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Table of Contents

STEP 1.. . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Rear panel and connections . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Basic LCD screen operation . . . . . . . . . . . . . . . . . . . . . . . . . . 8
1. Operating objects in the LCD screen. . . . . . . . . . . . . . . . . 8

STEP 2. Playing . . . . . . . . . . . . . . . . . . . 10
Check the connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. Make connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Turning the power on/off . . . . . . . . . . . . . . . . . . . . . . . .
3. Using headphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Adjusting the volume . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10
10
10
10
10

Listening to the demo songs. . . . . . . . . . . . . . . . . . . . . . . . .


1. Listening to the demo songs. . . . . . . . . . . . . . . . . . . . . . .
2. Starting playback from a specific demo song . . . . . . . .
3. Listening to demo playback of a backing sequence . . .

10
10
10
11

Selecting sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. Selecting by category . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Directly selecting an arrangement, style or program . .
3. Using a controller to select . . . . . . . . . . . . . . . . . . . . . . . .

11
11
12
12

Performance edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The modes of the i30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. Arrangement Play mode. . . . . . . . . . . . . . . . . . . . . . . . . .
2. Backing Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Song mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Song Play mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Program mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Edit Style mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7. Global mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8. Disk mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13
13
13
13
13
13
13
14
14

STEP 3. Editing . . . . . . . . . . . . . . . . . . . . 15
Basic operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. Selecting the mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Setting parameter values. . . . . . . . . . . . . . . . . . . . . . . . . .

15
15
15
15

Editing an arrangement (Arrangement Play mode). . . . .


1. Playing an arrangement . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Changing the keyboard (KBD) sound. . . . . . . . . . . . . . .
3. Editing an arrangement . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Using a KBD Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Other convenient functions . . . . . . . . . . . . . . . . . . . . . . .
6. Writing an arrangement . . . . . . . . . . . . . . . . . . . . . . . . . .

16
16
17
17
21
22
22

Editing a backing sequence (Backing Sequence mode) . . 23


1. Recording an arrangement performance to the
sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2. Ifyoumakeamistakewhilerecordinganarrangementperformance
24
3. Using the extra keyboard tracks to add finishing
touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Editing a program (Program mode) . . . . . . . . . . . . . . . . . .
1. How a program is constructed. . . . . . . . . . . . . . . . . . . . .
2. Basic program editing . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Effect settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Writing a program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Drum program settings. . . . . . . . . . . . . . . . . . . . . . . . . . .

26
26
26
29
33
33

Style editing (Edit Style mode) . . . . . . . . . . . . . . . . . . . . . . .35


1. What is a Style? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
2. Recording a style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
3. Testing a chord variation . . . . . . . . . . . . . . . . . . . . . . . . . .37
4. Take advantage of patterns . . . . . . . . . . . . . . . . . . . . . . . .38
5. Sophisticated recording techniques for the
Drums track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
6. Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
7. Writing a style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Playing a Standard MIDI File (Song Play mode) . . . . . . . .41
1. About SMF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
2. Playing back SMF data . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
3. Saving a Jukebox list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
4. Playing along with SMF data. . . . . . . . . . . . . . . . . . . . . . .43
5. Playing one song at a time . . . . . . . . . . . . . . . . . . . . . . . . .43
Saving data (Disk mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
1. Media that can be used . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
2. Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
3. Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
4. Data handled in Disk mode . . . . . . . . . . . . . . . . . . . . . . . .45
Floppy disk handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
1. Types of floppy disk and formatting . . . . . . . . . . . . . . . .45
2. Floppy disk handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
3. Floppy disk write protect tab . . . . . . . . . . . . . . . . . . . . . .46
4. Inserting a floppy disk . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
5. Removing a floppy disk . . . . . . . . . . . . . . . . . . . . . . . . . . .46
6. Cleaning the heads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Appendices . . . . . . . . . . . . . . . . . . . . . . . 47
MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
About Interfacing with Your computer . . . . . . . . . . . . . . . .47
1. Connecting via MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
2. Connecting an IBM PC (compatible) . . . . . . . . . . . . . . . .48
3. Connecting an Apple Macintosh. . . . . . . . . . . . . . . . . . . .48
TO HOST Baud Rate setting . . . . . . . . . . . . . . . . . . . . . . .48
Wiring diagram for special connection cable . . . . . . . . . . .48
Korg MIDI Driver installation and setup . . . . . . . . . . . . . .49
1. Installing the Korg MIDI Driver into Windows 95 . . . .49
2. Installing the Korg MIDI Driver into Windows 3.1 . . . .50
3. Installing the Korg MIDI Driver into a Macintosh . . . . .51
Messages of the i30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Initialized programs and styles. . . . . . . . . . . . . . . . . . . . . . .56
1. Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
2. Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
List of detected chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Specifications and options . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Options (sold separately) . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . .61

STEP 1.
STEP 1

Front panel
9
5
3
1

1. SW 1, SW 2

3. MASTER VOLUME slider

Various functions can be assigned to these switches


in the Global mode. You can assign settings in the
SW 1 and SW 2 pages.

OUTPUT MIXER sliders


In Arrangement Play mode, Backing Sequence
mode and Edit Style mode, these adjust the vol-

Joystick
This can be moved up/down left/right to control
pitch and modulation.

2. Floppy disk drive slot


A 3.5 inch 2DD (double side double density) or 2HD
(double side high density) floppy disk can be
inserted here. For details on floppy disk handling,
refer to Floppy disk handling (p.45).

Eject button
To eject the floppy disk, make sure that the disk
access indicator is off, and press this button. If the
disk does not eject when you press this button, do
not attempt to remove the disk by force. Contact
your dealer.

Disk access
indicator

This adjusts the overall volume of the i30.

ume balance between the various parts of the


arrangements.
Since these are provided to adjust the balance in
realtime while you play, set all sliders to the same
position when you create an arrangement, and use
the Volume parameters for each part that are shown
in the LCD to adjust the balance between parts.

MAIN (main keyboard)/SUB (sub keyboard)/


LOWER (lower keyboard) are used to adjust the
melody or chord parts that are played on the keyboard. These are collectively referred to as the KBD
(keyboard) parts.
DRUMS/PERC (percussion)/BASS/ACC 13 are
used to adjust the accompaniment parts during
arrangement play, and are collectively referred to as
the ACC (accompaniment) parts. Operation of
these sliders is not transmitted as MIDI volume
messages.

Eject button

Headphone jack
A pair of headphones can be connected here.
This allows you to monitor the sound that is output
from the OUTPUT 1/L/MONO and OUTPUT 2/R
jacks.

PLAY/MUTE keys
In Arrangement Play mode and Backing
Sequence mode, you can either PLAY or MUTE
(muted: indicator dark) each part.
Note: Parts which have been muted will not be output from the OUTPUT jacks or the headphone jack,
nor will they be transmitted as MIDI messages.

4. Mode keys
These keys are used to access the various modes of

the i30.

5. EXIT key
This key is used to return to the basic page of each
mode.
Note: When a dialog box is displayed, pressing
either the Exit button or the Cancel button will have
the same result.

MENU key
ARR PLAY (arrangement play) key
In Arrangement Play mode you can enjoy performing with the automatic accompaniment functionality.
Note: If you modify the settings of an arrangement
here, any backing sequences which uses that
arrangement will also be affected.

BACKING SEQ (backing sequence) key


In Backing Sequence mode you can record a performance which uses the automatic accompaniment
functionality, or playback the data which was
recorded.

SONG key
In Song mode you can create sixteen track sequence
data.
Use this mode when you wish to create an original
song from scratch, or when you wish to modify
backing sequence data which was converted into a
Standard MIDI File.

This key is used to access the Jump page of each


mode. (A page which displays various Jump buttons for moving to the desired page within the
mode.)

TEMPO LED
These four LEDs will light in synchronization with
the tempo and count the beats.

TEMPO/VALUE
Dial
This dial is used to modify the value of the edit cell
that is selected (highlighted) in the LCD.

[+] (value plus) key


This key increases the value shown in the selected
edit cell in steps of one.

[] (value minus) key


This key decreases the value shown in the selected
edit cell in steps of one.

SONG PLAY key


In Song Play mode you can playback Standard
MIDI Files that were loaded from floppy disk or
hard disk (if installed).
Note: If you simultaneously press the Song Play
key and the DISK key, you will enter DEMO
mode. For details on demo playback, refer to Listening to the demo songs (p.10).

PROGRAM key
In Program mode you can edit programs (sounds),
and use the i30 as a conventional synthesizer.

EDIT STYLE key


In Edit Style mode you can create and edit the styles
used by an arrangement.

GLOBAL key
In Global mode you can edit various settings which
affect the overall system of the i30 (such as keyboard touch sensitivity, etc.).

DISK key
In Disk mode you can save i30 data to floppy disk
or hard disk (if installed), or load this data into the
i30.
Note: If you simultaneously press the Song Play
key and the DISK key, you will enter DEMO
mode. For details on demo playback, refer to Listening to the demo songs (p.10).

COMPARE (compare/undo) key


While editing in Arrangement Play mode and
Program mode, you can press this key to return to
the settings which were written in internal memory.
At this time, the LED will light.
Press the key once again, and you will return to the
edited state (Undo), and the LED will go dark.
However if you modify the parameters after returning to the settings that were written in memory, you
will be once again editing at that point, meaning
that if you again press the COMPARE key you will
go back to the settings that were written in memory.

you can press this key to return to the condition in


which the data was before that operation was executed.
However if you modify the parameters after returning to the unedited condition, you will once again
be editing, meaning that Undo will no longer be
available even if you press the COMPARE key once
again.

RESET key
In Backing Sequence mode, Song mode or Edit
Style mode, press this key to return to the first
measure. When you wish to modify the initial settings for each part of a backing sequence or song,
press this key before making the changes.
You can also press this key if for some reason notes
become stuck".

TAP TEMPO key


By pressing this key several times in succession, you
can input the corresponding time interval as one
beat.

6. ARRANGEMENT/STYLE keys
STYLE keys
AD keys (use to specify the bank)
18 keys (1st digit)
18 keys (2nd digit)
In Arrangement Play mode or Backing
Sequence mode, these keys are used to switch the
arrangement.
When you press the STYLE key, its LED will light.
While the LED is lit, the AD keys and 18 keys are
used to select styles.
While the LED is dark, the AD keys and the 18
keys are used to select arrangements.

To select an arrangement, press the keys in this


order: AD, then 18 (for the 1st digit) and finally 1
8 (for the 2nd digit) to specify first the bank
then the 1st digit and finally the 2nd digit to
select the arrangement or style. At this time if you
do not need to change the bank, you may omit
pressing the bank key. Likewise, if you do not need
to change the 1st digit, you may omit inputting the
1st digit.

Arrangement banks A and B are preset banks, and


C and D are user banks.
When an arrangement is written, it will be written
to bank C or D.
Style banks A and B are preset banks, and bank C
is the user bank.
If you wish to edit a style, you may do so with any
style in bank C.

PROGRAM keys
AR keys (use to specify the bank)
18 keys (1st digit)
18 keys (2nd digit)
Use these keys to switch programs.
Press the keys in this order: AR, then 18 (for the
1st digit) and finally 18 (for the 2nd digit) to specify first the bank then the 1st digit and
finally the 2nd digit to select the program. At this
time if you do not need to change the bank, you
may omit pressing the bank key. Likewise, if you do
not need to change the 1st digit, you may omit
inputting the 1st digit.
Program banks A and B are GM banks, banks CE
are preset banks, banks F and G are user banks, and
bank R is the drum bank.
Edits of programs in banks AG can be written into
banks F or G.
Edits of programs in bank R can be written into
numbers 5158 of bank R.
In Arrangement Play mode or Backing
Sequence mode when you wish to recall a Keyboard Set, press the KBD SET key to access the dialog box, and use these keys 18 to specify the
keyboard set number.

STEP 1

While recording or editing data in Backing


Sequence mode, Song mode or Edit Style mode,

7. CHORD MEMORY key


This key is used in Arrangement Play mode and
Backing Sequence mode.
When this key is pressed, the Chord Memory function will be on, and the key LED will light.
If you play a chord while this function is on, the
chord will be held even after you take your hand off
the keyboard. The chord will continue to be held
until you press this key once again to turn off the
function, or until you play a different chord.

CHORD SOUND key

TEMPO LOCK key


This key is used in Arrangement Play mode.
When this key is pressed, the Tempo Lock function
will be on, and the key LED will light.
If you switch arrangements while this function is
off, the tempo setting will automatically change to
the value that is specified by the newly selected
arrangement.
If you switch arrangements while this function is
on, the tempo value will remain constant.

KBD LOCK key

This key is used in Arrangement Play mode and


Backing Sequence mode.
When this key is pressed, the Chord Sound function
will be on, and the key LED will light.

This key is used in Arrangement Play mode and


Backing Sequence mode.
When this key is pressed, the Keyboard Lock function will be on, and the key LED will light.

If you play a chord while this function is on, the


Harmony part (constituent notes of the chord) and
the K.Bass part (bass note) will sound.
The settings of the Harmony part and K.Bass part
can be saved as an arrangement or keyboard set.

If you switch arrangements while this function is


off, the settings of the KBD part will change to the
values that are specified by the newly selected
arrangement.
If you switch arrangements while this function is
on, the settings related to the KBD part will not
change. For details refer to 5. Other convenient
functions (p.22).

BASS INVERSION key


This key is used in Arrangement Play mode and
Backing Sequence mode.
When this key is pressed, the Bass Inversion function will be on, and the key LED will light.
If you play a chord while this function is on, the
inversion of the chord will be detected.
For example, if you play a chord on the keyboard
consisting of the notes G-C-E, the LCD will show as
follows:
When this function is off: C
When this function is on: C/G
This way, G will be detected as the bass note.
The difference that the Chord Sound function
makes when turned on will be obvious in the K.Bass
part when an arrangement is being played.

ENSEMBLE key
This key is used in Arrangement Play mode and
Backing Sequence mode.
When this key is pressed, the Ensemble function
will be on, and the key LED will light.
When this function is on, harmony will be added to
the melody as appropriate for the chords. There are
ten ways in which the harmony can be added, and
this can be specified for each arrangement by the
Ensemble Type parameter located in the Ensemble
page found in Global Setting of Arrangement Play
mode.

FULL KBD PLAY key


This key is used in Arrangement Play mode and
Backing Sequence mode.
When this key is pressed, the Full Keyboard Play
function will be on, and the key LED will light.
When this function is on, the specified Split Point
will be ignored, and the sounds of the Main KBD
part and Sub KBD part can be played over the entire
keyboard.

KBD SET key


This key is used in Arrangement Play mode and
Backing Sequence mode.
Pressing this key will access a dialog box in which
you can select a keyboard set.
Use the PROGRAM keys 18 to specify the number
of the keyboard set that you wish to recall, and
press the EXIT button. In this way, settings related
to the KBD part can be changed at one touch. For
details refer to 4. Using a KBD Set (p.21).

VARIATION 14 keys
These keys are used in Arrangement Play mode
and Backing Sequence mode.
When you press one of these keys, the arrangement
playback will change. For details refer to 1. Playing
an arrangement (p.16).

These keys are used in Arrangement Play mode


and Backing Sequence mode.
When either of these keys are pressed, a fill-in will
be added to the arrangement playback. For details,
refer to 1. Playing an arrangement (p.16).

8. INTRO/ENDING 1, 2 keys
These keys are used in Arrangement Play mode
and Backing Sequence mode.
When either of these keys are pressed before you
start arrangement play, an intro will be added at the
beginning. When either of these keys are pressed
during arrangement play, an ending will be
inserted, and then the arrangement will end. However, while inputting or playing back a backing
sequence, playback will not halt when the ending is
completed. For details refer to 1. Playing an
arrangement (p.16).
If you press the INTRO/ENDING key whose LED
is lit while an intro is playing, it will continue
repeating. If you press any one of the 4 variation
buttons while an intro is playing, it will finish the
intro and then jump to the selected variation.

START/STOP key
In Arrangement Play mode this key is used to
start and stop arrangement playback.
In Backing Sequence mode this key is used to
start and stop playback of a backing sequence, and
to start and stop realtime recording.
In Song mode this key is used to start and stop
playback of song data, and to start and stop realtime
recording.
In Song Play mode this key is used to start and
stop playback of SMF data.
In Edit Style mode this key is used to start and
stop playback of a style, and to start and stop realtime recording.

REC/WRITE key
In Backing Sequence mode, Song mode and Edit
Style mode, pressing this key will enter recordready mode for realtime recording, and the LED
will light. Pressing the key once again will exit
record-ready mode. To begin recording, press the
START/STOP key while the LED is lit.
In Arrangement Play mode, this key accesses the
dialog box which allows you to write any changes
to an arrangement. In Program mode, this key
accesses the dialog box which allows you to write
any changes to a program.

FADE IN/OUT key


This key is used in Arrangement Play mode,
Backing Sequence mode, Song mode and Song
Play mode.
When this key is pressed, the volume will gradually
increase as playback begins. When this key is
pressed during playback, the volume will gradually
decrease, and playback will stop when silence is
reached.

SYNCHRO START key


This key is used in Arrangement Play mode.
When the LED of this key is lit, playback will start
when you press a note in the area to the left of the
split point.

SYNCRO STOP key


This key is used in Arrangement Play mode.
When the LED of this key is lit, playback will stop
when you remove your hand from the keyboard
area to the left of the split point.

RIT. (ritardando) key


This key is used in Arrangement Play mode,
Backing Sequence mode, Song mode and Song
Play mode.
When you press this key during playback, the
tempo will gradually become slower. The rate at
which the tempo becomes slower is specified in the
Global mode Rit.&Accel. page.

ACCEL. (accelerando) key


This key is used in Arrangement Play mode,
Backing Sequence mode, Song mode and Song
Play mode.
When you press this key during playback, the
tempo will gradually become faster. The rate at
which the tempo becomes faster is specified in the
Global mode Rit.&Accel. page.

TRANSPOSE

 (flat) key
This key lowers the pitch in increments of 1/2 step.

# (sharp) key
This key raises the pitch in increments of 1/2 step.
In modes other than Global mode and Disk
mode, you can use these keys to transpose the
entire performance. The pitch can be transposed a
maximum of eleven semitones upward or downward.
If you press the  and # keys simultaneously, the
pitch will return to the original setting.

STEP 1

FILL 1, 2 keys

OCTAVE

board.
In Arrangement Play mode and Backing
Sequence mode, these keys will change the octave
of the KBD parts (Lower KBD, Sub KBD, Main
KBD) shown in the LCD screen.

DOWN key
This key lowers the pitch in increments of one
octave.

UP key

9. LCD screen

This key raises the pitch in increments of one


octave.
In modes other than Global mode and Disk
mode, you can use these keys to raise or lower the
pitch played by the keyboard in units of one octave.
The pitch can be raised or lowered a maximum of
two octaves. This is useful when you wish to play
notes that are beyond the normal range of the key-

The i30 features a Touch View System using a


touch panel.
By pressing objects that are shown in the LCD, you
can select factory-set arrangements, backing
sequences, or programs, and edit (modify) their
parameters. For details refer to Basic LCD screen
operation (p.8).

Rear panel and connections


All connections must be made with the power turned off. Incorrect operation can damage your speaker system or
cause malfunctions.
AC power supply inlet

1 Power cable

Power switch

CONTRAST knob

(included)

to an AC outlet

MIDI cable

EC5

INPUT
MIDI OUT

MIDI IN
VOLUME

10

PHONES

MIDI keyboard

1. Power cable connection


Connect the included power cable to the AC power
supply inlet of the i30, and then connect the other
end to an AC outlet.

2. Audio equipment connections


OUTPUT jacks (1/L/MONO, 2/R, 3, 4)
You can connect an amplified monitor speaker system or your audio system and enjoy the sounds of
the i30.

MIDI

COMBI

PROG

BANK
PAGE+

EDIT

GLOBAL
MULTI

PAGE-

+10

+1

-10

-1

POWER

MIDI tone generator module


(synthesizer)

Monitor speakers
(amplified)

When making connections in stereo, use the OUTPUT 1/L/MONO jack and the 2/R jack. When making connections in mono, use the OUTPUT 1/L/
MONO jack.
If you are using a stereo audio amp or a cassette
radio that has external input jacks, make connections to the jacks marked LINE IN, AUX IN or
External Input.
When playing the i30 through a stereo audio amp,
be careful not to raise the volume excessively, since
high volumes may damage your speaker system.

3. Pedal connections

Music stand assembly procedure

STEP 1

ASSIGNABLE PEDAL/SWITCH jacks (1, 2)


Music support

A separately sold Korg XVP10 or EXP2 pedal controller or PS1 foot switch etc. can be connected.
In the Assignable Pedal page located in Global
mode Assign, functions such as Start/Stop or Program Up/Down can be assigned to these pedals.

Protrusion

Protrusion

DAMPER jack
A separately sold Korg DS1H damper pedal etc.
can be connected here.

Music shelf

In the Assignable Pedal page located in Global


mode Assign, you can specify a polarity setting that
is appropriate for the pedal that was connected.

4. MIDI equipment connections


MIDI connectors (IN, OUT, THRU)
If you wish to connect an external MIDI device, use
a MIDI cable to make connections to the MIDI connectors of the external device. For details refer to
MIDI applications (p.47).
These connectors are used to exchange data with
devices that have a MIDI interface, such as a computer or another keyboard. In order to make connections, you will need a separately sold MIDI
cable.
The MIDI IN connector receives MIDI messages
from another device.
The MIDI OUT connector transmits MIDI messages to another device.
The MIDI THRU connector re-transmits without
change all messages which were received at the
MIDI IN connector.

5. TO HOST connector

Rear view

* As shown in the diagram


at right, align the
protrusion of the music
support with the bottom
of the protrusion of the
music shelf, and press it
strongly in until it clicks
into place.

This connector allows the i30 to be connected


directly to a computer etc. that is not equipped with
a MIDI interface, so that data can be exchanged.
To make connections using this, you will need to
purchase a separately sold connection kit of the type
suitable for your computer.

6. EC5 connector
A separately sold Korg EC5 external controller can
be connected here.
In the EC5 page of Global mode Assign, you can
assign different functions such as Start/Stop or Program Up/Down to each of the five switches of the
EC5.

7. Music stand holes


You can insert the included msuic stand here (see
stand assembly and insert procedure to the right).

Completed

Protrusion

Basic LCD screen operation


The LCD screen of the i30 features a Touch View System
based on a touch panel.

1. Using the LCD screen


On the i30, various operations such as selecting
pages or parameters, accessing page menu commands, or renaming or writing arrangements or
backing sequences etc. are performed by pressing
parameters that are displayed in the screen.
a: Current page display

g: Page menu button

appear.
This popup menu will show a list of the available
parameter values.
Press the desired value in the popup menu, and the
popup menu will close and that value will be input
in the edit cell.

Safety pin
This switches the popup menu
between locked and unlocked
states.
When locked, the safety pin will
be closed, and the popup menu
will remain displayed even after
you press one of the parameter
values.
When unlocked, the safety pin
will be open, and the popup
menu will disappear when you
press one of the parameter
values.

Scroll bar *

b: Edit cell
c: Popup button

* Scroll bar
A scroll bar will appear if there are more values than
can be displayed on the screen at once.

d: Check box
e: Radio buttons

Press here to scroll to left or right.

f: Tabs
Press here and slide to left
or right to scroll the display
to the desired location.

Press here to scroll to


the specified location.

h: Select buttons

d: Check box
Each time you press a check box, the check mark
will appear or disappear.
When the box is checked, the parameter will function. When the box is unchecked, the parameter
will not function.

a: Current page display


This shows the currently selected page.
From the left, this area shows the mode name, the
button name that was selected in the Jump page,
and the page name.
Mode name

Button name

Page name

Checked

Unchecked

e: Radio buttons
Radio buttons are used to select one of two or more
choices.

b: Edit cell
When you press a parameter in the LCD screen, the
parameter value display will be highlighted (if the
parameter can edited). This area is referred to as the
edit cell, and the highlighted portion is what your
editing will affect.
To modify the parameter value of the edit cell, you
can use the TEMPO/VALUE dial, the [+] or [] keys,
or the popup buttons in the LCD screen.

c: Popup button
When this button is pressed, a popup menu will

f: Tabs
Press a tab to access the selected page.

h: Select buttons

Press this button to access the page menu commands.


The page menu commands that appear will depend
on the selected page.

Safety pin
This switches the popup menu between
locked and unlocked states.
When locked, the safety pin will be closed,
and the popup menu will remain displayed
even after you press one of the parameter
values.
When unlocked, the safety pin will be open,
and the popup menu will disappear when
you press one of the parameter values.

Page menu commands


When you press a command, a
dialog box* will appear.

The i30 provides two ways to select programs,


arrangements or styles. You can press the select
button in the LCD screen, or you can use the
ARRANGEMENT/STYLE keys and the PROGRAM keys.
When you press a select button, sixteen categories
will be displayed. All sounds are classified into one
of sixteen categories which indicate the basic character of that sound. Press the desired category of
sound, and a list of sounds will appear. Select the
desired sound from the list.
For details on using the ARRANGEMENT/
STYLE keys and the PROGRAM keys to select
sounds, refer to Selecting sounds (p.11).

i: Other objects
* Dialog box
The dialog boxes that appear will depend on the
page menu command that is selected.
In some cases, popup buttons or text edit buttons
may appear. In all cases, follow the messages that
appear in the dialog box.
To execute the command, press the OK button. To
exit without executing, press the Cancel button.

Text edit button**

Cancel button OK button


To close the dialog box, press either the Cancel button or the OK button.

** Text edit button


When you press this button, a text edit dialog box
will appear.
In this dialog box you can enter a name for a
arrangement, backing sequence, or song etc.
Text

Cursor

Character set
Select the type of character.

Character buttons
Shift button
Switch between
uppercase and
lowercase characters.

Delete button
Cursor buttons

Clear button

Move the cursor to


left or right.

Erase all characters


of the text.

Space button
Insert a space at the cursor
location.

Delete the character at


the left of the cursor.

Cancel button, OK button


If you are satisfied with the text that
you input, press the OK button. If
you wish to exit the text edit dialog
box without changing the previous
setting, press the Cancel button.

Parameters represented by graphics in the form of


a slider or knob can be modified by pressing the
parameter, then moving your finger, using the
TEMPO/VALUE dial or the [+] and [] keys.
Objects referred to in the i30 owners manual as ...
button or ... tab are generally found in the LCD
display. Objects referred to as ... key, ...dial or
...slider are generally found on the front panel.

STEP 1

g: Page menu button

STEP 2. Playing
Checking the connections
1. Making connections
Refer to Rear panel and connections (p.6) and
make connections as necessary.

2. Turning the power on/off

Listening to the demo


songs
1. Listening to the demo songs
Heres how to listen to the demo songs.

1 Simultaneously press the SONG PLAY key and


the DISK key.
You will enter DEMO mode.

Turning the power on


1 Press the power switch of the i30 to turn the power
on.
The Arrangement Play mode Main KBD page will
appear.

2 Turn on the power of your powered monitor speakers or stereo amp.

Turning the power off


1 Turn off the power of your powered monitor speak2 Press the START/STOP key.

ers or stereo amp.

2 Press the power switch of the i30 to turn the power


off.

The demo songs will playback in succession from


song number 0.
When the last song finishes playing, playback will
continue from song number 0.

3. Using headphones
Connect a set of stereo headphones (phone plug) to
the headphone jack.

3 To stop playback, press the START/STOP key.


4 To exit DEMO mode, press any of the mode keys.

2. Starting playback from a specific


demo song
Heres how you can begin playback from the specified song.

1 Simultaneously press the SONG PLAY key and


Headphones

the DISK key. You will enter DEMO mode.

4. Adjusting the volume


Raise the Master Volume slider to an appropriate
volume. This slider also adjusts the volume of the
headphones.

2 Press the Demo Song popup button, and specify


the song that you want to playback first.

3 Press the START/STOP key.


The demo songs will playback in succession, beginning with the song that you selected.
When the last song finishes playing, playback will
continue from song number 0.

4 To stop playback, press the START/STOP key.


5 To exit DEMO mode, press any of the mode keys.

Heres how to listen to the demo playback of a backing sequence.


Since this data will be loaded from a floppy disk
into the i30, the settings, backing sequence data and
song data of the i30 will be rewritten. If the i30 contains data that you wish to keep, refer to Saving
data (p.44) and save it to disk before you continue.

1 Insert the included i30FD-00P floppy disk into the


disk drive.

2 Press the DISK key to enter Disk mode.


4
3

8 Press the START/STOP key to start demo playback.

9 To stop demo playback, press the START/STOP


key.

Selecting sounds
On the i30, arrangements, styles and programs etc. can be
selected in three ways: by category, directly, or using a connected controller.

1. Selecting by category
Heres how you can select an arrangement by category.

1 Press the ARR PLAY key to enter Arrangement


Play mode.

2 Press the EXIT key, and then press the Home button.
3

3 Press the EXIT key to access the File page, and


select PRELOAD.SET.
4 Press the page menu button to access the page
menu commands.
5

3 Press the arrangement select button.


The sixteen categories will be displayed.

5 Press Load.
The following dialog box will appear.

4 Select a category.
Arrangements belonging to that category will be
displayed as a list.

5 Select an arrangement.

6 Press the OK button.


7 Press the BACKING SEQ key to enter Backing
Sequence mode.

STEP 2

3. Listening to demo playback of a


backing sequence

When you select an arrangement, the list will disappear automatically. When an arrangement is
selected, the style (sequence data which corresponds to the musical notation for the band), tempo
and program data shown below will also change at
the same time.
If you would like to listen to each of the arrangements in the category, you can lock the safety pin
shown at the upper left of the arrangement list, and
then select various arrangements while you play the
keyboard and hear the sounds.

Play

2. Directly selecting an arrangement,


style or program
If you remember the number of a frequently-used
sound, you can use the front panel keys to select it
directly.

Selecting an arrangement
1 Make sure that the LED of the STYLE key (located
in the ARRANGEMENT/STYLE section) is dark.
If the LED is lit, press the STYLE key.

2 Use the ARRANGEMENT/STYLE keys AD to


select the bank.

3 Use the upper 18 keys to input the 1st digit of the


number.
number.
3
2

Arrangements, styles and programs can be selected


using a controller such as SW1 or SW2.

1 Press the GLOBAL key to enter Global mode.


2 Press the MENU key, and then press the Assign
button.
3 Press the SW 1 or SW 2 tab.
The SW 1 or SW 2 page will appear.

4 If you wish to use the front panel SW1 to select


arrangements, set the SW 1 parameter to Arrange/
Style Up (or Arrange/Style Down).
If you wish to use SW2 to select arrangements,
assign the desired function to the SW 2 parameter.

