a Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Overall settings for the KROSS, and saving/
loading data . . . . . . . . . . . . . . . . . . . . . . . . 115
How Global/Media mode is organized . . . . . . . . . . . . . .115
Global setting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Basic settings for the KROSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
MIDI settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Pedal and other controller settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Creating and selecting scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Data used by the KROSS . . . . . . . . . . . . . . . . . . . . . . . . . .119
Saving data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Saving data on the KROSS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Writing to internal memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Editing names. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Saving to SD card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Data that can be loaded. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Loading data from SD card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Media utility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Formatting SD card. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Setting the current time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Appendices . . . . . . . . . . . . . . . . . . . . . . . . . 131
Restoring the factory settings. . . . . . . . . . . . . . . . . . . . .131
Loading the preloaded data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Initializing the user bank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Initializing the system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Updating the system. . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Problems at start-up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Basic operation (screen and functions). . . . . . . . . . . . . . . . . . . . . . . . . .133
Audio output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
Audio input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Programs and Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Drum Track function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Step sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Pad sampler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Audio recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Damper pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Connections with a computer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Error and confirmation messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Operating requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
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Page: 6
1
Introduction to the KROSS
Front and rear panels
Front panel
1. Keyboard
The KROSS 61-key has a 61-note keyboard (velocity sensitive,
aftertouch not supported).
The KROSS 88-key has a 88-note natural weighted hammer-
action (NH) keyboard (velocity sensitive, aftertouch not
supported).
When playing these keyboards, your playing strength (velocity)
can affect aspects of the sound such as the volume and the EG
speed, allowing you to vary the character of the attack. (see pages
31 and 43)
You can also set keyboard tracking settings so that the sound will
change as you move across the keyboard, for example by
becoming brighter as you play higher notes. (see page 42)
2. Controllers
SW1, SW2 buttons
You can assign various functions to the SW1 and SW2 buttons
for each program, combination, or song. 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 lock the Pitch Bend position.
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> MAIN page.
For details, please see “SW (Switch assignment) information” on
page 28.
When you write a Program or Combination, the on/off status of
the SW1 and SW2 buttons is saved.
Please see “Setting the functions of SW1 and SW2” on page 44.
Pitch bend wheel (left)
Move this wheel forward or backward to control the pitch. The
center is the normal position, where there is no pitch change.
When you take your hand off of the pitch bend wheel, it will
return to the center position.
The amount of pitch change can be specified individually for
each program’s oscillator, combination timbre, and song track.
You can also use the pitch bend lock function of the SW1 or SW2
buttons to lock the pitch so that it will stay at the position of the
wheel immediately before the button was released.
Modulation wheel (right)
Move this wheel away from yourself to control various program
parameters or effect parameters. If the wheel is moved all the way
7
3
2
1
8 11
5
4
6
910
12 13 14 15
KROSS 61-key
* The battery compartment of the
KROSS 61-key is located on the
bottom panel.
7
3
2 1
8 11
5
4
6
9 10
12
16 13 14 15 17
KROSS 88-key
Page: 7
IntroductiontotheKROSS
2
toward yourself, the effect will be zero. The modulation wheel
will stay in its position when you release it, and the effect will
continue.
The function that is controlled by the wheel is assigned by the
program parameters or effect parameters. Although different
effects are assigned for different programs and combinations, a
vibrato effect which cyclically varies the pitch is typically
assigned to the modulation wheel.
3. VOLUME knob
This knob adjusts the volume of the OUTPUT L/MONO, R
outputs, as well as the volume of the headphone jack. (see
page 17)
4. ARP (Arpeggiator) button
This button turns the arpeggiator on/off. The button will be lit up
if the arpeggiator is on. (see page 73)
5. 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 83)
6. REALTIME CONTROLS
When you’re playing a program or combination,you can use these
to adjust the sound or the effects, or to make simple edits. Here
you can also turn the external audio input on/off, adjust the
vocoder function, and adjust the tempo of the arpeggiator or
sequencer.
For details on operating each parameter and on saving your
changes, see PG p.311.
Note:REALTIME CONTROLS can be used when the SELECT
LED is lit. They cannot be used when the LED is unlit.
SELECT button, SELECT LED
This selects the functions that are controlled by the SWITCH
button, KNOB 1 button, and KNOB 2 button. Each time you
press the button, the functions being controlled are switched, and
the SELECT LED is lit.
The functions controlled by the SELECT button are saved for
each program, combination, or song.
SWITCH button, SWITCH LED
Each time you press this button, the function selected by the
SELECT button turns on or off. If the function selected by the
SELECT button is on, the SWITCH LED is brightly lit. The
SWITCH LED is dimly lit for functions that are not selected by
the SELECT button, letting you see the on/off status of those
functions. The TAP LED blinks according to the tempo setting.
When you operate the button, the parameter name and value of
the selected function appears in the display for a time.
Tips:If you long-press the SELECT button, a list of the selected
functions appears. After a time, you return to the previous page or
window.
Note:Display indications return to the previous page or window
after a certain time has passed.
KNOB1 knob, KNOB2 knob
Turn these knobs to edit the functions selected by the SELECT
button. If you edit a setting and then use the SELECT button to
select another function, the state or value edited by the KNOB 1
and 2 knobs is preserved. However, be aware that if you re-select
the program etc., the program-related knob values are reset to the
center position.
Tips:When you operate a knob, the function and value that you
operated are shown. After a time, you return to the previous page
or window.
Note:Display indications return to the previous page or window
after a certain time has passed.
7. Modes
Press one of these buttons to enter the corresponding mode. The
KROSS has four operating modes. The currently selected mode
button will be lit up. (see “Selecting modes” on page 12)
PROG button
This button selects Program mode. Programs are basic sounds; in
Program mode you can play and edit programs.
COMBI button
This button selects Combination mode. Combinations are sets of
programs with split or layer settings; you can use a combination to
create sounds that are more complex than a program. In
Combination mode you can play and edit combinations.
SEQ button ( )
This button selects Sequencer mode. In this mode you can record,
play, and edit MIDI songs.
By pressing the EXIT button ( ) and the SEQ button
( ), selects Global/Media mode. In this mode you can
adjust overall settings for the KROSS, edit drum kits and
arpeggio patterns, and save or load data using an SD card.
8. CATEGORY dial, LED
Use this dial to select the sound category of the program or
combination.
9. Quick layer/split
Here you can easily create layered or split sounds using two
programs.
Select the first sound in Program mode; then press this button. In
the dialog box that appears, select the second sound and specify
its volume; then confirm the settings.
Choose LAYER if you want the two sounds to play together
across the entire keyboard; choose SPLIT if you want the two
sounds to play separately in the high and regions of the keyboard.
Note:A layer or split sound that you create can be saved as a
combination.
Tips:If you want to adjust more sophisticated settings in order to
obtain more complex sounds, use Combination mode.
LAYER/SPLIT button
When you press the LAYER/SPLIT button, the QUICK LAYER
dialog box or the QUICK SPLIT dialog box appears.
In the QUICK LAYER dialog box, pressing the PAGE+
(SPLIT) button opens the QUICK SPLIT dialog box. In the
QUICK SPLIT dialog box, pressing the PAGE- (LAYER)
button opens the QUICK LAYER dialog box.
QUICK LAYER DIALOG
A program of the strings category is layered with the currently
selected program. Select a program to layer, and adjust the
volume and octave settings. By pressing the MENU (WRITE)
button you can save the settings to a user combination bank. (see
page 29)
Page: 8
Frontandrearpanels Frontpanel
3
QUICK SPLIT DIALOG
The currently selected program is assigned to the high range and
a program of the bass category is assigned to the low range.
Select the split program, swap the high and low programs if
desired, and adjust settings such as the split point, volume, and
octave. By pressing the MENU (WRITE) button you can save the
settings to a user combination bank. (see page 30)
10. AUDIO REC (Audio recorder)
Here is where you can control the audio recorder, which lets you
record and play back your KROSS performance or signal from an
external audio input. You can execute functions such as play,
stop, or record, and adjust various settings for the recorder.
To control the audio recorder, use the AUDIO REC
(play/pause) button and the four buttons below the AUDIO
RECORDER SETUP window.
In order to use the audio recorder, you’ll need a SD card
(separately sold).
(play/pause) button ( )
This is a dedicated button that executes the recorder playback (or
record) and pause functions. In any mode, this button lets you
immediately play (or record) or pause. The state of the light and
color of the button indicates the operating status of the recorder.
If you hold down the EXIT button ( ) and press the
(play/pause) button ( ), the AUDIO
RECORDER SETUP window appears.
11. Display
This shows the parameters and settings of the KROSS, as well as
a variety of other information.
Pages: Each screen of parameters or information is called a
“page.” To edit or adjust the settings of the KROSS, you’ll access
the page that contains the desired parameter, and then change its
value.
Dialog box: The screen that appears when you need to perform a
command function, confirm a result, or recall a temporary
function is called a “dialog box.”
For more about various objects that you’ll see in pages and dialog
boxes, please see page 7.
Adjusting the display contrast
To adjust the contrast of the display, hold down the EXIT button
and turn the VALUE dial. You can also adjust the display contrast
in the Global/Media mode PREF 1 page. (see page 117)
12. Functions / Page controller
You’ll use these buttons to access pages in the display, and to
select or execute functions that provide convenient commands in
each page. The functions of the four buttons will change
according to the page or dialog box that’s currently shown.
FUNCTION button
This button shows a function list containing convenient
commands on each page.
PAGE– button
PAGE+ button
Use these two buttons to move between pages in order to select
the page that you want to see. The page name or tab that’s
displayed on the upper part of the page indicates the currently
shown page.
MENU button
This button displays the page menu for each mode, allowing you
to select a page.
Operations while a dialog box is shown
While a dialog box is shown, the function of these four buttons
will change so that you can perform tasks that are appropriate for
that dialog box. The functions assigned to the buttons are shown
in the bottom of the display.
For example, suppose that you’re in Program mode and press the
FUNCTION button to access the function list.
The functions that are assigned to the four buttons are shown in
the bottom of the dialog box.
If you press the CLOSE (actually FUNCTION) button, the dialog
box will close and you’ll return to the previous page.
Press the (actually PAGE–) button or (actually PAGE+)
button to select a function.
Press the OK (actually MENU) button to open or execute the
selected function.
For example if you select Write Program and press the MENU
(OK) button, the WRITE PROGRAM dialog box will appear.
Here, the FUNCTION (CANCEL) and MENU (OK) functions
are assigned to the two buttons.
13. Value Controller
Use these to edit in the display. You’ll use these to move the
cursor and select parameters, to edit values, and also to execute or
cancel commands.
VALUE dial
Edit the value of the parameter (edit cell) where the cursor is
located.
Tips:You can adjust the contrast of the display by holding down
the EXIT button ( ) and turning the VALUE dial.
EXIT button ( )
Use this button to cancel the execution of a function or the change
in a parameter value, or to close a dialog box.
You’ll also use this to move to the first page (such as the MAIN
page) within the mode.
Unlit: Stopped
Lit green: Playing
Blinking green: Playback is paused
Lit red: Recording
Blinking red: Recording is paused
Blinking orange: Recording is paused
(waiting for Auto input)
Page: 9
IntroductiontotheKROSS
4
By using the EXIT button together with another button, you can
perform the following functions.
ENTER button
Use this button to perform a function, select an radio button, or to
turn a check box on/off.
When you select a parameter and press the ENTER button, you’ll
be able to use the cursor buttons to edit the value. After
you’ve edited the value, press the ENTER button to confirm the
change.
When you press the ENTER button on the MAIN page of
Program or Combination mode, a sound select list will appear.
◄►▲▼ Cursor buttons
Use these buttons to move the cursor in the display. Move the
cursor up/down/left/right to select the parameter that you want to
edit.
If the page contains more parameters than can be shown on a
single screen, a symbol is shown to the left of the screen,
and you’ll be able to scroll the page up/down. (see “j: Scroll” on
page 
You can also use the buttons to increment or decrement the
value in steps of 1. (see “ENTER button and ▲▼ cursor buttons”
on page 13)
14. SEQUENCER
You’ll use these buttons in Sequencer mode to record and play
back MIDI.
(REC) button ( )
Pressing this button will enter record-ready mode. Once you’re in
record-ready mode (shown by the button’s light), you can begin
recording by pressing the SEQUENCER (start/stop)
button. For details, please see “Recording MIDI in real time” on
page 61.
By pressing this (REC) button in Program mode or
Combination mode, you can instantly access the Auto Song Setup
function which lets you start recording immediately. (see
page 60)
Hold down the EXIT button( ) and press the (REC)
button ( ) to instantly move the song playback position
to the specified location. By default, this will be the first beat of
the first measure. You can also specify a desired location by using
a function command.
(start/stop) button
This button starts or stops recording and playback.
15. Pad section
1-16Pad
Use pads 1-16 to control the step sequencer, favorites, sampler,
and audio play.
You can switch the function of pads 1-16 by pressing the
ACTIVE button( ) that corresponds to each function,
making it light. By pressing an ACTIVE button ( )
together with the EXIT button ( ), you can access the
setup page for each function.
STEP SEQ (Step Sequencer)
The step sequencer lets you easily create drum loop patterns by
using pads 1–16 to turn the notes on/off that are played by the
kick, snare, and hi-hat etc.
ACTIVE button ( )
This button indicates and changes the on/off status of the step
sequencer. If this is lit, you can use pads 1-16 to control the step
sequencer. (see page 89)
When you hold down the EXIT button ( ) and press this
button, the STEP SEQ EDIT page for Program, Combination, or
Sequencer mode will appear, allowing you to turn steps on/off
and to specify the pattern’s resolution, length, and the sound used
for each tone.
Note:If the favorites select screen is shown, holding down the
EXIT button ( ) and pressing this button does not show
the STEP SEQ EDIT page.
While the STEP SEQ EDIT page is shown, you can hold down
the ACTIVE button and press pads 1-13 to select the tone (e.g.,
kick, snare, accent) that will be controlled by pads 1-16.
By holding down the ACTIVE button and pressing a key, you can
select the sound (instrument) that’s actually played by each tone.
(see page 90)
RUN button
When you press the RUN button (the button will be lit), the step
sequencer will begin playing. You’ll hear the drum loop pattern
that’s specified by pads 1–16.
When you press the RUN button once again (the button will be
unlit), the step sequencer will stop playing.
FAVORITES
The Favorites function lets you use pads 1–16 to instantly
recall frequently-used programs, combinations, or audio songs
for the audio recorder to play. You can use this function to
register your favorite sounds, or to arrange the sounds you’ll use
during a live performance in the order that they will be needed.
Button or dial used
with EXIT
Functions
SEQ button ( )
Selects Global/Media mode.
If while in Global/Media mode you
once again press the EXIT button
( ) and SEQ button
( ), you’ll jump to the MEDIA
>FILE page.
AUDIO REC
(play/pause) button
( )
Opens the AUDIO RECORDER
SETUP window.
SEQUENCER
(REC) button
( )
In Sequencer mode, moves to the
previously-specified playback start
position. (see page 56)
STEP SEQ ACTIVE
button ( )
Opens the STEP SEQ EDIT page.