5 Press the ARR PLAY key to enter Arrangement

4 Use the lower 18 keys to input the 2nd digit of the

3. Using a controller to select

If you wish to select another number from the same


bank, simply input the 2nd digit to change the
arrangement.
For example if you write your own original arrangements into locations with the same 1st digit, they
can be selected quickly.

Selecting a style
1 Press the STYLE key (located in the ARRANGEMENT/STYLE section) to make the LED light.

Play mode, and press SW 1.


When the STYLE key LED is dark, pressing SW 1
will increment the arrangement so that the next
highest arrangement is selected. When the STYLE
key LED is lit, pressing SW 1 will increment the
style.
By connecting a separately sold Korg EC5 external
controller to the EC5 connector located on the rear
panel, and setting the Global mode EC5 page
parameters to assign the appropriate function to
each switch, you can use the EC5 to select arrangements, styles or programs in the same way as
explained here for SW 1 and SW 2. A pedal switch
can also be used in this way.

Performance edit
While playing a program on the i30, you can modify the
pitch, brightness and volume etc. in the LCD screen. The
functionality which allows these changes to be made in
realtime is referred to as Performance Edit.

2 Use the ARRANGEMENT/STYLE keys AC to


select the bank.

3 Use the upper 18 keys to input the 1st digit of the

1 Press the PROG key to enter Program mode.

number.

4 Use the lower 18 keys to input the 2nd digit of the


number.

Selecting a program
1 Use the PROGRAM keys AD to select the bank.
1

2
3

2 Use the upper 18 keys to input the 1st digit of the


number.

3 Use the lower 18 keys to input the 2nd digit of the


number.

If the Performance Edit page is not displayed, press


the EXIT key.

2 Use the program select buttons to select the program that you wish to play.

3 Select a slider, and use the VALUE dial or the [+]


and [] keys to modify the value while you play.
The center of the LCD screen will show the name of
the currently selected parameter that is being
edited.
If you come up with a sound that you like, you can
use the page menu command Write Program to
write the program into internal memory. If you
select another program before you write, the edited
program will be lost.

The i30 has the following eight modes:

1. Arrangement Play mode


Arrangement Play mode is the mode which is the
center of the i30s functionality. This mode will be
selected whenever the power is turned on.
In this mode you can make settings for the arrangements of the i30.
The i30 has a total of 256 arrangements (4 64),
organized in four banks: banks A and B (preset
banks) and banks C and D (user banks). These can
be used to play your own original songs, or to play
your own versions of existing songs. These arrangements can also be recorded in Backing Sequence
mode.
An arrangement consists of a Style and settings for
the three keyboard parts (Lower KBD, Sub KBD,
Main KBD). Each arrangement contains parameters
which specify the program (the timbre of the instrument), volume, pan, effect, tempo and muting etc.
An arrangement that you create can be saved in
banks C or D.

2. Backing Sequence mode


In Backing Sequence mode you can record your
playing along with an arrangement, or play it back.
Each backing sequence consists principally of three
arrangement tracks: keyboard track, control track,
and chord track.
The control track records operations of the front
panel keys, and the chord track records the chord
progression. This information is used when you
select an arrangement and control the playback of
the backing tracks.
The keyboard track is used when you use the keyboard part to add a melody to the accompaniment.
Of course, you are also free to leave this track empty
and play the keyboard part live.
In addition to the arrangement tracks, there are five
tracks referred to as the extra KBD tracks, and additional portions of the song can be recorded on these.

3. Song mode
Song mode allows you to use the internal sequencer
to create song data consisting of up to sixteen tracks.
Song data that you create can be stored on a floppy
disk in Disk mode.

4. Song Play mode


In Song Play mode, data that has been saved in
Standard MIDI File format can be played back
directly from a floppy disk.
In Song Play mode, you can modify the program
selection, volume, pan and effect send level of each
channel, playback Standard MIDI Files in a desired
order, mute specific tracks during playback, or
replace tracks with your own playing. You can also
adjust the tempo, transposition, and effects.

5. Program mode
The sounds that you play on the i30 are called Programs.
The i30 provides a total of 448 programs (7 64)
organized into seven banks: banks A and B (GM
banks), banks C, D and E (preset banks), and banks
F and G (user banks). There are also forty more programs in bank R (the drum bank, which also contains user programs), bringing the total to 488
programs.
In Program mode you can edit the brightness and
tonal quality etc. to create your own original programs.
These programs are used by each part or track in
Arrangement Play mode and Backing Sequence
mode, and also for playback of Standard MIDI Files
in Song Play mode.

6. Edit Style mode


A Style is a collection of elements from which songs
or accompaniments can be assembled, and consists
of typical musical patterns from various genres such
as rock, pop or ethnic music. The i30 allows you to
create your own original styles.
A total of 176 styles are provided: 128 in banks A
and B (2 64), and 48 in bank C (user bank).
In Edit Style mode you can create user styles in
bank C. Use the Write Style operation to write the
style you created into internal memory.
In Arrangement Play mode, the style receives chord
data from the keyboard of the i30, and flexibly creates an accompaniment that is suitable for the chord
at each moment.
A style consists of a total of six tracks: drums (a conventional drum set), percussion (all percussion
instruments other than drums), bass (low pitched
instrument), and accompaniment 13 (general
accompaniment instruments).

STEP 2

The modes of the i30

Play

7. Global mode
In Global mode you can make the following settings
which affect the functionality of the entire i30.

Keyboard tuning parameters


Settings for MIDI functions
Settings for SW 1 and SW 2
Settings for a connected foot pedal
External controller settings
Velocity curve settings
Scale settings
Control of MIDI transmission/reception
Note: You must execute the Write Global Settings
command to write these settings.

8. Disk mode
In this mode, i30 data can be saved to a floppy disk
or hard disk (if installed). i30 data or SMF data can
also be loaded from floppy disk or hard disk (if
installed) into internal memory.
Note: the i30 can use Style data from other i-series
instruments.

STEP 3. Editing
3. Setting parameter values

Basic operation
1. Selecting the mode
The i30 has eight modes, which are selected by
pressing the mode keys (ARR PLAY key DISK
key) located on the front panel.

The value of the edit cell in the LCD screen can be


set using the front panel dial or the [+] and []
keys. As needed, you can press the COMPARE
key to restore the unmodified condition.
You can also press a popup button to access a
popup menu, and press the desired value to input
it.

When the power is turned on, the instrument will


automatically be in Arrangement Play mode.
Backing Sequence mode

Program mode
Edit Style mode

Song Play mode

Song mode

Disk mode
Global mode

2. Pages
Each of the eight modes of the i30 contain a large
number of functions.
Each mode is organized into multiple pages.
When you press the front panel MENU key, a list of
the contents of each mode will appear. This display
is referred to as the Jump page.

Dial
Use this when you wish to make large changes in
the value.

[+] key, [] key


Use these when you wish to make small changes in
the value.

COMPARE key
Use this key to compare the settings of the program
or arrangement that you are editing with the settings that are written into internal memory.

By pressing the buttons that are displayed in the


Jump page, you can access the corresponding displays.
When the upper left button of the Jump page (the
Home button in the example shown above) is
pressed, the basic display of that mode will appear.
This display will also appear when the EXIT key is
pressed.
If a screen consists of more than one page, tabs will
be displayed at the bottom of the LCD screen. You
can access the desired page by pressing the corresponding tab.

If you press this key while editing, the last-written


settings will be recalled, and the key LED will light.
Press the key again and you will return to the settings being edited (Undo), and the LED will go
dark.
For backing sequences or styles, you can use this
key to compare the results of sequence data entry or
editing.
If you recall the settings that were written into the
i30 and then edit those settings, you will once again
be in edit mode at that point, which means that
Undo will not be available even if you press this
key.

STEP 3

Arrangement Play mode

Edi

Editing an arrangement
(Arrangement Play mode)
1. Playing an arrangement
Lets select arrangement B62 and play it.

1 Press the ARR PLAY key to enter Arrangement Play


mode.

2 Make sure that the LED of the STYLE key (located


in the ARRANGEMENT/STYLE section) is off, and
press the B key.
If the STYLE key LED is lit, press the STYLE key to
make the LED go dark.

3 Press the 6 key in the upper line, and press the 2


key in the lower line.
Arrangement B62 will be selected.

4 Press the START/STOP key.


Arrangement play will begin.

5 Play a chord (three or more notes) in the keyboard


area to the left of the split point.
The keyboard shown in the middle of the LCD
screen corresponds to the keyboard of the i30.
When you play a chord in the range shown in
inverse video, the chord will be detected by the i30,
and the chord name will be displayed in the right of
the LCD.

Chord name display

7 Press the START/STOP key to stop arrangement


play.

8 Press the INTRO/ENDING 1 key.


The INTRO/ENDING 1 key LED will light.
At this time, one of the VARIATION 14 key LEDs
will blink. This indicates the variation that will be
used following the intro.
The performance played by the arrangement will
differ depending on the variation that is used.

9 Press the START/STOP key.


The intro will begin.
At this time, the measure location of the currently
played intro will be displayed in the upper lefthand side of the LCD screen.
When the intro ends, playback will switch to the
variation that was blinking in step 8.

0 Try pressing the FILL 1 key.


A short fill-in will be inserted.
Note: when you press the INTRO/ENDING 1 key
or the FILL 1 key, the timing will be adjusted so that
it connects smoothly with the i30s performance.
However depending on the timing at which you
press the button, there may be cases in which only
the latter portion is played, so be aware of the timing at which you press the button.
As with the intro, the playback will switch to the
blinking variation when the fill ends. On the i30 you
can specify the variation which will be used following a fill. For details refer to Arrangement Play
mode 64. Fill/Scale (Parameter Guide p.8), in the
discussion of the Variation Change after Fill in
parameter.

A Press the INTRO/ENDING 1 key.


The ending will begin. When the ending is completed, arrangement play will stop.

Chord detection area

In the factory preset arrangements, the intro and


ending will be played differently, depending on
whether you have pressed the INTRO/ENDING 1
key or the INTRO/ENDING 2 key.
When you press the INTRO/ENDING 1 key, an
intro or ending with chord development will be
played.

If you have pressed the CHORD MEMORY key to


turn the function on, the i30 will detect the lastpressed chord even if you release the hand which
was playing the chord.

6 Play another chord on the keyboard.


The i30 will detect the chord, and will produce an
automatic accompaniment that is appropriate for
that chord.
During arrangement play, six parts are accompanying: Drums, Perc, Bass, ACC1, ACC2 and ACC3.
These are collectively referred to as the ACC
(accompaniment) parts.
Of these, the Bass, ACC1, ACC2 and ACC3 parts
will play automatically according to the chord.
When no chord is detected (when the chord name is
not displayed), only the Drums part and Perc part
(which are not related to the chord) will play.

When you press the INTRO/ENDING 2 key, an


intro or ending without chord development will be
played.
Since variations, intros and endings are played
according to the sequence data of the style, the
musical content will also change depending on the
style that you select. The i30 allows you to create
your own original styles. For details refer to Style
editing (p.35).

2. Changing the keyboard (KBD)


sound
In an arrangement, the three KBD parts (Main KBD,
Sub KBD, Lower KBD) can be played from the keyboard simultaneously.
Each of these parts is sounded by a Program.

1 In Arrangement Play mode, press the EXIT key.


2 Press the Main KBD tab.
The Main KBD page will appear.

3. Editing an arrangement
Changing the Program of each part
1 In Arrangement Play mode, press the MENU key.
2 Press the Mixer button, and then the KBD Prog
tab.
The KBD Prog page will appear.
In this page you can change the keyboard (KBD)
sounds for each part of the style.

3
4
2

The category list will appear.

4 Select the desired category.


A list of programs will appear.

5 Select a program.
Programs can be selected directly using the front
panel PROGRAM keys. For details refer to 2.
Directly selecting an arrangement, style or program (p.12).

6 Sounds for parts other than the Main KBD part can
be selected by pressing the Sub KBD tab or the
Lower KBD tab (located at the bottom of the LCD)
to access the corresponding page, and then pressing
the program select button to make your selection.
Since the effects that were specified in Program
mode will be applied to the sound of the Main KBD
part, you can use this part to play the sound that
will be musically most important, such as the melody line.
In addition to these parts, the Harmony part and the
K.Bass part will also sound when you play the keyboard. If the CHORD SOUND key function is on
when you play a chord on the keyboard, the i30 will
detect the chord and play the constituent notes
(Harmony) and the bass note (Bass) of that chord.
If you turn the CHORD SOUND key function on
when an arrangement is not playing, greater depth
will be added to the notes played on the keyboard.
These five parts (Main KBD, Sub KBD, Lower KBD,
Harmony, K.Bass) are collectively referred to as the
KBD (keyboard) parts.

3 To change the sound of a part, press the program


select button of the desired part, select a category
from the category list that appears, and then select
the program.
For the part specified by the Target of Program
Switches radio buttons, you can select a program
directly by using the PROGRAM keys AR and the
upper and lower rows of 18 keys to input the program number.

4 To adjust the balance of each part, first press the


KBD Mix tab.
The KBD Mix page will appear.

5 Use the Volume parameter to adjust the volume,


and the Pan parameter to adjust the stereo location
for output channels L and R (left and right).
The volume adjustment can also be modified by
the OUTPUT MIXER sliders located at the left of the
front panel, but you should first use the parameters
in the LCD screen to create the desired volume balance, and use the OUTPUT MIXER sliders to adjust
the volume balance if necessary while you play.
The accompaniment (ACC) sounds can be selected
in the ACC Prog page, and the volume balance of
the accompaniment parts can be adjusted in the
ACC Mix page.
At this time, the pan for the Drums, Perc, and Main
KBD parts should be set to PROG. The Drum and
Perc parts will normally use a drum program from
bank R, and these programs specify an independent
pan setting for each different drum sound. With a
setting of PROG, the pan setting that is specified by

STEP 3

3 Press the program select button.

Edi

each program will be used, so that each drum sound


will be panned independently.
If you use a program that was created with a pan
setting intended for use in an arrangement, set the
pan of that part to PROG.

Modifying the effect settings


The Main KBD part will be processed by the KBD
FX 1 and KBD FX 2 effects. The ACC parts (Drums,
Perc, Bass, ACC13) will be processed by the ACC
FX 1 and ACC FX 2 effects. Lets try modifying the
effect settings of the Main KBD part and the ACC
parts.

1 In Arrangement Play mode, press the MENU key.


2 Press the KBD Effect button.
The KBD Effect page will appear.

The Main KBD part will use the effects specified by


the selected program. The lower half of the LCD
will show the status of the effects as specified by the
program.
Changes to these effect settings can be made in the
various Effect pages of Program mode.
In order for the effect settings made in Program
mode to be reflected accurately by the Main KBD
part, the following settings must be made.

[Settings in Arrangement Play mode]


In the KBD Effect page, set the Main KBD parts C
Send Level and D Send Level parameters to PROG.
For the Lower KBD part and the Sub KBD part, is
best to set the C Send Level and D Send Level
parameters to 0.
In the KBD Mix page of the Mixer, set the Pan
parameter of the Main KBD Part to PROG.

3 Press the MENU key, and then press the ACC


Effect button.
The lower part of the LCD screen will show the
PlacementACC FX 2 tabs. In these pages you can
make effect settings for each of the ACC parts
(Drums, Perc, Bass, ACC13).
The placement of the effect can be specified in the
Placement page, and the effect type can be
selected in the ACC Effect page. If you wish to
adjust the send levels so that the effect is applied
to some parts and not to others, make settings for
the ACC FX 1 and ACC FX 2 parameters that appear
in the ACC Effect page. Detailed settings for the
effects can be made in the ACC FX 1 page and ACC
FX 2 page. Here you can adjust the reverberation
time of the reverb, adjust the modulation depth of a
flanger, or make Dynamic Modulation settings
that allow an effect parameter to be controlled in
realtime by a joystick etc.

Modifying the sound of the Drum part


The Drum part will use a program from bank R, and
its sequence data is played as determined by the
style.
The Drum Map and Kick & Snare Designation
parameters allow you to shift the sequence data to
different sounds.

[Settings in Program mode]

1 In Arrangement Play mode, press the MENU key.

Set Effect Placement to Parallel 2.

2 Press the Drums button, and then press the


Default Drum Mapping tab.
The Default Drum Mapping page will appear.

Parallel 2

We recommend that you select a reverb-type effect


for FX 2.
Since the sound of all output channels (L/R/C/D)
will pass through the KBD FX 2 settings that you
make in Arrangement Play mode, this will also
affect the Lower KBD part and the Sub KBD part.
Since changing the program of the Main KBD part
will also cause these effects to change, it is best that
you not select a distinctive effect here.
A distinctive effect can be selected for FX 1 if
desired.
Effects which play a primary role in determining the
character of a sound, such as a distortion effect for a
distortion guitar program or a rotary speaker effect
for an organ program, can be selected for FX 1.

The Default Drum Mapping parameter specifies


which drum map will be used when playing each
Variation 14.

3 Press the START/STOP key to play the arrangement.


In a short time, the variation will begin playing, and
one of the Variation 14 key LEDs will light.

4 Notice the key whose LED is lit, select the corresponding parameter of the Variation 14 items that
appear in the LCD, and use the radio buttons to try
selecting 1.

The playback of the Drum part will change to percussion-type sounds.


By selecting 18 you can change the character of the
Drums part.

1: Percussion (neither kick nor snare)


2: No snare
3: Side stick and hi-hat
4: Side stick and ride
5: Original data of the style
6: Snare and ride
7: Open hi-hat
8: Crash

Using the Synchro Backing function


1 In Arrangement Play mode, press the MENU key.
2 Press the General Settings button, and then press
the ACC tab.
The ACC page will appear.

Try out each selection, and select the drum map that
is most appropriate for each variation.

5 Press the Kick & Snare Designation tab.

Programs of bank R contain four types of kick and


four types of snare each, and you can select the
desired sound from each.

6 Press the START/STOP key to stop arrangement


playback.

Playing with an ensemble


1 In Arrangement Play mode, press the EXIT key.
2 Press the ENSEMBLE key.
The function will be turned on, and the LED will
light.

3 Press the START/STOP key.


The arrangement will playback.

4 Play a chord (three or more notes) in the keyboard


area to the left of the split point.
The keyboard displayed in the center of the LCD
corresponds to the keyboard of the i30. When you
play a chord in the area displayed in inverse video,
the i30 will detect the chord, and the chord name
will be displayed in the right side of the LCD.

5 While a chord is detected, play the melody in the


right hand.
Harmony will be added to the melody as appropriate for the chord.
If you have pressed the CHORD MEMORY key to
turn on the function, the i30 will continue to detect
the chord that was pressed even after you take your
hand off the chord.

Modifying the ensemble


1 In Arrangement Play mode, press the MENU key.
2 Press the General Settings button, and then press
the Ensemble tab.
The Ensemble page will appear.

3 Use the Ensemble Type parameter to change the


type of harmony.
You can select the type of harmony that will be
added to the melody when you press the ENSEMBLE key to turn on the function.

The Synchro Backing parameter is a function which


controls the ACC playback when a chord is input.

3 Press the CHORD MEMORY key.


The CHORD MEMORY function will be turned on,
and the key LED will light.

4 Press the VARIATION 4 key, and then press the


START/STOP key.
Arrangement playback will begin.

5 For the Synchro Backing parameter, check the


MUTE check boxes for the ACC1, ACC2 and ACC3
parts.

STEP 3

The Kick & Snare Designation page will appear.


The Kick Designation parameter lets you modify
the sound of the kick, and the Snare Designation
parameter lets you modify the sound of the snare.

6 Press the PLAY/MUTE key ACC3.


The part will be muted, and the LED will go dark.

7 Play the keyboard to input a chord.


While the keyboard is pressed, the ACC1 and ACC2
parts will be muted, and the ACC3 part will play.
When you take your hand off the keyboard, the
ACC1 and ACC2 parts will play, and the ACC3 part
will be muted.
By using the Synchro Backing function in this way,
you can control the play/mute status of the ACC
parts in realtime, to create effects in which the various parts alternate.

8 Press the START/STOP key to stop arrangement


playback.

Changing the variation that is selected when you


switch arrangements
Since variations are specified by each arrangement,
switching the arrangement will also change the
variation that is used, and the condition of the
VARIATION 14 key LEDs will also change.
On the i30, the variation that is first selected when a
given arrangement is selected is called the initial
variation. This can be written into internal memory
as part of the settings of an arrangement.

1 In Arrangement Play mode, make sure that arrangement play is halted.


If the arrangement is playing, press the START/
STOP key.
It is not possible to modify the initial variation setting during playback.

2 Decide which variation will playback first, and


press the corresponding key of VARIATION 14.
The LED of the key you pressed will light.

Edi

3 Press the page menu button, and then press the


page menu command Write Arrangement.
A dialog box will appear.
Use the text edit button to input the name of the
arrangement (refer to p.9), specify the category, and
select a writing destination of C11D88.

4 Press the OK button to write the arrangement.


Intro and fill settings can also be set together with
the initial variation.

Using an external device to process the ACC


sound

[Using an external effect device]


For example if you wish to apply an external effect
device only to the ACC1 part, make the following
settings.

1 In Arrangement Play mode, press the MENU key.


2 Press the ACC Effect button, and then press the
Placement tab.
The Placement page will appear.

3 Choose one of the placement selections from the


lower row.

[Using an external MIDI device]


For example if you wish to sound just the Bass part
on an external tone generator, make the following
settings.

1 In Arrangement Play mode, press the MENU key.


2 Press the Mixer button, and then press the ACC
Mix tab.

Serial Sub

Parallel Sub

The ACC Mix page will appear.

Serial Sub will output the dry sound without effect


processing from the OUTPUT 3 and 4 jacks.

Parallel Sub will output the sound processed by


FX 2 from the OUTPUT 3 and 4 jacks.
3

4 Press the ACC Effects tab to access the ACC Effects


page.

5 Raise the C Send Level or D Send Level parameter


2

3 Uncheck the Internal parameter for the Bass part,


and check the External parameter.
With these settings, the Bass part will not be
sounded by the i30s internal tone generator, but
will be sounded by an external tone generator connected to the MIDI OUT connector or the TO HOST
connector.
If the External parameter of other parts is checked,
those parts will also be sounded on the external
tone generator, so be sure that only the Internal
parameter is checked.

4 Press the MENU key.


5 Press the Global button, and then press the MIDI
Ch. tab.
The MIDI Ch page will appear.

6 Check the MIDI channel of the Bass part, and set the

for the ACC1 part, and set a value of 0 for the other
parts.
The sound of the ACC1 part will be sent to output
channels C and D.

6 Connect an effect unit to the OUTPUT 3 and 4 jacks,


and only the sound of the ACC1 part will be sent to
the effect unit.

Changing the chord input area


Most arrangements place the split point at the C
note of the middle octave (C4). The area to the right
of the split point will play the Main KBD part or
the Sub KBD part, and the area to the left of the
split point will play the Lower KBD part.
The split point also determines the area in which
chords will be detected. In the keyboard diagram
that appears in the Lower KBDMain KBD pages, as
shown below, the area in which the black and white
keys are inverted is the area in which chord input is
detected.

MIDI channel of the connected external tone generator to match the channel of the Bass part.
The Global mode settings in the Chord SoundMIDI
Ch. pages will affect all arrangements, so if you
need to set the MIDI channel, we recommend that
you change the setting on the external tone generator, rather than on the i30.

7 Press the START/STOP key, and listen to the


arrangement playback.

Area for chord detection


Keyboard display

Most arrangements of banks A and B (preset banks)


are created with the intent that you will play the
melody on the notes to the right of C4, and play
chords in the notes to the left.
However, if you wish to change the split point, use
the following procedure.

1 In Arrangement Play mode, press the EXIT key.


2 Press the keyboard display in the LCD.
The following display will appear.

4. Using a KBD Set


Writing a KBD Set
On the i30, 64 different settings for the KBD parts
can be stored independently from arrangements.
When you have come up with KBD part settings
that you like, you can write them as a keyboard set.

1 In Arrangement Play mode, press the EXIT key.


2 Press the page menu button, and press the Write
KBD Set page menu command.
A dialog box will appear.

4
5

3 Chord Scanning specifies the location and method


for chord detection.
With a setting of Off, chords will not be detected
when you play the keyboard.
With a setting of Lower (Normal), Upper, or Full,
a chord will be detected when you play three or
more notes simultaneously.
With a setting of Lower (Easy), a chord will be
detected even if you play only one note in the area
to the left of the split point.

4 Play a note on the keyboard to specify the Split


Point.
The area to the right of the split point will be the
Upper (Main KBD part and Sub KBD part), and the
area to the left will be the Lower (Low KBD part).

5 Press the EXIT key.

Using the full range of the keyboard to play the


same sound
The i30 lets you divide the keyboard into Upper
and Lower areas and play separate sounds, or to
play the same sound over the full range of the keyboard.
Press the FULL KBD PLAY key on the front panel
to turn on the function, and the i30 will be set as follows.
Regardless of the area in which you play, the sounds
of the Main KBD part and the Sub KBD part will be
heard when you play the keyboard. The Lower KBD
part will not sound.
If you wish to hear only the Main KBD part or the
Sub KBD part, use the PLAY/MUTE keys on the
front panel to mute the part that you do not wish to
hear.
Regardless of the area in which you play, three or
more notes played as a chord will cause the chord to
be detected, and notes played individually will be
considered to be the melody. This is the same condition as when the Chord Scanning parameter is set to
Full.
If the Chord Scanning parameter is turned off,
chords will not be detected even if the FULL KBD
PLAY key is turned on.

When you edit the KBD parts of an arrangement,


you are editing not only the arrangement but also
the keyboard set. When you finish editing, you will
need to decide whether to write the arrangement or
to write the keyboard set, depending on the parameters that you have edited.
The following parameters can be written into the
i30s memory as a keyboard set.

[Settings made in the LCD]


Home: Chord Scanning parameter and Split Point
parameter settings
Mixer: KBD Prog page and KBD Mix page settings
KBD Effect: KBD Effect page settings
General Setting: KBD page settings, the KBD Scale
parameter setting of the Fill/Scale page

[Front panel settings]


On/off status of the FULL KBD PLAY key
On/off status of the PLAY/MUTE keys MAIN,
SUB, LOWER

Recalling a KBD Set


To recall a keyboard set that you wrote, use the following procedure.

1 In Arrangement Play mode, press the KBD SET


key. The keyboard set dialog box will appear in the
LCD.

2 Use the PROGRAM keys 18 to specify the number of the keyboard set.
Press one of the upper row keys 18 to input the 1st
digit, and one of the lower row keys 18 to input the
2nd digit.

3 Press the Exit button or the KBD SET button.

STEP 3

3 Specify the number of the keyboard set, and press


the OK button.

Edi

5. Other convenient functions


Fade-in, Fade-out
When you press the FADE IN/OUT key, the
arrangement playback will begin and fade-in. When
you press the key during playback, the arrangement
will fade-out and stop.

Synchro Start, Synchro Stop


If you have pressed the SYNCHRO START key to
turn the function on, you can start arrangement
play simply by playing in the chord detection area
when you want arrangement play to begin.

6. Writing an arrangement
When you have created an arrangement that you
like, write it into internal memory. If you select a
different arrangement before you write, the edited
arrangement will be lost.

1 In Arrangement Play mode, press the page menu


button, and press the Write Arrangement page
menu command. You can also press the REC/
WRITE key on the front panel.
The following dialog box will appear.

If you press the SYNCHRO STOP key during


arrangement playback to turn the function on,

arrangement play will stop when you take your


hand off the chord detection keyboard area. This
lets you insert a break during arrangement play.
If you have turned on the SYNCHRO START key
function, play will begin when you once again input
a chord.

Tempo Lock, Keyboard Lock


If you have pressed the TEMPO LOCK key to turn
the function on, the tempo will not change when
you select a different arrangement during arrangement play.
If you have pressed the KBD LOCK key to turn
the function on, it will not be possible to change the
settings of the KBD parts or the accompaniment
during arrangement play.
When you select another arrangement during
arrangement play, the accompaniment will change.
At this time, the settings of the KBD parts will not
change.
If you select a keyboard set during arrangement
play, the settings of the KBD parts will change, and
the sounds being played on the keyboard will
change. At this time, the accompaniment will not
change.
The settings of the KBD parts consist of the [Settings
made in the LCD] and [Front panel settings] listed
above.

SW 1/SW 2
The SW 1 and SW 2 located on the front panel above
the joystick can be used to add additional variety to
your performance.
In the Global mode SW 1 and SW 2 pages you can
specify the functions that will be assigned to SW 1
and SW 2.
For example, if you select Intro 1 or Intro 2, you can
press SW 1 or SW 2 during arrangement play to
recall the same performance as the introduction.
SW 1 and SW 2 can be used for a wide variety of
purposes, such as switching scales. Assign the functions that will be most suitable for your performance.
However since these settings are common to all
modes, some assignments may not function in certain modes.

3
5

2 If you wish to modify the arrangement name, use


the text edit button for the Name parameter to
access the text edit dialog box, and input the
arrangement name.

3 In the Category parameter, specify the category of


the arrangement.

4 In the Write to User Arrangement parameter,


specify the C or D bank (user bank) number.

5 Press the OK button.


The settings that can be written as an arrangement
are the following.

[Settings made in the LCD]


Settings other than the Global pages (i.e., the Home,
Mixer, KBD Effect, ACC Effect, Drums, and General
Setting pages)

[Front panel settings]


On/off status of the PLAY/MUTE keys for each
part
On/off status of the FULL KBD PLAY key
Initial variation
TRANSPOSE key setting

(Backing Sequence mode)


In this mode, musical data that uses an arrangement can be
recorded to the sequencer, and data that has been recorded
can be played back
In Backing Sequence mode, you can create up to ten seperate backing sequences (BSEQ).
Note: the memory area is shared with Song mode, and a
total of 65,536 events including the song data (10 songs +
100 patterns) can be input.
When the power of the i30 is turned off, the entire
contents of the sequence memory that is shared by
Backing Sequence mode and Song mode will be
lost. Be sure that any data created in Backing
Sequence mode or Song mode has been saved in
Disk mode.
A backing sequence consists of nine tracks, and each track
records musical data or key operations. These tracks can be
broadly divided into three groups.

Arrangement Tracks: Tracks for arrangement


performance
KBD Track: Keyboard performance data (note
events) is input to this track.
Control Track: Data such as switch operations
(control events) is input to this track.
Chord Track: Chord progression data (chord
events) is input to this track.

Extra KBD Tracks: Tracks used to add melody or


phrases to the arrangement performance

1. Recording an arrangement performance to the sequencer


1 Press the BACKING SEQ key to enter Backing
Sequence mode.

2 Press the EXIT key.


3 In the BSEQ parameter, select the backing sequence
that you wish to input.

3
4
6

4 Use the arrangement select button to select an


arrangement.

5 Press the REC/WRITE key.


You will enter record-ready mode for arrangement
data.

6 If you wish to record tempo changes to the tempo


track along with the arrangement data, select REC
for the Tempo Track parameter.
7 Press the START/STOP key.
The metronome will begin sounding, and the Measure parameter in the LCD will change from 2 to
1. Recording will begin when this reaches 001
so start playing the keyboard.

KBD 4 Track KBD 8 Track (keyboard tracks 48)

8 Press the START/STOP key to stop recording the

Tempo Track: The track for inputting tempo


changes (tempo events)

9 Press the START/STOP key to playback the data

Tempo Track

backing sequence.
The Measure parameter display will return to 001.
that was recorded.
If you have recorded tempo changes to the tempo
track, set the Tempo Track parameter to AUTO for
playback so that the data will playback according to
the tempo events that were recorded.

STEP 3

Editing a backing sequence

Edi

2. If you make a mistake while


recording an arrangement performance
If nothing went right
In the Measure parameter, select the measure at
which things went wrong, and try the recording
over again starting with step 4 of 1. Recording an
arrangement performance to the sequencer (p.23).
All data from the point where you press the
START/STOP key until you press it again will be
replaced by the newly recorded data.

If the chord progression and switch operations


were correct but you made a mistake playing
the melody
1 In Backing Sequence mode, press the EXIT key.
2 Press the Activity tab.
The Activity page will appear.

Comparing the state before recording


When you press the COMPARE key, the COMPARE key LED will light and you will return to the
state of the data before recording.
Press the COMPARE key once again, and the LED
will go dark, and you will return to the recorded
state.
You can press the START/STOP key to playback the
data, allowing you to compare both states, and continue recording with the one that you prefer.

3. Using the extra keyboard tracks to


add finishing touches
Backing Sequence mode provides five extra tracks.
When you need more than the three tracks of the
arrangement, you can record data on these extra
tracks.

1 In Backing Sequence mode, press the MENU key.


2 Press the Extra KBD Track button, and then press
the Program tab.
The Program page will appear.

3
4

5
2

3 Press the REC/WRITE key.


The Activity parameter of the KBD, Control, and
Chord tracks will change to REC (ready to record).

4 Set the Activity parameter of the Control track and


Chord track to PLAY.
5 Press the START/STOP key.
While listening to the data that is already recorded
on the Control track and Chord track, play the keyboard. Only the KBD track will be recorded.

6 Press the START/STOP key to halt recording.


By setting the Activity parameter in this way, you
can record the KBD Chord tracks separately.
For example if you wish to re-record with a different
arrangement, set the Activity parameter to REC
only for the Control track, and to PLAY for the other
two tracks.
Also, if you set the Activity parameter to MUTE for
the tracks that you wish to re-record, pressing the
START/STOP key to playback will cause only the
tracks that were set to PLAY to playback, allowing
you to practice your performance while listening to
the other tracks.

3 In the Track parameter, select the extra track KBD 4


Track KBD 8 Track on which you wish to record.

4 Specify a program for the track that you selected in


step 3.
5 Press the Mix tab to access the Mix page.
6 Adjust the pan and volume for the track that you
selected in step 3.
7 Press the Pitch tab to access the Pitch page.
8 Specify the pitch of the track that you selected in
step 3.
9 Press the MIDI tab to access the MIDI page.
0 Specify whether the track that you selected in step
3 will use the internal tone generator or an external
tone generator, and specify the MIDI Channel for
the extra keyboard track.
If the same MIDI channel is specified for an extra
keyboard track and an arrangement track, these
tracks will sound together (layered). The MIDI
channel of each track in the arrangement is set by
the MIDI Channel parameter found in the MIDI Ch.
page of Global in Arrangement Play mode.

A Press the Perf. tab to access the Perf. page.

B Select the recording method for the track that you


selected in step 3.

Overwrite will replace previously recorded data


with the new data.
Be aware that all data of and following the measure
at which recording begins will be erased.

D Press the START/STOP key to stop recording.


If you wish to specify the range of notes that will be
sounded by the extra keyboard track, make Window settings in the Key Window page or Velocity
Window page.
Here you can specify whether or not the internal
tone generator will sound depending on the key
(note) or velocity (playing dynamics).
For example, if you make key window and velocity
window settings as shown below for extra tracks
which are set to the same MIDI channel, notes
played below C4 will be sounded by KBD 4, and
notes played above C4 will be sounded by KBD 5.
You can also make settings so that softly played
notes will be sounded by KBD 6, and strongly
played notes will be sounded by KBD 7.

Overdub will combine (layer) the newly recorded


data with the previously recorded data.

STEP 3

Manual Punch In allows you to re-record a specified portion of the data by measures.
Press the START/STOP key to playback the data.
When you come to the place where you wish to rerecord, press the REC/WRITE key and Overwrite
recording will begin. When you are finished, press
the REC/WRITE key once again. The REC/WRITE
key LED will go dark and you will return to PLAY
mode, and the subsequent measures will be played
back.
Auto Punch In allows you to re-record a specified
portion of the data by measures, similar to Manual
Punch In.
The difference from Manual Punch In is that before
you begin recording, you specify the measures at
which recording will begin and end.

C Press the REC/WRITE key, and then press the


START/STOP key.
Recording will begin.
Note data from the notes you play on the keyboard,
control data from the joystick and aftertouch etc.,
and changes to the program, volume, pan, C Send
Level and D Send Level etc. will be recorded on the
respective tracks.

Edi

In the KBD effect page you can use the C Send Level
and D Send Level parameters to adjust the respective send levels.
C Send Level and D Send Level determine the
amount of signal that is sent to the KBD FX 1 effect
that is specified by the program of the Main KBD
part. However, be aware that if you change the program that is used by the Main KBD part, these settings will also change.
If you wish to realtime record on an arrangement
track, select either ATr. KBD Track, ATr. Control
Track or ATr. Chord Track for the Track parameter in
step 3. Then follow the procedure given in 1.
Recording an arrangement performance to the
sequencer (p.23) or 2. If you make a mistake while
recording an arrangement performance (p.24).

Editing a program
(Program mode)
Program mode offers two types of editing: editing of individual parameters, and realtime performance editing.
In Program mode you can modify the sound of an existing
program, or initialize all the parameters and create a completely new program.

1. How a program is constructed


OSC (Oscillator)
This section produces the waveform that is the basis
of the sound.
Two oscillators OSC 1 and OSC 2 can be used in
conjunction, and you can make basic settings such
as waveform and pitch.

Pitch
This section specifies how the pitch of the sound
produced by the oscillator will change over time.

VDF (Variable Digital Filter)


This section modifies the waveform by boosting or
cutting specified frequency ranges.

VDA (Variable Digital Amplifier)


This section specifies how the volume will change
over time.
In Program mode, you can create a sound by making settings for the oscillator, filter and amplifier
(and effects settings), and store it into the internal
memory of the i30.
When a program is used in modes other than
Arrangement Play mode or Backing Sequence
mode, you will be recalling only the oscillator, filter
and amplifier settings.
When a program is used for the Main KBD timbre

in Arrangement Play mode or Backing


Sequence mode, all settings including the effects
(FX 1, FX 2) will be recalled. This means that if you
observe the rules that will be described later, the
Main KBD timbre will always include the distinctive effect that you specified in Program mode.

2. Basic program editing


This section will explain how to initialize a program
and create your own from scratch. Perform steps a
h consecutively to understand the role of each
parameter.

a. Initialize the program


If you are simply modifying part of an existing program, you do not need to initialize it. However if
you wish to create a program from scratch by setting each parameter, you should start by initializing
the program parameters.

1 Lower the front panel MASTER VOLUME slider to


lower the volume.

2 In Program mode, press a program select button,


select Initialize as the category, and then select the
program.
You can select a program quickly by using the PROGRAM keys AG to specify the bank, the upper 18
keys to specify the upper digit of the number, and
the lower 18 keys to specify the lower digit.

3 Press the MENU key, and then press the OSC button.

EG (Envelope Generator)
Pitch EG: This causes the pitch to change over time.
VDF EG 1, VDF EG 2: This causes the brightness

4
5

to change over time.

VDA EG 1, VDA EG 2: This causes the volume to


change over time.

MG (Modulation Generator)
Pitch MG 1, Pitch MG 2: This uses an LFO (Low
Frequency Oscillator) to cyclically modulate the
pitch of the sound.
VDF MG: This uses an LFO (Low Frequency Oscillator) to cyclically modulate the brightness of the
sound.

4 Press the page menu button, and then press the


page menu command Initialize Program.
5 Press the OK button.
The program parameter settings will be initialized,
and the previous display will reappear.

b. Adjust the pitch of the sound


1 Press the Basic Pitch tab.
The Basic Pitch page will appear. In this page you
can make settings to specify the basic pitch.

2 Set the value of the Octave parameter.


For this example, leave it at 8' Standard.

3 Press the MENU key, and then press the Pitch button.
4 Press the Pitch MG 1 tab.
The Pitch MG 1 page will appear.

c. Adjust the brightness


[Setting the Cutoff parameter]
The i30 provides filters which cut the high frequency range and allow the low frequency range to
pass.

1 Press the MENU key.


2 Press the VDF button, and then press the VDF 1
tab.
The VDF 1 page will appear.

The Pitch MG is used to adjust the vibrato effect


that is familiar on wind instruments, etc.
3
4
6
5

5
2

5 If you raise the value of the Intensity parameter,


the pitch will begin to change cyclically.
Intensity specifies the depth of the MG or EG,
and if the Intensity value is 0, the MG or EG
(VDA EG is an exception) will have no effect.

6 In the LFO Waveform parameter, select the waveform, and use the Frequency parameter to adjust
the speed.
After playing the keyboard to hear the result, return
the Intensity value to 0.

7 Press the Pitch EG tab to access the Pitch EG page.

9
8
7

8 Adjust the values of the Time and Level parameters to create an appropriate curve.

9 If you set the EG Intensity parameter to a positive


value and play the keyboard, the pitch will change
over time according to the curve that you specified
in step 8. However with the current settings, the
effect of the release time (which begins when you
release your hand from the keyboard) and release
level will not be audible. If you extend the release
time of the VDA EG you will hear the result of these
parameters.
Since the EG Intensity parameter can be adjusted
separately for OSC 1 and 2, you can set one of them
to negative values so that the EG graph is inverted.
After playing the keyboard to hear the result, return
the EG Intensity value to 0.

parameter.
The cutoff frequency specifies the frequency at
which the filter will begin to cut the high frequency
range.
As this value is decreased, more of the high range
will be cut, causing the sound to become mellower
(darker). Be aware that if the value is decreased too
far, you will hear no sound at all.

4 In the Cutoff section, set the value of the EG Intensity parameter.


The EG intensity specifies how the filter will be
affected by the settings of the F-EG 1 page.
Raise the value of this parameter, and then make filter EG settings in the F-EG 1 page. However unlike
the pitch EG settings, the starting level is the base.
If you want the sound to be clear from the moment
that you press a key, set the Time parameter Attack
to a value of 0 in the VDF EG 1 page.

[Using Velocity Sensitivity]


5 In the Velocity Sensitivity section, adjust the value
of the EG Intensity parameter.
When this EG Intensity parameter is set to a positive
value, the EG will have a greater effect as you play
the keyboard more strongly.
For example if the following settings have been
made in the F-EG 1 page, setting the Cutoff and
Velocity Sensitivity parameters as shown below will
cause the tone of the attack to become sharper
(brighter) when you play more strongly, and the
tone of the attack to become softer (darker) when
you play more softly.

STEP 3

3 In the Cutoff section, set the value of the Frequency

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Cutoff Frequency parameter: 13


Cutoff EG Intensity parameter: 99
Velocity Sensitivity EG Intensity parameter: +99

For example if you lengthen the Release Time


parameter in the VDA EG 1 page, the sound will
decay more gradually after the note is released, and
the Release Time and Release Level parameter settings that were made for the Pitch EG or VDF EG
will be audible.
To try this out, use the Initialize Program page
menu command to initialize the program, and then
make the following settings in the VDA EG 1 page
and the Pitch EG page (located in Pitch). When you
take your hand off the key, the volume will gradually diminish, and the pitch will simultaneously fall.

[Using Keyboard Tracking]


If the low range sounds fine but the high range is
too piercing, set the Keyboard Tracking parameters
as follows.
Mode parameter: High
Pivot Key parameter: the keyboard location at
which the sound becomes piercing
Intensity parameter: a negative value
The notes above the specified Pivot Key will become
more mellow.
If you wish to make the low notes sound brighter,
set the Keyboard Tracking parameters as follows.
Mode parameter: Low
Pivot Key parameter: the keyboard location at
which the sound become muddy
Intensity parameter: a negative value
If you wish to make the high notes sound more mellow and the low notes sound brighter, set the Keyboard Tracking parameters as follows.
Mode parameter: All
Intensity parameter: a negative value

VDA EG Release time parameter: 70


Pitch EG Release Time parameter: 70
Pitch EG Release Level parameter: 99
Pitch EG EG Intensity parameter: +99

e. Changing the multisample


Each oscillator of an i30 program uses a waveform
called a multisample.
Lets try changing the multisample.

1 Press the MENU key.


2 Press the OSC button, and then press the OSC
Basic tab.
The OSC Basic page will appear.

3
2

Adjust the Pivot Key and Intensity parameters to


obtain the desired result.
VDF MG is shared by OSC 1 and 2.
First check the oscillator(s) in Enable, and then
raise the value of the Intensity parameter.

d. Making the volume change (VDA)


1 Press the MENU key.
2 Press the VDA button, and then press the VDA 1
tab.
The VDA 1 page will appear.

3 Adjust the value of the Velocity Sensitivity Level


parameter.

Positive (+) settings will cause the sound to


become louder as you play more strongly, and
softer as you play more gently.
Adjust this parameter when you want the volume
of the sound to respond to your playing dynamics,
as on a piano.
4 Press the VDA EG 1 tab.
The VDA EG 1 page will appear.

5 Modify the parameter values.


Changes made to the parameters of the VDA EG 1
page will be reflected directly in the sound. Unlike
the Pitch EG or VDF EG, the depth of the effect cannot be adjusted by an Intensity parameter.

3 Set the Multisample parameter of OSC 1.


If you select 505: Door Creak, the sound of a creaking door will be heard when you play the keyboard.
If you select 506: Door Slam, the sound of a slamming door will be heard when you play the keyboard.

f. Single programs and double programs


On the i30, each program can use either one or two
oscillators. Programs which use one oscillator are
called single programs, and programs which use
two oscillators are called double programs.
In this section we will use the two multisamples
that we heard earlier to create a program that produces the sound of a door which creaks as it is
slammed shut.

1 Use the Initialize Program page menu command


to initialize the program.
Refer to Initializing a program (p.26).

2 Press the MENU key.


3 Press the OSC button, and then press the OSC
Basic tab.

ters will take effect as the joystick is moved or as


pressure is applied to the keyboard.
For example if you want vibrato to be applied only
when you press down on the keyboard, go to the
Pitch MG 1 page and set the Intensity parameter to
0, and in this page raise the value of the Aftertouch
Intensity parameter.

The OSC Basic page will appear.

4
5
6
3

h. Joystick and aftertouch settings


Settings related to the joystick and to aftertouch are
made in the following pages.

4 Set the Oscillator Mode parameter to Double.


5 Set the OSC 1 Multisample parameter to 505: Door
Creak, and the OSC 2 Multisample parameter to

Pitch Bend page of OSC


MG Control page of Pitch
Control page of VDF
Control page of VDA

506: Door Slam.


Play a note, and the sounds of the door creaking
and slamming will be heard simultaneously.

6 Set the OSC 2 Delay parameter to 75.


This will cause the sounding of OSC 2 to be delayed.
When creating a double program, you can also use
the same multisample for OSC 1 and OSC 2, and
create a slight difference in pitch between the two
oscillators to create a rich sound. You can also pan
OSC 1 and OSC 2 to left and right, and use EG or
Keyboard Tracking to create a stereo sound. A variety of such techniques are used by the factory set
programs, so study them to get ideas for your own
programs.

g. Controller settings
Various aspects of the sound of the i30s programs
can be controlled in realtime by the joystick located
at the right of the keyboard and by aftertouch (pressure applied to the keyboard after playing a note).

1 Use the page menu command Initialize Program


to initialize a program.
Refer to Initializing a program (p.26).

2 Press the MENU key.

STEP 3

7 Play a note to hear the result.

Movements of these controllers can also be recorded


on the sequencer. Events such as CC (control
changes), BEND (pitch bend) and AFTT (aftertouch) will be input to the sequencer, recording
changes that are made to the sound in realtime.

3. Effect settings
Press the MENU key and then press the Effect
button. Then press the Effects tab to access the
Effects page.

3 Press the Pitch button, and then press the MG


Control tab.
The MG Control page will appear.

4
3

4 Raise the value of the Joystick +Y Intensity parameter.

5 While you play the keyboard, move the joystick


away from yourself.
As you move the joystick away from yourself, the
Pitch MG depth will increase.
In this way, joystick or aftertouch -related parame-

The lower half of this page shows how the sound


flows through the effect system (the sound travels
from left to right).
L and R in the left edge are the output channels to
the effects, and their volume is determined by the
Pan parameter located in the OSC Basic page of the
OSC section.
For example if the Pan parameter is set to CNT, the
same volume will be sent to the L and R output
channels. With a setting of L15 (maximum left), the
maximum volume will be sent to the L output channel, and nothing will be sent to the R output channel. If you do not want to output sound to the L and
R output channels, set Pan to Off.

Edi

The Send Level C and D parameters in the upper


part of this page adjust the volume that is sent to
output channels C and D shown in the lower left.
Each of these are sent as monaural signals. Depending on the selected placement, C Pan and D Pan
may be displayed as shown above, so in this case
you can set the pan (C Pan, D Pan) before the sound
is sent to output channels L and R.

8 For the output of FX 1, set the C Pan parameter to L,


and the D Pan parameter to R.
With these settings, the signal will be sent only to
output channels L and D.

In this diagram, the sound that is distributed by pan


at the FX 1 output is combined into the L and R output channels, passes through FX 2, and reaches the
OUTPUT 1/L/MONO and 2/R jacks.

Effect settings and signal flow


1 In Program mode, use the Initialize Program page
menu command to initialize the program. Refer to
Initializing a program (p.26).

2 Press the MENU key, and then press the OSC button.
3 Press the OSC Basic tab.
The OSC Basic page will appear.

4
3

9 Select the effect for FX 1.


Select St. Multi Tap Delay 1, and check the On
checkbox
Play the keyboard, and the sound will be repeated
only in the right channel. If the effect is not obvious,
listen through headphones.
Since the value of the Send Level D parameter is
raised, the sound will be sent from output channel
D into FX 1, and the sound processed by the effect
will enter D Pan. Since D Pan is set to R, the effect
processed sound will be merged with output channel R. Thus, the St. Multi Tap Delay 1 effect will
appear only in the right channel.
Select Distortion, and check the On checkbox.

4 Set the Pan parameter to L15.


5 Press the MENU key, and then press the Effect
button.
6 Press the Effects tab.
The Effects page will appear.

7
8
9
6

Since Distortion is a monaural effect, the same


sound will be output from the left and right.
Uncheck the checkbox to hear the result.
For stereo effects, the stereo placement (the volume balance of C and D Send) at the input of the
effect will be valid. However some effects such as St.
Multi Tap Delay 2 will affect the pan setting. To hear
this, set the Send parameter to 0 and select an effect
such as St. Multi Tap Delay 2 for FX 2.

Placement
On the i30 you can change the placement of the
effects; i.e., the way in which the effect system is
connected.

7 Set the Send Level C parameter to 0, and the D


parameter to 9.

In Arrangement Play mode, the program settings


will be used as the effect settings of the Main KBD
part, so you should select a placement of Parallel 2
in Program mode for the program that you intend to
use for the Main KBD part of the arrangement. If a
different placement is selected, the program effects
will not apply in the same way when they are used
in an arrangement.

[Serial]
This placement connects the FX 1 and FX 2 effects in
series.

[Parallel 2]
The sound sent to output channels L and R will pass
through FX 2, and the sound sent to output channels
C and D will pass through both FX 1 and FX 2.
The KBD Effect settings of Arrangement Play
mode and Backing Sequence mode will use this
effect placement.

Since the sound sent to output channels L and R will


pass through both FX 1 and FX 2, this placement is
ideal when you want to maintain the sounds sense
of stereo.

[Parallel 1]
This placement connects FX 1 and FX 2 in parallel.

The sound sent to output channels L and R will pass


through FX 1, and the C Send Level and D Send
Level parameters will determine the volume that is
sent to FX 2. By changing the volume balance of
send C and D for each part, you can adjust the stereo location of each part. However if a monaural
effect is used for FX 2, this will have no effect.
Also, by using a combination effect you can produce
two different effects with one effect. For example as
shown in the diagram below, you can select Delay/
Distortion for FX 2 so that the delayed sound will be
sent to the C Pan parameter and the distorted sound
will be sent to the D Pan parameter. By adjusting the
send C and D volume balance for each part, you can
use the effects separately; for example, applying
delay to the part which uses a lead sound, and distortion to the guitar part.

It is safest to use a spatial-type effect such as reverb


for FX 2. At this time, set the C Pan parameter and
the D Pan parameter to left and right as shown in
the above diagram. By adjusting the send C and D
volume balance for each part, you can set the stereo
pan. However if a monaural effect is used, this will
have no effect.

[Parallel 3]
The sound sent to output channels L and R will be
output without further processing. The C Send
Level parameter specifies the volume sent to FX 1,
and the D Send Level parameter specifies the volume sent to FX 2. The return L and R parameters
specify the volume of the sound that has been processed by each effect and which will be merged with
the output channels L and R.

This placement simulates the effect send/return


routing of a conventional audio mixer. In particular,
most SMF data will playback appropriately if you
use reverb for FX 1 and chorus for FX 2, as shown
above.
In most SMF data, C Send Level (CC#91) is the
reverb depth, and D Send Level (CC#93) is the chorus depth, so this is the default setting in Song Play
mode.

STEP 3

When playing an arrangement, backing sequence,


song data or SMF, and you do not want the FX 1
effect to apply to specific parts, you can raise the
send level and simultaneously turn the Pan parameter Off for those parts. Set C Pan and D Pan to left
and right as shown in the diagram above. By changing the volume balance of send C and D for each
part, you can adjust the stereo location of each part.
However if a monaural effect is used for FX 2, the
panning will have no effect.

Edi

[Serial Sub]
[Parallel Sub]
Use these placements when you wish to output
sound from the rear panel OUTPUT 3 and 4 jacks. If
you are using an external mixer or effect device, you
can use these placements in various creative ways.

Effect parameters
The effects that you selected for FX 1 and FX 2 can
be edited in detail in the FX 1 page and FX 2 page.

1 Use the Initialize Program page menu command


to initialize the program.
Refer to Initializing a program (p.26).
Set the oscillator pan to CNT, and set the C and D
Send Level to the maximum (9).

2 Press the MENU key, and then press the Effect


button.
The Effects page will appear.

3 Select Stereo Flanger 1 for FX 1, and check the On


checkbox.
Play the keyboard, and notice that a swirling
effect is applied to the sound.

4 Press the FX 1 tab to access the FX 1 page, and the


parameters of the effect that you selected in step 3
Serial Sub will apply the FX 1 and FX 2 effects to
the sound that is sent to output channels L and R,
and the sound unprocessed by the effects will be
sent from OUTPUT 3 and 4.
For example if you raise the C Send Level for a certain part and turn Pan off, the sound of that part
will be output from the OUTPUT 3 jack but will not
be output from the OUTPUT 1/L/MONO or 2/R
jacks. At this time, you can set the send levels of the
other parts to zero so that only the sound of the first
part will be output from the OUTPUT 3 jacks. As
another example, suppose that you are playing in a
band and want to send the metronome sound only
to the drummer. In this case, go to the Metronome
Setting dialog box and set the Output parameter to
C Send, so that the metronome sound will be output
from the OUTPUT 3 jack. Alternatively, selecting D
Send would cause the metronome sound to be output from the OUTPUT 4 jack.

will be displayed.

5
6
4
You can modify the parameters to change the effect.
For example if you change the value of the Feedback parameter to 95%, the swirling effect will
increase, and the sound will have a metallic character each time you play a note.

[Dynamic modulation]
In the FX 1 and FX 2 pages, you can make settings
for Dynamic Modulation (a function which lets you
control a parameter in realtime).
Of the effect parameters, the value of the parameter
marked by an asterisk (*) can be controlled in realtime. In the diagram above, the Mod Speed parameter of the Stereo Flanger 1 effect can be controlled in
realtime.

5 You can press the Dynamic Modulation popup butParallel Sub will apply FX 1 to output channels L
and R, and apply FX 2 to output channels C and D.
When you wish to use an external reverb effect or
when you do not need to use reverb, you can use a
combination effect for FX 2 so that three effects can
be applied simultaneously: a stereo effect with FX 1,
a monaural effect for channel C of FX 2, and another
monaural effect for channel D of FX 2.

ton and specify the controller which will be used to


control dynamic modulation.
For this example, lets select JS (Y).

6 Set the Intensity parameter to +15.


While playing the keyboard, move the joystick
toward yourself, and notice that the sound is modulated more rapidly. If you move the joystick gradually, the speed will increase gradually.
Since JS (Y) is normally used to control VDF MG,
you will need to decide whether or not you want to
control that parameter as well.

[Control using an expression pedal]


You can use an expression pedal to control dynamic
modulation.

1 Connect an EXP2 or other expression pedal to the


rear panel SWITCH/PEDAL 1 jack.
Choose a type of pedal that will be appropriate for
the dynamic modulation that you will be using. For
example if you wish to switch the rotational speed
of a rotary speaker, a switch-type pedal will allow
easier operation.

4 In the Write to User Program parameter, specify


the bank F or G (user bank) number.

5 Press the OK button.

5. Drum program settings


Programs in bank R are rhythm-type programs
(drum programs) which use a drumkit. Drum programs are organized as follows.

2 As described in step 5 above, specify CC#12 (control change no.12).

3 Press the GLOBAL key, and then press the MENU


key.
4 Press the Assign button, and then press the
Assignable Pedal tab.
The Assignable Pedal page will appear.

5 For the ASSIGNABLE SW/PEDAL 1 parameter,


select Effect Control 1 (CC#12).

When you play the keyboard in Arrangement Play


mode, the effect settings of the program that was
selected for the Main KBD part will be used.
For example if you select arrangement A47: Distortion Guitar, distortion will be applied to the sound.
In this way, the Main KBD part will use the distinctive effect that was specified in Program mode, and
will stand out from the ACC parts or the other KBD
parts.
However in order to ensure that the effect of the
program can be used in the arrangement, you
should observe the following two points.
Set the placement to Parallel 2.
Use a spatial-type effect such as reverb for FX 2.

4. Writing a program
When you have finished editing, you should write
your data to internal memory.

1 In Program mode, press the page menu button,


and press the Write Arrangement page menu command. Alternatively, you can press the front panel

REC/WRITE key.
The following dialog box will appear.

STEP 3

Effect settings for use in arrangement play

Edi

The drumkit specifies a drum sample (a basic


waveform that produces a drum or percussion
sound) for each note, and includes settings for
OscillatorVDA and Effect.
EG and MG can be adjusted in the Pitch, VDF and
VDA pages just as for a conventional program, but
usually you will want to create your own original
drum program on the basis of an existing program
from the drum bank.

Editing a drumkit
1 Press the EXIT key to enter the Performance Edit
page.

2 Press the front panel PROGRAM key R, then the 1


key of the upper row, and the 1 key of the lower
2
3
4
5

2 If you wish to modify the program name, use the


text edit button for the Name parameter to access
the text edit dialog box, and input the name of the
program.

3 In the Category parameter, specify the category.

row.
R11: GM Kit 1 will be selected.
This drum program produces a different percussion
instrument sound for each note. Play the keyboard
and listen to the sounds.

3 Press the MENU key, and then press the Drum Kit
button.
The Drum Kit page will appear.
4

6 When you finish making all settings for the notes


that you wish to modify, you can make fine adjustments using parameters in other pages.
To make settings for a key which falls beyond the
range of the i30s keyboard, use the OCTAVE keys
to shift the pitch, and press the desired note.

[Selecting drum samples]


5

The keyboard range of the i30


(when Transpose and Octave have not been changed)

4 Set the Key parameter to E2.


The LCD will show the settings of the selected key.

5 While playing the E2 key (the lowest E on the i30s


keyboard), modify the following parameters.
If you use the Drumsample parameter to change
the drum sample used for this key, the sound will
change.
Modifying the Transpose parameter or the Detune
parameter will change the pitch produced by the E2
key.
By selecting a waveform for each key of a drum program in this way, you can create your own drum
program.

Editing a drum program


1 Press the EXIT key to access the Performance Edit
page.

2 Select the drum program that is closest to what you


want to create.

3 Use the following parameters to make basic settings


for the sound of the entire drum program.
OSC Basic page in the OSC section: Adjust the
Level parameter.
VDF 1 page in the VDF section: Adjust the Cutoff
Frequency parameter.
Effects page in the Effect section: Adjust the OSC
1 Send Level parameter.

4 Press the MENU key, and then press the Drum Kit
button to access the Drum Kit page.
5 Modify the settings for each key.
Use the Transpose and Detune parameters to
adjust the pitch.
Use the Adjustment of Level parameter to adjust
the oscillator level specified by OSC 1.
Use the Adjustment of Decay Time parameter to
adjust the decay time specified by the VDA EG.
Adjust Pan for each note.
The send settings are determined by the product of
the C Send and D Send parameter values with the
overall Send Level in the Effects page. In other
words, if the C or D Send level parameters in the
Effects page are at zero, there will be no effect.

The Arrangement Play mode parameters Default


Drum Mapping, Kick Designation, and Snare
Designation allow you to replace drum sounds as
desired. In order to take full advantage of these
parameters, it is a good idea to use drum samples
which are fairly similar to the basic Drum Kit settings.
For example, the above-mentioned three parameters
of Arrangement Play mode assume that a Kick
sound is assigned to the C2 key, so it is best to select
a drum sample with a name such as XX Kick or XX
BD (an abbreviation for Bass Drum). Similarly,
these parameters assume that a Snare sound is
assigned to the D2 key, so it is best to select a drum
sample with a name such as XX Snare or XX SD (an
abbreviation for Snare Drum) for this key.
For details on the Default Drum Mapping, Kick
Designation, and Snare Designation parameters,
refer to 5. Drums (Parameter Guide p.5).