FAVORITE ACTIVE
button ( )
Enters the Add to Favorite registration-
ready state.
SAMPLER ACTIVE
button ( )
Opens the SAMPLER SETUP
window.
SAMPLER HOLD
button ( )
Puts the pad sampler in mute mode
AUDIO PLAY ACTIVE
button ( )
Opens the AUDIO PLAY SETUP
window.
VALUE dial Adjusts the contrast. (see above)
REALTIME
CONTROLS SELECT
button
Selects the parameter to be controlled
in reverse order.
BANK SELECT button
Selects favorites, pad sampler, and pad
audio play banks in reverse order.
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Frontandrearpanels Frontpanel
5
ACTIVE button ( )
Use this button to turn the Favorites function on/off, or to register
sounds. (see page 53)
To recall a sound that you’ve registered, turn this button on, and
then use the BANK SELECT button and pads 1-16.
To register a sound, select that program or combination; then hold
down the EXIT button ( ) and press the FAVORITES
ACTIVE button ( ), and finally use the BANK SELECT
button and pads 1-16.
SAMPLER (Pad Sampler)
The pad sampler function lets you use pads 1-16 to play or
perform samples that you recorded from the performance of the
KROSS or from an external audio input. You can also edit the
samples. Up to four stereo samples can be played simultaneously.
(see page 93)
Note:When using the pad sampler function, we recommend that
you use an SD card. You can use the card to automatically save or
load sample data.
ACTIVE button ( )
This button makes the pad sampler active, or displays the SETUP
page when used with the EXIT button ( ). In the
SAMPLER SETUP window, this lets you check and edit the
assignments of samples to pads, prepare for sampling, and edit
the recorded samples.
HOLD button ( )
By pressing this simultaneously with a pad, you can hold the
pressed state of that pad. By using this with the EXIT button
( ), you can temporarily mute the currently-sounding
pads.
AUDIOPLAY (Pad AudioPlay)
ACTIVE button ( )
This button makes the pad audio play function active, or displays
the SETUP page when used with the EXIT button ( ). In
the AUDIO PLAY SETUP window, this lets you check and edit
the assignments of audio songs to pads, import WAVE files, and
adjust the volume.
BANK SELECT
BANK SELECT button, BANK LED A-H
Use this button to select the displayed zone of the step sequencer,
or to switch banks of favorites, pad sampler, or pad audio play.
Tips:When selecting a bank, pressing the EXIT button
( ) and BANK SELECT button lets you select banks in
reverse order. (Except for the step sequencer)
If the step sequencer is on (with the STEP SEQ button lit), pads
1–16 will show the on/off status of each step. You can use pads
1–16 to turn each step on/off.
A:Step1-16, B:Step17-32, C:Step33-48, D:Step49-64
If the Favorites function is on (FAVORITES button lit), this
button selects the Favorites bank. Use pads 1–16 to select the
following Favorites.
Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16,
bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16
When the pad sampler function is on (SAMPLER ACTIVE
button lit), this selects sampler banks. You can use pads 1-16 to
perform the following sample operations.
Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16,
bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16
When the pad audio play function is on (AUDIO PLAY ACTIVE
button lit), you can select the audio play bank. You can use pads
1-16 to perform the following audio song operations.
Bank A 1–16, bank B 1–16, bank C 1–16, bank D 1–16,
bank E 1–16, bank F 1–16, bank G 1–16, bank H 1–16
16. Battery compartment
The KROSS can be powered by batteries that you install here.
(see page 19)
The battery compartment of the KROSS 61-key is located on the
bottom panel.
17. Compartment (KROSS 88-key only)
The compartment can store small items such as a USB cable or
AC adapter.
You can open the lid in the same way as you open the battery
compartment cover. (→ p.19)
Page: 11
IntroductiontotheKROSS
6
Rear panel
1. Power supply
Be sure to see the “Turning the power on/off” section on page 17
and follow the correct procedure described there.
Note:The KROSS 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 “Auto power-
off function” on page 18)
(Power) button
To turn the power on or off, hold down the power button. (see
page 17)
DC 9V jack
The included AC adapter is connected here. (see page 17)
Connections must be made with the power turned off.
Please be aware that careless operation may damage
your speaker system or cause malfunctions.
Cord hook
Use this to secure the cord of the included AC adapter. After
connecting the AC adapter, loop the cord around the hook that’s
located on rear panel so that the cord 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 17)
Be careful not to bend the base of the plug any more
than necessary.
2. Audio output
OUTPUT L/MONO, R jacks
These are stereo audio outputs. For stereo connections, use the L/
MONO and R jacks. For mono connections, use the L/MONO
jack. Use the VOLUME knob to adjust the volume. (see
“Connecting your output devices” on page 21)
(Headphone) jack
Connect the 1/8″ stereo mini-phone plug of your headphones
here. This jack outputs the same signal as the OUTPUT L/
MONO and R jacks.
The headphone volume is controlled by the VOLUME knob.
Note:The headphone jack of the KROSS 88-key model is located
on the front of the unit at the left.
3. Audio input
This jack lets you input audio from an external source; the audio
can be recorded on the audio recorder or pad sampler, or sent
through the internal effects and output via the OUTPUT jacks.
To adjust the input gain (Gain) etc., use REALTIME
CONTROLS — AUDIO IN 1 — KNOB1:GAIN.(You can also
adjust these settings in the AUDIO IN page of each mode.)
The input gain (Gain) can be saved as a global setting
(G-SET). (see “Global audio input settings (G-SET) and
individual settings” on page 22)
Note:The input signals from the MIC IN jack and the LINE IN
jack cannot be used simultaneously. To select the input that will
be used, choose the REALTIME CONTROLS setting AUDIO IN
2 and use the SWITCH (MIC/LINE) button.
For more about connections and settings, please see “Connecting
your input devices” on page 21.
MIC IN jack (1/4″ phone type)
This is a 1/4″ phone jack. You can connect a dynamic mic, an
active-type guitar, or a guitar effect unit.
Note:This jack does not support condenser mics or other mics that
require phantom power or plug-in power. Such types of mic must
be connected via a mic preamp or appropriate device.
LINE IN jack (stereo mini type)
This is an 1/8″ stereo mini phone jack. Connect it to the output
jack of your audio device or external audio source.
4. USB
port
(USB B type, for connecting to computer)
You can connect your computer to this port. Note data and other
performance data, as well as sound settings, can be transmitted
and received via MIDI between a computer and the KROSS;
audio data can also be transmitted and received. (→ p.25)
1
2 3
6
7 4
5
The headphone jack of the KROSS
88-key model is located on the front
of the unit on the left.
1
2 3
6
7 4
5
Page: 12
Frontandrearpanels Itemsinthedisplay
7
5. SD card
SD card slot
You can insert an SD card here. An SD card can be used to store
KROSS sounds and song data. (see page 25)
Since the SD card is accessed directly when you use the
audio recorder to play or record, an SD card is required
in order to use this functionality.
Note:When using the pad sampler function, we recommend that
you use an SD card. You can use the card to automatically save or
load sample data.
6. MIDI
MIDI IN connector
MIDI OUT connector
MIDI lets you connect the KROSS to a computer or other MIDI
devices, for sending and receiving note data, controller gestures,
sound settings, and so on. (see page 26)
7. Foot controllers
DAMPER jack
An optional DS-1H (damper pedal) can be connected to this jack.
If the optional DS-1H is connected, it will function as a half-
damper pedal. If another switch-type pedal is connected, it will
function as a damper switch.
The DS-1H half-damper pedal allows a finer degree of control
compared to a switch-type pedal. Set the pedal polarity so that the
pedal will function correctly. (see “Connecting a damper pedal”
on page 23)
ASSIGNABLE SWITCH jack
An on/off-type foot switch such as the optional PS-1 or PS-3
(pedal switch) can be connected to this jack. You can use a foot
switch to apply modulation to sounds or effects, to set the tap
tempo, or to start/stop the sequencer or to punch-in/out.
The function of the assignable switch is specified by Global/
Media mode settings in the G-INPUT/CTRL> FOOT page, just
as for the assignable pedal. (see “Connecting a foot switch” on
page 23)
ASSIGNABLE PEDAL jack
An optional EXP-2 (foot controller), XVP-10 or XVP-20
(expression pedal) can be connected to this jack. You can use a
pedal to apply modulation to sounds or effects, or to adjust the
overall volume.
The function of the assignable pedal is specified by Global/Media
mode settings in the G-INPUT/CTRL> FOOT page. (see
“Connecting a foot pedal” on page 24)
8. KORG Logo Light
The LED of the KORG logo will light. You can specify the color
of the LED illumination, and whether it is lit or unlit.
(→ PG p.159)
Items in the display
a: Mode/Page title
This indicates the current page within the selected mode.
From the left, this shows the initial letter of the mode name and
the page name.
b: Page tabs
Most pages are divided into multiple tabs.
Use the PAGE+/– buttons to select the tab that you want to see.
c: Parameters
The parameters for various settings are shown in the display.
Use the ◄►▲▼ cursor buttons to select a parameter.
d: Edit cell
Some of the parameters or parameter values will be highlighted
when you use the ◄►▲▼ cursor buttons. This is called the edit
cell, and the highlighted item will be available for editing.
Other methods can also be used to adjust parameters that are
indicated by the following icons.
e: Popup button
If you use the cursor buttons to select a parameter indicated by
this button (making it the edit cell) and press the ENTER button,
a popup menu shows the available parameter values.
To enter a value for the parameter, use the ▲▼ cursor buttons.
f: Radio buttons
If you use the cursor buttons to select a parameter with this type
of button (i.e., making it the edit cell) and press the ENTER
button, you then can choose one of multiple options.
You can also use the cursor buttons to select a parameter (making
it the edit cell) and use the VALUE dial to select the value.
g: Toggle
If a parameter with this symbol is selected (i.e., when it is the edit
cell), pressing the ENTER button will switch the function or turn
it on/off each time you press the ENTER button.
b: Page tabs
a: Mode/Page title
d: Edit cell
g: Toggle
h: Check box c: Parameters
e: Popup button
f: Radio buttons
Page: 13
IntroductiontotheKROSS
8
h: Check box
By selecting a check box parameter and pressing the ENTER
button or turning the VALUE dial, you can select or clear the
check box.
You can enable or disable a parameter or function by selecting or
clearing the check box. The parameter or function is enabled if
the check box is selected, and disabled if it is cleared.
i: Category select icon
For parameters indicated by this icon, you can use the
CATEGORY dial or the VALUE dial to select the category or
number.
j: Scroll
Use this to see parameter values that cannot be shown in a single
screen. Additional parameters exist in the direction of the black
indicator.
k: Function list
The function list will appear when you press the FUNCTION
button. The functions that are shown will depend on the page
that’s selected.
The functions shown on the bottom of the dialog box are assigned
to the four buttons. (see page 3)
l: Function dialog box
When you select a function, you’ll see a dialog box where you
can adjust the settings that are needed to execute the command.
The dialog box that appears will depend on the command that you
selected. Some commands such as Solo Setting do not display a
dialog box.
* Text edit
When you select a parameter indicated by this icon and press the
ENTER button, a text edit window will appear.
In this screen you can rename text (such as the name of a
program, combination, or song). (see “Editing names” on
page 124)
* MENU (OK) button, FUNCTION (CANCEL) button
To execute a function, press the OK button. To cancel without
executing, press the CANCEL button.
* DONE button, COPY button, INSERT button
There are also buttons such as DONE, COPY, and INSERT which
perform an action when pressed, like the OK button and
CANCEL button explained in “* Function dialog box.”
h: Check box
j: Scroll
k: Function list
l: Function dialog box Text edit icon
FUNCTION (CANCEL) button MENU (OK) button
Page: 14
BasicInformation AbouttheKROSS’smodes
9
Basic Information
About the KROSS’s modes
The KROSS has four modes
The KROSS 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 KROSS has four modes.
Program mode
Programs are the basic sounds of KROSS.
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.
• You can use the step sequencer to easily create drum
loop patterns. You can play a program while a drum
pattern plays back. You can also perform simultaneously
with the arpeggiator and drum track.
• Edit Programs
You can use the Tone Adjust function to easily edit the
program.
You can use the quick layer/split function to easily layer
two programs or create split sounds.
You can adjust the parameters and settings of the
oscillators, filters, amps, EGs, LFOs, effects, arpeggiator,
drum track, etc.
You can use up to five insert effects, and two master
effects.
Plus, you can create drum programs using drum kits (as
created in Global/Media mode).
Combination mode
Combinations are sets of up to 16 programs that can be played
simultaneously, letting you create sounds that are more complex
than a single Program. In Combination mode, you can:
• Select and play Combinations.
• Use multiple timbres to play arpeggio patterns generated
by two arpeggiators.
• Use one timbre for the drum track pattern, and play back
a drum pattern while you perform.
• Use the step sequencer to easily create drum loop
patterns. You can play a combination while a drum
pattern plays back. You can also perform simultaneously
with the arpeggiator and drum track.
• Use the KROSS as a 16-track multi-timbral tone
generator.
• Edit Combinations
You can use the tone adjust function to easily edit the
program of each timbre.
You can assign Programs to each of the 16 Timbres, each
with separate volume, pan, and keyboard and velocity
zones; adjust settings for effects, arpeggiator, drum track,
step sequencer.
Plus, you can use up to five insert effects, and two master
effects.
Sequencer mode
Sequencer mode lets you record, playback, and edit MIDI tracks.
You can:
• Use the sixteen-track MIDI sequencer to record and play
back songs.
• Record a single MIDI track, one at a time, or record as
many as all sixteen tracks simultaneously. You can also
record system exclusive messages.
• Record and play back the pad sampler performance.
• Use multiple tracks to record and play back
performances generated by two arpeggiators.
• Use one track for the drum track pattern, and play back
or record a drum pattern.
• Use the step sequencer to easily create drum patterns.
• Edit songs
• Use the KROSS 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, and two master effects.
Global/Media mode
Here is where you can save/load data on an SD card. You can also
adjust overall settings for the entire KROSS, and edit drum kits
and arpeggio patterns.
You can:
• Adjust settings that affect the entire KROSS, such as
master tune and global MIDI channel.
• Create user scales
• Create drum kits using drumsamples.
• Create user arpeggio patterns.
• Set the function of the assignable pedals and assignable
buttons.
• Transmit MIDI System Exclusive data dumps.
• Save and load Programs, Combinations, MIDI Songs,
and Global setup data.
• Format the SD card.
• Export and import sequences to and from SMF (Standard
MIDI Files)
Other functions
In addition to its four modes, the KROSS provides various
functions that are convenient for performance and practice: audio
recorder, pad audio play, pad sampler, and favorites.
AUDIO RECORDER
There’s an independent audio recorder that can record an audio
signal from an external mic or line input, or USB audio input, or
the audio of the program, combination, or sequencer
playback.The sequencer and audio recorder are not able to
synchronize. (see page 99)
PAD AUDIO PLAY
Using this function, audio songs that you recorded or audio files
that were imported from an external source can be assigned to the
pads and recalled easily for playback.