[Exclusive group]

When you play the A  2 key on the keyboard, a hihat (HH) sound with a short decay will be heard.
When you play the B  2 key, a hi-hat (HH) sound
with a long decay will be heard. These two samples
are the sounds made by a hi-hat cymbal when
played in different ways. normally, these two
sounds would never occur at the same time. In the
Drum Kit page, you can select the A  2 and B  2
keys and set the Exclusive Group parameter of
each to the same number so that these two keys will
not sound simultaneously.

7 When you finish making settings, press the page


menu button, and then press the Write Program
page menu command to write the drum program
into the bank R user area (R5158).

Style editing
(Edit Style mode)
1. What is a Style?
On the i30, a Style is analogous to a music score for
the ACC parts of the accompaniment, and consists
of sequence data which contains notes and other
data, and style parameters which specify how each
part will play when a chord is detected.

To actually create a style, record one chord variation


and then test it in the Test page. In some cases this
will produce satisfactory results for all chords.
Record other chord variations if playback is not satisfactory for them.
For example in the following diagram, when a
chord progression of Am D G7 C is used
during a variation, there may be cases in which the
major chords (in this example, D and C) playback
satisfactorily, but the minor chords (Bm) and seventh chords (G7) do not.
Flow of song
Chord
pressed

The sequence data of a style is made up of Chord


Variations.
When an arrangement plays, an element is selected
by the front panel keys (e.g., the Variation 14 keys),
and the chord variation within the element is determined by the chord that was detected. Finally, the
Bass, ACC1, ACC2 and ACC3 parts will play notes
that match the specified chord.

In such cases, you can first try recording a chord


variation for minor chords, and try that chord variation with the seventh chords. If this still does not
produce satisfactory results, record a chord variation for seventh chords.

STEP 3

Sequence
data actually played

Edi

If you have recorded two or more chord variations,


use the Chord Variation Table parameter to assign
the desired chord variation to each chord. For example you might assign CV 1 to major chords, CV 2 to
minor chords, and CV 3 to seventh chords, etc. In
this way, this parameter specifies which chord variation will be played when each type of chord is
pressed. When you play a chord during arrangement play, the i30 will refer to the settings of the
Chord Variation Table parameter, and will change
the chord variation to mach the chord that you
played.

2. Recording a style
This section will explain how to initialize a style and
create your own from scratch. Perform the steps ac
consecutively to learn the role of each parameter.

b. Recording the Drums and Perc tracks


5 Select Variation 1 for the Element parameter, and
select CV 1 for the Chord Variation parameter.

a. Initialize the style


If you are modifying a portion of an existing style
there is no need to initialize it. However if you wish
to create a style from scratch by setting all of the
parameters, you should begin by initializing the
style parameters.

5
6
7

1 In Edit Style mode, press the EXIT key, and then


press the Recording Track tab.
The Recording Track page will appear.

6 In the Length parameter, specify the length (in mea2


3

2 Use the style select button to select the style that


you wish to initialize.

3 Press the page menu button, and then press the


Initialize Style page menu command.

sures) of this chord variation.


For this example specify 4 measures.

7 In the Recording Track parameter, select the track


which will be recorded.
Here we will select the Drums track. In Edit Style
mode you are free to change tracks while you
record.
The program, pan and volume settings used here
can be set in the Program & Mix page. However
during arrangement play, these settings will be
overridden by the settings of the arrangement
parameters, so you need not be precise. Simply consider them as conveniences to make it easy for you
to record data.

8 Press the REC/WRITE key.


You will enter record-ready mode.
If you wish to modify the time signature, set the
Meter parameter to the desired time signature.

4 Press the OK button.


The style parameters will be initialized, and the previous display will reappear.

If you would like to have your timing tightened up,


set the Resolution parameter to  (16th note) or 
(eighth note). With these settings, notes that were
played with slightly inaccurate timing will be
recorded at the nearest interval of the specified resolution.

9 Press the START/STOP key.


The metronome will sound for two measures (precount: specified by the Metronome Setting), and
then recording will begin.
Loop recording is used, so when the four measures
have been input, you will return to the first measure, and can continue recording if desired.
If you make a mistake, check Remove Data, and
hold down the note on the keyboard which you
played by mistake. As the playback cycles, all occurrences of that note will be erased while you continue holding the note. Confirm that the wrong note
was erased, and then uncheck the box and continue
recording on the next cycle.

0 Press the START/STOP key to end recording.

Comparing the states before and after recording


If you press the COMPARE key, the COMPARE
key LED will light and you will return to the condition before you begin recording.
Press the COMPARE key once again, and the LED
will go dark and you will go back to the recorded
data.
You can press the START/STOP key to playback the
data and compare the two states, and resume
recording from the one that you prefer.

c. Recording the Bass and ACC1ACC3 tracks


Now lets record the ACC1 track.

1 Set the Key parameter.


When recording the Bass, ACC1, ACC2 or ACC3
tracks, the setting of the Key parameter will be
important.

Copying a chord variation


Since the Drum track and Perc track have nothing to
do with chords, you can simply record one chord
variation, and then copy and modify it to easily create additional chord variations.
Here we will copy CV 1 of Variation 1 for the Drums
track to CV 2.

1 In Edit Style mode, press the MENU key, and then


press the EDIT button.
2 Use the Element parameter and the Chord Variation parameter to specify the chord variation that
will be the copy destination. For this example, select
Variation 1 and CV 2.

3 In the Recording Track parameter, specify the copy


destination track.
For this example, specify the Drums track.

4 Press the page menu button, and then press the


Copy Track page menu command.

Set the Key parameter to the key of the chord variation. Then record a performance on each track in
the specified key.
For example if you set the Key parameter to Cmaj
(C major), you should play using the constituent
notes of the CM7 (C major seventh) chord; i.e., C, E,
G and B. If you specified Cmin (C minor), play
using the constituent notes of the Cm7 (C minor
seventh) chord; i.e., C, E , G and B ).
If in this way, you play using the constituent notes
of the major seventh chord when the Key parameter
is set to major, or the minor seventh chord when the
Key parameter is set to minor, the result will be
appropriate for all chords.

2 As described in step 7 above, select ACC1.


3 Press the REC/WRITE key, set the Meter parameter to the desired time signature, and set the Resolution parameter to the desired timing resolution.

4 Press the START/STOP key, and use the constituent notes of the CM7 chord (C, E, G, B) to record
your playing.

5 Press the START/STOP key to stop recording.

STEP 3

Edi

5 In From, select the copy source element and chord


variation.
For this example, select Variation 1, CV 1, and the
Drums track, and uncheck All Tracks.

6 Press the OK button.

3. Testing a chord variation


The Test page lets you verify how the style that you
recorded will be played in an arrangement. It is a
good idea to test each element as it is completed.

1 In Edit Style mode, press the EXIT key, and use the
Element parameter to select the element that you
wish to test.

2 Press the MENU key, and then press the Test button.
The Test page will appear.

Creating a drum pattern


In Edit Style mode, press the EXIT key to access the
Recording Track page. Use the Style parameter to
select the style that you wish to create, and the
Recording Track parameter to select the Drums
track. When you play the keyboard, drum sounds
will be heard.

1 Press the MENU key, and then press the Pattern


button.
The Pattern page will appear.

3 Press the START/STOP key, and begin playing the


element.

4 Play chords on the keyboard.

2
4

The performance of the tracks that you recorded


will change, and the chord name will be displayed
in the center of the LCD.
If the performance does not fit the chord you play,
re-record it, or record a chord variation that will suit
the chord you played.
For example if something is not quite right with the
performance when you play a Cmin chord, record a
chord variation for minor chords on CV 2, assign
CV 2 to the m (minor) slot of the Chord Var. Table
page, and try the Test page again.

4. Take advantage of patterns


The sequence memory for user styles is organized
into twelve blocks, as follows.
Block 1: C1114
Block 2: C1518
Block 3: C2124
Block 4: C2528
Block 5: C3134
Block 6: C3538
Block 7: C4144
Block 8: C4548
Block 9: C5154
Block 10: C5558
Block 11: C6164
Block 12: C6568
In each block, approximately 15,200 events of
sequence data can be recorded. Since if you record
four styles in each block, each style must be
restricted to approximately 3,800 events, it is a good
idea to take advantage of patterns for repetitive
phrases such as those played by the drums.

2 In the Pattern parameter, select a pattern.


For this example select Pattern 00.
It is convenient to create your own rule, for example
that pattern numbers 0x are for the Drums track,
and pattern numbers 1x are for the Perc track, etc.
Each style can have one hundred patterns.

3 Press the REC/WRITE key.


You will enter record-ready mode.

4 In the Length parameter, specify the length of the


pattern.
For this example, select 01 (one measure).
Short patterns will give you more flexibility, so it is
safest to keep patterns to one or two measures in
length.
If you wish to change the time signature, set the
Meter parameter appropriately.
If you would like to have your timing tightened up,
set the Resolution parameter to  (16th note) or 
(eighth note). With these settings, notes that were
played with slightly inaccurate timing will be
recorded at the nearest interval of the specified resolution.

5 Press the START/STOP key.


The metronome will sound for two measures (precount: specified by the Metronome Setting), and
then recording will begin.
If you make a mistake, check Remove Data, and
hold down the note on the keyboard which you
played by mistake. As the playback cycles, all occurrences of that note will be erased while you continue holding the note. Confirm that the wrong note
was erased, and then uncheck the box and continue
recording on the next cycle.

6 Press the START/STOP key to end pattern recording.


At this point you can press the COMPARE key to
return to the state before recording.

Placing a pattern in a track


Now lets place the drum pattern (that you recorded
above) at measures one through four of the Drums
track.

1 In Edit Style mode, press the MENU key, and then


press the Edit button.
The Edit page will appear.

5
3
2
4

0 Press the START/STOP key, and listen to the


Drums track playback.
The pattern that you created will be repeated for
each of the four measures. In this example, each
measure of the Drums track contains only data
which indicates that Pattern 00 was placed here.
There is only one measure of actual performance
data, in Pattern 00. This means that the more often
you use the Put Pattern function, the more memory
you will save. In addition, you avoid having to
record the data to the track.
However if you overuse the Pattern Put or Copy
functions, the performance will become monotonous, so be sure to record and use a variety of patterns.

5. Sophisticated recording techniques for the Drum track


3 For the Element parameter select Variation 1, and
for the Chord Variation parameter select CV 1.
4 Set the Start Measure parameter to 01.
5 Press the page menu button, and select the Put/
Copy Pattern page menu command.

Taking advantage of the Default Drum Mapping


and Kick & Snare Designation parameters
If you observe the following points when recording
the Drum track, you can use the Drums page of
Arrangement Play mode to create a variety of
changes during arrangement play.

Edi

6 Select the pattern.


For this example, select Pattern 00.

7 Press the Put button.


Notice that the Measure parameter display changes
to 02.

8 Continue pressing the Put button four times, to


place the drum pattern in four measures.

9 Press the Exit button to return to the previous


page.
Here you can verify that the pattern was placed as
you specify.

STEP 3

2 For the Recording Track parameter, select Drums.

Use C2 (the left-most note on the keyboard) for the


kick, and D2 for the snare. A different-sounding
kick or snare can be substituted by the Kick Designation parameter and Snare Designation parameter.
Use the snare (D2) sound, and not the side stick
(C#2).
When you select either 3 or 4 for the Default Drum
Mapping parameter, the snare will be converted to a
side stick, and the side stick will be converted to a
snare.
Use the hi-hat (F#2, F#1, A#2), and not the ride
cymbal (D#3, B3, F3).
When you select either 4 or 6 for the Default Drum
Mapping parameter, these hi-hat sounds will be
converted to ride cymbals, and ride cymbals will be
converted to hi-hats.
When recording the hi-hat, you should generally
use the closed hi-hat (F#2).
When you select 7 for the Default Drum Mapping
parameter, the closed hi-hat will be converted to an
open hi-hat (A#2).
Use the accent hi-hat (F#1) only when you wish to
add an accent.
When you select 8 for the Default Drum Mapping
parameter, the accent hi-hat will be converted to
crash 2 (A3), and the open hi-hat (A#2) will be converted to crash 1 (C#3).

6. Elements
The i30 styles consist of ten elements: Variation 14,
Intro 12, Ending 12, and Fill 12.
When you create an original element, you are not
required to create all elements from scratch.
All you need to do is first create Variation 1, then
copy it to Variation 2 and add some data to create
Variation 2, then copy that to Variation 3 and add
more data, and so on.

Be free when creating Intro 1 and Ending 1


By pressing the INTRO/ENDING 1 or 2 key during arrangement play, you can produce an intro or
ending.
The intro or ending that is produced when the

INTRO/ENDING 2 key is pressed will change


according to the chord that is being played on the
keyboard. However these changes will not occur for
the INTRO/ENDING 1 key.
In the case of Intro 1 and Ending 1, you can record
each element with as much chordal development as
you wish, and it will be played back without being
affected by the chord that is detected on the keyboard. Also, the settings of the Default Drum Mapping parameter will be ignored for Intro 1 and
Ending 1, so you may record the Drums track with
complete freedom as well.
Since it would sound odd for a song in a minor key
to have an intro or ending with major chords, it is
best to create CV 1 for major chords, and CV 2 for
minor chords.

7. Writing a style
When you have created a style that you like, write
the data into internal memory. If you select a different style before writing your edited style, your edits
will be lost.

1 In Edit Style mode, press the page menu button,


and then press the Write Style page menu command. Alternatively, you can press the front panel

REC/WRITE key.
The following dialog box will appear.

2
3
4
5

2 If you wish to modify the style name, use the text


edit button for the Name parameter to access the
text edit dialog box, and input the name of the style.

3 In the Category parameter, select the desired category.

4 In the Write to User Style parameter, specify a


number in bank C (the user bank).

5 Press the OK button.


The following data can be written as a Style.

[Settings in the LCD]


Setting of the Key parameter
Settings of each page
Chord variations

Playing a Standard MIDI File


(Song Play mode)

To move to the directory which contains the SMF


data, first press the MENU key, and then press the
Select Directory button to access the Select Directory page.

In Song Play mode, a Standard MIDI File can be read


directly from floppy disk and played. If you wish to playback SMF data without editing it, you should select this
mode.

1. About SMF

The i30 will recognize files with an extension of


.MID as SMF data. Be sure that the filename has an
extension of .MID.

2. Playing back SMF data


Direct playback from floppy disk
1 Press the SONG PLAY key to enter Song Play
mode.

2 Insert a floppy disk containing SMF data into the


disk drive of the i30.

Drive select button

If a hard disk is installed, press the drive select


button and select the drive which contains the data
that you wish to playback.
Then use the Open button and Up button to move
through the directory hierarchy to find the desired
SMF data.
When the desired SMF file (extension of .MID)
appears in the LCD screen, press the EXIT key.

5 Press the file select button. From the file list, select
the filename that you wish to play.

3 Press the LCD screen.


Data will be loaded from floppy disk.

4 The filename of the SMF file will appear in the File

parameter.

6 Press the START/STOP key.


Playback will begin.

7 Press the START/STOP key once again to stop


playback.
If the floppy disk contains no SMF data or if the currently selected directory contains no SMF data, the
File parameter will not be displayed, as shown
below.

STEP 3

When playing back SMF data on the i30, we recommend that you use format 0 SMF. Format 1 SMF
data will take somewhat longer to load.

Edi

Playback using the Jukebox function


The i30 provides a Jukebox function for playing
SMF data.
This function lets you modify the order of the file
list that was displayed in step 5 in the previous
procedure.

1 Check the Jukebox check box.

2 Press the MENU key, and then press the Jukebox


button.
The Jukebox page will appear.

3. Saving a Jukebox list


Jukebox lists can be saved to disk.

Saving procedure
1 Use the procedure given above to create a Jukebox
list.

2 Press the page menu button, and then press the


Save Jukebox List page menu command.

3
4

3
4

3 Use the text edit button to input the name of the


Jukebox list.
Drive select button

4 Press the OK button.


The Jukebox list will be saved to disk.

If a hard disk is installed, you can press the drive


select button and select the drive which contains the
desired data.

3 Use the scroll bar to display the SMF (extension


.MID) that will be played back first, and select that
file.
4 Press the Add button.
The filename that was specified in step 3 will be
displayed in the Jukebox list.

5 Select the file that will be played back second, and


press the Add button.
In this way, select the files in the order in which you
want them to playback, and add them to the Jukebox list. A maximum of one hundred files (0099)
can be registered in the Jukebox list.

6 When you are finished, press the EXIT key.


7 Press the START/STOP key.
The files will playback in the specified order.

8 Press the START/STOP key once again to stop


playback.
Only files in the same directory can be registered in
the Jukebox list.
If you perform one of the following actions while
registering a Jukebox list, the Jukebox list will be
lost. If this occurs, you will have to re-create the list
in the Jukebox page.
If you change the directory
If you remove the floppy disk
If you change the drive (only when the optional
hard disk is installed)

Loading procedure
1 In the Jukebox page, select a Jukebox List file
(extension .JKB).
2 Press the page menu button, and press the Load
Jukebox List page menu command.
The Jukebox list will be loaded into the i30.

4. Playing along with SMF data


Minus-one play
On the i30, you can playback SMF data and replace
one of the parts with your own performance. This is
called minus-one play.

1 As explained in 2. Playing back SMF data (p.41),


playback the SMF data to determine the channel of
the part that you wish to play, and stop playback.

2 Press the EXIT key, and then press the Prog 1-8
tab.

5. Playing one song at a time


With the factory settings, pressing the START/STOP
key to begin playback will cause all songs that are
displayed in the File parameter popup button to be
played back in succession.
If you perform the following procedure, playback
will halt after each song, and you can use the
START/STOP key to specify when the song will
begin.

1 In Song Play mode, press the EXIT key. Then press


the page menu button, and press the Next File
page menu command.

3 Use the popup button of the Channel parameter to


select the channel of the part that you wish to play.
For this example, select channel 4.
Play the keyboard, and the program of channel 4
will sound.
2

2 Uncheck the Auto Start box, and press the OK button.


With this setting, playback will stop after the next
SMF has been selected.

4 Make the appropriate settings in the Play/Mute


parameter check boxes.
If you do not want the data of channel 4 to playback,
and want to play instead of the recorded data,
uncheck the Play/Mute parameter.
If you want to play along with the data of channel 4,
check the Play/Mute parameter.

5 Press the START/STOP key to begin playback, and


play along with the recording on the keyboard.

[Using an external MIDI device]


You can use a connected external tone generator to
play specified channels.
Access the Track Status page, and uncheck the Internal parameter for each channel that you want to be
sounded on the external tone generator. At the same
time, check the External parameter so that the MIDI
data of that channel will be transmitted from the
MIDI OUT connector, but will not be sounded by
the i30s internal tone generator.
In the following diagram, channel 11 will be
sounded only by the external tone generator. However you will need to set the MIDI channel of the
external tone generator to channel 11.

3 Press the START/STOP key and playback will


begin. Playback will stop at the point where the
song ends. Press the START/STOP key once again,
and the next song will begin.
If you wish to practice repeatedly along with the
same SMF file, uncheck the Chain to next file box
in step 2. This will cause the same SMF to remain
selected after playback ends, so that pressing the
START/STOP key will playback the same song
again.

STEP 3

Edi

2 Press the page menu button, and then press the


Save page menu command.

Saving data
(Disk mode)
1. Media that can be used

In the i30s Disk mode, data that you created can be


saved to floppy disk or hard disk, and loaded from
disk into the i30s memory.

4
5

The recommended types of floppy disk and the


types of hard disk which can be installed in the i30
are as follows.

3 Use the text edit button to input the name.

Floppy disks

4 Remove the check mark from the check boxes of

2HD 1.44 MB
2DD 720 KB
Although 2DD floppy disks may be used, they will
not be able to save all files, since the capacity of
these disks is lower.

Hard disks (for installation in the i30)


2.5 inch E-IDE (Enhanced IDE) hard disks of maximum 1,080 MB (equivalent to 768 disks of the 2HD
type)
Recommended models
Toshiba
MK1401MAV
Hitachi
DK224A-14
Fujitsu
M2723TAM

1.4 GB
1.4 GB
1.2 GB

For details on hard disk installation, please contact


Korg Information or a service center.

2. Saving data
When the power of the i30 is turned off, backing
sequence data and song data will be lost. If you
wish to keep this data, you must save it to floppy
disk or hard disk.
Also, if you save other types of data to floppy disk
or hard disk, you will always be able to reload the
original data even if you have modified it. It is a
good idea to save favorite settings to disk.

1 In Disk mode, press the EXIT key.

filename extensions that you do not wish to save.


In order to accurately recreate the data that you create, we recommend that you check all check boxes
(and select All Styles for .STY).

5 Press the OK button.


The data will be saved to disk, and you will return
to the File page.
The LCD screen will show a directory named

(name).SET.

3. Loading data
Heres how data that was saved to disk can be
loaded into the i30.

1 In Disk mode, press the EXIT key.


The File page will appear.
If a hard disk is installed, you can press the drive
select button and select the drive which contains the
data that you wish to load.

2 In the LCD screen, select a .SET directory.


3 Press the page menu button, and press the Load
page menu command.

The File page will appear.

4 Press the OK button.


The files in the SET directory will be loaded into the
Drive select button

If a hard disk is installed, you can press the drive


select button and select the save destination.

i30, and the File page will reappear.


Select this SET directory and press the Open button,
and you will see that it contains the files of the
extensions which were checked in the dialog box
when saving. The SET directory will contain files of
the same name as the SET name. All of these files
can be loaded into the i30 in a single operation simply by selecting the SET directory and then loading.

The following data can be saved and loaded in Disk


mode. This data is the same data that is written into
internal memory by the Write operation.

Arrangement Play mode data


.ARR (Arrangement Parameters): data for the user
arrangements (C1188, D1188).
Settings for the melody parts (KBD parts)
Instrument configuration and volume balance of the
automatic accompaniment (ACC parts)
Data which specifies the style that will be used
Tempo, etc.
.ARG (Arrangement Global Parameter): settings
common to all arrangements.
Global page settings of Arrangement Play mode
On/off status of the front panel CHORD MEMORY
key etc.
.ARK (KBD Set Parameters): Settings for the melody parts of the arrangement (KBD parts) (1188).

Program mode data


.PRG (Program Parameters): data for the user programs (F1188, G1188, R5158)

Data written in Global mode


.GBL (Global Parameter): settings which affect all
modes.
Master Tune
Function settings assigned to SW 1 and SW 2, etc.

Edit Style mode data


.STY (Style Parameters/Data): data for the user
styles (C1168) used in Arrangement Play mode.
Sequence data
Chord variation table, etc.

Data created in Backing Sequence mode


.BSQ (Backing Sequence Data): musical data (09)
with automatic accompaniment that was created in
Arrangement Play mode using an arrangement.

Data created in Song mode


.SNG (Song Data): sixteen track musical data (09)
without automatic accompaniment.

Floppy disk handling


When handling floppy disks, please observe the following
precautions. Improper handling of disks can result in loss
of data.

1. Types of floppy disk and formatting


The i30 can use 3.5 inch floppy disks of either 2HD
or 2DD types.
Newly purchased disks or disks which have been
used by another device cannot be used as they are.
Such disks must be formatted before they can be
used by the i30.
For the formatting procedure, refer to Disk mode
31. Format (Parameter Guide p.75).

2. Floppy disk handling


Do not open the shutter of a floppy disk or touch the
magnetic surface inside the floppy disk. If the magnetic surface becomes soiled or scratched, it will not
longer be possible to read or write data.
Never transport the i30 with a floppy disk inserted
in the disk drive. Vibration can cause the disk drive
heads to scratch the floppy disk, making it unusable.
Do not allow a floppy disk to come near devices
which produce magnetic fields, such as televisions,
computers, computer displays, speakers, or power
transformers. This can cause the data to be erased
from disk.
Avoid using or storing floppy disks in locations of
high temperature or humidity, in direct sunlight, or
in locations of excessive dirt or dust.
Do not place objects on top of a floppy disk.
While the disk drive is operating, do not attempt to
remove the floppy disk, and do not jar the instrument.

STEP 3

4. Data handled in Disk mode

Edi

3. Floppy disk write protect tab


Floppy disks have a small opening called a write
protect hole which prevents data from being accidentally erased or rewritten.
To prevent accidental loss of disk data, lower the tab
after saving to the write prohibit position.
Write prohibit position: Lower
the tab so that the write
protect hole is open.

Write permit position: Raise


the tab so that the write
protect hole is closed.

4. Inserting a floppy disk


Insert a floppy disk into the disk drive with the
label facing upward. Press it all the way into the
drive until it clicks into place.
Attempting to insert a disk by force may cause malfunctions. Disk must be inserted carefully, and in
the correct orientation.

Disk access
ndicator

5. Removing a floppy disk


Before removing a floppy disk from the disk drive,
make sure that the disk access indicator is off.
Then press the eject button to remove the disk.
If the disk does not come out when you press this
button, do not attempt to remove the disk by force.
Contact your dealer.

Disk access
indicator

Eject button

6. Cleaning the heads


If the heads of the disk drive become soiled, errors
may occur during saving or loading. For this reason
you should clean the heads regularly. Use a commercially available wet-type 3.5 inch doublesided head cleaning disk. For the procedure, refer
to the instructions for your cleaning disk.

Appendices
MIDI applications
If you wish to connect the i30 with a computer, you can
either use MIDI cables to make connections via a MIDI
interface (connection via MIDI), or use a special cable to
make a connection directly (connection via special cable).
Read the explanation that is appropriate for your computer
and system. If you are using a stand-alone MIDI sequencer,
read the section on MIDI connections.

1. Connecting via MIDI


If you wish to connect the i30 to a stand-alone MIDI
sequencer or to a computer with a MIDI interface,
use a MIDI cable to connect the MIDI OUT connector of the sequencer/computer (MIDI interface) to
the MIDI IN of the i30. Use a MIDI cable to connect
the MIDI OUT connector of the i30 to the MIDI IN
of the sequencer/computer (MIDI interface).
Sequencer/Computer

Connecting a MIDI sequencer Connecting via


MIDI
Connecting a computer (using a MIDI interface)
Connecting via MIDI

MIDI interface
MIDI IN

MIDI OUT

Connecting an IBM PC (compatible) (using a special


cable) Connecting an IBM PC (compatible)
(p.48)
Connecting an Apple Macintosh (using a special
cable) Connecting an Apple Macintosh (p.48)

MIDI OUT

MIDI IN

About Interfacing with


Your computer

The i30 can be connected directly to the following computers.

IBM PC (compatibles):
Connection kit AG-001B (connection cable, Korg
MIDI Driver driver software) [sold separately]

Apple Macintosh series:


Connection kit AG-002B (connection cable, Korg
MIDI Driver driver software) [sold separately]

If you wish to connect additional MIDI devices, you


can either connect them to the MIDI OUT connector
of the sequencer/computer (MIDI interface), or to
the MIDI THRU connector of the i30.
For details connecting your computer and MIDI
interface, and for MIDI port settings, refer to the
owners manual for your MIDI interface.
If you want what you play on the i30 keyboard to
be recorded on the computer or sequencer, and then
to playback on the i30 (i.e., using the i30 both as a
MIDI input keyboard and as a MIDI tone generator), connect the MIDI OUT and MIDI IN connectors of the i30 and of the computer/sequencer
respectively to each other. In this case if the Echo
Back setting (a function which causes messages
received at MIDI IN to be retransmitted from MIDI
OUT) of the computer/sequencer is ON, notes will
be sounded on the i30 in duplicate (both from the
keyboard, and by the echo-back via MIDI IN).
When using this type of connection, set the i30 to
Local Off (to disconnect the keyboard section from
the tone generator section). The Local Off setting is
made in Global mode Filter, MIDI page.
With a setting of Local Off, the i30 will not be able to
produce sound by itself. (No sound will be heard
when you play the keyboard.) If you are using the
i30 by itself, leave the setting at Local On.

Appendices

When a special cable is used to connect the i30 to a computer, the included Korg MIDI Driver can be used to
play music.

2. Connecting an IBM PC (compatible)


via the AG-001B
Connect the special cable (AG-001B [sold separately]) to the serial port (COM port) of the IBM
PC (compatible) and to the TO HOST connector of
the i30.

TO HOST Baud Rate


setting
1 Press the GLOBAL key to enter Global mode.
2 Press the MENU key, and then press the Clock,
Host, Damper button.

IBM PC (compatible)
COM
Special connection cable (AG-001B)
TO HOST

The Clock, Host, Damper page will appear.

3 Set the TO HOST Baud Rate parameter to either


31.25 or 38.4

If your computer has a 25 pin serial port, you will


need a 9 pin 25 pin conversion adapter.
When connecting the i30 to an IBM PC (compatible), set the TO HOST Baud Rate parameter in
the Global mode Clock, Host, Damper page to
38.4k.
If you are using Windows, install the Korg MIDI
Driver. For the installation procedure, refer to Korg
MIDI Driver installation and setup (p.49).

31.25k: Select this setting if you are connecting an


Apple Macintosh.
38.4k: Select this setting if you are connecting an
IBM PC (compatible).

Wiring diagram for special connection cables


(1) AG-001B (for IBM PC or Compatible)
Mini DIN 8-pin

D-SUB 9-pin

3. Connecting an Apple Macintosh


via the AG-002B
Connect the special cable (AG-002B [sold separately]) to the modem port or printer port of the
Apple Macintosh and to the TO HOST connector
of the i30.
Apple Macintosh

3
4

8
7
2
5

(2) AG-002B (for Macintosh)


Mini DIN 8-pin

Mini DIN 8-pin

Modem port or
Printer port
Special connection cable (AG-002B)
TO HOST

If your application program (sequencer) has a clock


setting, set it to 1 MHz.
When connecting the i30 to an Apple Macintosh,
set the TO HOST Baud Rate parameter in the Global mode Clock, Host, Damper page to 31.25k
For details on installing the Korg MIDI Driver, refer
to Korg MIDI Driver installation and setup (p.49).

1
2
3
4
5
6
7
8

2
1
5
4
3
8
7
6

Korg MIDI Driver installation and setup

5 Click [Have Disk].

1. Installing the Korg MIDI Driver into


Windows 95
1 Click the [Start] button in the taskbar, and in [Settings], click [Control Panel].

A dialog box will appear, allowing you to specify


the drive and directory.

6 Insert the disk included with the AG-001B into the


disk drive of the computer. If the disk was inserted
into drive A, type A:\ (or if drive B, type B:\)
and click the [OK] button.