Page: 15
IntroductiontotheKROSS
10
PAD SAMPLER
Using this function, external input audio or phrases that you
perform can be recorded and saved as sample data, and assigned
to pads 1-16 for playback. Up to four samples can play back
simultaneously, while you use pad operations to play samples as
one-shot or as a loop. Control the data filer function (save and
load MIDI exclusive data).
Favorites function
You can register programs or combinations to pads 1-16 and
recall them instantly regardless of the mode you’re in.
Page: 16
BasicInformation AbouttheKROSS’smodes
11
Relational diagram of the KROSS’s modes
IFX 1
IFX 5
MFX 1
MFX 2
Insert / Master Effect
TRACK 1
TRACK 8
TRACK 2
TRACK 3
TRACK 4
TRACK 5
TRACK 6
TRACK 7 PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM TRACK 9
TRACK 16
TRACK 10
TRACK 11
TRACK 12
TRACK 13
TRACK 14
TRACK 15 PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
B
A
IFX 1
IFX 5
MFX 1
MFX 2
Insert / Master Effect
TIMBRE 1
TIMBRE 8
TIMBRE 2
TIMBRE 3
TIMBRE 4
TIMBRE 5
TIMBRE 6
TIMBRE 7 PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM TIMBRE 9
TIMBRE 16
TIMBRE 10
TIMBRE 11
TIMBRE 12
TIMBRE 13
TIMBRE 14
TIMBRE 15 PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
PROGRAM
IFX 1
IFX 5
MFX 1
MFX 2
Insert / Master Effect
MIDI TRACK 1…16
PCG / SNG / SMF
WAV
Drum Track
DRUMS PROGRAM
Step Sequencer
STEP SEQ PROGRAM
ARPEGGIO PATTERN
Preset Pattern: Up — Random
Preload/User Pattern
OSC 1
PITCH1 FILTER1 AMP1
OSC 2
Multisample 1
Drum Kit
Multisample 2
Multisample 3
Multisample 4
PITCH2 FILTER2 AMP2
Multisample 1
Multisample 2
Multisample 3
Multisample 4
Key Assign
DRUM KIT
GLOBAL MODE
PROGRAM MODE
COMBINATION MODE
SEQUENCER MODE
DRUM TRACK PATTERN
MEDIA MODE
MEDIA MODE
ARPEGGIO PATTERN
Arpeggiator
Arpeggiator
Arpeggiator
Drum Track
Step Sequencer
B
A
Arpeggiator
Preset Drum Track Pattern
Arpeggiator
FAVORITES
Audio Recorder
Drumsample 1
Drumsample 2
Drumsample 3
Drumsample 4
SAMPLER
STEP SEQ
AUDIO PLAY
SD Card
Pad Sampler
Drum Track
Step Sequencer
Pad Sampler
Pad Sampler
16 Pads
.KEP (EX-PCM)
Page: 17
IntroductiontotheKROSS
12
Basic operations
After you’ve turned on the KROSS, here’s how to perform basic
operations, such as selecting modes and pages.
Selecting modes
In order to use a particular function on the KROSS, you must first
select the appropriate mode.
• Press one of the front panel mode buttons to enter the
corresponding mode.
For a summary of each mode, please see the “About the
KROSS’s modes” section on page 9.
Note:The mode that’s currently selected is shown by the mode
switch that’s lit up.
Selecting pages and tabs
One screen of displayed information is called a “page.” To access
the page you want, you can use the PAGE– and PAGE+ buttons,
or you can press the MENU button and choose from the page
menu.
• Make sure that the desired mode is selected.
For this explanation we’ll use Combination mode as an
example.
Using the PAGE+/– buttons to move between pages
• You can move between pages by pressing the PAGE+ or
PAGE– button.
Using the page menu to access different pages
The page menu shows a list of the pages and tabs within each
mode. Select the desired page and tab from this list.
1. Press the MENU button.
The page menu will appear.
The page where you were immediately before pressing
the PAGE button is indicated by a diamond-shaped
symbol to the left.
2. Press the PAGE+ button or the PAGE+ button to
select a page.
As an example here, select C-ZONE/DELAY.
3. Press the FUNCTION (TABS) button.
The “tabs of” (TABS OF) page will appear.
4. Press the PAGE+ button or the PAGE– button to
select a tab.
As an example here, select KEY ZONE.
5. Press the MENU (OK) button.
The C-ZONE/DELAY> KEY ZONE page will appear.
Note:If you select a page from the page menu (rather than from
the “tabs of” menu), the page for the previously-selected tab will
appear.
Using the MENU button + PAGE+/- buttons to move
between pages
• Hold down the MENU button and press the PAGE+
(PAGE–) button.
In Combination mode, this lets you move in units of
pages; e.g., COMBI ↔ C-INPUT/CTRL ↔ C-Tone ADJ
↔ C-TIMBRE ↔ … etc. Each time, the page of the most
recently selected tab will be selected.
Using the EXIT button to move between pages
• Pressing this button will take you back to the MAIN
page of the current mode. Each time you press the
button, you’ll move between pages in the following way.
Program, Combination, and Sequencer mode: the MAIN
page of each mode.
Global/Media mode: the BASIC page in Global/Media
mode the MAIN page in the previously-selected mode
among program, conbination and sequencer.
• When a dialog box is open, this button cancels the
settings that were made in the dialog box and closes the
dialog box, just like pressing the Cancel button.
• If a popup menu is open, pressing EXIT closes the menu.
Selecting a parameter and editing the value
1. Use the ◄►▲▼ cursor buttons to select 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 “Items in the display” on
page 7)
• The value in the edit cell can be edited by using the
VALUE dial, the ENTER button, and the ▲▼ cursor
buttons.
VALUE dial
Use this dial to edit the selected parameter’s value. This control is
convenient when you want to scroll through a very long list of
selections.
COMBI button: Combination mode
PROG button: Program mode
SEQ button( ): Sequencer mode
EXIT button ( )
+ SEQ button( )
Global/Media mode
Page: 18
BasicInformation Basicoperations
13
ENTER button and ▲▼ cursor buttons
When you select a parameter and press the ENTER button, a
▲▼ symbol will appear beside the value ( → ), and
you can use the ▲▼ cursor buttons to increment or decrement
the value in steps of one. When you’ve specified the value, press
the ENTER button once again to confirm it. This method is
convenient when you want to make small changes.
Note:If you decide not to change the value, press the EXIT button.
Using the keyboard to enter a note number or velocity
value
For parameters that specify a note number (such as G4 or C#2) or
a velocity value, pressing the ENTER button will cause a ▲▼
symbol to appear beside the value (see above). You can play a
key to directly enter a note number or velocity value. When
you’ve specified the value, press the ENTER button once again to
confirm it.
ENTER button
If the parameter item is a toggle, radio button, or check box, press
the ENTER button to switch the setting.
Other
CATEGORY dial, VALUE dial
Parameters indicated by (category select icon) can be edited
using the CATEGORY dial and VALUE dial to change the
category and program/combination number. The dial’s LED will
light to indicate the current category.
In Program mode you can select the program category and
number.
In Combination mode these dials have the following two
functions.
• Select the combination category and number.
• When the edit cell is a timbre program (highlighted), the
dials select the program category and number.
In Sequencer mode when the edit cell is a track program
(highlighted), the dials select the program category and number.
Compare/Undo function
Program, Combination mode
Use this when you wish to compare the edits you have made to a
program or combination’s sound with the un-edited original (i.e.,
the sound that is written into memory).
While editing a program or combination, you can turn on the
Compare function (select the check mark) to recall the settings
that were last written to that program number or combination
number. When you turn off the Compare function (remove the
check mark), you will return to the settings that you had
previously been editing.
1. While editing, turn the Compare function on (select
the check mark).
To turn this on, press the FUNCTION button to access
the function list, use the PAGE+ (▼) or PAGE– (▲)
button to select Compare, and press the MENU (OK)
button.
The sound that had been saved before you began editing
will be recalled.
2. When you turn off the Compare function (remove the
check mark), you will return to the sound that you
had previously been editing.
To turn it off, select the Compare function once again and
press the MENU (OK) button.
Note:If you edit the settings that were recalled by turning
Compare on (i.e., the saved settings), the check mark will be
cleared, and your previously edited settings will be lost. Even if
you turn Compare on again (select the check mark), the previous
settings will not return.
Sequencer mode
In Sequencer mode, you can use the Undo function 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. If you turn on the Undo function (select the check
mark), take 1 will be recalled.
4. If you turn off the Undo function (clear the check
mark), take 2 will be recalled.
5. If at step 3 you once again realtime-record on the
same track (take 3), the Compare function will now be
referencing take 1.
6. If at step 4 you once again realtime-record on the
same track (take 3), the Compare function will be
referencing take 2.
In this way, the Undo function lets you recall the previous
recording or the previous state of event editing.
Note:If you edit while Undo is on (the check mark selected), the
check mark will be cleared. That musical data now becomes the
musical data that will be selected when Undo is off.
Global/Media mode
The Compare function is not available in Global/Media mode.
Audio recorder
When using the audio recorder, you can use Undo to return to a
previously recorded state. You can step back through multiple
takes. You can also redo. In the AUDIO RECORDER SETUP
dialog box, press the PAGE– (UNDO) button.
Pad Audio Play
As with the audio recorder, the pad audio play function also lets
you return to the previously recorded state. In the AUDIO SONG
SETUP dialog box, press the PAGE- (UNDO) button.
Pad Sampler
The compare function cannot be used with pad sampler
recording, nor when editing in the EDIT SAMPLE window.
Page: 19
IntroductiontotheKROSS
14
Selecting and executing functions
The functions provide commands that are specific to each page,
such as Write (save) or Copy. The available functions will depend
on the selected page.
For example, the functions in Program mode let you write (save)
the settings, or let you perform convenient editing procedures
such as copying settings between oscillators or effects, or a Sync
function that lets you edit two EGs together.
1. Press the FUNCTION button.
The function list will appear.
2. Use the PAGE+ (▼) and PAGE– (▲) buttons to select
a function, and press the MENU (OK) button.
A dialog box for the selected function will appear.
Check-type commands will not display a dialog box; their
status will be switched, and the list will close.
• If you want to close the list without selecting a
command, press the FUNCTION (CLOSE) button once
again.
3. Use the ◄►▲▼ cursor buttons to select parameters
in the dialog box, and use the VALUE dial, ENTER
button, and ▲▼ cursor buttons to enter the value.
You can use the CATEGORY dial and VALUE dial when
selecting a program or combination number in the dialog
box.
4. To execute, press the MENU (OK) button.
If you decide not to execute, press the FUNCTION
(CANCEL) button.
The dialog box will close.
Writing/saving
After editing, you should write or save your changes as necessary.
For example if you’ve edited a program, your changes will be lost
if you select another program or turn off the power. The same
applies to a combination.
Settings that you edit in Global/Media mode, songs and Favorites
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.
For more details on the Write procedure, see the following pages.
• Programs → p.122
• Combinations → p.122
• Favorites → p.54
• Global settings (GLOBAL–G-USER SCALE) → p.124
• Drum kits → p.124
• User arpeggio pattern → p.124
• User template songs → PG p.140
• For details on writing to internal memory → p.122
Please see the following pages for more information about
saving.
• Saving a MIDI song → p.65
• Saving to SD card → p.121
Note:On the KROSS, the action of writing into internal memory is
called “Writing,” and the action of saving to an SD card device is
called “Saving.”
Assigning a name (renaming)
You can edit the name of an edited program, combination, song,
drum kit, or arpeggio pattern.
For additional details, please see “Editing names” on page 124.
Page: 20
BasicInformation Basicoperations
15
REALTIME CONTROLS
When you’re playing a program or combination,you can use these
to adjust the sound or the effects in real time, or to make simple
edits. You can also adjust settings for external audio input and the
vocoder function, and adjust the tempo of the arpeggiator and
sequencer.
Here’s how to use REALTIME CONTROLS to adjust the tempo.
1. Press the SELECT button several times to make the
TEMPO light.
Note:The selection of the SELECT button is saved for each
program, combination, or song.
Tips:By holding down the EXIT button ( ) and pressing
the SELECT button, you can step through the parameters in
reverse order.
2. Turn the KNOB 1 knob to adjust the tempo.
3. You can set the tap tempo by pressing the SWITCH
button. The tempo will be specified when you tap
twice, but you should tap several times for better
precision.
Note:REALTIME CONTROLS can be used when the SELECT
LED is lit. They cannot be used when the LED is unlit.
Parameters that can be operated using REALTIME
CONTROLS
For details on each of the parameters that can be controlled, see
the parameter guide. (→ PG p.305)
TONE 1
• VELOCITY
Specifies how the velocity of your keyboard playing
affects the sound.
• CUTOFF
Adjusts the cutoff frequency of the filter. Varies the
brightness of the sound.
• RESONANCE
Adjusts the resonance level of the filter. Raising the filter
resonance level gives a distinctive character to the sound.
TONE 2
• OCTAVE
Raises or lowers the pitch of the entire keyboard in steps
of an octave. With the default setting, the pitch is lowered
one octave.
• ATTACK
Adjusts the envelope attack times of the filter and amp.
This specifies the attack time that starts at note-on.
• RELEASE
Adjusts the envelope release times of the filter and amp.
This specifies the time from note-off until the sound fades
to silence.
EFFECT
• MASTER FX
Turns the master effect on/off.
Note:This is linked with the setting of the Global/Media
mode parameter System- “Effect SW — MFX.»
• INSERT FX
Controls the «Wet/Dry» balance of all insert effects.
• MFX2/REVERB
Controls the «Wet/Dry» balance of MFX2 (master effect
2).
AUDIO IN 1
• AUDIO ON/OFF
Selects whether an external audio source connected to the
MIC IN or LINE IN jack will or will not be input.
• GAIN
Adjusts the level at the input stage of the external audio
signal that’s being input.
So that the sound does not change suddenly while
you’re performing, the GAIN value does not change
until the position of the knob matches the current
value. Once you have turned the knob to the position
of the current value, you can adjust the value.
• MFX2/REVERB
Adjusts the send level at which the external audio signal
that’s being input is sent to master effect 2.
For preload sounds, either a reverb-type or a delay-type
effect is assigned to master effect 2. Use this when you
want to apply these effects to the external audio from the
mic input.
AUDIO IN 2
• MIC/LINE
Selects the external input jack that is used.
• VOCODER
Selects a vocoder effect using the mic input, or an effect
and program settings that are appropriate for vocals.
In the VOCODER window, you can use the FUNCTION
button to directly change or adjust settings such as
AUDIO ON/OFF or GAIN for AUDIO IN 1.
• FX CONTROL
Adjusts the tonal character of the vocoder or vocal effect
that’s selected by the VOCODER knob.
Tempo
This adjusts the tempo for the entire KROSS. The tempo
setting will control the following.
* Arpeggiator
* Drum Track
* Step sequencer
* Songs in Sequencer mode
* Tempo sync LFO
* Tempo sync (BPM) delay effects
• TAP
SELECT LED
Page: 21
IntroductiontotheKROSS
16
Sets the tempo via tap tempo. This LED will blink at
quarter-note intervals of the current tempo.