7 Click the [OK] button and click [OK].


2 In the control panel, double-click the [Hardware]
icon to start up the hardware wizard, and then click
[Next>].

3 In response to the question Automatically detect


new hardware? be sure to reply No, and then
click the [Next>] button.

Korg MIDI Driver (Windows) (refer to p.50), and


click the [OK] button.

4 Select [Sound, video and game controllers], and


click the [Next>] button.

9 Be sure to restart your computer so that the driver


will take effect.

Appendices

8 Perform the setup as directed in Setting up the

Modifying the Korg MIDI Driver setup for Windows 95


1 In the control panel, double-click the [Multimedia]
icon, and the multimedia properties dialog box will
appear.

2. Installing the Korg MIDI Driver into


Windows 3.1
1 In the control panel, double-click the Driver icon.

2 Click the [Add...] button.

2 Click the [Advanced] tab located at the upper right.


3 Click the [+] for [MIDI Devices] (the display will

3 In the driver list, select [Unlisted or updated driver]


and click the [OK] button.

change to []), and click [KORG PC I/F MIDI Port].

4 Click the [Properties] button.


The KORG PC I/F MIDI Port properties will be displayed.

5 Click the [Settings] button.

4 Insert the disk included with the AG-001B into the


disk drive of the computer. If you inserted the disk
into drive A, type A:\ (for drive B, type B:\),
and click the [OK] button.

5 Select Korg PC I/F Driver, and click the [OK] butPerform the setup as directed in Setting up the
Korg MIDI Driver (Windows), and click the [OK]
button.

ton. The setup window will appear. Follow the


directions in Setting up the Korg MIDI Driver
(Windows) (refer to p.51) to perform the setup.

If you have modified the settings, you must re-start


Windows.

6 After setup is complete, remove the disk and select


[Restart] to make the newly installed driver available.

1 For the Serial Port setting, select the serial port to


which the i30 is connected ([COM1][COM4]).
If you wish to use the serial port for another purpose after installing the Korg MIDI Driver, select
[None] to disable the driver.

2 If [Independent Synth/MIDI Out] box is checked,


uncheck it.
If this box is checked, malfunctions will occur.

3 [MIDI Out Messages] allows you to select the types


of message that will be transmitted to the i30.
4 When you finish making settings, click the [OK]
button. If you wish to cancel your settings, click
[Cancel].

3. Installing the Korg MIDI Driver into


a Macintosh
In order to use the Korg MIDI Driver, the Apple
MIDI Manager and PatchBay must already be
installed. Use the versions of Apple MIDI Manager
and PatchBay that are included with your MIDI
application. They are not included with the AG002B.
When the Korg MIDI Driver is used, the Modem
MIDI Out/Port setting dialog box (p.52) will allow
you to specify the MIDI channels and types of messages which will be transmitted to the i30. If you do
not need this functionality, you can simply use the
Apple MIDI Driver without the Korg MIDI Driver.
When using the Apple MIDI Driver, or when using
a MIDI application (sequencer) which does not use
the Apple MIDI Manager, refer to p.52.

1 Copy the Korg MIDI Driver from the disk included


with the AG-002B into the system folder of your
startup disk.

2 If there is a copy of Apple MIDI Driver in your system folder, either delete it, or move it to another
folder. Be careful not to delete or move the Apple
MIDI Manager.
The Korg MIDI Driver includes the functionality of
the Apple MIDI Driver.

3 From the Special menu, select Restart.

Setting up the Korg MIDI Driver (Macintosh)


1 Start up PatchBay.
Time Port

MIDI In Port

MIDI Out Port

Connected Port
Modem Port
Printer Port

If installation has been performed correctly, the


KORG MIDI Driver icon shown above will appear
in the PatchBay window when PatchBay is started
up. (The modem and printer ports will be displayed
differently depending on the setup condition.)

Appendices

Setting up the Korg MIDI Driver (Windows).

2 In PatchBay, double-click the KORG MIDI Driver


icon.
The setup dialog box will appear.

Using PC Exchange to convert SMF data


Most commercially available Standard MIDI File
(SMF) song data is saved in MS-DOS format.
You can use PC Exchange to make MS-DOS format
SMF song files recognizable by the Macintosh.

1 In the control panel, open PC Exchange.


The PC Exchange control panel will appear.

2 Press the [Add...] button.


The [Specify application associated with DOS extension] window will appear.

3 Input .MID into the DOS extension field.


3 Check the Port Enable box for the port to which the
i30 is connected, and specify [1 MHz] .
Since the i30 does not contain a KORG PC IF, do not
select [KORG PCIF].

4 Press the [Out Port Setting] button.


The following dialog box will appear. Here you can
select the MIDI channels/messages which will be
output to each port. Only those channels/messages
whose box is checked will be output.

In order to distinguish different types of file, MSDOS adds an extension consisting of a period and
three characters to the end of the filename. It is customary for SMF data to have an extension of .MID

4 From the list that appears in the lower part of the


dialog box, select your SMF-compatible MIDI application (sequencer).
The selected icon will appear in the Application
field.

5 From the [Document type] popup menu, choose


[Midi], and click the [OK] button.
The item which was added to the PC Exchange window will appear, and has now been registered.
Now when an MS-DOS SMF disk is inserted into
the disk drive, it can be used immediately.
For details refer to the documentation for Macintosh PC Exchange.

5 When you have finished making settings, click the


[OK] button.

6 Start up your MIDI application (sequencer), and


drag the mouse from the w of the your MIDI
applications Out Port to connect it to the MIDI Out
of the MIDI Driver.
For details on using PatchBay, refer to About
PatchBay... etc. in the Apple menu.

To use the Apple MIDI Driver, you must first


delete or move the Korg MIDI Driver if it exists in
your system folder. Then start up PatchBay, doubleclick the Apple MIDI Driver icon that appears,
check Enabled for the Port to which the i30 is connected, set Interface Type to [1 MHz], and close the
dialog box. In PatchBay, drag the mouse from the
OutPort w of the MIDI application (sequencer) to
connect it to MIDI Out.

If you are using a MIDI application (sequencer)


which does not use Apple MIDI Manager, select
the Port to which the i30 is connected, and set the
Clock setting to [1 MHz].

About the MIDI File Translator included with the


AG-002B
If the Macintosh you are using does not have PC
Exchange but does have Apple File Exchange, you
can use the MIDI File Translator included with the
AG-002B to convert MS-DOS SMF data.

1 Put the MIDI File Translator into the same folder as


Apple File Exchange.

2 Double-click Apple File Exchange to start it up.


3 Insert the MS-DOS disk that you wish to convert
into the disk drive.
Be sure to insert the MS-DOS format disk into the
disk drive only after Apple File Exchange has
already started up.

4 Select the song file that you wish to convert.


5 Press the <<Convert<< (or >>Convert>>) button located in the center.
Conversion will begin. When the bar graph reaches
100%, conversion is complete. The converted file
will appear in the left-hand box.

6 Exit Apple File Exchange.

Error Messages

F
File already exists.

When the Create Directory, Copy, or Rename


command was executed, an identically-named
directory or file already exists.

Cant Calibrate

Either use the Delete command to delete the old


directory or file, or change the name.

Calibration could not be performed correctly.


Perform the operation again.

File is read only protected.

Complete

You attempted to delete or overwrite a disk file


which was read-only.

Processing has been completed. Proceed to the next


step.

Save the data under a different name.

File/path not found.


The specified file or directory does not exist. Or, you
attempted to open a DOS directory which exceeds
the limit of hierarchy (64 characters for the full path
name).

Destination and source are identical.


When executing a Copy or Bounce command, the
same setting was made for both the source and the
destination.

When executing the Save command, there was


insufficient space in the save destination block.

I
Illegal file description.
An invalid filename was input when saving a file or
creating a directory.

Either change the save destination, or use the Erase


User Style command to erase a style from the save
destination block.

Use a filename other than CON, PRN or AUX.


No filename was assigned.

Destination is empty.
The backing sequence, song, track, or pattern that
was specified as the destination contains no data.

Assign a filename.

Illegal SMF data.


You attempted to load or playback a file which was
not a Standard MIDI File.

Destination measure is empty.


The measure that was specified as the destination
contains no data.

Illegal SMF division.


You attempted to load a Standard MIDI File that
was time-code based.

E
Error in formatting medium.

Illegal SMF format.


You attempted to load a Format 2 SMF.

When formatting a disk, a bad sector was found on


disk. Formatting cannot be performed.
Use another disk.

Error in reading from medium.


Failure occurred when reading from disk.
Try the operation once again. If the same error
occurs, it is possible that the data on disk has been
lost.

Error in writing to medium.


Failure occurred when writing to disk.
It is possible that the disk is physically damaged.
Use a different disk.

Events of track overflow.


The maximum number of events on one track
(16,384 events) has been exceeded.

Select an SMF file of either Format 0 or 1 for loading.

M
Measure is occupied by pattern.
The beginning measure of a pattern exists at the
destination, and execution was not possible since
the pattern was not opened.

Measure over max.


Executing the edit operation would cause the limit
of 999 measures to be exceeded. Alternatively, executing the edit operation would exceed the length of
the Style.

Medium changed.
The floppy disk was exchanged.

Appendices

Destination block has not enough memory.

Medium unavailable
A command was executed for a floppy disk which is
not in MS-DOS 2HD or 2DD format.

R
Root directory is full.
When you copied a file to the root directory or executed the Create Directory command, the maximum number of root directory entries was
exceeded.

Medium write protected.


The writing destination floppy disk is write protected.
Turn off the write protect setting of the floppy disk.

N
No Medium.
A floppy disk is not inserted.

Either delete an existing file or directory, or change


disks.

S
Source includes pattern.
The source includes the second or subsequent measures of a pattern, and execution is not possible
since the pattern was not opened.

No space available on medium.


When the Save or Create Directory command was
executed, there was insufficient space on disk.
Either delete an existing file, or insert a disk which
has vacant capacity.

Not enough memory.


The specified editing operation could not be performed since there was insufficient sequence memory available.
Free more memory by deleting data such as
unneeded songs, tracks or patterns.

Not enough memory to load.

Source is empty.
The track, measure or pattern that was specified as
the source contains no data.

Source overlaps destination.


When the Copy Measure command was executed,
the measures of the source and destination overlap.

T
Tempo Track cant be recorded alone.

When loading SMF data, sequence memory became


full.

You attempted to begin recording when the Tempo


Track was the current track.

It is possible that the data can be loaded if you


delete unneeded song data.

It is not possible to record the tempo track by itself.


If you wish to record tempo changes, set the tempo
track to REC when recording another track, and
record them together.

Not enough memory to open pattern.


There was insufficient sequence memory to open
the pattern.
Delete unneeded songs, tracks or patterns etc. to
free more memory.

This style has not been done Write Style yet.


Do you discard this edited style?
You selected another style before writing the style
that was currently being edited.

If you wish to write the style that is being edited,


press the Cancel button and then execute the
Write Style command.

Pattern conflicts with events.


When the Bounce command was executed, there
was a measure in which a pattern was Put, and the
operation cannot be executed since the pattern was
not opened.
Open the pattern.

Pattern has been put on destination or source


track. Open Pattern?
A pattern has been put on either the destination or
the source. At this point you will be able to specify
yes/no wheter or not you want the pattern to be
opened.

Track number over.


When loading SMF data, the number of tracks being
loaded exceeded sixteen.

U
Unable to create directory.
You attempted to create a directory that exceeded
the limit of directory depth (64 characters for the
full path name).

You cant undo this change. Are you sure?


There is insufficient free area in the sequence memory, it will not be possible to access the Undo function by pressing the COMPARE key.
To increase the amount of free memory, use the
Backing Sequence mode command Erase Backing
Sequence or the Song mode command Erase Song to
delete unneeded backing sequence data or song
data.

Troubleshooting
If a problem occurs, please check the following items.

Power does not turn on


Is the power cable connected to the AC outlet?
Check the connections (p.6).
Is the POWER switch turned on?
Turn on the POWER switch located on the rear
panel.

Power is on but nothing appears in the LCD


screen
Use the rear panel CONTRAST knob to adjust the
contrast of the LCD screen.

Operations in the LCD screen are not input correctly


Execute the Touch Panel Calibration command to
adjust the sensitivity of the touch panel.
In the Global mode Basic Setup page, execute the
Touch Panel Calibration page menu command. If
the screen has drifted so far that you are unable to
access the page menu commands, simultaneously
press the EXIT key and the [+] key in Global mode.

No sound
Are your amp, mixer, or headphones connected to
the correct jacks?
Check the connections (p.6).
Is the power of your amp and mixer turned on?
Is Local Control turned ON?
Check Local Control On in the Filter, MIDI page of
Global mode.
Is the MASTER VOLUME slider or the OUTPUT
MIXER sliders raised?
If there is no sound from the OUTPUT 3 and 4 jacks,
has the effect placement been set so that the sound
is output from the OUTPUT 3 and 4 jacks? Alternatively, are the effect send levels set above zero?
In the Effect Placement page, select a placement that
will output the sound from the OUTPUT 3 and 4
jacks. Set the C Send Level and D Send Level
parameters above zero.

A specific part does not sound in Arrangement Play


mode or Backing Sequence mode: Is the front panel
PLAY/MUTE key LED dark?
A specific part does not sound in Song mode or
Song Play mode: Is Play/Mute checked? Is Internal
checked? Is Pan set other than OFF, and C Send
Level and D Send Level set above zero? Do the settings of the Key Window page and Velocity Window page allow the notes to be heard?

Notes are stuck


In Program mode OSC, is the OSC Basic page Hold
parameter unchecked?
In the Global mode Clock, Host, Damper page, is
the Damper Switch Polarity set correctly?

Arrangement does not playback correctly after


data was loaded
Were all check boxes in the dialog box checked
when you saved the data?

Backing sequence does not playback correctly


after data was loaded
Were all check boxes in the dialog box checked
when you saved the data?

Song does not playback correctly after data was


loaded
Were all check boxes in the dialog box checked
when you saved the data?

Playback does not start when you press the


START/STOP key
In the Global mode Clock, Host, Damper page, is
the Clock Source set to Internal?

Cannot record in Backing Sequence mode or


Song mode
In the Global mode Clock, Host, Damper page, is
the Clock Source set to Internal?

No response to MIDI messages transmitted from


an external device
Are all MIDI cables connected correctly?
Is MIDI data being received on the channel on
which it is being transmitted?

Incorrect response to MIDI messages transmitted


from an external device
Are the Global mode Filter, MIDI page settings
Enable Program Change, Enable Bank Change,
Enable Control Change, and Enable Aftertouch all
checked?
Are the messages being transmitted supported by
the i30?

Settings for oscillator 2 are not displayed


Is a double program selected?

Appendices

Cannot format a floppy disk

<Pitch EG>
EG Intensity
Level Velocity Sens.
Attack Time
Decay Time
Release Time
Start Level
Attack Level
Release Level
Time Modulation Vel.

Are you using a 3.5 inch 2HD or 2DD disk?


Is the floppy disk inserted correctly?
Is the write protect hole of the floppy disk closed to
be in the write permit position?
Insert a 3.5 inch 2HD or 2DD disk with the write
protect hole closed into the floppy disk drive, and
try the formatting operation again.

Cannot save or load data to/from floppy disk


Is the floppy disk inserted correctly?
Is the write protect hole of the floppy disk closed to
be in the write permit position?
Insert a 3.5 inch 2HD or 2DD disk with the write
protect hole closed into the floppy disk drive, and
try the formatting operation again.

Initialized programs and


styles
When you initialize a program or style, the various parameters will be set to the following values.

1. Program
<OSC Basic>
Single
Off
Off
360: Square
50
CNT

-------Off
Off
-------50
CNT

<Basic Pitch>
8' (Standard) --------

<Pitch Bend Range>


Joystick X
Aftertouch

+2
+0

+2
+0

Pitch
Triangle
00
50
00
00
+00
Off

Triangle
00
50
00
00
+00
Off

00
00
0

00
00
0

<MG Control>
Joystick
Aftertouch
Freq.Control JS & AT

Cutoff Frequencey
Color
Cutoff EG Intensity
Vel.Sens. EG Intensity
Vel.Sens. Color
Key.Trk Intensity
Key.Trk Mode
Key.Trk Pivot Key

99
00
00
+00
+00
+00
Off
C4

Off
Triangle
00
50
00
Off

Off
Triangle
00
50
00
Off

00
00
00
00
+00
+00
+00
+00
00
0
0
0
0
00
0
0
0
0

00
00
00
00
+00
+00
+00
+00
00
0
0
0
0
00
0
0
0
0

+00
00
+00
00

+00
00
+00
00

<VDF MG>
Enable OSC 1
LFO Waveform
Intensity
Frequency
Delay
Key Sync

Attack Time
Decay Time
Slope Time
Release Time
Attack Level
Start Level
Attack Level
Release Level
Time Modulation Vel.
Attack Time
Decay Time
Slope Time
Release Time
Time Modulation Key.
Attack Time
Decay Time
Slope Time
Release Time

<Control>

<Pitch MG 1>
LFO Waveform
Intensity
Frequency
Delay
Fade in
KBD Tracking
Key Sync

99
00
00
+00
+00
+00
Off
C4

VDF

<VDF EG 1>

Oscillator

Octave

+00
+00
00
00
00
+00
+00
+00
+00

<VDF 1>

Is the floppy disk formatted?

Oscillator Mode
Mono
Hold
Multisample
Level
Pan

+00
+00
00
00
00
+00
+00
+00
+00

Cutoff Freq. JS X
VDF MG Intensity JS-Y
Cutoff Freq. AT
VDF MG Intensity AT

2. Style

<VDA 1>
Vel.Sens. Level
Key.Trk Intensity
Key.Trk Mode
Key.Trk Pivot Key

+00
+00
Off
C4

+00
+00
Off
C4

00
00
00
00
99
99
99
00
0
0
0
0
00
0
0
0
0

00
00
00
00
99
99
99
00
0
0
0
0
00
0
0
0
0

+00

+00

9
9
Parallel 2
No Effect: Off
No Effect: Off
L
R

9
9
Parallel 2
No Effect: Off
No Effect: Off
L
R

<VDA EG 1>
Attack Time
Decay Time
Slope Time
Release Time
Attack Level
Break Level
Sustin Level
Time Modulation Vel.
Attack Time
Decay Time
Slope Time
Release Time
Time Modulation Key.
Attack Time
Decay Time
Slope Time
Release Time

<Control>
OSC Level

Effect
OSC 1 C Send Level
OSC 1 D Send Level
Placement
FX 1
FX 2
C Pan
D Pan

Drum Kit:
All Keys (A0...C8)
DrumSample
-------Transpose
-------Detune
-------Adjustment of Level
-------Adjustment of Decay Time -------Pan
-------C Send
-------D Send
-------Exclusive Group
--------

Same as R11
+00
+00
+00
+00
CNT
0
0
None

Tempo
Drums (Program)
(Pan)
(Volume)
Perc
(Program)
(Pan)
(Volume)
Bass
(Program)
(Pan)
(Volume)
(Wrap-Around)
(Retrigger)
ACC1 (Program)
(Pan)
(Volume)
(Wrap-Around)
(Tension)
(Retrigger)
ACC2 (Program)
(Pan)
(Volume)
(Wrap-Around)
(Tension)
(Retrigger)
ACC3 (Program)
(Pan)
(Volume)
(Wrap-Around)
(Tension)
(Retrigger)

120
R11
PROG
100
R23
PROG
100
A52
CNT
100
07
On
A11
CNT
100
07
On
Off
A43
CNT
100
07
On
Off
A86
CNT
100
07
On
Off

Settings for each Element


Chord Variation Table

CV 1

Settings for each Chord Variation


Key
Length
Sequence data is erased

C maj
04

Appendices

VDA

List of detected chords


The diagrams at right show the chords that the i30 will
detect with a root of C. Detection of two notes or fewer will
occur when Chord Scanning is set to Lower (Easy).
In order for the i30 to correctly distinguish major 6th and
minor 6th chords, the root becomes important. For example
in the case of C major and its relative minor of A minor,
both C6 and Am7 consist of C, E, G and A, but the root
must be C in order for C6 to be detected. Also, both Cm6
and Am7  5 consist of C, E  , G, and A, but the root must be
C in order for Cm6 to be detected.

: Constituent notes of the chord

: Root

: Notes which can be used as tension

Major

"C"

3-note

2-note
9

9
9

 11

9

11

2-note

 11
11

1-note
 11

Major 6th

"C6"

4-note

2-note
 11

Major 7th

"CM7"

4-note

3-note
 11

2-note

Sus 4

"Csus4"

3-note

2-note

9
9

Sus 2

"Csus2"

3-note

Dominant 7th

"C7"

4-note

3-note
9

9
9

 11
13

2-note
9
9

9

9

13

13

Dominant 7th Sus 4 "C7sus4"

Augmented

4-note

3-note

9

9
9

3-note
9

Minor

"Cm"

3-note

Augmented 7th
2-note

11

11

Minor 6th

"Cm6"

9
9

4-note
9

9
11

 11

Major 7th 5

"Cm7"

4-note

11

3-note

4-note

Minor-Major 7th "CmM7"


4-note

Major 7th Sus 4


3-note

"CM75

"CM7sus4"

4-note
9

13

Diminished

"Cdim"

Dominant 7th 5

3-note

4-note

9

9
9

4-note

11

Minor 7th 5

"Cm75"

4-note

9
9

Diminished Major 7th "CdimM7"

11

13

"C75"

13

Appendices

Minor 7th

 11

Augmented Major 7th "CaugM7"

4-note

"Caug7"

4-note
9

"Caug"

Specifications and options


Specifications
Tone generation method
AI2 Synthesis System

Tone generator section


Arrangement Play mode/Backing Sequence mode
KBD parts: 32 voice 32 oscillator (single programs)
16 voice 32 oscillator (double programs)
ACC parts:32 voices 32 oscillator (single programs)
16 voice 32 oscillator (double programs)
Other modes
64 voice 64 oscillator (single programs)
32 voice 64 oscillator (double programs)

Waveform memory
PCM ROM 18 Mbyte

Modes
Arrangement Play mode
Backing Sequence mode
Song mode
Song Play mode
Program mode
Edit Style mode
Global mode
Disk mode

Effect section
Stereo digital multi-effect system
47 varieties
Arrangement Play mode/Backing Sequence mode
Two effect units each for KBD parts and ACC parts
Other modes
Two effect units

Programs
352 preset programs (including 32 drum programs)
136 user programs (including 8 drum programs)

Arrangements
128 preset arrangements
128 user arrangements

Styles
128 preset styles
Maximum of 48 user styles

Keyboard sets
64

Backing sequences
10 songs

Songs
10 songs

Backing sequence + song capacity


Maximum 65,536 events

Keyboard section
61 notes (velocity sensitive, with aftertouch)

Display section
320 240 pixel TouchView Graphical User Interface

Floppy disk drive


3.5 inch 2HD/2DD

Hard disk drive (one drive can be installed)


2.5 inch E-IDE hard disk is supported

Audio output jacks


1/L/MONO, 2/R, 3, 4
Headphone jack

MIDI connectors
IN, OUT, THRU

Other connectors
DAMPER jack
ASSIGNABLE PEDAL/SWITCH jacks (1, 2)
EC5 connector
TO HOST connector

Power supply
AC 100 V

Power consumption
20 W

Dimensions (W D H)
1,090 348 117 (mm)

Weight
14.2 kg

Included items
AC power supply cable
Floppy disk (i30FD-00P)
Music stand

Options (sold separately)


EC5 external controller
DS-1H damper pedal
PS-1 pedal switch
EXP-2 foot controller
XVP-10 expression pedal
MIDI cables
AG-001B, AG-002B connection kit
Specifications are subject to change without notice.

i30

MIDI Implementation Chart


Function

Transmitted

Recognized

Default

1 16

1 16

Changed

1 16

1 16

Remarks
Memorized

Basic Channel
Default
Mode

Note
Number:

Messages

Altered

******************

0 127

0 127

True Voice

******************

0 127

Note On

O 9n, V=2 127

O 9n, V=1 127

Note Off

Polyphonic (Key)

Monophonic (Channel)

*A

*C

O
O
O
O
O
O
O
O
O
O
X
X
O

O
O
O
O
O
O
O
O
O
O
O
O
O

O 0 127

O 0 127

When sequencer data is sent: 0 127

Velocity

When sequencer data is sent: 2 126

Sequencer data only

*A

Aftertouch

0, 32
1, 2
4, 64
6, 38
7, 11
10, 91, 93
12, 13
72, 73, 74
92 ,94
96, 97
100, 101
120, 121
0 101

Control
Change

Program
Change

Variable Range

System Exclusive

System
Common

System
Real Time

Aux
Messages

Notes

******************

Bank Select (MSB, LSB)


Joystick (+Y, Y)
Pedal (scale, damper)
Data Entry (MSB, LSB)
Volume, Expression
Panpot, send C, D
Effect controll 1, 2
EG time (Release, Attack), Brightness
Effects 1, 2 on/off
Data Inc, Dec
RPN (LSB, MSB)
All sound off, Reset all Controller
(Sequencer data)

*P
*C
*C
*E
*C
*C
*C
*C
*C*4
*C
*2

*P

0 127

*3 *E

Song Position

*1

Song Select

O09

O09

*1

Tune

Clock

*1

Command

*1

Local On/Off

All Notes Off

O 123 127

Active Sense

Reset

*C, *P, *A, *E: Sent and received when MIDI Filter (Controller, Program Change, Aftertouch, System Exclusive) is set
to ENA in Global mode.
*1: When clock is set to internal, sent but not received. When set to external, received but not sent.
*2: LSB, MSB = 00,00: pitch bend range, =01,00: fine tune, =02,00: course tune
*3: Includes Inquiry, GM Mode On, Master Balance, and Master Volume messages.
*4: In Arrangement Play mode/Backing Sequence mode, turns ACC FX1 and ACC FX2 on/off.

Mode 1:OMNI ON, POLY


Mode 3:OMNI OFF, POLY

Mode 2:OMNI ON, MONO


Mode 4:OMNI OFF, MONO

O: Yes
X: No

Consult your local Korg distributor for more infomation on MIDI IMPLEMENTATION.

Appendices

Pitch Bend

Table of Contents
Arrangement Play mode . . . . . . . . . . . . . . 1
1. Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
11. Lower KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
12. Sub KBD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
13. Main KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2. Mixer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
21. KBD Prog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
22. ACC Prog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
23. KBD Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
24. ACC Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
3. KBD Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
31. KBD Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
4. ACC Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
41. Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
42. ACC Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
43. ACC FX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
44. ACC FX 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
5. Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
51. Default Drum Mapping. . . . . . . . . . . . . . . . . . . . . . . . 5
52. Kick & Snare Designation . . . . . . . . . . . . . . . . . . . . . . 6
6. General Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
61. Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
62. KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
63. ACC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
64. Fill/Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
7. Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
71. Chord Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
72. Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
73. MIDI Ch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Backing Sequence mode . . . . . . . . . . . . . 11


1. Arrangement Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
11. Lower KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
12. Sub KBD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
13. Main KBD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
14. Activity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
2. Extra KBD Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
21. Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
22. Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
23. Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
24. MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
25. Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
3. Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
31. Key Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
32. Velocity Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
4. KBD Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
41. KBD Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5. Arrangement Info. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
51. Arrangement Information. . . . . . . . . . . . . . . . . . . . . 17
6. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
61. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Song mode . . . . . . . . . . . . . . . . . . . . . . . 23
1. Program & Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
11. Prog 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
12. Prog 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
13. Mix 18. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
14. Mix 916. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
15. Preference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
2. Track Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
21. Pitch 18. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
22. Pitch 916. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

23. MIDI 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24. MIDI 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Key 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32. Key 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33. Velocity 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34. Velocity 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41. Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51. Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52. Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
53. FX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54. FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61. Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26
26
27
27
27
27
27
28
28
31
31
32
32
32
33
33

Song Play mode . . . . . . . . . . . . . . . . . . . 35


1. Program & Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Prog 18. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12. Prog 916. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13. Mix 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14. Mix 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Track Status. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21. Status 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22. Status 916 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32. Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33. FX1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34. FX2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Select Directory/Jukebox . . . . . . . . . . . . . . . . . . . . . . . . .
41. Select Directory . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41. Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

35
35
35
36
36
36
36
36
36
36
37
37
37
38
38
38

Program mode . . . . . . . . . . . . . . . . . . . . 40
1. Perf. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Perf. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21. OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22. Basic Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23. Pitch Bend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Pitch MG 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32. Pitch MG 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33. MG Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34. Pitch EG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. VDF (Variable Digital Filter) . . . . . . . . . . . . . . . . . . . . . .
41. VDF 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42. VDF 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
43. VDF MG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44. FEG 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45. FEG 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46. Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. VDA (Variable Digital Amplifier) . . . . . . . . . . . . . . . . . .
51. VDA 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52. VDA 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
53. VDA EG 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54. VDA EG 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55. Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61. Placement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62. Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
63. FX 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7. Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40
40
41
41
42
42
43
43
43
43
44
44
44
44
45
46
46
47
48
48
48
49
49
50
50
50
51
51
52

Edit Style mode . . . . . . . . . . . . . . . . . . . 53


1. Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Recording Track . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12. Program & Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Style Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21. Style Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Chord Var. Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Chord Var. Table . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41. Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51. Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61. Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

53
53
55
56
56
56
56
57
57
58
58
61
61

Global mode . . . . . . . . . . . . . . . . . . . . . 62
1. Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21. Normal Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22. Special Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23. User Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Filter, MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Filter, MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Clock, Host, Damper . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41. Clock, Host, Damper. . . . . . . . . . . . . . . . . . . . . . . . .
5. Rit. & Accel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51. Rit. & Accel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61. SW 1, SW 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62. Assignable Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . .
63. EC 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

62
62
63
63
64
64
65
65
67
67
67
67
68
68
68
69

Disk mode . . . . . . . . . . . . . . . . . . . . . . . 70
1. File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. MIDI Data Filer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21. MIDI Data Filer . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31. Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

71
71
74
74
75
75

Effect Parameters . . . . . . . . . . . . . . . . . . 76
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1. Hall Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Ensemble Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Concert Hall Reverb . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Room Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Large Room Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Live Stage Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7. Wet Plate Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8. Dry Plate Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9. Spring Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10. Early Reflections 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Early Reflections 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12. Early Reflections 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stereo Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13. Stereo Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14. Cross Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dual Mono Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15. Dual Mono Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Multitap Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16. St. Multi Tap Delay 1. . . . . . . . . . . . . . . . . . . . . . . . . .
17. St. Multi Tap Delay 2. . . . . . . . . . . . . . . . . . . . . . . . . .
18. St. Multi Tap Delay 3. . . . . . . . . . . . . . . . . . . . . . . . . .