Tap tempo control is available whenever the KNOB1
knob (TEMPO) can be used.For example it cannot be
controlled during songplayback if the Sequencer
mode Tempo Mode is set to Auto. (see page 103 of
the Parameter Guide)
Note:You can use the tap tempo control function by
pressing the SWITCH (TAP) button and also by pressing
a foot switch that’s connected to the ASSIGNABLE
SWITCH jack. (page 23 and page 165, page 303 of the
Parameter Guide)
• TEMPO
Adjusts the tempo.
• ARP-GATE
Changes the duration of the arpeggio notes in real time.
Page: 22
17
Setup
Turning the power on/off
The KROSS can be powered either by an AC adapter or by
using batteries.
Connecting the AC adapter
1. Make sure that the power is turned off. Make sure
that nothing is shown on the display, and that the
LEDs are unlit.
2. Connect the DC plug of the included AC adapter to
the DC9V (power supply) jack on the KROSS’s rear
panel.
You must only use the included AC adapter. Using
any other AC adapter might cause malfunctions.
3. Connect the AC adapter to an AC outlet.
Be sure to use an AC outlet of the correct voltage for
your adapter.
4. Use the cord hook of the KROSS to fasten the AC
adapter cord so that it will not be unplugged
accidentally.
Turning the power on
1. Turn the KROSS’s VOLUME knob
all the way to the left so that the
volume is down.
If any external equipment, such as a
monitor amplifier is connected, lower
their volume as well and then turn off
their power.
2. On the rear panel of the KROSS, hold
down the power button until the power
turns on. Keep holding down the button
until the display lights up.
The display will show the model name and
software version.
With the factory settings, the auto power-off
function of the KROSS is enabled; immediately after
you start up, the following message will appear,
indicating the time until the power will turn off
automatically.
If you disable the auto power-off function, this
message is not displayed. (see “Auto power-off
function” on page 18)
3. Turn on the power of the external equipment that’s
connected to the KROSS’s OUTPUT L/MONO and R
jacks, such as a monitor amplifier.
4. Use the KROSS’s VOLUME knob and the volume
controls of your external equipment to set the volume
to a suitable level.
AC adapter
(Included)
Power button
DC9V (Power supply) jack
DC plug
Cord hook
to an AC outlet
1
2
Page: 23
Setup
18
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 14)
If the KROSS’s auto power-off function is enabled,
its power will automatically turn off if there has been
no user input for a certain length of time. Unsaved
data will be lost even if the power is turned off by the
auto power-off function.
1. Turn the KROSS’s VOLUME knob all the way to the
left so that the volume is lowered.
2. If external equipment such as a monitor amplifier is
connected, lower their volume and then turn off their
power before proceeding.
3. Hold down the power button of the KROSS to turn off
the power. Keep holding down the button until the
display turns off.
Never turn off the power while processing is in
progress. Turning off the power while the following
processes are in progress may damage the data in
internal memory or on the SD card.
• Writing data to internal memory (display indicates “Now
writing into internal memory”)
• Writing to an SD card (e.g., while saving in Media mode,
recording on the audio recorder, or during Export)
A small amount of electrical power is used even
when the power is off (STANDBY). If you won’t be
using the KROSS for an extended period, turn off
the power and unplug the power cord from the AC
outlet. If you’re using batteries, remove the batteries.
Auto power-off function
The KROSS has an auto power-off function that
automatically turns off the power when there is no user input
(*) for a certain length of time. With the factory settings, this
is set to four hours.
* Using the VOLUME knob is not considered to be user input.
When the power turns off, the settings you had been
editing will be lost. If you want to keep the edited
settings, you must save them first.
Changing the auto power-off setting
If you want to change the setting so that the power will not
turn off automatically, proceed as follows to disable the auto
power-off function.
1. Simultaneously press the EXIT button ( ) and
SEQ button ( ) to access the GLOBAL/MEDIA
page. (If it does not appear, press the EXIT button.)
2. Press the PAGE+ (or PAGE–) button to access the
GLOBAL> PREF 1(Preferences 1) page.
3. Use the cursor ▼▲ buttons to select the Auto Power-
Off parameter.
4. Use the VALUE dial to specify the time until the
power will turn of.
If you don’t want the auto power-off function to turn off
the power automatically, set this to Disabled.
5. Save the setting.
Press the FUNCTION button to access the function list.
Choose Write Global Setting. (If a different function is
selected, press the PAGE- button to select it.)
Press the MENU (OK) button. A confirmation message
will appear; press the MENU (OK) button once again.
The setting has now been saved.
Auto power-off warning message
When the specified length of time has elapsed without any
user input on the KROSS, a message will appear, warning
you that the auto power-off function is about to turn off the
power.
If you want to continue using the system, press the keyboard,
or a button. 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.
1 2
5a 5b
3
4
1
Auto power-off function
Page: 24
Turningthepoweron/off Usingbatteries
19
Using batteries
Batteries that can be used
Use six AA nickel-metal hydride batteries or alkaline
batteries. Zinc-carbon batteries cannot be used.
Note: Batteries are not included. You’ll need to obtain them
separately.
Do not mix new and old batteries, or batteries of
differing types. Mixing batteries in this way may
cause them to leak or burst.
Continuous operating time
Alkaline batteries will allow approximately four hours of
usage with the factory settings. Battery life will depend on
the type of batteries and the conditions of use.
Replacing the batteries
An indicator on the upper right side of the screen shows the
remaining battery capacity ( , , ). If you’re
using the AC adapter, this will indicate .
If is flashing, the batteries are almost
exhausted. Immediately save any important data, and
either install fresh batteries or switch to using the AC
adapter.
If the batteries are exhausted, remove them
immediately. Leaving exhausted batteries installed may
cause malfunctions such as battery leakage. You should
also remove the batteries if you won’t be using the unit
for an extended period of time.
Note: If the batteries run low, you can plug in the AC
adapter and continue operation without having to power-off.
Note: If you turn on the power with an SD card already
inserted, there will be some cases in which the data from the
SD card is read as a background process after the unit has
started. While the data is being read, some functions will be
in a paused state, and will be unavailable. During this time,
the SD card access indicator ( ) blinks in a position that
overlaps with the remaining battery capacity indicator or the
AC adapter indicator. For details, refer to «Automatic SD
card loading at start-up» (→ p.25).
Installing batteries
1. Remove the battery compartment cover.
KROSS 61-key: The battery compartment is located on
the bottom panel.
When turning the unit upside down, place it on a
blanket or similar material to prevent damage to the
knobs and dials.
While pressing the cover latch, pull it upward and remove
it.
KROSS 88-key: While pressing the ||| area of the
cover(a.), slide it diagonally upward (b.), and open the
battery compartment (c.).
Note: The battery compartment cover is located on the
left side of the front panel.
Note: You can use the same procedure to open the storage
compartment for small items that is located at the
opposite side from the battery compartment.
The battery compartment cover does not detach. Do
not apply excessive force to the battery compartment
cover.
2. Install batteries.
When inserting the batteries, be sure to observe the
correct polarity (“+” and “–”). Place the “–” end of
each battery against the tip of the spring, and press it
into place.
KROSS 61-key
KROSS 88-key
3. Close the battery compartment cover.
Close the cover by reversing the steps you took to remove
it.
a.
b.
c.
Spare battery compartment
Page: 25
Setup
20
In order for the remaining battery amount to be
displayed correctly, you must set the Global/Media
mode GLOBAL> PREF 1(Preferences 1) page
Battery Type setting to specify the type of battery
that you’re using.
Specifying the type of batteries you installed
After you’ve installed the batteries, turn on the power and
specify the type of batteries you’re using.
1. In the GLOBAL>PREF 1 (Preferences 1) page, select
the Battery Type parameter.
Perform steps 1–3 of “Changing the auto power-off
setting” on page 18.
2. Press the ENTER button to switch the setting.
Alkaline batteries: Alkaline
Nickel-metal hydride batteries: Ni-MH
3. Save the setting.
Press the FUNCTION button, and in the function list
choose Write Global Setting. (If a different function is
selected, press the PAGE– button to select it.)
Press the MENU (OK) button. A confirmation message
will appear; press the MENU (OK) button once again.
The setting has now been saved.
Page: 26
Connections Audioconnections
21
Connections
Connections must be made with the power turned off.
Please be aware that careless usage may damage your speaker system or cause other malfunctions.
Audio connections
Connecting your output devices
The KROSS does not contain built-in speakers. In order to
hear the sound of your performance, you’ll need to connect
other audio equipment such as a monitor amplifier, a mixer,
a stereo set or headphones.
Connecting audio equipment
The KROSS’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 KROSS’s OUTPUT L/MONO and R
jacks to the input jacks of your monitor amplifier or
mixer.
Note: If you connect only the L/MONO jack, the L and R
sound will be mixed for mono output. In order to take full
advantage of the KROSS’s capabilities, we recommend
that you listen in stereo.
If you’re playing back through your stereo audio system
or an audio player that has external input connectors,
connect the KROSS 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 headphones
Using headphones at high volume for an extended
time may cause hearing damage. Please avoid
excessively high volume levels.
1. Connect the stereo mini-plug
of your headphones to the
KROSS’s Headphone jack.
2. Use the VOLUME knob to
adjust the headphone
volume.
The KROSS’s Headphone jack
will output the same signal as
the OUTPUT L/MONO and R jacks.
The output from the OUTPUT jack is not turned off even
if headphones are connected to the Headphone jack.
Connecting your input devices
You can sing while applying the built-in effects of the
KROSS to your mic, or connect an audio player and perform
along with the playback.
You can also use the audio recorder or pad sampler to record
the audio input.Alternatively, you can record just the
external audio input without mixing-in the performance of
the KROSS. For example if you’re rehearsing in the studio,
you could record only the band’s performance while you
play the KROSS.(→ p.22)
When connecting an input device, use the REALTIME
CONTROLS section’s SELECT button to select AUDIO IN
1, and press the SWITCH button (ON/OFF) to turn the input
off (unlit). After you have connected the input device, once
again press the SWITCH button (ON/OFF) to turn the input
on (lit).
If you’re not using the MIC IN or LINE IN jack, use
the REALTIME CONTROLS section’s SELECT
button to select AUDIO IN 1, and press the
SWITCH button (ON/OFF) to turn the input off
(unlit).
Connecting a mic
1. Make sure that the SWITCH button LED (ON/OFF)
is off (unlit) in the AUDIO IN 1 row of the
REALTIME CONTROLS section.
2. Turn the VOLUME knob of the KROSS all the way to
the left, minimizing the volume.
AC adapter
(Included)
DC plug
to an AC outlet
DAMPER ASSIGNABLE
PEDAL
ASSIGNABLE
SWITCH
SD card
MIDI keyboard
MIDI IN MIDI OUT
MIDI cable
USB cable Audio player, etc.
Mic
Monitor Amplifier, etc.
INPUT
Headphones
Computer
Pedal connections etc. Connections to MIDI equipment Connections to computers
Insert an SD card
Connect output devices
Connect input devices
SD card slot
USB B
MIDI OUT, IN AUDIO OUTPUT
R, L/MONO
LINE IN, MIC IN
ASSIGNABLE
DAMPER, SWITCH, PEDAL
Headphones
KROSS-88key
Page: 27
Setup
22
3. Connect a dynamic mic to the MIC IN jack.
Note: This jack does not support condenser mics or other
mics that require phantom power or plug-in power. Such
types of mic must be connected via a mic amp.
Connecting a guitar
Connect your guitar to the MIC IN jack. Please see the
“Connecting a mic” section above.
Note: Most guitars and basses (i.e., equipped with passive
pickups that do not have a preamp) produce a low output
level that cannot be recorded at a satisfactory volume or
quality. Route such instruments through a preamp or effect
unit before connecting them to the KROSS. If the output of
the preamp or effect unit is too high, and you cannot set an
appropriate input level, adjust the output level of the preamp
or effect unit. If your instrument has active-type pickups
with a built-in preamp, simply connect it directly.
Connecting an audio player
An audio player or other stereo line input source can be
connected to the LINE IN jack.
1. Make sure that the SWITCH button LED (ON/OFF)
is off (unlit) in the AUDIO IN 1 row of the
REALTIME CONTROLS section.
2. Turn the VOLUME knob of the KROSS all the way to
the left, minimizing the volume.
3. Connect your audio player to the LINE IN jack.
Selecting the audio input
Specify and enable the audio input to which you connected
your mic, guitar, or audio player as described above.
Note: It’s not possible to input audio via both the LINE IN
jack and MIC IN jack simultaneously.
1. In REALTIME CONTROLS, use the SELECT button
to select AUDIO IN 2.
2. In REALTIME CONTROL, use the SWITCH button
to select either MIC (LED lit) or LINE (LED unlit).
Only the selected input is enabled.
Adjusting the audio input
1. Select the input. (“Selecting the audio input” on
page 22)
2. Use the GAIN to adjust the level of the external audio
signal. In REALTIME CONTROLS, use the SELECT
button to select AUDIO IN 1, and use the KNOB 1
knob to adjust the volume of the input signal.
So that the sound does not change suddenly while
you’re performing, the GAIN value does not change
until the position of the knob matches the current
value. Once you have turned the knob to the position
of the current value, you can adjust the value.
3. If you want to change the amount of effect that is
applied, adjust MFX2/REVERB in the AUDIO IN 1
row of the REALTIME CONTROLS section.
Operating the KNOB 2 knob adjusts the amount that
is sent to the MFX2 effect.
Tip: Although it will depend on the settings of the
program or combination, Send2 typically applies reverb.
For more about effect-related settings, see “Effect
settings for audio input” on page 71.
4. To specify the pan, or the amount that is sent to the
MFX1 effect, adjust settings in the AUDIO IN —
QUICK SETTING- dialog box. If you press the
FUNCTION button while the popup screen is shown
during steps 2 and 3, the AUDIO IN -QUICK
SETTING- dialog box appears.
Note: The Global setting (G-SET) dialog box is shown
above. These input settings are used by the entire
KROSS. (see “Global audio input settings (G-SET) and
individual settings”)
5. By setting the Direct Send parameter, you can record
just the external audio input from a mic connected to
the MIC IN jack, without recording the sound of the
KROSS’s performance. For example if you’re
rehearsing in the studio, you could record only the
band’s performance while you play the KROSS.
Direct Send off: The audio input and the KROSS’s
performance are mixed and recorded.
Direct Send on: Only the audio input is recorded. The
sound of the KROSS’s performance is not mixed. (In this
case, the audio input sound is not output from audio out.)
6. To save the settings, press the PAGE+ (WRITE G-
SET) button. A dialog box will appear; press the
MENU (OK) button to save the settings.
Note: The explanation above is the procedure for saving
Global settings (G-SET). (see “Global audio input
settings (G-SET) and individual settings”)
7. Press the MENU (DONE) button to return to the page
you were in prior to the dialog box.
Global audio input settings (G-SET) and individual
settings
The audio input of the KROSS is affected by settings that are
shared by the entire instrument (Global settings / G-SET)
and by individual settings that are made independently for
each program, combination, or MIDI song.
With the factory settings, the programs, combinations, and
MIDI songs are set to use G-SET by default. For some
sounds, individual settings have been made for the vocoder
sound or vocal effect. By opening the AUDIO IN -QUICK
SETTING- dialog box, you can check whether that program
or combination uses the global settings (G-SET) or its own
individual settings.
Tip: Sounds with individual settings are stored in the
DRUM/SFX category.
Direct Send
Page: 28
Connections Connectingfootcontrollers
23
The AUDIO IN -QUICK SETTING- dialog box can be
opened from the FUNCTION (QUICK SETTING) button
shown in the lower left when you operate an audio-related
parameter in REALTIME CONTROLS.
In the upper left, [G-SET], [PROG] (or [COMBI], [SEQ])
indicate whether the global settings (G-SET) or the
individual settings are specified.
Global setting (G-SET)
Individual setting (PROG, COMBI, SEQ)
The global setting dialog box contains a PAGE+ (WRITE G-
SET) button; by pressing this button you can save the edited
settings as global settings. For individual settings, press the
MENU (DONE) button to close the dialog box, and use the
appropriate Write function to save the settings. For details on
how to save, please see “Writing a Program or Combination”
on page 122.
Only in the case of input gain (Gain), the global
setting (G-SET) and the individual setting are
shared. Use the global setting (G-SET) to save the
setting. Although you can edit this in the AUDIO IN
page or the QUICK SETTING dialog box of each
mode, you can’t save it as an individual setting
(PROG, COMBI, SEQ).
To create individual settings
In addition to using the AUDIO IN -QUICK SETTING-
dialog box, you can also adjust this setting in the INPUT/
CTRL> AUDIO IN page of each mode. For a program,
combination, or MIDI song that uses G-SET, the upper left
of the screen will show the G-SET indication selected. By
clearing this selection you can adjust individual settings.
Connecting foot controllers
If you connect an optional damper pedal, foot switch, or foot
pedal, you’ll be able to control the KROSS using your feet.
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 amount of
damper that’s applied. If any other type of pedal is
connected, it will function as a damper switch.
In Combination or Sequencer mode, you can also select
settings so that the damper will be applied to some sounds
but not to other sounds.
1. Connect a Korg DS-1H damper pedal to the
DAMPER jack.
2. Set the polarity of the switch.
In the G-INPUT/CTRL> FOOT page, set the Damper
Polarity parameter.
If you’re using the DS-1H, choose the (–) KORG
Standard setting. With the factory settings, (–) KORG
Standard is selected. If the operation is inverted when you
use a foot switch other than the DS-1H, simply set the
polarity to the (+) setting.
Note: The half-damper sensitivity is adjusted to a standard
value when the KROSS is shipped from the factory. If the
half-damper pedal you’re using does not respond
appropriately, please adjust the sensitivity. (see page 177 of
the Parameter Guide)
Connecting a foot switch
This lets you use a simple foot switch, such as the Korg PS-1
or PS-3, as an assignable controller. The foot switch can
perform a wide variety of functions, such as:
• Selecting programs or favorites
• An assignable source for modulating sounds and effects
• Portamento on/off
• Sequencer start/stop or punch in/out
• Starting, pausing, and stopping audio recorder playback
or recording
• Tap Tempo
• Arpeggiator on/off
• Switch the Drum Track on/off
• Step sequencer RUN on/off
• Use various KROSS controls (modulation wheel, SW1/
SW2, etc.)
This button will always function in the same way regardless
of the Program, Combination, or Song you’ve selected. You
can assign the function in the Global/Media mode.
Page: 29
Setup
24
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–
which is 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.
• Program Up/Down: When performing with the usual
MAIN page or the favorites list open
• VALUE Inc/Dec: When performing with the sound
select list open
Assigning the foot switch to Program Up/Down
Assigning the foot switch to Program Up or Program Down
lets you directly control Program changes from the foot
switch. For most situations, this is the more straightforward
method.
To set this up:
1. Connect a foot switch to the rear-panel
ASSIGNABLE SWITCH jack.
Use an optional PS-1/PS-3 pedal switch.
2. Access the G-INPUT/CTRL> FOOT page.
Proceed as follows.
Hold down the EXIT button ( ) and press the
SEQ button ( ) to enter the GLOBAL/MEDIA
mode.
Press the MENU button to access the function list. Use
the PAGE+ (▼) and PAGE– (▲) buttons to select G-
INPUT/CTRL, and press the MENU (OK) button.
Use the PAGE+ (▼) and PAGE– (▲) buttons to select
the G-INPUT/CTRL> Foot page, and press the MENU
(OK) button.
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.
Use the cursor ▲▼ buttons to select Foot Switch Assign.
Press the ENTER button to access the list, and use the
cursor ▲▼ buttons to select Program Up or Program
Down. Press the ENTER button to confirm your choice.
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. Use the cursor ▼ button to
select the parameter, and press the ENTER button. The
setting will alternate on/off each time you press the
button.
Now, the foot switch will step through the Programs, one
by one.
5. If you want to preserve this setting even when the
power is turned off, be sure to Write the data. (see
page 124)
6. Press the PROG button to enter PROG> MAIN, and
press the foot switch to change the Program.
Note: This setting also works in the same way for selecting
combinations or favorites.
Note: With the Program Up/Down method, you can’t switch
programs while the sound select list is open. Use the method
explained below in “Assigning the foot switch to Value Inc/
Dec”.
Assigning the foot switch to Value Inc/Dec
This lets you use the Assignable Foot Switch to duplicate the
functions of the VALUE dial.
This method is convenient if you want to open the Sound
select list and switch programs while viewing the program or
combination menu.
1. Follow steps 1–2 under “Assigning the foot switch to
Program Up/Down,” above.
2. At the top of the page, set the Foot Switch Assign
parameter to Value Inc (or Value Dec).
3. Now, the foot switch will act just like you’re turning
the VALUE dial.
Note: The foot switch will work like this for the entire
KROSS–not just when the Sound select list is open.
Connecting a foot pedal
If you connect an optional EXP-2 foot controller or XVP-10/
XVP-20 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/Media mode.
Like the Assignable Foot Switch, described above, the Foot
Pedal can be used for many different functions, including:
• Master Volume
• Channel Volume, Pan, or Expression
• Assignable sound modulation, as several different AMS
or Dmod sources
• Effects Send level control
• Use various KROSS controls (Modulation wheel, etc.)
1. Connect an optional XVP-10, XVP-20 or EXP-2 to the
ASSIGNABLE PEDAL jacks.
2. Use the Foot Pedal Assign parameter (G-INPUT/
CTRL> FOOT page) to specify the function that will
be controlled by the foot pedal.
Adjust settings as explained in “Assigning the foot switch
to Program Up/Down”.
Page: 30
Connections UsinganSDcard
25
Using an SD card
You can use an SD card to save or load programs,
combinations, and song data, and also for audio recording
and the pad sampler function.
Types of SD card you can use
SD card specifications
SD memory cards up to 2GB and SDHC memory cards up to
32GB are supported.
SDXC memory cards are not supported.
MS-DOS format FAT16 or FAT32 are supported.
SD card is not included. You will need to purchase it
separately.
Formatting SD card
Some consumer electronics products that use SD cards
utilize their own proprietary format method. Before using an
SD card with the KROSS, you must format it on the
KROSS. (see page 129)
Inserting/removing an SD card
Inserting an SD card
• Insert an SD card in the SD card slot.
With the card label facing upward, insert the connector
end of the card into the SD card slot and press it in until
you hear a click.
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.
Removing an SD card
During loading, saving, formatting, audio recorder
operation, or MIDI data dump reception, you must
never remove the SD card from the slot or insert it in
the slot. Doing so may cause the SD card or the
internal data to be damaged.
• Press the card inward; you will hear a click, and the card
will partially pop out, allowing you to pull it completely out.
Please see the owner’s manual included with your card,
and observe the guidelines for handling and use.
About the write protect setting of an SD card
SD cards have a write protect switch that prevents the data
from being overwritten accidentally and lost. If a card is
protected, you can’t save or delete data on it, use it to record
with the audio recorder, or format the card.
If you need to perform these procedures, you must first set
the switch to its original position.
Automatic SD card loading at start-up
If the unit is powered-on with an SD card containing audio
data already inserted, data loading may continue
automatically after start-up in some cases. During this time,
there are no restrictions on playing the keyboard or
performing most operations, but functions that access the SD
card will be in a paused state. The SD card access indicator
( ) will blink in a position that overlaps with the
remaining battery capacity indicator or the AC adapter
indicator.
At this time, the AUDIO REC, SAMPLER ACTIVE/HOLD,
and AUDIO PLAY ACTIVE buttons will be disabled; if you
press these buttons, the message “SD card busy Please
wait.” is displayed. Likewise, the “SD card busy Please
wait.” message is displayed if you access the MEDIA page,
and that page will be unavailable.
Similarly, GLOBAL — FUNCTION — “Load Preload/Demo
Data” and “Update System Software” will also be
unavailable. To use these functions, wait until the SD card
access indicator has stopped blinking.
Connecting the KROSS to a computer
USB connection
The KROSS provides both MIDI connectors and USB port
as standard equipment. By connecting the KROSS to your
computer via USB, you can use it as a controller and MIDI
sound module for your DAW software with single cable
convenience; and with out the need for a MIDI interface.
By using the dedicated editor, you can edit some of the
parameters of the KROSS from your computer as though it
were a software plug-in.
Before you connect the KROSS to your computer
via USB, you must install the KORG USB-MIDI
driver on your computer.
About the software
The latest version of the KORG USB-MIDI driver and the
KROSS Editor/Plug-in Editor can be downloaded from the
Korg website. (http://www.korg.com/)
Make connections as follows.
1. From the Korg website, download the KORG USB-
MIDI driver.
2. Install the driver as described in the documents that
accompany it.
Note: For audio, the KROSS uses the standard USB
audio driver that is built into Windows or Mac OS, so you
don’t need to install the audio driver separately.
3. Power-on the KROSS.
4. Connect the KROSS’s USB B port to a USB port of
your computer.
When the KROSS is connected to the computer, the
computer detects the KROSS as a USB MIDI device and
a USB audio device.
SD card slot
SD card
Page: 31
Setup
26
Connecting via the MIDI connectors
You can connect the KROSS to your computer via MIDI by
using a commercially available MIDI interface.
Note: For more about MIDI interfaces, please see the
owner’s manual of the MIDI interface that you’re using.
Some USB-MIDI interfaces may be unable to
transmit or receive the KROSS’s MIDI exclusive
messages.
Connecting MIDI devices
By connecting the KROSS’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 KROSS.
About MIDI
MIDI stands for Musical Instrument Digital Interface, and is
a world-wide standard for exchanging various types of
musical data between electronic musical instruments and
computers. When MIDI cables are used to connect two or
more MIDI devices, performance data can be exchanged
between the devices, even if they were made by different
manufacturers.
Controlling an external MIDI tone generator
from KROSS
If you want to use the KROSS’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 KROSS’s MIDI OUT connector to the
MIDI IN connector of your external MIDI sound module.
Controlling KROSS’s tone generator from an
external MIDI device
When you wish to play or control the KROSS’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 KROSS.
Controlling two or more external MIDI tone
generators from the KROSS
You can also use a MIDI patch bay to control multiple MIDI
devices.
KROSS
MIDI IN
MIDI OUT
MIDI keyboard
KROSS
MIDI IN MIDI OUT
MIDI keyboard
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
MIDI keyboard
MIDI tone generator
MIDI
patch bay
MIDI IN
MIDI OUT
KROSS
Page: 32
27
Playing and editing Programs
About the KROSS’s Programs
Programs are the basic sounds of the KROSS; you can play
and edit them in Program mode.
You can play them by themselves, layer them together in
Combinations, or play a different Program on each of the 16
MIDI tracks, either from the internal sequencer or from
external computer-based sequencers.
This section of the manual takes a quick look at playing
Programs, including tours of the front-panel controllers and
basic editing techniques.
Playing Programs
Selecting Programs
1. Press the PROG button. (LED lit)
You’ll enter Program mode.
Access the PROG> MAIN page. The upper line of the
display shows the page that you’re on. If a different page
is shown, press the EXIT button several times to access
the PROG MAIN page.
Tip: In the PROG> MAIN page, you can also select
programs by using the cursor buttons ▲▼ or the VALUE
dial.
2. Turn the CATEGORY dial to select the category of
program that you want to play.
The sound select list will appear.
Tip: The sound select list will also appear when you press
the ENTER button.
You can also use the cursor buttons ◄► to switch
categories.
3. Turn the VALUE dial to select the program that you
want to play.
Play the keyboard to hear the sound.
Tip: You can also select programs by using the cursor
buttons ▲▼ or the PAGE-(▲)PAGE+(▼) buttons.
4. To return to the MAIN page, press the MENU button
or the ENTER button to close the menu.
When you press the FUNCTION button or the EXIT
button, your selection will be discarded and you’ll return
to the program where you were before opening the list.
Other ways to select programs
In addition to using the controls on the KROSS’s front panel,
you can select programs in the following ways.
• Using a connected foot switch (see page 24)
• Receiving a MIDI program change (from an external
MIDI sequencer or MIDI controller)
• Selecting a program that you’ve registered in Favorites
(see page 53)
• Selecting a VOCODER or other program that’s
optimized for use with a mic input by the REALTIME
CONTROLS. (see page 15)
1
2 3
2,
4
2,
3
3 3
Mode, page name Tabs Tempo Power supply
Category icon
(Bank USER icon) Program name
SW control information
Category type: Program number (bank number)
Page: 33
PlayingandeditingPrograms
28
Program categories and numbers
The sounds of the KROSS are organized by type into
categories; within each category, an index number is
assigned to each sound. All programs are also assigned a
bank and program number that are used to recall that
program via MIDI.
Note: Depending on the bank, there are limitations on where
a program can be saved. For details, please see “Bank
numbers and conditions for saving” on page 121.
Category and index number
Index number
With the factory settings, the 768 preload programs of banks
A–F, the 256 GM2 preset programs of the GM banks (GM–
g(d)), and the 9 GM2 preset drum programs are organized
into the PIANO–DRUM/SFX categories. Within each
category, the programs are assigned an index number
starting with 000.
The 512 initialized programs of bank UA000…UD127 are
assigned to the USER category.
Category
Program sounds are organized into the 12 categories listed in
the table above. A program category icon is shown in the
upper left of the display. The [USER] category icon is shown
to the left of the PIANO–DRUM/SFX icon.
Bank number
The bank number indication shows the number used for
MIDI transmission and reception. Since the conditions for
saving will differ depending on the bank, this provides a
helpful guide. For more about banks, please see “Bank
numbers and conditions for saving” on page 121.
For the programs in banks GM–g(d), a [GM] icon is shown
at the left of the PIANO–DRUM/IFX icon mentioned earlier.
For details on programs, please see the separate “Voice
Name List.”
SW (Switch assignment) information
In the PROG> MAIN page you can see the following
information above the selected program.
SW1, SW2: Indicate the functions that are assigned to the
SW1 and SW2 buttons.
Using Controllers
In addition to using the keyboard, the KROSS lets you
control the sound by using the pitch bend wheel, modulation
wheel, SW1 and SW2 buttons, damper pedal, and foot
switch or foot pedal.
These controls let you modify the tone, pitch, volume,
effects, etc. in realtime as you play.