76
76
76
76
76
76
76
76
76
76
76
76
76
76
76
76
76
77
77
77
77
77
77

Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
19. Stereo Chorus 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
20. Stereo Chorus 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Quadrature Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
21. St. Quadrature Chorus . . . . . . . . . . . . . . . . . . . . . . . . .77
22. St. Crossover Chorus . . . . . . . . . . . . . . . . . . . . . . . . . .77
Harmonic Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
23. St. Harmonic Chorus . . . . . . . . . . . . . . . . . . . . . . . . . .77
Symphonic Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
24. Symphonic Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . .78
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
25. Stereo Flanger 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
26. Stereo Flanger 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
27. St. Crossover Flanger . . . . . . . . . . . . . . . . . . . . . . . . . .78
Exciter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
28. Stereo Exciter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
29. Enhancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
30. Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
31. Over Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
32. Stereo Phaser 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
33. Stereo Phaser 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Rotary Speaker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
34. Rotary Speaker. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Tremolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
35. Auto Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
36. Tremolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Parametric Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
37. Stereo Parametric EQ . . . . . . . . . . . . . . . . . . . . . . . . . .79
Combination Effect Serial . . . . . . . . . . . . . . . . . . . . . . . . . . .79
38. Chorus-Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
39. Flanger-Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
Combination Effect Parallel . . . . . . . . . . . . . . . . . . . . . . . . . .80
40. Delay/Hall Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
41. Delay/Room Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . .80
42. Delay/Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
43. Delay/Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
44. Delay/Distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
45. Delay/Over Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
46. Delay/Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
47. Delay/Rotary Speaker . . . . . . . . . . . . . . . . . . . . . . . . .81

Appendices . . . . . . . . . . . . . . . . . . . . . . . 82
1. Data available for event editing on the i30 . . . . . . . . . . .82
2. Operation when control change data is received/
transmitted . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
3. Timing corrections produced by the Quantize
operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

1. Home
11. Lower KBD
12. Sub KBD
13. Main KBD
Here you can select arrangements, make basic settings for the
arrangement, and set the split point. In this page, you can also
view the transpose point that was set by pressing the TRANSPOSE key, the name of the chord that is being played on the
keyboard, and the octave display for each part, etc.

11a
11b
11c
TRANSPOSE key setting
Time signature of the style
Chord name display
11d
Program of each KBD part
11e
Octave setting of each part

11a. Arrangement Select ................................ [A11...D88]


Selects the arrangement.
On the i30, an arrangement can be selected in one of two
ways; either directly, or by category.
To select an arrangement directly, make sure that the
STYLE key LED is dark, and use the ARRANGEMENT/
STYLE keys to input the bank and number. The upper row
of keys 18 input the upper digit, and the lower row of
keys 18 input the lower digit.
To select an arrangement by category, press this button to
access the category dialog box. Select the desired category,
and a list of arrangements in that category will appear.
Select an arrangement from this list. When you select an
arrangement, the list will disappear automatically, but if
you press the safety pin at the upper left of the list to lock
the display, you will be able to select arrangements from
the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select arrangements.

11b.  (Tempo)..................................................[40...240]
Adjusts the playback tempo of the arrangement.
If the Global mode 41. Clock, Host, Damper (p.67)
parameter Clock Source is set so that the synchronization
clock is either External MIDI IN or External TO
HOST, the tempo of the arrangement will be controlled
by MIDI Clock messages from the external sequencer or
personal computer etc. connected to the i30. With a setting
of External MIDI IN this value will be displayed as
MID, and with a setting of External TO HOST it will be
displayed as HST.

the lower digit.


To select a style by category, press this button to access
the category dialog box. Select the desired category, and a
list of styles in that category will appear. Select a style
from this list. When you select a style, the list will disappear automatically, but if you press the safety pin at the
upper left of the list to lock the display, you will be able to
select styles from the list.

11d. Chord Scanning/Split Point


Makes settings for chord detection.
The detected chord will be displayed in the Chord name
display area, and the backing sequence will play according to this chord.
When you press this button, the
dialog box shown at the right will
appear. When you finish making
settings, press the OK button.
Chord Scanning
Specifies the range of notes which
will be used for chord detection.
Off: Chords will not be detected.
Lower (Easy): Chords will be detected from notes played
to the left of the split point.
Lower (Normal): Chords will be detected from notes
played to the left of the split point when chords of three or
more notes are played.
Upper: Chords will be detected from notes played to the
right of the split point when chords of three or more notes
are played.
Full: Chords will be detected from notes played anywhere
on the keyboard when chords of three or more notes are
played.
Split Point ............................................................... [C2...C7]
Specifies the key at which Lower and Upper chord scanning areas will be divided.
Press a note on the keyboard to specify this split point.
When Lock is checked: the split point will not change
even when the arrangement is changed. This setting can
be memorized in internal memory by executing 71a.
Write Arrangement Global.

11e. Program Select........................................[A11...R58]


For 1-1. Lower KBD, specify the program that will
sound when you play notes to the left of the split point.
For 12. Sub KBD, specify the program that will sound
when you play notes to the right of the split point.
For 13. Main KBD, specify the program that will
sound when you play notes to the right of the split point.
The i30 provides two ways to select a program; either
directly, or by category.

On the i30, a style can be selected in one of two ways;


either directly, or by category.

To select a program directly, use the PROGRAM keys to


input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit of the number.
To select a program by category, press this button to
access the category dialog box. Select the desired category,
and a list of programs in that category will appear. Select a
program from this list. When you select a style, the list
will disappear automatically, but if you press the safety
pin at the upper left of the list to lock the display, you will
be able to select programs from the list.

To select a style directly, press the STYLE key to make the


LED light, and use the ARRANGEMENT/STYLE keys to
input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input

By making settings in Global mode 6. Assign (p.68), you


can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.

11c. Style Select............................................. [A11...C68]


Selects the style that the arrangement will use.

Arrangement

Arrangement Play mode

Page Menu Command ........................................

A setting of 1 Measure will insert a one-measure


count.
With a setting of None there will be no count.

11A

4 Output specifies the channel(s) from which the metro-

11B

nome sound will be output.


L will cause the metronome sound to be output from
the L output channel, R from the R output channel,
and L+R from both the L and R output channels.
C send will output the metronome sound from the C
output channel, D send from the D output channel,
and C send + D send from both the C and D output
channels.
With a setting of All, the metronome sound will be
output from all output channels L, R, C and D.
The OUTPUT jacks from which the metronome sound
is output will depend on the selected Placement
setting. For example if in Arrangement Play mode you
wish to output the metronome sound unprocessed by
the effect from OUTPUT jacks 3 and 4, select either C
send or D send, and set 41. Placement to Serial
Sub.

11C

11A. Write Arrangement


This command writes an arrangement into the i30s memory.
Be sure to write any arrangement that you wish to
keep. If you turn off the power or select another
arrangement before writing, the data cannot be recovered.

1 Select this command.


The dialog box shown at the
right will appear.

2 Name indicates the arrangement


name. If you wish to modify the
arrangement name, press the
text edit button to access the text
edit dialog box, and input the arrangement name.

5 Use Level to adjust the volume of the metronome.


6 Press the OK button.

3 Category specifies the category of the arrangement that

2. Mixer

is being written.

4 Write to User Arrangement selects the writing destination (C11C88, D11D88).

5 Press the OK button.


11B. Write KBD Set
This command writes the program settings and related
parameters of the Sub KBD, Main KBD and Lower KBD
parts and the chord sound parts (Harmony, K.Bass) as a
single Keyboard Set.

1 Select this command.

21. KBD Prog


22. ACC Prog
In 21. KBD Prog you can specify the programs for the Main
KBD, Sub KBD and Lower KBD parts and for the chord sound
parts (Harmony, K.Bass).
In 22. ACC Prog you can specify the programs for the
Drums, Perc, Bass, and ACC1ACC3 tracks which make up the
arrangement.

The dialog box shown at the


right will appear.

2 Specify the writing destination

21a

(1188).

3 Press the OK button.


To recall the keyboard set that
you wrote, press the KBD SET key and then use the
PROGRAM keys.

21b
21c
Program display for each
part

11C. Metronome Setting


Here you can set the metronome.
These settings will be valid in modes other than Program
mode, Global mode or Disk mode.

1 Select this command.


The dialog box shown at the
right will appear.

2 Sound specifies whether or not


the metronome will sound.
With a setting of Only Rec, the
metronome will sound during
realtime recording.
With a setting of Rec. & Play, the metronome will
sound during realtime recording and during playback.
With a setting of Off, the metronome will not sound.

21a. Program................................................. [A11...R58]


Selects the program for each part by category.
Press this button, and a category dialog box will appear.
Select the desired category, and a list of programs in that
category will appear. Select the desired program. When
you select the program, the list will disappear automatically, but by pressing the pin at the upper left of the list,
you can lock the display, allowing you to select programs
while viewing the list.

21b. Target of Program Switches


The PROGRAM keys can be used to select a program for
the part specified by these radio buttons.

3 Precount specifies whether or not a count-in will be

21c. Octave ........................................................ [2...+2]

inserted before realtime recording.


A setting of 2 Measure will insert a two-measure
count.

Adjusts the standard pitch of each part in units of an


octave.

Page Menu Command .......................................

Page Menu Command........................................


Refer to 11. Lower KBD

Refer to 11. Lower KBD

3. KBD Effect
23. KBD Mix
24. ACC Mix

Sets the send level for each part.

In 23. KBD Mix you can mix the Main KBD, Sub KBD,
Lower KBD, Harmony and K.Bass parts.

The Main KBD, Sub KBD and Lower KBD parts will use the
effects that are specified for the Main KBD part.

31. KBD Effects

In 24. ACC Mix you can mix the Drums, Perc, Bass, and
ACC1ACC3 parts.
31a
31b

23a

Indicates the effect


settings of the program
used by the Main KBD
part

23b
23c
23d

31a. C Send Level ........................................ [0...9, PROG]


23a. Pan.............................. [OFF, L15...CNT...R15, PROG]
Specifies the panning of each part to the L/R output channels.
L15: Pan left.
CNT: Pan center.
R15: Pan right.
PROG: Use the pan setting of the program without
change.
OFF: The part will not be output.

Specifies the level at which output channel C is sent to


KBD FX1.
PROG: The send level of the program will be used.

31b. D Send Level ........................................ [0...9, PROG]


Specifies the level at which output channel D is sent to
KBD FX1.
PROG: The send level of the program will be used.

Page Menu Command .......................................

23b. Volume .......................................................[0...127]


Specifies the volume.
127: Maximum volume.

23c. Internal
23d. External
Specifies which tone generator will be sounded by the
part.
When Internal is checked: the internal tone
generator will be sounded.
When External is checked: musical data will
be transmitted from the MIDI OUT connector and the TO HOST connector.
When both Internal and External are
checked: the internal tone generator will be
sounded, and at the same time musical data
will be transmitted from the MIDI OUT connector and the TO HOST connector.
When unchecked: that part will not be
played.
The transmit/receive channels for MIDI data
are set by 73. MIDI Channel.

Refer to 11. Lower KBD

Arrangement

This setting is also displayed at the lower left of 11


Lower KBD13 Main KBD.

4. ACC Effect
41. Placement
Specifies how the two effects used by the accompaniment parts
(Drums, Perc, Bass, ACC1ACC3) will be connected.

42b. D Send Level ........................................[0...9, PROG]


Specifies the level that will be sent from output channel D.
PROG: The send level setting of the program will be used.

42c. ACC FX 1 ............ [No Effect...Delay/Rotary Speaker]


42d. ACC FX 2 ............ [No Effect...Delay/Rotary Speaker]
Selects the effect type.

41a

No Effect: No effect will apply. Use this when you wish to


play using a dry sound, without applying any effect.
Hall ReverbDelay/Rotary Speaker: Refer to Effect
Parameters (p.76) for details on each effect.

Serial
Parallel 1
Parallel 2
Parallel 3
Serial Sub
Parallel Sub

41a. Effect Placement


Use the radio buttons to select the way in which the effects
will be connected.
This selection will change the effect connections that are
shown in 42. ACC Effects.

Page Menu Command ........................................


Refer to 11. Lower KBD
41B
41C
41D

41B. Copy All Effects


The FX1 and FX2 effects used as the ACC Effect in Song
mode, Program mode and Arrangement Play mode will
be copied as a pair.

On
Checked: the effect will be used.
Unchecked: the effect will not be used. However if one of
the following effects are selected, only the 2-band shelving
equalizer that is set in 43c. EQ will apply.
Stereo Delay
Cross Delay
Stereo Chorus 1, 2
Stereo Exciter
Auto Pan
Tremolo

42e. C Pan, D Pan/L Level, R Level


Depending on the selection in 41a. Effect Placement,
these parameters may not be displayed.
C Pan, D Pan ....................................................... [OFF, L....R]
Sets the panning before and after the effect.
L: Pan left.
R: Pan right.
OFF: No output.
L Level, R Level............................................................ [0...9]
Specifies the return amount of the output to the 1/L/
MONO and 2/R OUTPUT jacks.

Page Menu Command ........................................

41C. Copy FX
This command copies the FX1 effect to FX2, or the FX2
effect to FX1.

41D. Swap FX
This command exchanges the FX1 and FX2 effects.

42. ACC Effects


Specifies the send level of each track, and make settings for the
ACC FX1 and ACC FX2 effects used by the accompaniment.

42a
42b
42c
42d
42e

42a. C Send Level ........................................ [0...9, PROG]


Specifies the level that will be sent from output channel C.
PROG: The send level setting of the program will be used.

Refer to 11. Lower KBD


Refer to 41. Placement

43c. EQ
This is a 2-band shelving equalizer.
For several types of effect, this equalizer will still be effective even if the On box is un-checked in 42c. ACC FX1
or 42d. ACC FX 2. For details refer to 42c. ACC FX1
and 42d. ACC FX 2.

Sets the parameters of the effect that was selected in 42c.


ACC FX 1.
Effect name

Low EQ .............................................................. [12...+12]


Cuts or boosts the low frequency range.

43a

+12: Maximum boost for the low frequency range.


12: Maximum cut for the low frequency range.

43b

High EQ ............................................................. [12...+12]


Cuts or boosts the high frequency range.

43c

+12: Maximum boost for the high frequency range.


12: Maximum cut for the high frequency range.

43a. Effect Parameters


The parameters that can be set here will depend on the
effect which was selected. For details on the parameters of
each effect, refer to Effect Parameters (p.76).

Page Menu Command .......................................


Refer to 11. Lower KBD

43b. Dynamic Modulation ................... [None...VDA & EG]

Refer to 41. Placement

Selects the dynamic modulation source.


By operating the selected source, the parameter shown
together with the arrow in the lower line can be modified
in realtime.
For example, if you wish to use a pedal controller (XVP10
or EXP2) connected to the ASSIGNABLE PEDAL/
SWITCH 1 jack to control dynamic modulation, make the
following settings.
First, select either CC#12 or CC#13 as the sour ce. Then set
the Global mode 62. Assignable Pedal (p.68) parameter
Assignable Switch/Pedal 1 to the value which matches
the setting you made here (either FX Control 1(CC#12) or
FX Control 2 (CC#13)). Now you can use the pedal controller connected to the i30 to control the parameter of the
effect.
The amount of change produced by dynamic modulation
will depend on the value of the parameter being controlled, the way in which the source is operated, and the
value of the Intensity parameter.

5. Drums
51. Default Drum Mapping
For each arrangement, the i30 is able to play four variations.
These will be used when you press the VARIATION 14 keys
located on the front panel.
Here you can select the drum mapping used by each variation.
51a

None: Dynamic modulation will not be used.


Intensity.............................................................. [15...+15]
Specifies the sensitivity with which the effect parameter
will be controlled by the selected source.
+15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Wet sound to be heard.
0: Nothing will happen when the source is operated.
15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Dry sound to be heard.

51a. Default Drum Mapping


Variation 1...Variation 4 .............................................. [1...8]
Selects the drum mapping that will be used for the performance of each variation.
14, 68: Part of the conventional drum map will use the
sounds shown in the following table.
5: Since the drum mapping of the style itself will be used,
there will no change in drum sounds during performance.
The following table shows only the instruments that will
be affected by this setting. There will be no change for
instruments other than these, or for portions of the table in
which nothing is listed.

Arrangement

43. ACC FX 1
44. ACC FX 2

G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3

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1 Percussion

Basic drum map


(partial)
E1
Kick 4
Snare 4
F1
F#1 Accent hi-hat
G1
Kick 3

C4
C#4
F#3
G4

Snare 3
Roll snare/reverse snare
Kick 2
Kick 1
Side stick
Snare 1

G#4
D4
F5
D#5
E5
G#3

Snare 2
Low floor tom
Closed hi-hat
High floor tom
Pedal hi-hat
Low tom
Open hi-hat
Low mid tom
High mid tom
Crash cymbal 1
High tom
Ride cymbal
Chinese cymbal
Ride bell

C#6
F#4
A4
E4
A#4
D#4
A#5
D4
C#4
A#3
C4
G#5
C6
A5

;;

F3
F#3
G3
Splash cymbal
G#3
Crash cymbal 2
A3
A#3
Ride cymbal 2
B3

2 No snare

3 Side stick
and hi-hat

4 Side stick
and ride

G#2

C#2

C#2
B3

7 Open hi-hat

8 Crash

B3

A#2

A3

D#3

D#3

A#2

F3

F3

F#2

F#2

A#2

A#2

A#2

A#2

F#1

F#1

A#2

G#2
F#2

C#2
C#2

C#2
C#2

F#2
G#2

C#2

C#2

G#2

C#2

C#2

5 Original

6 Snare and
ride

C#3

B5
C6
A#4

Determined by the 52a. Kick Designation setting.

Determined by the 52b. Snare Designation setting.

Page Menu Command ........................................

52b. Snare Designation


Selects the snare that will be sounded by drum mappings
38 selected by a variation.
Basic drum map

Refer to 11. Lower KBD

(D2) Snare 1
(E2) Snare 2
(A1) Snare 3
(F1) Snare 4
(C#2) Side stick

52. Kick & Snare Designation


Specifies the kick and snare that will sound when the Variation
14 parameters of 51a. Default Drum Mapping are set.
52a

Type A

Type B

Type C

Type D

Snare 1
Snare 2
Snare 3
Snare 4
Snare 1

Snare 2
Snare 3
Snare 4
Snare 1
Snare 2

Snare 3
Snare 4
Snare 1
Snare 2
Snare 3

Snare 4
Snare 1
Snare 2
Snare 3
Snare 4

Page Menu Command ........................................

Refer to 11. Lower KBD

52b

52a. Kick Designation


Selects the kick that will be sounded by drum mappings
28 selected by a variation.
Basic drum map
(C2) Kick 1
(B1) Kick 2
(G1) Kick 3
(E1) Kick 4

Type A
Kick 1
Kick 2
Kick 3
Kick 4

Type B
Kick 2
Kick 3
Kick 4
Kick 1

Type C
Kick 3
Kick 4
Kick 1
Kick 2

Type D
Kick 4
Kick 1
Kick 2
Kick 3

62c. Enable Damper Pedal


Checked: The damper pedal will function.
For example, the damper pedal can be used to apply sustain to just a specific part.
Unchecked: The damper pedal will not function.

61. Ensemble
The i30 is able to add an ensemble function to the performance
of an arrangement. This will function when the front panel
ENSEMBLE key is pressed.

62e. Enable Joystick X


Checked: The joystick can be moved left/right to control
the pitch of the sound. However for some programs, the
joystick may have no effect (pitch bend range set to 0), and
in such cases, operating the joystick will have no effect on
the pitch.
Unchecked: The joystick will not function.

61a

Page Menu Command .......................................

Refer to 11. Lower KBD

61a. Ensemble Type


Harmony will automatically be added to the melody
according to the chord that was detected. The way in
which harmony is added will depend on the selected type.

Page Menu Command........................................

Refer to 11. Lower KBD

63. ACC
Here you can make Synchro Backing and Wrap-Around settings for the accompaniment parts.

63a
63b

62. KBD
For the Lower KBD, Sub KBD and Main KBD parts, you can
specify the velocity window and whether or not the damper
pedal and joystick will function.

63a. Synchro Backing


Checked: Playing a chord on the keyboard will switch
mute on/off. While a chord is being played on the keyboard, the Play/Mute status of tracks which are checked
will be inverted. (The original status will return when you
remove your hand from the keyboard.)
Unchecked: Mute on/off status will not change when you
play a chord on the keyboard.

62a
62b
62c
62d

63b. WrapAround Point ............................. [Style, 1...12]

62a. Velocity Window Top ...................................[1...127]


62b. Velocity Window Bottom..............................[1...127]
Specifies the minimum and maximum velocity for which
each part will sound.
The Velocity Window Top parameter and the Velocity
Window Bottom parameter together determine the range
of key velocity for which each part will sound.
In the keyboard area at the right of the split point, you can
make settings so that notes will be sounded by different
parts depending on the velocity with which they were
played; either by only the Sub KBD part, by only the Main
KBD part, or by both parts.
In the keyboard area at the left of the split point, you can
make settings so that the Lower KBD part will sound only
for notes played more strongly than a specified force.

Depending on the chord progression, the range in which a


track plays may appear unnaturally high by one octave.
When a note higher than the point set for this parameter is
specified as the root of the chord, that track will automatically play an octave lower. This allows you to prevent the
track from sounding unnaturally high.
Style: The wrap-around point of the currently playing
style (Edit Style mode 21a. Wrap-Around Point, p.56)
will be used.
112: This can be set in semitone steps upward from the
root of the key specified in Edit Style mode 11e. Key. If
you specify a different value for each part, chord progressions will sound more natural.

Arrangement

6. General Settings

Page Menu Command ........................................

Pythagorean: A scale based on ancient Greek musical theory, and is suitable for playing melodies.
Werckmeister (Werkmeister III): An equal-tempered scale
used in the latter Baroque period.
Kirnberger (Kirnberger III): A scale created in the 18th
century, and used mainly for tuning harpsichords.
Slendro: An Indonesian gamelan scale in which the
octave consists of 5 notes.
If the Key parameter is set to C, use the C, D, F, G, and A
keys. (Other keys will produce the same pitches as equal
temperament.)
Pelog: An Indonesian gamelan scale in which the octave
consists of 7 notes.
If the Key parameter is set to C, use only the white keys.
(The black keys will produce the same pitches as equal
temperament.)
User Scale 132: Scales that you created in Global mode
23. User Scale (p.64).

Refer to 11. Lower KBD

64. Fill/Scale
Here you can make Variation Change settings and specify the
scale of the accompaniment.

64a
64b

Key ............................................................................ [C...B]


Specifies the tonic note of the selected scale.

Page Menu Command ........................................


64a. Variation Change after Fill in
Fill 1 ................... [Off, >1...>4, 1<>2...3<>4, Up, Down]
Fill 2 ................... [Off, >1...>4, 1<>2...3<>4, Up, Down]
When you press a FILL key during arrangement play, a
fill-in will occur. This setting specifies the variation which
the arrangement will play following a fill-in.
Off: The same variation as before the fill-in will play.
->1 ->4: After the fill-in, the variation selected here will
play.
1<->2 3<->4: Each time a fill-in occurs, the two variations will alternate. However if you insert a fill-in when
playing a variation other than one of these two, the same
variation will continue after the fill-in.
For example if you select 1<->2 and insert a fill-in while
playing an arrangement with variation 1, variation 2 will
play following the fill-in. If you again insert a fill-in, variation 1 will play following the fill-in. However if when 1<>2 is selected you are playing variation 3, variation 3 will
continue even after a fill-in is inserted.
Up: Following a fill-in, the next higher numbered variation will be played.
Down: Following a fill-in, the next lower numbered variation will be played.

Refer to 11. Lower KBD

7. Global
Here you can make global arrangement settings which will be
used by all arrangements.
These settings also affect the way in which data is played back
in Backing Sequence mode, so be aware of this as you modify
these settings.

71. Chord Sound


Specifies how the Harmony and K.Bass parts which make up
the chord sound will be played.

71a
71b

64b. KBD Scale


Selects the scale that will be used by the Lower KBD, Sub
KBD and Main KBD parts.
Type............................. [Equal TemperamentUser Scale 32]
Selects the basic scale for the i30s internal tone generator.
Equal Temperament: The most widely used scale, and
consists of equally-spaced semitone steps.
Equal Temperament 2: A slight degree of irregularity is
applied to the change in pitch between each semitone.
This is suitable for simulating acoustic instruments which
have a natural instability in pitch.
Pure Major: The major chords of the selected key will be
perfectly in tune.
Pure Minor: The minor chords of the selected key will be
perfectly in tune.
Arabic: This reproduces a quarter-tone scale of Arabic
music.

71a. Synchronize with START/STOP


This setting will be valid when the front panel CHORD
SOUND key is pressed to turn the function on.
Checked: The chord sound function will be off while the
arrangement is playing, and will be on when the arrangement is stopped.
Unchecked: The chord sound function will always be on,
regardless of whether or not the arrangement is playing.

71b. Harmony Type


Auto: All constituent notes of the detected chord will continue sounding.

Page Menu Command........................................


71A
Refer to 11. Lower KBD

71A. Write Arrangement Global


This command writes (saves) the arrangement global settings into the i30s memory.
Select this command, and press the OK button.

72. Velocity
Specifies how velocity (keyboard playing dynamics) will be
used for control.

73a. MIDI Channel


Specifies the MIDI channel that will be used to transmit/
receive MIDI data to/from a connected device.
Normally, you should use the i30 without changing these
settings.
If you change these settings, make sure that Arrangement
Play mode and Backing Sequence mode function correctly
before you execute the Write Arrangement Global command.
The default setting of each MIDI channel is shown in the
lower left LCD display. If after modifying these settings,
the i30 no longer operates correctly, you can either reset
the MIDI channels to their default settings, or re-load the
Arrangement Global parameters from the included floppy
disk.
When controlling the i30 from a master keyboard
Leave the settings of the i30 at their factory values, and set
the MIDI transmit channel of your master keyboard to 1.
This will let you control the i30 while continuing to take
advantage of the i30s keyboard settings.
When controlling the i30 from a MIDI accordion
Set the MIDI transmit channels for the chord buttons and
bass buttons of your MIDI accordion to match the channels that you specify here for Chord 2 and Chord 3, and
turn off the Chord channel. With these settings, chords
will be detected from the note data transmitted by the
chord buttons and bass buttons of your MIDI accordion.
If you set the transmit channel of the keyboard of your
MIDI accordion to match the Main channel that you specify here, the Main KBD part can be played over the entire
range regardless of the split point. The KBD channel must
not coincide with any other channel.

72a
72b

72a. Dynamic Backing On


Checked: Keyboard playing dynamics will adjust the volume of the accompaniment.

72b. Velocity Control


By playing the keyboard strongly while the accompaniment is playing, you can insert the fill-in or break that was
specified by these radio buttons.

Page Menu Command........................................


Refer to 71. Chord Sound
Refer to 11. Lower KBD

73. MIDI Ch.


Specifies the MIDI channel for each part and track of the
arrangement, and the MIDI channel that will be used to
change arrangements.

KBD.......................................................................... [1...16]
Sets the channel on which your master keyboard will control the Main KBD, Sub KBD and Lower KBD part of the
i30.
When a MIDI program change is received, the KBD Set
will change.
When note data above the split point (set by 11d. Chord
Scanning/Split Point) is received, the Main KBD and Sub
KBD parts will sound, and when note data below the split
point is received the Lower KBD part will sound.
Main......................................................................... [1...16]
Sets the channel by which the Main KBD part will be
sounded on an external tone generator.
When MIDI data is received, the Main KBD part will
sound regardless of the split point setting.
The i30 will transmit the performance data of the Main
KBD part.
If this coincides with the channel that was set for the KBD
parameter, the KBD setting will take priority for incoming
MIDI data.
For example if you wish to use your MIDI accordion etc.
to control the Main KBD part, you would use this channel.

73a

Sub .......................................................................... [1...16]


Sets the channel by which the Sub KBD part will be
sounded on an external tone generator.
When MIDI data is received, the Sub KBD part will sound
regardless of the split point setting.
The i30 will transmit the performance data of the Sub
KBD part.

Arrangement

Actual: Only the notes which were played to the left of the
split point will continue sounding, when the 11d. Chord
Scanning/Split Point parameter is set to Lower (Easy).

If this coincides with the channel that was set for the KBD
parameter, the KBD setting will take priority for incoming
MIDI data.
For example if you wish to use your MIDI accordion etc.
to control the Sub KBD part, you would use this channel.
Lower........................................................................[1...16]
Sets the channel by which the Lower KBD part will be
sounded on an external tone generator.
When MIDI data is received, the Lower KBD part will
sound regardless of the split point setting.
The i30 will transmit the performance data of the Lower
KBD part.
If this coincides with the channel that was set for the KBD
parameter, the KBD setting will take priority for incoming
MIDI data.
For example if you wish to use your MIDI accordion etc.
to control the Lower KBD part, you would use this channel.
Drums .......................................................................[1...16]
Sets the channel by which the Drums part will be sounded
on an external tone generator.
When MIDI data is received, the Drums part will sound.
The i30 will transmit the performance data of the Drums
part.
Perc ..........................................................................[1...16]
Sets the channel by which the Perc part will be sounded
on an external tone generator.
When MIDI data is received, the Perc part will sound.
The i30 will transmit the performance data of the Perc
part.
Bass ..........................................................................[1...16]
Sets the channel by which the Bass part will be sounded
on an external tone generator.
When MIDI data is received, the Bass part will sound.
The i30 will transmit the performance data of the Bass
part.
ACC1 ........................................................................[1...16]
Sets the channel by which the ACC1 part will be sounded
on an external tone generator.
When MIDI data is received, the ACC1 part will sound.
The i30 will transmit the performance data of the ACC1
part.
ACC2 ........................................................................[1...16]
Sets the channel by which the ACC2 part will be sounded
on an external tone generator.
When MIDI data is received, the ACC2 part will sound.
The i30 will transmit the performance data of the ACC2
part.
ACC3 ........................................................................[1...16]
Sets the channel by which the ACC3 part will be sounded
on an external tone generator.
When MIDI data is received, the ACC3 part will sound.
The i30 will transmit the performance data of the ACC3
part.