• Pitch bend wheel, modulation wheel, SW1, SW2 buttons
→ p.1
• Damper pedal, foot switch/pedal → p.23
• REALTIME CONTROLS → p.15
Performing with the arpeggiator,
drum track or step sequencer
Based on the note data that it receives from the keyboard or
from the MIDI IN connector, the arpeggiator can generate an
arpeggio (broken chord), or produce a wide variety of
phrases and patterns that are appropriate for the sound of the
selected program, such as guitar or keyboard backing riffs,
bass phrases, or drum patterns.
For more about the arpeggiator, please see page 73.
The Drum Track is a function that plays drum patterns in a
variety of styles. For more about the Drum Track, please see
page 83.
The step sequencer is a function that lets you create and play
drum patterns in a way that’s similar to the Drum Track.
While the Drum Track lets you select preset patterns, the
step sequencer lets you create patterns from scratch. You can
create and play drum patterns by turning on/off pads 1–16,
which are located to the right side of the front panel. For
more about the step sequencer, please see page 89.
The Drum Track and the step sequencer each produce sound
using a drum program that is separate from the program that
you play on the keyboard. You can play a program along
with an accompaniment provided by the Drum Track and the
step sequencer.
Arpeggiated phrases, the Drum Track, and the step
sequencer pattern can all be synchronized, and you can also
play along with them.
Category Index number (bank number) Type of sounds
PIANO
000(A000)…063 (A063)
064 (G001)…073 (g2-001)
Acoustic piano
E.PIANO
000 (A064)…082 (B018)
045 (G005)…059 (g4-006)
E.P., clavi/harpsichord
ORGAN
000 (B019)…072 (B091)
073 (G017)…088 (g3-017)
Organ, accordion
BELL
000 (B092)…036 (C000)
037 (G010)…051 (g2-015)
Bell, mallet
STRINGS
000 (C001)…076 (B094)
077 (G041)…101 (g2-049)
Strings, vocal
BRASS
000 (B095)…058 (D008)
059 (G023)…091 (g2-058)
Brass, woodwind, reed
SYNTH LEAD
000 (D009)…093 (D102
094 (G063)…112 (g3-082)
Lead synth
SYNTH PAD
000 (D103)…078 (E053)
079 (G089)…093 (g2-103)
Pad/motion synth
GUITAR
000 (E054)…043 (E097)
044 (G016)…079 (g3-029)
Acoustic/electric guitar
BASS
000 (E098)…062 (F032)
063 (G033)…079 (g4-039)
Electric/acoustic/synth
bass
DRUM/SFX
000 (F033)…094 (F127)
095 (G048)…158 (gd-057)
Drums & percussion,
hits, SFX, vocoder, etc.
USER 000…511 (UA000…UD127)
Sounds saved in the
User category
(With the factory
settings, contains
initialized programs)
Page: 34
QuickLayer/Splitfunction QuickLayer
29
Quick Layer/Split function
Quick Layer is a function that makes it easy to set up a layer,
letting you play two sounds that are layered together. You
can also adjust the volume balance.
Quick Split is a function that lets you create split settings so
that you can play different sounds on the left and right
regions of the keyboard. You can select each of the two
programs, and adjust their volume and octave.
Note: The sound you create will be saved as a combination.
Note: This function makes layer or split settings that
combine two program sounds. Since Combination mode lets
you use up to 16 programs to create complex layers and
splits, you can use Combination mode to make more detailed
edits to the layer or split sound that you created here.
Quick Layer
Quick Split
LAYER/SPLIT button
The Quick Layer/Split function lets you adjust settings by
pressing the front panel LAYER/SPLIT button.
Note: This function is available if Program mode is selected.
It is not available in Combination mode.
Note: It is not available when selecting favorites.
Quick Layer
A typical example of using layers is a sound that layers
strings with piano or electric piano. As an example, here’s
how to create this sound.
1. Press the PROG button to select Program mode.
2. Select one of the two sounds (piano) that you want to
layer.
Turn the CATEGORY dial to select PIANO, and then
turn the VALUE dial to select the piano program that you
want to use.
Press the MENU (OK) button or the ENTER button. (see
“Selecting Programs” on page 27)
3. Press the LAYER/SPLIT button. (The button blinks.)
4. The QUICK LAYER dialog box or QUICK SPLIT
dialog box appear. If the QUICK SPLIT dialog box
appears, press the PAGE- (LAYER◄) button to
switch to the QUICK LAYER dialog box.
Play the keyboard, and you’ll hear the layer sound.
5. Select the other program (strings) that will be layered
with the program you selected in step 2; then specify
its volume and pitch.
• Program:
Select the program. If you used the CATEGORY dial and
the VALUE dial, press the MENU button to close the list.
(Default setting: category STRINGS, index number 000)
• Volume:
Adjust the volume (0–127) of the program you selected
above for the Program to be layered. (Default setting 127)
• Octave:
Adjust the pitch of the program you selected above for
the Program to be layered, in one-octave steps (-3, –2, –1,
0, +1, +2, +3). (Default setting 0)
• Use ARP:
This check box copies the arpeggiator settings of the
program you selected above in the Program field.
(Default setting: not selected)
Note: You can’t change the settings of the first program
(piano).
Note: The next time you open this dialog box, the last-
specified settings will be selected as the default.
6. When you’re finished, press the MENU (WRITE)
button.
The save dialog box will appear.
7. Specify the combination name, the category, and the
save-destination.
• Combination name:
If you want to edit the name, select the combination name
and press the ENTER button. Enter a name in the text
window. (see page 124)
By default, this will show the first 11 characters of the two
program names joined. The two program names will be
separated by “+” for Quick Layer, or by “” for Quick Split.
• Category:
Specify the combination category. By default, the
category of the first program will be specified.
• WRITE To:
Specify the save-destination. You can only select the
USER combination bank. By default, an ascending
number starting at USER:000 will be selected.
8. Press the MENU (OK) button to save your
combination.
The COMBI button will light up, you’ll be in
Combination mode, and the combination that you saved
will be selected.
If you decide not to save the combination, press the
FUNCTION (CANCEL) button. The dialog box will
close, ending the procedure. You will return to the state of
step 2, with that program selected.
Pressing the blinking LAYER/SPLIT button will also
close the dialog box and end the procedure. You can press
the LAYER/SPLIT button again to reproduce the settings
of step 4.
Piano
Strings
Split point
Piano
Bass
Page: 35
PlayingandeditingPrograms
30
Quick Split
A typical example of a split is when you play a piano or
electric piano with your right hand (in the upper region) and
a bass sound with your left hand (in the lower region). As an
example, here’s how to create this sound.
1. In Program mode, select a piano program.
Please see steps 1–2 of the “Quick Layer” section on
page 29.
Note: The procedure will be smoother if you first select
the sound that you want to play in the upper region of the
keyboard.
2. Press the LAYER/SPLIT button. (The button blinks.)
3. The QUICK LAYER dialog box or QUICK SPLIT
dialog box appear. If the QUICK LAYER dialog box
appears, press the PAGE+(►SPLIT ) button to switch
to the QUICK SPLIT dialog box.
4. Select the other program (bass) that will be split with
the program you selected in step 1; then specify its
volume and pitch.
• Program:
Select the other program. If you used the CATEGORY
dial and the VALUE dial, press the MENU button to
close the list.
(Default setting: category BASS, index number 000)
• Split Point:
Specify the point at which the two programs will be
divided. When you play the keyboard, you’ll hear the
bass in the lower region and the piano in the upper region
(including C4). (Default setting C4)
Note: You can use the keyboard to specify the split point.
Select this parameter, and press the ENTER button so that
the ▲▼ symbols are shown beside the value. Press a key
on the keyboard to enter the note number. Press the
ENTER button once again to confirm the setting.
• Lower/Upper:
If you select this parameter and press the ENTER button,
the two sounds will be exchanged. (Default setting:
Lower)
• Volume:
• Octave:
• Use ARP:
Please see step 4 of the “Quick Layer” section on
page 29.
Note: You can’t change the settings of the first program.
Note: The next time you open this dialog box, the last-
specified settings will be selected as the default.
5. When you’ve finished adjusting settings, press the
MENU (WRITE) button to open the dialog box,
adjust the appropriate settings, and save them.
Please see steps 6 and 7 of “Quick Layer” on page 29.
Combination settings made by Quick
Layer/Split
When you use the Quick Layer or Quick Split function, the
effects, Drum Track, and step sequencer will be assigned to
the combination as follows.
Theprogramthathadbeenselectedpriortopressing
the LAYER/SPLIT button
Program: copied to T01
Drum Track: copied to T10
Step sequencer: copied to T16
Arpeggiator: copied to Arp A
IFX1, IFX2, IFX5: copied to IFX1, IFX2, and IFX5
However, depending on the effect types and routing settings,
some effects will not be copied.
MFX1, MFX2: copied to MFX1 and MFX2
The program that was subsequently selected for
layer/split
Program: copied to T02
Drum Track: not copied
Step sequencer: not copied
Arpeggiator: if Use ARP is selected, copied to Arp B
IFX1, IFX2: copied to IFX3 and IFX4
However, depending on the effect types and routing settings,
some effects will not be copied.
MFX1, MFX2: not copied
Page: 36
Easyprogramediting UsingtheToneAdjustandEGAdjustfunctions
31
Easy program editing
Using the Tone Adjust and EG Adjust
functions
The fastest way to create the sound you need is to find a
preload program that’s close to what you want, and then
modify its settings to your taste.
On the PROG> TONE page you can edit the sound’s most
important parameters, such as cutoff frequency, resonance,
attack time, and release time.
1. Access the PROG> TONE page.
Press the PROG button. Next, press the PAGE+ button or
PAGE- button to access the PROG>TONE page.
2. Use the cursor buttons ◄►▲▼ to select the
parameter that you want to edit.
3. Use the VALUE dial etc. to edit the value.
Tone Adjust controls
Note: When the Tone Adjust controls are at +00, the
program parameters will have their original values.
Cutoff
This adjusts the filter’s cutoff frequency. Adjusting the
cutoff frequency will modify the brightness of the sound.
Resonance
This adjusts the filter’s resonance level.
Adjusting the filter resonance level will boost the sound in
the region of the frequency, giving a distinctive character to
the sound.
EG Intensity
This adjusts the filter EG intensity (the depth of how the EG
affects the filter). Normally, increasingly negative values
(“–” settings) will make the filter EG have a shallower
effect, and increasingly positive values (“+” settings) will
make it have a deeper effect. Since the filter EG operates
relative to the filter cutoff frequency, the tonal change
produced by the filter will be affected both by Cutoff and by
EG Intensity.
Vel. Intensity
Adjusts the velocity intensity for the amp level.
With a setting of –99, velocity will no longer produce any
change at all. A setting of +99 will produce maximum
change in the same direction (positive or negative) as for the
original program.
EG Adjust controls
Note: With an adjustment of +00, the value of the program
parameters will be unchanged.
Attack
Adjusts the EG attack times of the filter and amp
simultaneously. This sets the time from note-on until the
attack level is reached. Increasingly negative values (“–”
settings) will shorten the attack time, and increasingly
positive values (“+” settings) will lengthen it.
Decay
Adjusts the EG decay times of the filter and amp
simultaneously. This sets the time from when the attack level
is reached until the break level is reached. Increasingly
negative values (“–” settings) will shorten the decay time,
and increasingly positive values (“+” settings) will lengthen
it.
Sustain
Adjusts the EG sustain level that follows the decay/slope
time, for both the filter and amp simultaneously. This
specifies the level that is reached after the decay time has
elapsed, and is held until note-off. Increasingly negative
values (“–” settings) will lower the sustain level, and
increasingly positive values (“+” settings) will raise it.
Release
Adjusts the EG release times of the filter and amp
simultaneously. This specifies the time from note-off until
the sound disappears. Normally, negative settings will
shorten the release time, and positive settings will lengthen it.
EG Adjust: Time-varying change
in volume and brightness
Tone Adjust (Amp):
Volume change
produced by your
keyboard dynamics
Tone Adjust (Filter):
Brightness of the
sound
In the case of a Low Pass Filter
Frequency
High
Low
Level
Cutoff
Resonance
Level
Time
0
Attack
Time
Sustain
Level
Release
Time
Decay
Time
Level
note-on note-off
Time
Page: 37
PlayingandeditingPrograms
32
Saving your edits
Internally, one controller modifies several parameters.
Saving the program does not save the values of these
controllers; it saves the edited state of the various
parameters.
When the program has been written, the previously edited
values will become the “new” reference values, meaning that
the saved sound will be reproduced when these controllers
are at +00.
Adjusting the volume balance
The sound of a program consists of up to two “oscillators”
that are played mainly from the keyboard, one “Drum
Track” that automatically plays a rhythm section, and one
“step sequencer.”
The volumes of the oscillators and the drum track can be
adjusted in the PROG> MIXER page.
Note: There’s also a “mute function” which individually
silences these, and a “solo function” which mutes all sounds
other than the specified one.
1. Access the PROG> MIXER page.
2. Use the cursor buttons ◄►▲▼ to select the “Vol”
parameters of oscillator 1 or 2, the Drum Track, and
the step sequencer, and adjust their volume.
Note: For single-oscillator programs, oscillator 2 will not
be available for editing.
Note: If the Hold Balance function is selected, changing
any of the volume values will simultaneously affect the other
volume values as well. The overall volume balance will be
preserved. This is convenient when you want to adjust the
overall volume.
Mute
• Select Play/Mute for oscillator 1 or 2, the Drum Track,
or the step sequencer, and press the ENTER button to
change the setting.
Solo
• Select the Solo Setting function and press the MENU
(OK) button to access the dialog box.
Use the cursor buttons ◄►▲▼ to select the item that
you want to solo, and press the ENTER button to turn
solo on/off.
Pressing the PAGE– (CLEAR) button will turn off solo
for all items.
If Exclusive Mode is on, only one item at a time will be
soloed.
To return to the PROG> MIXER page, press the MENU
(DONE) button.
Using REALTIME CONTROLS to adjust
the sound or effects
1. In program category «E.PIANO», select » 018
E.P.Suit Mark V»
This is an electric piano sound. Let’s try modifying the
character of the sound.
2. In REALTIME CONTROLS, press the SELECT
button to select TONE 1. (LED lit)
3. While you play, slowly turn the KNOB 1 knob
(CUTOFF) toward the right to about the 3/4 position.
The piano sound becomes more like a synth sweep.
4. Turn the KNOB 2 knob (RESONANCE) to about the
3/4 position as well.
5. Leave the KNOB 2 knob (RESONANCE) where it is,
and try turning the KNOB 1 knob (CUTOFF) left and
right.
Raising the resonance gives the sound a character as
though it was being played through a wah pedal.
6. Next, in REALTIME CONTROLS, press the
SELECT button to select TONE 2. (LED lit)
7. Try adjusting the KNOB 1 knob (ATTACK) or the
KNOB 2 knob (RELEASE). These modify the attack
time or the release time, changing the character of the
sound.
8. If you want to save the sound that you edited, execute
«Write Program» to save the edited sound.
Saving the edited content does not save the angle of the
knobs; it saves the edited state of the various parameters.
When the data has been written, the previously edited values
will become the «new» reference values, meaning that the
saved sound will be reproduced when the knobs are at the
center position. (see page 308 of the Parameter Guide)
Comparing the unedited sound
Using COMPARE
When you’re in the process of editing a sound, pressing the
COMPARE button will recall the last saved version of the
sound, as it was before you started editing.
For details, please see “Compare/Undo function” on
page 13.
Page: 38
Easyprogramediting Savingyouredits
33
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.
For details, please see “Writing a Program or Combination”
on page 122.
You can also save programs on an SD card as .PCG files. For
additional details, please see “Saving to SD card” on
page 125.
Page: 39
PlayingandeditingPrograms
34
Detailed Editing with Programs
You can create original sounds by editing a preloaded
program or by editing an initialized program.
For details, please see “Saving your edits” on page 33.
Before you start editing
The three elements of sound: pitch, tone,
and volume
Sound is made up of three basic elements: pitch, tone, and
volume.
The KROSS 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.
Pitch settings are made in the P-PITCH and P-PITCH EG
pages; filter settings are made in the P-FILTER and P-
FILTER EG pages; amp settings are made in the P-AMP and
P-AMP EG pages.
EG, LFO, AMS, and controllers
In addition to the three elements listed above, a sound can
vary according to the passage of time, the pitch range in
which it’s played, or by performance expressions.
Such aspects can be controlled by modulators and
controllers such as the EG (envelope generator), LFO (low
frequency oscillator), and the modulation wheel. These
modulators and controllers can apply changes to the basic
program.
Take a look at the illustration below called “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.
OSC (oscillator) 1/2
The OSC (oscillator) generates the waveform that is the
basis of the sound. On the KROSS, the oscillator consists of
multiple sampled sounds, such as a multisample or a drum
kit (drumsamples).
The KROSS provides two oscillators; OSC1 and OSC2. You
can create more complex programs by combining these.
The OSC, which is the basis of the sound, can be controlled
by modulating its pitch, filter, amp, EG, and LFO to change
the sound in a wide range of ways.
Note: Pitch EG is shared by OSC1 and OSC2.
Effects
As effects, you can use five insert effects, and two master
effects.
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.
Arpeggiator
A program can use one arpeggiator. You can select an
arpeggio pattern, specify the range that the pattern will be
developed within, and specify the range of notes or
velocities that will trigger the arpeggiator.
Drum Track and step sequencer
While the arpeggiator plays the main program, separate
drum programs are provided for the Drum Track and the step
sequencer.
The Drum Track lets you select a drum program and pattern,
and specify how it will be triggered.
The step sequencer lets you select the instrument that the
drum program will use, and lets you specify a pattern by
using pads 1–16.
OSC1 Basic Amp
Pitch EG
Filter EG Amp EG
OSC1 LFO1
OSC 1
OSC 2
Filter Mod
Filter LFO Mod
OSC1 Pitch
OSC1 LFO2
Amp Mod
OUTPUT
L/MONO, R
Master
Effect
1, 2
Insert
Effect
1…5
Oscillator / Pitch Filter Amplifier Effects
Filter (A/B)
OSC1, 2
Insert Effects
Master Effects
FX Control Bus
Routing
Common LFO
Tone Adjust Drum Track Step Sequencer Arpeggiator
Program structure
Page: 40
DetailedEditingwithPrograms Anoverviewoftheeditpages
35
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 31
explained how to use the PROG> TONE page to do simple
editing. For more detailed editing, you’ll use the P-BASIC
and following edit pages.
For details on how to access each mode and page, please see
“Basic operations” on page 12.
Switching the screen between oscillator 1
and 2
To edit parameters such as the pitch, filter, or amp of
oscillator 1 or oscillator 2, use the cursor buttons to select
OSC on the upper left, and use the ENTER button or the
VALUE dial to select the oscillator that you want to edit.
Page Tabs Main content
PROG
MAIN Select and play programs
TONE Easy sound editing
MIXER
OSC1, 2, Drum Track, and step
sequencer volume adjustment and
mute settings
ARP Simple arpeggiator editing
P-INPUT/
CTRL
AUDIO IN External audio input settings
CONTROLLERS
SW1 and 2 function settings and tempo
setting
P-BASIC
VOICE
Basic program settings, such as
Oscillator mode
NOTE-ON
Key zone, and timing settings following
note-on
SCALE Scale settings
P-OSC
MS1…MS4 Multisample and drum kit settings
VEL Oscillator velocity zone settings
P-PITCH
BASIC Oscillator 1 and 2 pitch settings
MOD Pitch modulation settings
PORTA Portamento settings
P-PITCH
EG
ENVELOPE Pitch EG settings
L-MOD Pitch EG level modulation settings
T-MOD Pitch EG time modulation settings
P-FILTER
BASIC Oscillator 1 and 2 filter settings
MOD Filter modulation settings
EG-I Filter EG intensity settings
LFO-I Filter LFO intensity settings
KTRK Filter keyboard tracking settings
P-FILTER
EG
ENVELOPE Oscillator 1 and 2 filter EG settings
L-MOD Filter EG level modulation settings
T-MOD Filter EG time modulation settings
P-AMP
BASIC
Oscillator 1 and 2 amp (volume) and
pan settings
MOD Amp modulation settings
KEYTRK Amp keyboard tracking settings
P-AMP EG
ENVELOPE Oscillator 1 and 2 amp EG settings
L-MOD Amp EG level modulation settings
T-MOD Amp EG time modulation settings
P-OSC
LFO
1. WAV
Oscillator 1 and 2 LFO1 waveform
settings
1. FRQ
LFO1 frequency and modulation
settings
2. WAV
Oscillator 1 and 2 LFO2 waveform
settings
2. FRQ
LFO2 frequency and modulation
settings
P-CMN
LFO/KT
LFO.W Common LFO waveform settings
LFO.F
Common LFO frequency and
modulation settings
KT.1 Common keyboard tracking 1 settings
KT.2 Common keyboard tracking 2 settings
P-AMS
MIXER
1 Oscillator 1 and 2 AMS mixer 1 settings
2 Oscillator 1 and 2 AMS mixer 2 settings
P-ARP
SETUP Arpeggiator settings
SCAN ZONE
Specifies the range in which the
arpeggiator operates
P-DRUM
TRACK
PATTERN
Drum Track pattern selection and
trigger region settings
PROGRAM Drum Track program selection
P-STEP
SEQ
BASIC
Step sequencer program selection and
length settings
EDIT Step on/off entry
INST Instrument settings
MOD
Step sequencer effects such as accent
and swing
MIX Drum program selection
P-FX
ROUTING
BUS
Oscillator 1 and 2 insert effect bus
settings
SEND
Oscillator 1 and 2 master effect send
level settings
IFX
Insert effect type selection and chain
settings
MIXER Post-insert effect routing settings
P-IFX
IFX1
Insert effect 1–5 settings
IFX2
IFX3
IFX4
IFX5
P-MFX
SETUP
Master effect type selection and chain
settings
MFX1
Master effect 1 and 2 settings
MFX2
Page Tabs Main content
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PlayingandeditingPrograms
36
Basic oscillator settings
Here is where you can specify the type of program, select the
basic waveform (multisample or drum kit), and specify
whether it will play polyphonically or monophonically
(poly/mono).
Program type setting
(single, double, drum kit)
Here is where you can specify the program type.
Broadly speaking, the program type will be either “a
program that uses a multisample” or “a program that uses a
drum kit.” (see “Multisamples and Drum Kits,” below)
This choice is made by the PROG> VOICE “OSC Oscillator
Mode” setting, which specifies which type the oscillators
will use.
• Multisample: Single, Double
• Drum kit: Drums
Single (single program) uses one oscillator, and Double
(double program) uses two oscillators.
Drums (drum program) is similar to a single program, but
uses a drum kit (created in Global/Media mode) instead of a
multisample.
Polyphony
Polyphony is the number of notes that can be played
simultaneously, such as in a chord. The polyphony depends
on the program type.
Note:
• Double Programs 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.
Polyphonic/monophonic playing
To specify whether the program will play polyphonically
(Poly) or monophonically (Mono), access the PROG>
VOICE page and set the Voice parameter.
When this is set to Poly, you can play both chords and
melody lines. When this is set to Mono, only one note will
sound even if you play a chord.
Normally you’ll set this to Poly, but Mono is useful when
playing sounds such as synth basses, synth leads, and other
solo instruments.
Try switching between Poly and Mono, and listen to the
results.
Working with Multisamples
What is a multisample?
A 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.
For each oscillator, you can assign up to four multisamples
and switch between them by velocity.
Multisamples and Drum Kits
Multisamples and Drum Kits allow you to play samples in
different ways.
• Multisamples lay out one or more samples across the
keyboard. If we use the example of a simple guitar
multisample, one sample could be assigned for each
string, so that the multisample would consist of six
samples.
• As the name suggests, Drum Kits are optimized for
playing drumsamples.
Velocity switch, crossfades, and layers
Each oscillator provides four 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 switch, where multisamples (or drumsamples)
are cleanly switched at the threshold
• Velocity crossfades, where multisamples (or
drumsamples) are smoothly crossfaded over a specified
range outside the threshold
• Velocity layers, where two multisamples (or
drumsamples) are layered when you play a specified
range outside the threshold
Note: If “Oscillator Mode” is set to Drums, the velocity
settings pre-specified for the drum kit will be used, and
therefore will not be shown in the screen. A drum kit’s
velocity zones can be edited in the Global/Media mode
DRUM KIT page. (see page 111)
Selecting Multisamples
Let’s create a simple velocity crossfade between two
Multisamples, using just OSC1.
1. Select the P-OSC> MS1 page, and turn the
multisample 1 Multisample On/Off parameter On.
Switching pages as necessary, turn the Multisample On/
off parameter on for multisample 2, and off for
multisamples 3 and 4.
Program type Polyphony
Single 80
Double 40
Drums 80
Multisample On/Off
Bank Multisample Select
Page: 42
DetailedEditingwithPrograms Basicoscillatorsettings
37
2. 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.
3. Select the multisample.
Multisamples are organized by category such as piano,
guitar, bell, etc. Choose the Multisample Select parameter
and press the ENTER button to see the list. Use the cursor
buttons ◄► to switch categories, use the cursor buttons
▼▲ to select a multisample, and press the ENTER
button to confirm your choice.
There are three types of multisamples: ROM, RAM, and
option. For each type, you can select either mono (M) or
stereo (S) multisamples. Note that stereo multisamples will
require twice as many voices as mono multisamples.
ROM multisamples are internal preset sounds, and can
always be used. They are organized by categories such as
piano, guitar, and bell.
RAM multisamples can be used by converting samples that
you sampled using the pad sampler.
Option multisample banks can be used if you have loaded
option multisamples. The menu shows only the currently-
loaded option banks.
4. In the same way, select multisample 2 in the P-OSC>
MS2 page. Select a different Multisample than what
was selected for multisample1.
Multisamples have now been assigned to multisample 1
and 2.
5. Specify the velocity range and crossfade range.
Set the multisample 2 “Threshold Velocity” to 001, and
turn “Crossfade” Off.
6. In the P-OSC> MS1 page, set the velocity range
(Bottom Vel.) to 80 for multisample 1.
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 Zone shows the oscillator’s four
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.
7. Set the multisample 1 “Xfade” to 20, and its “Curve”
to Linear.
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.
8. As needed, use the P-OSC> MS1 page and MS2 page
to adjust the Level of the two multisamples.
Using a drum kit
What is a drum kit?
A drum kit is a collection of drum set samples such as bass
drum, snare, or cymbal, as well as a variety of other
percussion sounds, with a sample assigned to each key.
You’ll use Global/Media mode to create and edit a drum kit.
Up to four drum samples can be assigned to each note of the
keyboard, and you can use the BottomVel., Xfade, and
Curve parameters to specify how you’ll switch between
these samples. Then, in Program mode, you can adjust filter
and amp settings, and specify effects and routing to the audio
output jacks. (see page 111)
To use a drum kit in a Program, set Oscillator Mode to
Drums, and choose one of the 58 user drum kits or the 9
GM2 drum kits.
Selecting a drum kit
1. Access the P-BASIC> VOICE page.
2. Set “OSC (Oscillator Mode)” to Drums.
3. Select a drum kit in the P-OSC> DKit page.
4. Specify the basic pitch of the oscillator. For a drum
kit, set “Octave” to +0 [8′].
Category
Velocity Zone
Meter
Level
Page: 43
PlayingandeditingPrograms
38
Creating time-varying changes
(LFO and EG)
Using LFOs
You can use the cyclic change produced by the LFO (Low
Frequency Oscillator) to modulate numerous aspects of the
sound.
Each Program has two LFOs: LFO1 and LFO2. There is also
a single Common LFO, shared by both Oscillators. While
LFO1 and LFO2 are separate for each voice, the Common
LFO is shared by all voices in the Program. This makes it
useful when you want all of the voices to have an identical
LFO effect.
You can use these LFOs to modulate many different
Program parameters, including:
• Pitch (for vibrato)
• Filters (for wah effects)
• Volume (for tremolo)
• Pan (for auto-panning)
The LFOs can modulate many other parameters, in addition
to those listed above.
Using the basic LFO
1. Access the P-OSC LFO> 1. WAV page.
2. Select the oscillator (OSC) that you want to edit. (see
page 35)
3. Select a Waveform.
Step through the various waveforms, and notice their
shapes shown in the display.
There are a number of waveforms to choose from. Each
are suited to different applications:
Triangle and Sine are the classic LFO shapes for vibrato,
tremolo, panning, and filter wah effects.
Square is useful for gated on and off filter and amp
effects, and can create trills when modulating pitch.
The Guitar waveform is designed especially for guitar
vibrato; it bends only upwards from the base value.
Saw and Exp. (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.
4. After looking at the different waveforms, select
Triangle.
5. 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.
6. 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.
7. Use the Fade and Delay settings to control the way the
LFO sounds at the beginning of the note.
8. Access the P-OSC LFO> 1. FRQ page.
9. Use the FREQUENCY parameter to set the speed of
the LFO.
For more information on LFOs, please see page 39 of the
Parameter Guide.
All of these parameters control the way that the LFO
works. In order for the LFO to actually affect the sound,
you can use the dedicated LFO routings on the Filter,
Pitch, and Amp pages, or use the LFOs as AMS sources
for a wide variety of parameters.
Using EGs (Envelope Generators)
An envelope creates a modulation signal by moving from
one level to another over a specified time, and then moving
to another level over another period of time, and so on.
The Program includes three EGs, for Pitch, Filter, and Amp.
These produce time-varying changes in pitch, tone, and
volume respectively. They can also be used to modulate a
number of other program parameters via AMS.
Note: The parameters that can be modulated by an EG and
the range of values will differ depending on the EGs
provided for each section.
Waveform
OSC
Level
Time
note-on note-off
Start Level
Attack Time
Decay Time Slope Time
Attack Level
Break Level
Release
Level
Sustain Level
Release Time
Page: 44
DetailedEditingwithPrograms Diversemodulationsettings(AMSandAMSmixer)
39
Diverse modulation settings
(AMS and AMS mixer)
Using AMS
AMS (Alternate Modulation Source) lets you modulate
program parameters using controllers, EG, or LFO as the
modulation source. Extremely creative types of modulation
are possible; for example, you can use a single controller to
simultaneously modulate multiple parameters, or you can
use an EG to modulate an LFO’s frequency and then use that
LFO to modulate a filter.