Harmony.................................................................. [1...16]
Sets the channel by which the Harmony part will be
sounded on an external tone generator.
When MIDI data is received, the Harmony part will
sound.
The i30 will transmit the performance data of the Harmony part.
K.Bass ...................................................................... [1...16]
Sets the channel by which the K.Bass part will be sounded
on an external tone generator.
When MIDI data is received, the K.Bass part will sound.
The i30 will transmit the performance data of the K.Bass
part.
Chord.................................................................[Off, 1...16]
This channel is used for reception of MIDI data.
Specify the channel that will be used to receive note data
from your master keyboard in order to detect chords.
Normally you will set this to the same channel as specified
for the KBD parameter.
The i30 will detect chords from the incoming MIDI data
according to the settings of 11d. Chord Scanning/Split
Point.
Chord 2..............................................................[Off, 1...16]
Chord 3..............................................................[Off, 1...16]
These channels are used for reception of MIDI data.
The i30 will detect chords from the incoming data
received on the Chord 2 and Chord 3 channels. In this
case, the split point setting has no effect.
For example if you wish to receive note messages from
your MIDI accordion etc. to detect chords, set this channel
to receive those messages.
Arrangement Change..........................................[Off, 1...16]
This channel is used for reception of MIDI data.
When a MIDI program change message is received, the
arrangement will change.
About MIDI channels in Backing Sequence mode
The MIDI channels that are specified here are also used for
transmission/reception in Backing Sequence mode. However, the channel set by the KBD parameter will be used
for transmission/reception of data of the arrangement
tracks. In this case, the channel settings of the Main, Sub
and Lower parameters will be ignored.

Page Menu Command ........................................


Refer to 71. Chord Sound
Refer to 11. Lower KBD

Backing Sequence mode


1. Arrangement Track
11. Lower KBD
12. Sub KBD
13. Main KBD

   

       
11e. Tempo Track...............................[Manual, Auto, Rec.]

Here you can select the backing sequence, and make basic settings for the backing sequence data. In this page you can also
view the transpose setting that is made by pressing the
TRANSPOSE key, the name of the chord that is being played
on the keyboard, and the octave indication of each part of the
arrangement, etc.
11a
11b
11c
11d
11e
11f
11g
11h
TRANSPOSE key setting
Chord name display
11i
Octave display for each part

Manual: Backing sequence data will be recorded or


played back at the tempo specified by the  (Tempo)
parameter.
Auto: Backing sequence data will be recorded or played
back according to the tempo of the tempo track.
Rec.: Tempo data will be recorded. However, Rec. can be
selected only by pressing the REC/WRITE key. After
selecting Rec., press the START/STOP key, and the tempo
data specified by the  (Tempo) parameter will be recorded
to the tempo track.
 (Tempo).............................................................. [40...240]
When the Tempo Track parameter is set to Manual, the
tempo specified here will be used for playback and
recording. In the case of Rec., the tempo specified here
will be recorded to the tempo track.

11f. Arrangement Select ................................ [A11...D88]

11a. Measure .....................................................[1...999]


This indicates the current measure.

11b. BSEQ (Backing Sequence) ................................[0...9]


Selects the song that you wish to record or playback.

11c. Meter.................................................. [4/4...16/16]


This shows the time signature of the currently playing
song.
If you change the style, causing the measures to become
longer, rests will be inserted in the lengthened portion.
Conversely, if measures become shorter, the shortened
portion will no longer be played, but if you use the original style to return to the original time signature, the data
which had not been played will reappear.

    
   

With a setting of 

A rest is inserted

   

Selects the arrangement that will be used by the backing


sequence.
On the i30, an arrangement can be selected in one of two
ways; either directly, or by category.
To select an arrangement directly, make sure that the
STYLE key LED is dark, and use the ARRANGEMENT/
STYLE keys to input the bank and number. The upper row
of keys 18 input the upper digit, and the lower row of
keys 18 input the lower digit.
To select an arrangement by category, press this button to
access the category dialog box. Select the desired category,
and a list of arrangements in that category will appear.
Select an arrangement from this list. When you select an
arrangement, the list will disappear automatically, but if
you press the safety pin at the upper left of the list to lock
the display, you will be able to select arrangements from
the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select arrangements.

11g. Style Select .............................................[A11...C68]


Selects the style that the backing sequence will use.

Not played

11d. Resolution .....................................................[Hi...  ]


Adjusts the timing precision at which data will be
recorded.
Hi: Notes will be recorded precisely at the timing at which
they were actually played. In this case, the resolution will
be 96 clocks per quarter note.
 : The recorded timing of the notes will be adjusted to the
nearest quarter note interval.

On the i30, a style can be selected in one of two ways;


either directly, or by category.
To select a style directly, press the STYLE key to make the
LED light, and use the ARRANGEMENT/STYLE keys to
input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit.
To select a style by category, press this button to access
the category dialog box. Select the desired category, and a
list of styles in that category will appear. Select a style
from this list. When you select a style, the list will disappear automatically, but if you press the safety pin at the
upper left of the list to lock the display, you will be able to
select styles from the list.

Backing

In this mode you can playback and record a backing sequence,


and edit the recorded data.

11h. Chord Scanning/Split Point


Make settings for chord detection.
The detected chord will be displayed in the Chord name
display area, and the backing sequence will play according to this chord.
When you press this button, the
dialog box shown at the right will
appear. When you finish making
settings, press the OK button.
Chord Scanning
Specifies the range of notes which
will be used for chord detection.
Off: Chords will not be detected.
Lower (Easy): Chords will be detected from notes played
to the left of the split point.
Lower (Normal): Chords will be detected from notes
played to the left of the split point when chords of three or
more notes are played.
Upper: Chords will be detected from notes played to the
right of the split point when chords of three or more notes
are played.
Full: Chords will be detected from notes played anywhere
on the keyboard when chords of three or more notes are
played.
Split Point............................................................... [C2...C7]
Specifies the key at which Lower and Upper chord scanning areas will be divided.
Press a note on the keyboard to specify this split point.

11i. Program Select ....................................... [A11...R58]


Specifies the program.
The i30 provides two ways to select a program; either
directly, or by category.
To select a program directly, use the PROGRAM keys to
input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit of the number.
To select a program by category, press this button to
access the category dialog box. Select the desired category,
and a list of programs in that category will appear. Select a
program from this list. When you select a style, the list
will disappear automatically, but if you press the safety
pin at the upper left of the list to lock the display, you will
be able to select programs from the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.

Page Menu Command ........................................


11A
11B
11C
11D
11E
11F

11A. Rename Backing Sequence


This command modifies the name of the backing
sequence.

1 Select the backing sequence that you wish to rename.


2 Select this command.
The dialog box shown at the
right will appear.

3 Press the text edit button to


access the text input dialog
box, and modify the name.

4 Press the OK button.


11B. Copy Backing Sequence
This command copies backing sequence data.

1 Select the copy destination backing sequence.


2 Select this command.
The dialog box shown at the
right will appear.

3 In the From cell, select the


backing sequence data that
you wish to copy

4 Press the OK button.


11C. Erase Backing Sequence
This command erases a backing sequence.

1 Select the backing sequence


that you wish to erase.

2 Select this command.


The dialog box shown at the
right will appear.

3 Press the OK button.


11D. Next Backing Sequence
This command lets you specify whether or not another
backing sequence will begin playback after the currently
selected backing sequence finishes playing.

1 Select a backing sequence.


2 Select this command.
The dialog box shown at the
right will appear.

3 Chain to BSEQ specifies


whether or not playback will
continue to the next backing
sequence when the currently
selected backing sequence finishes playing.
If this is checked, playback will be connected to the
backing sequence that was selected in the middle of
this dialog box.
If Auto Start is checked, the backing sequence that
was selected in the middle of this dialog box will begin
playback automatically when the currently selected
backing sequence finishes playing back.

4 Press the OK button.

14i. Track Activity

This displays the remaining amount of internal memory.

Makes settings for the arrangement tracks KBD, Control


and Chord.

1 Select this command.


The dialog box shown at the
right will appear.
The backing sequence memory
area is shared with song
memory, and up to 65,536
events can be used.

2 Press the Exit button.


11F. Metronome Setting
Makes settings for the metronome.

1 Select this command.


The dialog box shown at the
right will appear.

2 Sound specifies whether or not


the metronome will sound.
With a setting of Only Rec, the
metronome will sound during
realtime recording.
With a setting of Rec. & Play, the metronome will
sound during realtime recording and during playback.
With a setting of Off, the metronome will not sound.

KBD.......................................................... [MUTE, PLAY, REC]


Control ..................................................... [MUTE, PLAY, REC]
Chord ....................................................... [MUTE, PLAY, REC]
REC: Realtime recording can be performed for this track.
However, be aware that if realtime recording is performed
on a track which already contains data, the previous data
will be lost.
If KBD is set to REC, the performance you play on the
keyboard will be recorded.
If Control is set to REC, your front panel operations to
select or modify arrangements, variations, fill-ins and
intro/endings will be recorded.
If Chord is set to REC, chord data that was detected as
shown in the chord name display will be recorded.
PLAY: The data of this track will be played back.
MUTE: The data of this track will not be played back.

Page Menu Command .......................................

3 Precount specifies whether or not a count will be


inserted before realtime recording.
2 Measure will insert a two-measure count.
1 Measure will insert a one-measure count.
None will not insert a count.

Refer to 11. Lower KBD

4 Output specifies the channel(s) to which the metronome sound will be output.
A setting of L will output the metronome sound to the
L channel, R to the R channel, and L+R to both the L
and R channels.
A setting of C send will output the metronome sound
to the C output channel, D send to the D output
channel, and C send + D send to both the C and D
output channels.
A setting of All will output the metronome sound to
all output channels L, R, C and D.
The OUTPUT jack from which the metronome sound
is sent will depend on the selected Placement. In
Backing Sequence mode, the placement of the
arrangement being played will be used.

2. Extra KBD Track


Here you can make basic settings for the backing sequence,
and make settings for the extra KBD tracks.

21. Program
Here you can make basic settings for the backing sequence,
and select the program that each extra KBD track will use.

Refer to 11. Lower KBD

5 Level adjust the volume of the metronome.


6 Press the OK button.

21f
21g

14. Activity
Here you can select the backing sequence, make basic settings
for backing sequence data, and view displays of various information. Settings for the KBD track, Control track and Chord
track can also be made here.

21h

21f. Track Select.................. [ATr KBD Track...Tempo Track]


Selects the track into which you wish to input backing
sequence data, or the track(s) that you wish to playback.

Refer to 11. Lower KBD

14i

ATr. KBD Track: You can input or edit the KBD track of
the arrangement. If you wish to realtime record on this
track, set 14i. Track Activity to REC.
ATr. Control Track: You can input or edit the Control track
of the arrangement. If you wish to realtime record on this
track, set 14i. Track Activity to REC.
ATr. Chord Track: You can input or edit the Chord track of
the arrangement. If you wish to realtime record on this
track, set 14i. Track Activity to REC.
KBD 4 Track KBD 8 Track: You can input or edit the

Backing

11E. Memory Status

extra KBD tracks. Your playing can be recorded in realtime on these tracks in the same way as with the ATr. KBD
track. Use these tracks when you wish to create a layered
performance. For details on realtime recording, refer to
25. Preference.
Tempo Track: Select this when you use the 6. Edit page
menu command to edit the tempo track. However, for
realtime recording or step recording, it is not possible to
record just the tempo track.

22g. Pan.............................. [OFF, L15...CNT...R15, PROG]

21g. Program................................................. [A11...R68]

22h. Volume .......................................................[0...127]

Sets the panning to the L and R output channels.


L15: Pan left.
CNT: Pan center.
R15: Pan right.
PROG: Use the pan setting of the program without
change.
OFF: The track will not be output.

Specifies the volume of the track.

Selects the program which will be used by each extra KBD


track.
The i30 provides two ways to select a program; either
directly, or by category.
You can use the front panel PROGRAM keys to select a
program for the KBD track 48 which was selected in 2
1f. Track Select.
To select a program directly, use the PROGRAM keys to
input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit of the number.
To select a program by category, press this button to
access the category dialog box. Select the desired category,
and a list of programs in that category will appear. Select a
program from this list. When you select a style, the list
will disappear automatically, but if you press the safety
pin at the upper left of the list to lock the display, you will
be able to select programs from the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.

127: Maximum volume.

Page Menu Command ........................................

Refer to 11. Lower KBD

23. Pitch
Here you can make settings related to the pitch of each extra
KBD track.

Refer to 11. Lower KBD

Refer to 21. Program

21h. Play/Mute
Checked: When the START/STOP key is pressed to begin
playback, these extra KBD track will playback.

Page Menu Command ........................................

23g
23h
23i

23g. Transpose................................................ [24...+24]


Adjusts the pitch of each track in semitone steps.
Refer to 11. Lower KBD

22. Mix
Here you can make basic settings for the backing sequence,
and set the pan and volume of each extra KBD track.

Refer to 11. Lower KBD

Refer to 21. Program

22g

24: The pitch will be two octaves lower.


+24: The pitch will be two octaves higher.
You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 002 to specify Coarse Tune, and use Data
Entry (CC#6) = 040 (24) 064 (+00) 088 (+24) to
modify this value during the song.

23h. Detune .................................................... [50...+50]


Adjusts the pitch deviation from standard pitch in onecent steps.
50: Maximum pitch deviation below standard pitch.
+50: Maximum pitch deviation above standard pitch.
You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 001 to specify Fine Tune, and use Data
Entry (CC#6, 38) = 032, 081 (50) 064, 000 (+00) 096,
000 (+50) to modify this value during the song.

22h

23i. Pitch Bend Range.......................... [12...+12, PROG]


Specifies the maximum pitch change that can occur when
the pitch bender is operated, in semitone steps.
PROG: The pitch bend range setting of the program will
be used.

You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 000 to specify Pitch Bend Sensitivity, and
use Data Entry (CC#6) = 000 (+00) 012 (+12) to modify this value during the song.

Page Menu Command .......................................

Page Menu Command........................................

Refer to 11. Lower KBD


Refer to 11. Lower KBD

25. Preference
24. MIDI
Here you can make basic settings for the backing sequence,
and make MIDI-related settings for the extra KBD tracks.

Refer to 11. Lower KBD

Refer to 21. Program

Here you can make basic settings for the backing sequence,
and specify how realtime recording will take place for the
extra KBD tracks.

Refer to 11. Lower KBD

Refer to 21. Program

25g

24g
24h
24i

24g. Internal
24h. External
Specifies the tone generator(s) which will be used by each
track.
When Internal is checked: the track will be
sounded by the internal tone generator.
When External is checked: musical data will
be transmitted from the MIDI OUT connector and the TO HOST connector.
When both Internal and External are
checked: the internal tone generator will be
sounded, and at the same time musical data
will be transmitted from the MIDI OUT connector and the TO HOST connector.
When unchecked: the track will not be
played back.
The transmit/receive channels for the MIDI
data can be specified in 24i. MIDI Channel.
When you change songs or when you reset to the beginning of the song, MIDI program change, MIDI volume
(CC#7) and MIDI panpot (CC#10) messages will be transmitted.

24i. MIDI Channel ................................................[1...16]


Specifies the MIDI channel on which each extra KBD track
will transmit and receive performance data.

25g. Recording Preference


Selects the recording method. Select the backing sequence
and make settings for measure, track and time signature
etc. in the Measure Track cells of the LCD beforehand.
Overwrite
Selects this method when recording for the first time.
Press the REC/WRITE key, then press the START/STOP
key to begin recording. Press the START/STOP key once
again to stop recording.
If you use this method to record on a track which already
contains recorded data, be aware that all previous data
will be erased from the measure at which you begin
recording and all subsequent measures.
Overdub
Selects this method when you wish to add data to a previously recorded track.
Press the REC/WRITE key, then press the START/STOP
key to begin recording. Press the START/STOP key once
again to stop recording.
Any previously recorded data will remain, and the newly
recorded data will be added to it.
Manual Punch In
Selects this method when you wish to rewrite a specific
portion of the previously recorded data.
Press the START/STOP key to playback the backing
sequence. At the measure where you wish to begin rewriting the data, press the REC/WRITE key or the pedal

Backing

The channel for each arrangement track will be according


to the 73a. MIDI Channel (p.9) setting of Arrangement
Play mode. However when you play the keyboard of the
i30 in Backing Sequence mode, the channel that was specified for the KBD part in 73a. MIDI Channel will be
used (the channels of the Main KBD, Sub KBD and Lower
KBD parts will be ignored).

12: The pitch can be changed as much as 2 octaves downward.


+12: The pitch can be changed as much as 2 octaves
upward.

switch, and recording will begin. When you finish recording, press the REC/WRITE key or the pedal switch once
again.
The newly recorded data will overwrite the old data in the
area between presses of the REC/WRITE key or pedal
switch.
Auto Punch In
Selects this method when you wish to rewrite a specific
portion of the previously recorded data.

32. Velocity Window


Specifies the range of velocities which will be sounded for each
track.

Velocity window display

Track being input/played

Before you begin, use the M parameter located at the right


to specify the range of measures which will be rewritten.
Press the REC/WRITE key, then press the START/STOP
key to begin recording. The new data will be written into
the specified range of measures.

32a

M (Measure)
Specifies the range of measures which will be rewritten.

32a. Top Velocity .................................................[1...127]


32b. Bottom Velocity............................................[1...127]

32b

Specifies the maximum and minimum velocity values


which the track will sound.

Page Menu Command ........................................

Page Menu Command ........................................

Refer to 11. Lower KBD

3. Window
Here you can specify the range of notes and the range of velocities for which the internal tone generator will be sounded by
each extra KBD track.

Refer to 11. Lower KBD

4. KBD Effect
41. KBD Effect
Sets the send level of each extra KBD track.
The extra KBD tracks will use the effects of the program which
is specified for the Main KBD part.

31. Key Window


Specifies the range of notes which will be sounded for each
track.

Key window display

Track being input/played

41a

41b

Displays the effect settings


for the program used by
the Main KBD part

31a

41a. C Send Level.........................................[0...9, PROG]

31b

Specifies the level that will be sent from output channel C


to KBD FX1.

31a. Top Key .................................................... [C1...G9]


31b. Bottom Key............................................... [C1...G9]
Specifies the top key (upper limit) and bottom key (lower
limit) of the range of notes which the track will sound.

Page Menu Command ........................................

PROG: The send level setting of the program will be used.

41b. D Send Level ........................................[0...9, PROG]


Specifies the level that will be sent from output channel D
to KBD FX1.
PROG: The send level setting of the program will be used.

Page Menu Command ........................................


Refer to 11. Lower KBD
Refer to 11. Lower KBD

61A. Step Recording

5. Arrangement Info.
51. Arrangement Information
Information for the arrangement that you selected in 11b.
BSEQ is displayed here.

This is a non-realtime method of data entry, in which you


input note data one step at a time.
However, be aware that if this command is used on a track
which already contains backing sequence data, all data of
the specified Start Measure and following measures will
be erased.
Data which has a continuously changing value (e.g., pitch
bend data) should be input using 610. Modify Control
Data. Data which occurs as individual events (e.g., program changes) should be input using 61B. Event Edit.

1 In the BSEQTrack cells in the LCD, select the backing

Page Menu Command........................................

sequence into which you wish to input data, and specify the track and time signature. In the Start Measure
cell located below, specify the measure at which input
will begin.
When ATr. KBD Track or KBD 48 Track is specified for the
Track parameter

2 When you select this command, the following dialog


box will appear.

Refer to 11. Lower KBD

6. Edit

Location within the


measure
Beat, Tick

61. Edit

Note number

Here you can perform non-realtime data input (step recording)


and editing.

Velocity
Length
Beat, Tick

3 Specify the Step Time.

Refer to 11. Lower KBD

Use Basic Length and Triplet/Dot to specify the note


value that will be the basic step length for input.

Refer to 21. Program


61g

Dot
61h

61g. Start Measure .............................................[1...999]


61h. End Measure ...............................................[1...999]
Specifies the first and last measure of the backing
sequence data that you wish to edit or step-record.

Triplet

(0:12)

(0:24)

(0:48)

(1:00)

(2:00)

(4:00)

(0:18)

(0:36)

(0:72)

(1:48)

(3:00)

(6:00)

(0:08)

(0:16)

(0:32)

(0:64)

(1:32)

(2:64)

3


3


3


3


3


3


4 Specify data values for the Note Event.

Page Menu Command........................................


61A

61I

61B

61J

61C

61K

61D

61L

61E

61M

61F

61N

61G

61O

61H

Refer to
11. Lower KBD

Velocity specifies the velocity value (keyboard playing


strength) of the note data. If Manual is checked, the
velocity which was actually played on the keyboard
will be input.
Duration specifies the length of the actual note
relative to the value of the Step Time parameter. A
setting of 100% is tenuto, 85% is normal, and 50% is
staccato.

5 Meter specifies the time signature.


The time signature specified for this measure will be
displayed.
In Backing Sequence mode, playback will occur
according to the time signature of the Style, so this
value is not important. Select a time signature that
makes it easy for you to enter data. However, be
aware that in Song mode or Edit Style mode,
modifying the time signature will also change the time

Backing

This command allows you to input backing sequence


data.

signature data of the other tracks, so that all tracks will


playback using the modified time signature.

6 Press the buttons located at the bottom of the dialog


box to input note events as follows.
Inputting a note
When you play a note on the keyboard, a note of the
corresponding note number and the length specified
in 3 will be input.
If you play a chord on the keyboard, a chord of those
note numbers and the length specified in 3 will be
input. Since all notes you press before removing your
hand from the keyboard will be input at the same
location, you can input a chord even if the individual
notes are actually played at different times.
Each time you play a note on the keyboard, the
location will advance by the length that you specified
in 3.
Inputting a rest
When you press the Rest button, a rest of the length
specified in 3 will be input.
Inputting a tie
Hold down a note and press the Tie button to tie the
note being held, lengthening it by the length specified
in 3.
Complex notes such as shown in the following
diagram can also be input.

Step Time =

2 When you select this command, the following dialog


box will appear.

Root

Bass

Step Time =


3 Specify the Step Time.

Tie

On
Press E and C

When ATr. Chord Track is specified for the Track parameter

Tension

Step Time =

6 When you finish step recording, press the OK button.

Type

Inputting a control event


Press the Put button, and the control event specified in
4 will be input.
If you wish to input other control events at the same
location, specify the control event in 4, and press the
Put button. If the same type of control event is input at
the same location, the previously input event will be
overwritten.
If you wish to input a control event at another
location, first specify the control event in 4, press the
m button to move the location, and then press the Put
button. When you press the m button the location will
advance by the length specified in 3.
To delete a control event, press the i button. The
location will return by the length specified in 3, and
control events in that interval will be deleted.

Off
Release E (continue holding C)

ON
Press G

Deleting a note or rest


To delete a note or a rest, press the i button. The
location will move backward by the length specified in
3, and the data in that interval will be deleted.

7 When you finish step recording, press the OK button.


When ATr. Control Track is specified for the Track parameter

2 When you select this command, the following dialog


box will appear.

3 Specify the Step Time.


In the Length selection, specify the note value that will
be the length of the basic input step.

4 Specify the Control Event.


Type specifies the control event that will be input.
Action specifies the result of the control event.

5 Use the buttons located at the bottom of the dialog


box to input control events as follows.

Length specifies the note value that will be the length


of the basic input step.

4 Specify the Chord Event.


Root specifies the root (basic note) of the chord.
Type specifies the character of the chord. If No Chord
is selected, no chord will be input.
Tension specifies a dissonant note that adds tension to
the chord.
Bass specifies the lowest note of the chord.
You can also specify the RootBass cells by playing the
keyboard of the i30.

5 Use the buttons located at the bottom of the dialog


box to input chord events as follows.
Inputting a chord event
Press the Put button to input the chord event that was
specified in 4. If you input different chord events at
the same location, the previously-input event will be
overwritten.
If you wish to input a chord event at a different
location, press the m button to move the location, and
then press the Put button. When you press the m
button, the location will advance by the length that
was specified in 3.
To delete a chord event, press the i button. The
location will return by the length specified in 3, and
chord events in that interval will be deleted.

6 When you finish step recording, press the OK button.

This command lets you edit individual events of performance data that you input.

1 Specify the track in 21f. Track Select, and select the


measure at which editing will begin in 61g. Start
Measure.

2 If the Track parameter has been


set to ATr. KBD Track or to KBD
48 Track, the dialog box shown
at right will appear when this
command is selected.
Check the type of event(s) that
you wish to edit.
Events of the type(s) you check will be displayed in
the event edit dialog box described below.
If you selected this command after selecting either
ATr. Control Track or ATr. Chord Track for the Track
parameter, this dialog box will not appear.

3 Press the OK button.


The following dialog box will appear.
If you selected ATr. KBD Track or KBD 48 Track for the Track
parameter

5 Press the event that you wish to edit, and use the dial
etc. to input the values.
Location within the event (BT) can be modified to
move the event within the measure.
Event data can be modified to edit the data of each
event.
For details on event data, refer to Appendices (p.82).

6 Use the buttons located at the bottom of the dialog box


to edit the event.
Inserting an event
Select the location for insertion, and press the Insert
button to insert the event at that location. Any event
previously at that location will be moved toward the
end.
Deleting an event
Select the event that you wish to delete and press the
Delete button to delete it. Subsequent events will be
moved forward.
Copying an event
Select the copy source event and press the Copy
button. Then select the copy destination and press the
Insert button to copy the event to that location.

7 When you finish event editing, press the OK button.


Measure
Index no.

Location within the


measure
Beat, Tick
Event data

For details on how the i30 will operate when various


control change messages are transmitted or received,
refer to Appendices (p.82).

61C. Erase Track


This command erases the data of the specified track. However, it is not possible to erase the tempo track by itself.

1 Use 21f. Track Select to select the track to be erased.


2 Select this command.
If you selected ATr. Control Track for the Track parameter

Measure
Location within the
measure
Beat, Tick

Event data

If you selected ATr. Chord Track for the Track parameter

Measure
Location within the
measure
Beat, Tick
Event data
(Root, Chord type,
Tension, Bass)

4 Measure and Index in the upper line of the dialog box


indicate the measure and the location within the measure. When you input the measure and location within
the measure, the dialog box will display the events in
that area.
You can also touch the scroll bar located at the right
edge to move to the event that you wish to edit.

The dialog box shown at the


right will appear.
If you check All Tracks, the
performance data of all tracks
will be deleted.

3 Press the OK button.


61D. Bounce Track
This command combines the performance data of the
bounce source and bounce destination tracks into the
bounce destination track.
The time signature and length of the track following execution will be according to the settings of the bounce destination. If the selected track and the bounce destination
track contain MIDI control change data, unexpected operation may result from executing the bounce command.
Before executing this command, use 61B. Event Edit to
prepare the MIDI control data of the two tracks.

1 Use 21f. Track Select to select the bounce destination track.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the From cell select the


bounce source track.

4 Press the OK button.

Backing

61B. Event Edit

61E. Copy Track


This command copies the performance data from the copy
source track to the specified track.
Be aware that when Copy Track is executed, track data
which exists in the copy destination track will be erased.

1 Use 21f. Track Select to select the track.


2 Select this command.
The dialog box shown at the
right will appear.

Note will erase note data. At this time, the Note cell
located at the right specifies the range of notes to be
erased.
Control Change will erase control change data. At this
time, the Control Change No. cell specifies the control
change number to be erased. (If you specify All, all
control changes will be erased.)
Aftertouch will erase aftertouch and polyphonic
aftertouch data.

4 Press the OK button.

3 In the From cell select the copy

Example: If measures 23 are erased, measures 23 will be empty.

source track.

4 Press the OK button.


61F. Delete Measure

Before
erasure

After
erasure

This command deletes the specified measures.

No data

When the Delete Measure command is executed, performance data following the deleted measures will be moved
forward in steps of a measure.

61H. Copy Measure


This command copies the specified measures from a copy
source to another specified location. Be aware that when
the Copy Measure command is executed, data which
existed in the copy destination track will be erased.

1 Use 21f. Track Select to select the track.


2 Select this command.
The dialog box shown at the
right will appear.
If All Tracks is checked,
performance data will be
deleted from all tracks
including the tempo track.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure to specify the measure at which
copying will begin.

2 Select this command.


The dialog box shown at the
right will appear.

3 Press the OK button.


Example: When measures 34 are deleted, the performance
data of measures 57 will move forward.
Before
deletion

After
deletion

3 In the From cell, select the copy


source track.
If All Tracks is checked,
performance data of all tracks
including the tempo track can be copied.

4 Select the number of copy source measures in the Measure cell.

61G. Erase Measure


This command erases various types of performance data
etc. from the specified measures.
If control data extends over the boundary of the measures being erased, only the portion of data that falls
within the specified measures will be erased. Also, if
note data extends across one or more measures, be
aware that deleting a measure through which the note
extends will also delete that note from the subsequent
measures.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures from which data will be erased.

2 Select this command.


The dialog box shown at the
right will appear.
If All Tracks is checked,
performance data will be erased
from all tracks.

3 Kind lets you specify the type(s) of data that will be


erased.
All Data will erase all data including note data and
control changes. In this case, the Note cell located at
the right specifies the range of notes to be erased, and
the Control Change No. cell specifies the control
change number to be erased. (If you specify All, all
control changes will be erased.)

5 Press the OK button.


61I. Insert Measure
This command inserts the specified number of measures
into the specified track. When the Insert Measure command is executed, performance data following the insertion location will be moved toward the end of the song.
Be aware that if measures are inserted into an area over
which tied note data extends, a note-off will occur immediately before the inserted measure, and the remaining
portion will be erased.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure to specify the measure at which
inserting will begin.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the Length cell, select the


number of measures to be
inserted.

4 In the Meter cell, select the time signature of the measures to be inserted.
If All Tracks is checked, the specified measures will
be inserted into all tracks.

5 Press the OK button.

This command corrects the timing of performance data


that has already been input. Refer to Appendices (p.82)
for details on how the timing correction will take place.
When Quantize is executed, the performance data will
change as follows.
When the Quantize operation is executed on note data,
the note-on timing will be corrected, but the length of
the notes will not change.
If the quantize resolution is set to Hi, timing will be
corrected to intervals of the base resolution (/96),
meaning that note data will not be affected. For example, continuously changing data such as joystick or
aftertouch will consume large amounts of memory, but
if this is quantized, any changes in this data that occur
in less than the quantization interval will be combined
into one event, which will save memory.
Likewise, identical types of control data which occur
at the same timing will be combined into one, also
saving internal memory.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures in which the timing will be corrected.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the Resolution cell, specify


the resolution to which the timing will be corrected.
Selecting a rougher resolution
will conserve memory, but be aware that the changes
in the performance data will also become rougher.

4 Kind specifies the type of data whose timing will be


corrected.
Aftertouch will correct the timing of aftertouch and
polyphonic aftertouch data.
Control Change will correct the timing of control
change data, but it is not possible to specify the control
change number.

5 Offset specifies the direction and distance from the


standard timing interval that the data will moved, in
one-tick units.
0.48 is an  unit, and 0.24 is a  unit. Negative ()
values will move the data forward, and positive (+)
values will move the data backward. This lets you
simulate dragging or rushing the beat.