AMS (Alternate Modulation Source) refers to any of the
assignable modulation sources in KROSS, including:
• Controllers of the KROSS itself, such as the modulation
wheel, the pitch bend wheel, and SW 1/2
• Incoming MIDI controllers
• Modulators such as the Filter, Pitch, and Amp EGs, the
LFOs, or the AMS Mixers
Intensity is a parameter that sets the degree (speed, depth,
amount etc.) of how AMS will control the modulation.
A number of frequently-used modulation routings, such as
using the modulation wheel or the pitch bend wheel to vary
the pitch, are provided as additional, dedicated routings,
separate from AMS.
Note that not all AMS sources may be available for some
modulation destinations.
For details on alternate modulation and AMS, please see
below.
• “Alternate Modulation Sources (AMS)” on page 293 of
the Parameter Guide
• “Creating Vibrato” on page 40
• “Pitch EG” on page 40
• “Filter EG” on page 42
• “LFO modulation” on page 42
• “AMS (Pan)” on page 32 of the Parameter Guide
• “LFO1/2” on page 43
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 modulation
wheel to control the amount of pitch EG, allowing the pitch
bend wheel to apply bend only to notes played while you
hold down the foot switch.
The AMS Mixer outputs appear in the list of AMS sources,
just like the LFOs and EGs. An AMS mixer’s output signal
can be used to modulate a variety of parameters.
This also means that the original, unmodified inputs to the
AMS Mixers are still available as well. For instance, if you
use LFO 1 as an input to an AMS Mixer, you can use the
processed version of the LFO to control one AMS
destination, and the original version to control another.
Finally, you can cascade the two AMS Mixers together, by
using AMS Mixer 1 as an input to AMS Mixer 2.
For details, please see “12: P–AMS MIXER” on page 45 of
the Parameter Guide.
Tips for using AMS
When adjusting settings for alternate modulation, think of
the effect that you wish to produce, what type of modulation
will be necessary to produce that effect, and what parameter
of the oscillator, filter, or amplifier needs to be controlled.
Next, select a source AMS and set the Intensity. If you
proceed logically in this way, you will achieve the desired
effect.
For example in a guitar sound program where you want to
use the modulation wheel to control the feedback, you would
select assignments where the modulation wheel controls the
filter frequency and resonance.
Controller Setup page
For each program, the function of the SW1 and SW2 buttons
can be assigned in the P-INPUT/CTRL> CONTROLLERS
page.
For details, please see “Setting the functions of SW1 and
SW2” on page 44.
Page: 45
PlayingandeditingPrograms
40
Controlling Pitch
Pitch Bend
Pitch bend smoothly changes the pitch upward or downward,
similar to how a guitarist can “bend” strings. On the
KROSS, you can use the pitch bend wheel to control this in
real time.
The amount of pitch change applied when you move the
pitch bend wheel fully toward yourself or fully away from
yourself is specified in semitone steps by the Bend(+) and
Bend(–) settings. For example if Bend(+) is set to +12,
moving the pitch bend wheel fully away from yourself will
make the pitch rise one octave.
Note: This can also be controlled via MIDI or by using a
controller other than the pitch bend wheel.
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 and LFO2 Intensity specify how deeply the selected
LFO will affect the pitch. With a setting of +12.00, vibrato
will vary the pitch in a range of one octave upward and
downward.
M.Whl-Int specifies the amount of vibrato that will be
produced by the LFO when the modulation wheel is moved
fully away from you.
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, suppose that in
the P-INPUT/CTRL>CONTROLLERS page, you set SW1
to SW1 Mod.:#80, set LFO1 AMS to SW1:#80, and set
“Intensity” to an appropriate value; when you now turn on
SW1 or receive MIDI control change CC#80, vibrato will be
applied.
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.
Portamento
Portamento makes the pitch change smoothly when you play
the next note before releasing the previous note.
The Time parameter controls how long it will take the pitch
to change. As this value is increased, the pitch will change
over a longer time. With a value of 000, there will be no
portamento.
You can turn Portamento on and off via SW1 or SW2, by
assigning them to Porta. SW: #65.
LFO1 Intensity
AMS AMS Intensity
Modulation Wheel
Intensity
Pitch EG Intensity
Page: 46
DetailedEditingwithPrograms UsingFilters
41
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 P-FILTER> BASIC
page.
Filter Routing
Each oscillator has two filters, Filter A and Filter B. The
Filter Routing parameter controls whether one or both of
the filters are used, and if both are used, it controls how they
are connected to each other.
The Single routing uses only Filter A as a single 2-pole,
12dB/octave filter (6dB for Band Pass and Band Reject).
The Serial routing uses both Filter A and Filter B. The
oscillator first goes through Filter A, and then the output of
Filter A is processed through Filter B.
The Parallel routing also uses both Filter A and Filter B.
The oscillator feeds both filters directly (and allow
independent settings for each), and the outputs of the two
filters are then summed together.
The 24dB(4Pole) routing merges both filters to create a
single 4-pole, 24dB/octave filter (12dB for Band Pass and
Band Reject). In comparison to Single, this option produces
a sharper roll-off of frequencies beyond the cutoff frequency,
as well as a slightly more delicate resonance. Many classic
analog synths used this type of filter.
Serial and Parallel Routing
Filter Types
This selects the parts of the sound that will be affected by the
filter, as described below. With the Serial and Parallel
routings, you can independently set the types for Filter A and
Filter B.
The filters will produce very different results depending on
the selected filter type.
Low Pass: This cuts out the parts of the sound that are
higher than the cutoff frequency. Low Pass is the most
common type of filter, and is used to make bright timbres
sound darker.
High Pass: This cuts out the parts of the sound that are
lower than the cutoff frequency. You can use this to make
timbres sound thinner or more buzzy.
Band Pass: This cuts out all parts of the sound, both highs
and lows, except for the region around the cutoff frequency.
Since this filter cuts out both high and low frequencies, its
effect can change dramatically depending on the cutoff
setting and the oscillator’s multisample.
With low resonance settings, you can use the Band Pass
filter to create telephone or vintage phonograph sounds.
With higher resonance settings, it can create buzzy or nasal
timbres.
Band Reject: This filter type–also called a notch filter–cuts
only the parts of the sound directly around the cutoff
frequency. Try modulating the cutoff with an LFO to create
phaser-like effects.
Filter Types and Cutoff Frequency
Filter Routing Resonance
Filter Type
Filter A (Low Pass)
Oscillator
Oscillator
Filter B (High Pass)
Filter A (Low Pass)
Filter B (High Pass)
Low Pass
High Pass
Band Pass
Band Reject
Cutoff Frequency
Page: 47
PlayingandeditingPrograms
42
Resonance
Resonance emphasizes the frequencies around the cutoff
frequency, as shown in the diagram below.
When this is set to 0, there is no emphasis, and frequencies
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the
filter, making it sound more nasal, or more extreme. At very
high settings, the resonance can be heard as a separate,
whistling pitch.
To make the resonance track the keyboard pitch, please see
“Key Follow” on page 27 of the Parameter Guide.
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.
Filter EG
The Filter EG is a multi-stage envelope, which you can use
to modulate the filter as well as other Program parameters.
The EG itself is set up on the P-FILTER EG> ENVELOPE
page; the way that it affects the filters is controlled by the
parameters described below, on the P-FILTER> EG-I
(Intensity) page.
The Intensity to A and Intensity to B settings control the
basic amount of EG modulation for filter frequencies A and
B, respectively, before other modulation.
The Velocity to A and Velocity to B settings let you use
velocity to control the amount of EG modulation.
The Filter EG AMS setting selects an AMS modulation
source to scale the amount of the Filter EG that’s applied to
Filters A and B. The two filters share a single AMS source,
with separate intensity A or B settings.
LFO modulation
You can modulate the filter via LFO1, LFO2, and the
Common LFO. Among other applications, LFO modulation
of the filter can produce the classic “auto-wah” effect.
The P-FILTER> LFO-I (Intensity) page lets you set up the
following parameters separately for each LFO:
Intensity to A and Intensity to B specify how much the
LFO changes the tone.
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: #80, turning SW1 on
will apply an auto-wah effect. (see page 40)
Keyboard Track
Most acoustic instruments get brighter as you play higher
pitches. At its most basic application, keyboard tracking re-
creates this effect by increasing the cutoff frequency of a
lowpass filter as you play higher on the keyboard. Usually,
some amount of key tracking is necessary in order to make
the timbre consistent across the entire range.
The KROSS keyboard tracking can also be much more
complex, since it allows you to create different rates of
change over up to four different parts of the keyboard. For
instance, you can:
• Make the filter cutoff frequency increase very quickly
over the middle of the keyboard, and then open more
slowly–or not at all–in the higher octaves.
• Make the cutoff frequency increase as you play lower on
the keyboard.
• Create abrupt changes at certain keys, for split-like
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps, or
slopes, between five keys on the keyboard.
For details, please see “How it works: Keys and Ramps” on
page 26 of the Parameter Guide.
Low resonance
High resonance
Page: 48
DetailedEditingwithPrograms UsingtheAmpsection
43
Using the Amp section
The Amp section includes controls for volume, pan, and the
driver circuit.
You can control the volume using the Amp EG, LFO 1/2,
Key Track, and velocity, along with other AMS sources.
Each Oscillator has its own Amp section: Amp1 for OSC1,
and Amp2 for OSC2.
Background — what does “Amp” mean?
Different sounds have characteristic shapes to their volume
levels.
For example, the volume of a piano note begins at a high
volume the instant you play the note, and then decreases
gradually.
The volume of an organ note, on the other hand, remains
constant as long as you continue pressing the key.
The volume of a note on a violin or wind instrument can be
varied during the note by the musician (i.e., by regulating the
amount of pressure on the bow or the force of the breath).
Pan
Pan
The main Pan parameter controls the stereo position after
the signal has passed through the oscillator, filter, and amp.
Normally you’ll set this to C064, so that the sound is
centered equally between the left and right speakers.
To create a stereo effect when OSC (Oscillator Mode) is set
to Double, set the OSC1 Pan to L001, and the OSC2 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 KROSS, producing an
interesting effect.
Pan — DKIT-SET (Use DKit Setting)
Use DKit Setting applies when OSC (Oscillator Mode) is
set to Drums.
If this is checked, the Program can use a different pan
position for each drum sound, as specified by the Drum Kit.
If this is unchecked, all drum sounds will use the Program’s
pan position.
The factory presets and GM drum kits use individual pan
positions for the different drums, so normally it’s best to
leave this checked.
Amp modulation
The basic volume level is set by the Amp Level parameter.
You can then alter this using the modulation sources below:
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 Int (Intensity), LFO2 Int (Intensity) value.
AMS Intensity adjusts the depth of how the tremolo effect
produced by the LFO will be affected when you assign an
AMS (LFO1 AMS, LFO2 AMS).
For example if AMS (LFO1 or LFO2) is set to
M.Wheel:#01, a tremolo effect will be produced when the
modulation wheel is moved away from yourself or when
CC#1 is received.
Keyboard Track
This lets you vary the volume relative to the note that you
play.
For details, please see “Keyboard Track” on page 42.
Amp EG
The Amp EG lets you control how the volume changes over
the course of the duration of a note.
Every instrument has its own characteristic volume
envelope. This is part of what gives each instrument its
identifiable character.
Conversely, by changing the volume contour–for instance,
applying a string-like Amp EG curve to an organ
multisample– you can produce interesting and unusual
sounds.
Volume
Time
Volume
Time
Piano Organ
Volume decays
gradually
Volumeremainsconstant
until note is released
Page: 49
PlayingandeditingPrograms
44
Making controller assignments
Setting the functions of SW1 and SW2
These on/off buttons can perform a number of different
functions, such as modulating sounds or effects, or locking
the modulation values of the modulation wheel.
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).
These settings are adjusted on the following
CONTROLLERS pages.
Note: The on/off status of the SW1 and SW2 buttons will be
preserved when you write the program or combination.
Note: You can use SW1/2 as alternate modulation or effect
dynamic modulation sources to control program parameters
or effect parameters.
To do so, you will normally assign SW1 Mod. :#80 and SW2
Mod. :#81.
For a complete list of the possible assignments, please see
page 302 of the Parameter Guide.
Note: If you want to keep these settings after the power is
turned off, you must save them. (see page 122)
Arpeggiator settings
According to the note data that’s 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.
For more about the arpeggiator, please see page 73.
Drum Track settings
You can use the KROSS’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 83.
Using the step sequencer
The step sequencer is a function that plays a KROSS drum
program using a drum pattern which you can create in an
intuitive way by using pads 1–16. You can play a program
while listening to the rhythm produced by the step
sequencer.
For more about the step sequencer, please see page 89.
Effects
For details, please see “Using Effects” on page 67.
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 KROSS in record-standby mode
when you simply press the (REC) button. Then you can
press the SEQUENCER (start/stop) button to begin
recording.
For details, please see “Auto Song Setup function” on
page 60.
Mode Page
Programs P-INPUT/CTRL> CONTROLLERS
Combinations C-INPUT/CTRL> CONTROLLERS
Sequencer S-INPUT/CTRL> CONTROLLERS
Piano
Organ
Strings
Page: 50
45
Playing and editing Combinations
About the KROSS’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.
This section of the manual takes a quick look at playing
Combinations, including a tour of the front-panel controllers
and basic editing techniques.
Playing combinations
Selecting Combinations
1. Press the COMBI button. (LED lit)
You’ll enter Combination mode.
Access the COMBI> MAIN page. The upper line of the
display shows the page that you’re on. If a different page
is shown, press the EXIT button several times to access
the COMBI> MAIN page.
Tip: In the COMBI> MAIN page, you can also select
combinations by using the cursor buttons ▲▼or the
VALUE dial.
2. Turn the CATEGORY dial to select the category of
combination that you want to play.
The sound select list will appear.
Tip: The sound select list will also appear when you press
the ENTER button.
You can use the cursor buttons ◄► to switch categories.
3. Turn the VALUE dial to select the combination that
you want to play.
Play the keyboard to hear the sound.
Tip: You can also select programs by using the cursor
buttons ▲▼ or the PAGE-(▲), PAGE+(▼) buttons.
4. To return to the MAIN page, press the MENU (OK)
button or the ENTER button to close the menu.
If you press the FUNCTION button or the EXIT button,
your selection will be discarded and you’ll return to the
combination where you were before opening the list.
Other ways to select combinations
In addition to using the controls on the front panel of the
KROSS, you can select combinations in the following ways.
• Using a connected foot switch (see page 24)
• Receiving a MIDI program change message (from an
external MIDI sequencer or MIDI controller)
• Selecting a combination that you’ve registered in
Favorites (see page 53)
1
2 3
4 2,
4
2,
3
3 3
Mode/Page title
Tabs Tempo Power supply
Category icon
(Bank USER icon) Combination name
Timbre category/Status
Category type:
Combination number (bank number)
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