6 Intensity specifies the sensitivity of the correction; i.e.,


how closely the data will be moved to the location
specified by 3 and 5.
With a setting of 0% no correction will take place, and
with a setting of 100% the data will be moved just as
specified by the settings of 3 and 5.

7 Press the OK button.

61K. Shift Note


This command shifts the note numbers within the specified measures by the specified amount.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures in which note numbers will be
shifted.

2 Select this command.


The dialog box shown at the
right will appear.

3 Use Bottom Note and Top Note


to specify the range of notes that
will be shifted.
The note numbers in the
specified range will be shifted.
It is not possible to set Top Note lower than Bottom
Note.

4 Shift specifies the amount of pitch change.


You can specify a pitch shift of 24+24 in semitone
steps.

5 Press the OK button.


61L. Key Transpose
This command transposes the data of the specified track
to the specified key.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures which will be transposed.

2 Select this command.


The dialog box shown at the
right will appear.

3 Specify the current key in the


Current Key cell, and specify
the key following transposition
in the To cell.

4 Press the OK button.


61M. Modify Velocity
This command modifies the velocity of the note data in
the specified range of measures according to the specified
curve.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures in which velocity data will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

3 Start Value specifies the velocity


value at the starting measure.

4 End Value specifies the velocity


value at the ending measure.

5 Curve specifies the curve with which the velocity will


be modified over the range of measures.

6 Intensity specifies how closely the velocity values will


be moved toward the curve that was selected in 5.
With a setting of 0%, the velocity of the note data will
remain unaffected. With a setting of 100%, the velocity
values will match the specified curve.

Backing

61J. Quantize

61O. Modify Control Data

7 Press the OK button.

This command modifies the control data in the selected


range of measures.

Curve and velocity


(When the Start Velocity is 1 and the End Velocity is 127)
126

Curve 1

Velocity

Velocity

126

Start
Measure

End
Measure

Curve 4

Velocity

2
Start
Measure

End
Measure

Curve 5

126
Velocity

2
End
Measure

Start
Measure

126
Velocity

2
Start
Measure

Curve 3

Velocity

126

Curve 2

126

End
Measure

Curve 6

RANDOM

2
Start
Measure

End
Measure

Start
Measure

End
Measure

61N. Modify Gate Time


This command modifies the gate time of the notes in the
selected range of measures.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures in which the gate time will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select either the Expand or Slur


radio button.
Expand allows you to select the
proportion by which the gate
time will be modified.
With a setting of 100%, the gate time will not change.
Slur will extend the gate time of each note in the
selected range until the point where the next note
begins.

4 Press the OK button.

1 Use 21f. Track Select to select the track, and use 6


1g. Start Measure and 61h. End Measure to specify
the range of measures in which control data will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

3 Set the Beat.Tick values for


Start Measure and End Measure to specify the area (beat
and tick) in which control data
will be modified.

4 In the Controller cell, specify the controller that you


wish to modify.
If CTRL is selected, you can specify the control
number. To erase the specified controller, check the
Erase box.

5 In the Value cell, specify the value that the data will
have at the specified End Measure location.
If you selected CTRL, specify the control number.

6 Press the OK button.


Example: Aftertouch data will be modified. The Start Location has been set
to 3:48, the End Location to 4:24, and the End Value to 100. With
these settings, aftertouch values will begin changing from 3:48,
and will reach 100 at 4:24.
After touch

Start location

End location

127
100

Previous data
0

Location
3:00

3:24

3:48

3:72

4:00

4:24

4:48

Since executing the Modify Control Data operation will


consume large amounts of memory, execution may not
be possible if the remaining memory is limited. In this
case, first execute 61J. Quantize to erase unneeded
data before executing this operation.

Song mode
In this mode you can record a song, and edit a song that you
recorded.

1. Program & Mix


11. Prog 18
12. Prog 916
Here you can make basic settings for the song, and specify the
program for each track.

If the value of this parameter is modified to lengthen a


measure, rests will be inserted into the lengthened portion. Conversely if the measure becomes shorter, the
shortened portion will not playback, but if the original
time signature is restored by recording new tracks or by
using 41B. Event Edit to change the time signature of
the track, this data will again be played back.

    
   

A rest is inserted

   

11a
11b
11c
11d
11e
11f

Not played

11d. Resolution.....................................................[Hi...  ]

11g
11h

Specifies the resolution to which the timing of the


recorded data will be adjusted.

11a. Measure .....................................................[1...999]


This indicates the current measure.

11b. Song...............................................................[0...9]
Selects the song that you wish to record or playback.

11c. Meter........................................ [**/**, 4/4...16/16]


This indicates the time signature of the current measure.
You can set the time signature by pressing the REC/
WRITE key.
**/**: The time signature already recorded in that measure
(or specified when another track was recorded) will be
used.
4/416/16: The specified time signature will be used.
In the case of realtime recording, it is not possible to
change the time signature during recording. If you wish to
change the time signature, use step recording to change
the time signature of the measures that you are going to
record, or use 41B. Event Edit to modify the time signature of a Bar event.
Recording from the second measure of track 2
When the time signature is set to **/**
Track 1

1 (4/4)

Track 2

1 (4/4)

Track 1

1 (4/4)

2 (3/4)

3 (4/4)

Track 2

1 (4/4)

2 (3/4)

3 (4/4)

2 (3/4)

   

       
11e. Tempo Track...............................[Manual, Auto, Rec.]
Manual: Song data will be recorded or played back at the
tempo specified by the  (Tempo) parameter.
Auto: Song data will be recorded or played back according to the tempo in the tempo track.
Rec.: Tempo data will be recorded. However, Rec. cannot
be selected unless you press the REC/WRITE key. When
you select Rec. and press the START/STOP key, tempo
data will be recorded to the tempo track as specified by
the setting of the  (Tempo) parameter.

11f. Track Select........................... [Track 1...16, Tempo Tr]

When the time signature is set to 7/8


3 (4/4)

With a setting of 

 (Tempo).............................................................. [40...240]
When the Tempo Track parameter is set to Manual,
recording or playback will use the tempo specified here.
In the case of Rec., tempo data of the value specified here
will be recorded to the tempo track.

3 (4/4)
Recording

2 (3/4)

Hi: The data will be recorded precisely at the timing at


which it was actually played. In this case, the resolution
will be 96 clocks per quarter note.
 : The data will be recorded at timing intervals of a quarter note.

Track 1

1 (4/4)

3 (4/4)

Track 2

1 (4/4)

Track 1

1 (4/4)

2 (7/8)

3 (7/8)

4 (7/8)

Track 2

1 (4/4)

2 (7/8)

3 (7/8)

4 (7/8)

Recording

Track 116: Select the track on which song data will be


recorded or played back. The program used by that track
is shown at the right.
Tempo Tr: Select this when you wish to use the page
menu commands of 4. Edit to edit the tempo track.
However, it is not possible to use realtime recording or
step recording to record on the tempo track alone.
Solo
Checked: Pressing the START/STOP key will cause only
that track to playback (Solo function), and other tracks
will be muted.

11g. Program................................................. [A11...R58]

11C. Erase Song

Selects the program used by each track.

This command erases song data.

The i30 provides two ways to select a program; either


directly, or by category.

1 Select the song that you wish

For the track selected by 11f. Track Select, you can use
the front panel PROGRAM keys to select the program.

2 Select this command.

To select a program directly, use the PROGRAM keys to


input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit of the number.
To select a program by category, press this button to
access the category dialog box. Select the desired category,
and a list of programs in that category will appear. Select a
program from this list. When you select a style, the list
will disappear automatically, but if you press the safety
pin at the upper left of the list to lock the display, you will
be able to select programs from the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.

11h. Play/Mute
Checked: Pressing the START/STOP key to playback will
cause the checked track(s) to playback. However if the 1
1f. Track Select Solo item has been checked, only that
track will be checked, and it will not be possible to check
other tracks.

Page Menu Command ........................................

to erase.
The dialog box shown at the
right will appear.

3 Press the OK button.


11D. Append Song
This command adds the specified sound following the
end of the currently selected song. Also, MIDI program
change, MIDI volume (CC#7) and MIDI panpot (CC#10)
messages will be added as events to the end of the last
measure of the currently selected song.

1 Select the song.


2 Select this command.
The dialog box shown at the
right will appear.

3 Select the song that you wish


to append.

4 Press the OK button.


11E. Next Song
Specifies whether or not another song will be played in
succession after the currently selected song finishes playing back.

1 Select the song.


2 Select this command.

11A
11B
11C
11D
11E
11F
11G

11A. Rename Song


This command modifies the name of the song.

1 Select the song whose name you wish to modify.


2 Select this command.
The dialog box shown at the
right will appear.

3 Press the text edit button to


access the text edit dialog box,
and enter the song name.

4 Press the OK button.


11B. Copy Song
This command copies song data.

1 Select the copy source song.


2 Select this command.
The dialog box shown at the
right will appear.

3 In the From cell, select the song


data that you wish to copy.

4 Press the OK button.

The dialog box shown at the


right will appear.

3 Chain to Song specifies whether


or not another song will be connected following playback of the
currently selected song.
If checked, the song selected in the middle of this
dialog box will be connected.
If Auto Start is checked, the song selecting in the
middle of the dialog box will begin playing
automatically when the currently selected song
finishes playing back.

4 Press the OK button.


11F. Memory Status
This command displays the amount remaining in internal
memory.

1 Select this command.


The dialog box shown at the
right will appear.
The song memory area is
shared with the backing
sequence memory, and allows
you to use up to 65,536 events.

2 Press the Exit button.


11G. Metronome Setting
This command lets you make metronome settings.
These settings will be valid in modes other than Program
mode, Global mode or Disk mode.

1 Select this command.

Page Menu Command .......................................

The dialog box shown at the


right will appear.

2 Sound specifies whether or not


the metronome will sound.
When Only Rec is selected, the
metronome will sound only during realtime recording.
When Rec.&Play is selected, the metronome will
sound during realtime recording and during playback.
When Off is selected, the metronome will not sound.

Refer to 11. Prog 18

3 In Precount, specify whether or not a count will be


added before realtime recording.
2 Measure will insert a two measure count.
1 Measure will insert a one measure count.
If None is selected, no count will be inserted.

4 Output specifies the channel(s) to which the metronome sound will be output.
L will output the metronome sound to the L output
channel, R to the R output channel, and L+R to output
channels L and R.
C send will output the metronome sound to the C
output channel, D send to the D output channel, and
C send + D send to output channels C and D.
If All is selected, the metronome sound will be output
to output channels L, R, C and D.
The OUTPUT jack(s) from which the metronome
sound will be output will depend on the selected
Placement. For example in Song mode if you wish to
output the metronome sound unprocessed by the
effects from OUTPUT jacks 3 and 4, select a setting of
C sendD send for this parameter, and set the 51.
Placement parameter to Serial Sub.

5 Adjust Level to set the volume of the metronome.


6 Press the OK button.

13. Mix 18
14. Mix 916
Here you can make basic settings for the song, and adjust the
pan and volume settings of each track.

Refer to 11. Prog 18

15. Preference
Here you can make basic settings for the song, and specify the
method of realtime recording for the song.

Refer to 11. Prog 18

15g

15g. Recording Preference


Selects the recording method.
Select the song, and specify the measure, track and time
signature etc. beforehand in the MeasureTrack cells in
the LCD.
Overwrite
Selects this method when you are recording for the first
time.
To begin recording, press the REC/WRITE key and then
press the START/STOP key. To stop recording, press the
START/STOP key once again.
Be aware that if you use this method to record on a track
which already contains data, all previously recorded data
will be erased from the measure at which you begin
recording and from all subsequent measures.
Overdub
Selects this method when you wish to add data to an
already-recorded track.
To begin recording, press the REC/WRITE key and then
press the START/STOP key. To stop recording, press the
START/STOP key once again.
Previously recorded data will remain, and the new data
will be added to it.

13g
13h

13g. Pan.............................. [OFF, L15...CNT...R15, PROG]


Specifies the panning of each track to output channels L
and R.
L15: Pan left.
CNT: Pan center.
R15: Pan right.
PROG: Use the pan setting of the program without
change.
OFF: The track will not be output.

13h. Volume .......................................................[0...127]


Specifies the volume of the track.
127: Maximum volume.

Manual Punch In
Selects this method when you wish to rewrite a specific
portion of an already-recorded track.
Press the START/STOP key to begin playback of the song.
When you reach the measure at which you wish to begin
re-writing the data, press the REC/WRITE key or the
pedal switch, and recording will begin. At the point where
you wish to stop recording, press the REC/WRITE key or
the pedal switch once again.
The new data will be written in place of the old between
the points where you press the REC/WRITE key or the
pedal switch.

Auto Punch In
Selects this method when you wish to rewrite a specific
portion of an already-recorded track.
Before you begin recording, set the M parameter to specify the area of measures to be rewritten.
To begin recording, press the REC/WRITE key and then
press the START/STOP key. The new data will be written
in place of the old in the area of measures that you specified.

Entry (CC#6) = 040 (24) 064 (+00) 088 (+24) to


modify this value during the song.

21h. Detune .................................................... [50...+50]


Adjusts the pitch deviation from standard pitch in onecent steps.
50: Maximum pitch deviation below standard pitch.
+50: Maximum pitch deviation above standard pitch.
You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 001 to specify Fine Tune, and use Data
Entry (CC#6, 38) = 032, 081 (50) 064, 000 (+00) 096,
000 (+50) to modify this value during the song.

M (Measure)
Specifies the area of measures which will be rewritten.
Loop
Selects this method when you wish to successively add
data to a previously recorded track.
The specified area of measures will playback repeatedly,
and you can continue adding data to them.
Before you begin recording, set the M parameter to specify the area of measures to which data will be added.
To begin recording, press the REC/WRITE key and then
press the START/STOP key. The specified measures will
playback repeatedly, and you can add new data little by
little.

21i. Pitch Bend Range.............................[PRG, 12...+12]


Specifies the maximum pitch change that can occur when
the pitch bender is operated, in semitone steps.
PRG: The pitch bend range setting of the program will be
used.
12: The pitch can be changed as much as 2 octaves downward.
+12: The pitch can be changed as much as 2 octaves
upward.
You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 000 to specify Pitch Bend Sensitivity, and
use Data Entry (CC#6) = 000 (+00) 012 (+12) to modify this value during the song.

M (Measure)
Specifies the area of measures to which data will be
added.

Page Menu Command ........................................

Page Menu Command ........................................

Refer to 11. Prog 18

Refer to 11. Prog 18

2. Track Setting
21. Pitch 18
22. Pitch 916
Here you can make basic settings for the song, and make pitchrelated settings for each track.

Refer to 11. Prog 18

23. MIDI 18
24. MIDI 916
Here you can make basic settings for the song, and make
MIDI-related settings for each track.

Refer to 11. Prog 18

23g
23h
23i

21g
21h
21i

23g. Internal
23h. External
21g. Transpose ................................................[24...+24]
Adjusts the pitch of each track in semitone steps.
24: The pitch will be two octaves lower.
+24: The pitch will be two octaves higher.
You can use RPN MSB (CC#101) = 000 and RPN LSB
(CC#100) = 002 to specify Coarse Tune, and use Data

Specifies the tone generator(s) which will be used by each


track.
When Internal is checked: the track will be
sounded by the internal tone generator.

When External is checked: musical data will


be transmitted from the MIDI OUT connector and the TO HOST connector.
When both Internal and External are
checked: the internal tone generator will be
sounded, and at the same time musical data
will be transmitted from the MIDI OUT connector and the TO HOST connector.
When unchecked: the track will not be
played back.
The transmit/receive channels for the MIDI
data can be specified in 23i. MIDI Channel.
When you change songs or when you reset to the beginning of the song, MIDI program change, MIDI volume
(CC#7) and MIDI panpot (CC#10) messages will be transmitted.

23i. MIDI Channel ................................................[1...16]


Specifies the MIDI channel on which each track will transmit/receive performance data.

3. Window
Here you can specify the range of notes and the range of velocities for which the internal tone generator will be sounded by
each track.

31. Key 18
32. Key 916
Specifies the range of notes which will be sounded for each
track.

Key window display


Track being input/played

31a
31b

Page Menu Command........................................


31a. Top Key ....................................................[C1...G9]
31b. Bottom Key ...............................................[C1...G9]
Specifies the top key (upper limit) and bottom key (lower
limit) of the range of notes which the track will sound.
Refer to 11. Prog 18

Page Menu Command .......................................

Refer to 11. Prog 18

33. Velocity 18
34. Velocity 916
Specifies the range of velocities which will be sounded for each
track.

Velocity window display


Track being input/played

33a
33b

33a. Top Velocity................................................. [1...127]


33b. Bottom Velocity ........................................... [1...127]
Specifies the maximum and minimum velocity values
which the track will sound.

Page Menu Command .......................................

Refer to 11. Prog 18

41B. Event Edit

4. Edit

This command lets you edit individual events of song


data that you input.

41. Edit
Here you can perform non-realtime data input (step recording)
and editing for each track.

Select the track in 11f. Track Select, and specify the


measure at which editing will begin in 41g. Start Measure. Then select this command, and a dialog box will
appear, allowing you to specify the event.
Check the event that you wish to edit and press the OK
button, and the event edit dialog box will appear.

Refer to 11. Prog 18

For details on the procedure and settings of event edit,


refer to Backing Sequence mode 61B. Event Edit (p.19).

41C. Erase Track


41g

This command erases the data of the specified track. However, it is not possible to erase the tempo track by itself.

41h

1 Use 11f. Track Select to select the track to be erased.


2 Select this command.

41g. Start Measure............................................. [1...999]


41h. End Measure .............................................. [1...999]
Specifies the first and last measure of the song data that
you wish to edit or step-record.

Page Menu Command ........................................

The dialog box shown at the


right will appear.
If you check All Tracks, the
performance data of all tracks
will be deleted.

3 Press the OK button.


41D. Bounce Track

41A

41I

41B

41J

41C

41K

41D

41L

41E

41M

41F

41N

41G

41O

41H

41P

41A. Step Recording


This command allows you to input song data.

This command combines the performance data of the


bounce source and bounce destination tracks into the
bounce destination track.
The time signature and length of the track following execution will be according to the settings of the bounce destination. If the selected track and the bounce destination
pattern track contain MIDI control change data, unexpected operation may result from executing the bounce
command. Before executing this command, use 41B.
Event Edit to prepare the MIDI control data of the two
tracks.

1 Use 11f. Track Select to select the bounce destination track.

This is a non-realtime method of data entry, in which you


input note data one step at a time.

2 Select this command.

However, be aware that if this command is used on a track


which already contains song data, all data of the specified
Start Measure and following measures will be erased.

3 In the From cell select the

Data which has a continuously changing value (e.g., pitch


bend data) should be input using 410. Modify Control
Data. Data which occurs as individual events (e.g., program changes) should be input using 41B. Event Edit.
First, in the SongTrack cells in the LCD, select the song
and track into which you wish to input data, and specify
the time signature. In the Start Measure cell located below,
specify the measure at which input will begin.
Then select this command.
For details on the procedure and settings of step recording, refer to Backing Sequence mode 61A. Step Recording (p.17), for the item When ATr. KBD Track or KBD
48 Track are selected for the Track parameter.

The dialog box shown at the


right will appear.
bounce source track.

4 Press the OK button.


41E. Copy Track
This command copies the performance data from the copy
source track to the specified track.
Be aware that when Copy Track is executed, track data
which exists in the copy destination track will be erased.

1 Use 11f. Track Select to select the track.


2 Select this command.
The dialog box shown at the
right will appear.

3 In the From cell select the copy


source track.

4 Press the OK button.

41F. Delete Measure

4 Press the OK button.

This command deletes the specified measures.

Example: If measures 23 are erased, measures 23 will be empty.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures to be deleted.

2 Select this command.


The dialog box shown at the
right will appear.
If All Tracks is checked, performance data will be deleted
from the specified measures of
all tracks including the tempo
track.

After
erasure

41H. Copy Measure


This command copies performance data from the specified copy source measures to the specified measure location. Be aware that when the Copy Measure command is
executed, data which existed in the copy destination track
will be erased.

Example: When measures 34 are deleted, the performance


data of measures 57 will move forward.
1

No data

3 Press the OK button.

Before
deletion

Before
erasure

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure to specify the copy destination measure.

2 Select this command.


After
deletion

The dialog box shown at the


right will appear.

3 In the From cell, select the copy


41G. Erase Measure
This command erases various types of performance data
etc. from the specified measures. The Erase Measure command can also be used to erase only a specified type of
data.
If control data extends over the boundary of the measures being erased, only the portion of data that falls
within the specified measures will be erased. Also, if
note data extends across one or more measures, be
aware that deleting a measure through which the note
extends will also delete that note from the subsequent
measures.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures from which data will be erased.

2 Select this command.


The dialog box shown at the
right will appear.
If All Tracks is checked, performance data will be erased
from the specified measures of
all tracks.

3 Kind lets you specify the


type(s) of data that will be erased.
All Data will erase all data including note data and
control changes. In this case, the Note cell located at
the right specifies the range of notes to be erased, and
the Control Change No. cell specifies the control
change number to be erased. (If you specify All, all
control changes will be erased.)
Note will erase note data. At this time, the Note cell
located at the right specifies the range of notes to be
erased.
Control Change will erase control change data. At this
time, the Control Change No. cell specifies the control
change number to be erased. (If you specify All, all
control changes will be erased.)
Aftertouch will erase aftertouch and polyphonic
aftertouch data.

source track.
If All Tracks is checked, performance data of the specified measures of all tracks
including the tempo track can be copied.

4 In the Measure cell, select the number of copy source


measures.

5 Press the OK button.


41I. Insert Measure
This command inserts the specified number of measures
into the specified track. When the Insert Measure command is executed, performance data following the insertion location will be moved toward the end of the song.
Be aware that if measures are inserted into an area over
which tied note data extends, a note-off will occur immediately before the inserted measure, and the remaining
portion will be erased.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure to specify the measure at which
inserting will begin.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the Length cell, select the


number of measures to be
inserted.

4 In the Meter cell, select the time signature of the measures to be inserted.
If All Tracks is checked, the specified measures will
be inserted into all tracks including the tempo track.

5 Press the OK button.


41J. Quantize
This command corrects the timing of song data that has
already been input. Refer to Appendices (p.82) for
details on how the timing correction will take place. When
Quantize is executed, the performance data will change as
follows.
When the Quantize operation is executed on note data,
the note-on timing will be corrected, but the length of
the notes will not change.

If the quantize resolution is set to Hi, timing will be


corrected to intervals of the base resolution ( /96),
meaning that note data will not be affected. For example, continuously changing data such as joystick or
aftertouch will consume large amounts of memory, but
if this is quantized, any changes in this data that occur
in less than the quantization interval will be combined
into one event, which will save memory.
Likewise, identical types of control data which occur at
the same timing will be combined into one, also saving
internal memory.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures in which the timing will be corrected.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the Resolution cell, specify


the resolution to which the
timing will be corrected.
Selecting a rougher resolution
will conserve memory, but be
aware that the changes in the performance data will
also become rougher.

4 Kind specifies the type of data whose timing will be


corrected.
Aftertouch will correct the timing of aftertouch and
polyphonic aftertouch data.
Control Change will correct the timing of control
change data, but it is not possible to specify the control
change number.

5 Offset specifies the direction and distance from the


standard timing interval that the data will be moved,
in one-tick units.
0.48 is an  unit, and 0.24 is a  unit. Negative ()
values will move the data forward, and positive (+)
values will move the data backward. This lets you
simulate dragging or rushing the beat.

6 Intensity specifies the sensitivity of the correction; i.e.,


how closely the data will be moved to the location
specified by 3 and 5.
With a setting of 0% no correction will take place, and
with a setting of 100% the data will be moved just as
specified by the settings of 3 and 5.

7 Press the OK button.


41K. Shift Note
This command shifts the note numbers within the specified measures by the specified amount.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures in which note numbers will be
shifted.

4 Shift specifies the amount of pitch change.


You can specify a pitch shift of 24+24 in semitone
steps.

5 Press the OK button.


41L. Key Transpose
This command transposes the data of the specified track
to the specified key.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures which will be transposed.

2 Select this command.


The dialog box shown at the
right will appear.

3 Specify the current key in the


Current Key cell, and specify
the key following transposition
in the To cell.

4 Press the OK button.


41M. Modify Velocity
This command modifies the velocity of the note data in
the specified range of measures according to the specified
curve.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures in which velocity data will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

3 Start Value specifies the velocity value at the starting measure.

4 End Value specifies the velocity value at the ending measure.

5 Curve specifies the curve with which the velocity will


be modified over the range of measures.

6 Intensity specifies how closely the velocity values will


be moved toward the curve that was selected in 5.
With a setting of 0%, the velocity of the note data will
remain unaffected. With a setting of 100%, the velocity
values will match the specified curve.

7 Press the OK button.


Curve and velocity
(When the Start Velocity is 1 and the End Velocity is 127)
126

3 Use Bottom Note and Top


Note to specify the range of
notes that will be shifted.
The note numbers in the
specified range will be shifted.
It is not possible to set Top Note lower than Bottom
Note.

126

126

Start
Measure

End
Measure

Curve 4

Velocity

2
Start
Measure

126

End
Measure

Curve 5

Velocity

2
End
Measure

Start
Measure

126
Velocity

2
Start
Measure

Curve 3

Velocity

126

Curve 2

Velocity

Velocity

2 Select this command.


The dialog box shown at the
right will appear.

Curve 1

End
Measure

Curve 6

RANDOM

2
Start
Measure

End
Measure

Start
Measure

End
Measure

41N. Modify Gate Time

41P. Put/Copy Pattern

This command modifies the gate time of the notes in the


selected range of measures.

This command puts (assigns) or copies the specified pattern to the currently selected track.

1 Use 11f. Track Select to select the track, and use 4

1 Use 11f. Track Select to select the track.

1g. Start Measure and 41h. End Measure to specify


the range of measures in which the gate time will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

2 Select this command.

3 Specify the pattern.

The dialog box shown at the


right will appear.

4 In the Measure cell, specify the


destination measure at which
the data will be put or copied.

3 Select either the Expand or


Slur radio button.
Expand allows you to select
the proportion by which the
gate time will be modified.
With a setting of 100%, the gate time will not change.
Slur will extend the gate time of each note in the
selected range until the point where the next note
begins.

5 To put (assign) the data, press the Put button. To copy


the data, press the Copy button.
In the case of Put button, the pattern will be recalled at
the beginning at the measure in which it was put.
When you wish to repeatedly playback a certain
pattern, using Put will allow you to use memory more
efficiently. If you modify the pattern which was Put,
the change will be reflected in all locations where that
pattern was Put.
In the case of Copy button, the pattern data will be
copied to the measure. Use this operation when you
wish to use the data of a pattern with slight changes.

4 Press the OK button.


41O. Modify Control Data
This command modifies the control data in the selected
range of measures.

6 Press the Exit button.

1 Use 11f. Track Select to select the track, and use 4


1g. Start Measure and 41h. End Measure to specify
the range of measures in which control data will be
modified.

2 Select this command.


The dialog box shown at the
right will appear.

Put
Example: Pattern 20 was Put to measures 2, 4, and 6 of track 10. When
playback reaches those measures, pattern 20 will be recalled,
and the data of pattern 20 will be played.
Track 10
1
2
3
4
5
6
7
(Drums)

3 Set the Beat.Tick values for

Pattern 20

Start Measure and End Measure to specify the area (beat


and tick) in which control data
will be modified.

Copy

4 In the Controller cell, specify the controller that you

Example: The performance data of pattern 41 was copied to the second


measure.
Before
1
2
3
4
copy
Pattern 41

wish to modify.
If CTRL is selected, you can specify the control
number. To erase the specified controller, check the
Erase box.

After
copy

5 In the Value cell, specify the value that the data will
have at the specified End Measure location.
If you selected CTRL, specify the control number.

5. Effect

6 Press the OK button.

51. Placement
Example: Aftertouch data will be modified. The Start Location has been set
to 3:48, the End Location to 4:24, and the End Value to 100. With
these settings, aftertouch values will begin changing from 3:48,
and will reach 100 at 4:24.
After touch

Start location

End location

Selects the way in which the two effect units will be placed,
and how sound will travel through them.
51a

127
100

Serial
Parallel 1
Previous data

Location
3:00

3:24

3:48

3:72

4:00

4:24

Parallel 2
Parallel 3

4:48

Since executing the Modify Control Data operation will


consume large amounts of memory, execution may not
be possible if the remaining memory is limited. In this
case, first execute 41J. Quantize to erase unneeded
data before executing this operation.

Serial Sub
Parallel Sub

51a. Effect Placement

the following effects are selected, only the 2-band shelving


equalizer that is set in 53c. EQ will apply.

Use the radio buttons to specify how the effects will be


connected.

Stereo Delay
Cross Delay
Stereo Chorus 1, 2
Stereo Exciter
Auto Pan
Tremolo

The connection of the effects which are displayed in 52.


Effects will vary depending on this selection.

Page Menu Command ........................................


51A

52e. C Pan, D Pan/L Return, R Return


Depending on the selection in 51a. Effect Placement,
these parameters may not be displayed.

51B
51C
Refer to 11. Prog 18

C Pan, D Pan ........................................................ [OFF, L...R]


Sets the panning before and after the effect.
L: Pan left.
R: Pan right.
OFF: No output.

51A. Copy All Effects


The FX1 and FX2 effects used in Song mode or Program
mode, or as the ACC Effects for Arrangement Play mode
will be copied as a pair.

51B. Copy FX
The FX1 effect can be copied to FX2, or the FX2 effect to
FX1.

L Return, R Return ...................................................... [0 ...9]


Specifies the return amount of the output to the 1/L/
MONO and 2/R OUTPUT jacks.

Page Menu Command ........................................

51C. Swap FX
The FX1 and FX2 effects can be exchanged.
Refer to 51. Placement

52. Effects
Refer to 11. Prog 18

Specifies the send levels, and the effects which will be used by
the song.
The settings of 13. Mix 18 and 14. Mix 916 will be
used as the pan settings for output channels L and R.

53. FX1
54. FX2
Sets the parameters of the effects that were selected in 52.
Effects.

52a
52b
52c
52d
52e

Effect name
53a

53b

52a. C Send Level ........................................ [0...9, PROG]

53c

Specifies the level that will be sent from output channel C.


PROG: The send level setting of the program will be used.

52b. D Send Level........................................ [0...9, PROG]


Specifies the level that will be sent from output channel D.
PROG: The send level setting of the program will be used.

52c. FX 1 .................... [No Effect...Delay/Rotary Speaker]


52d. FX 2 .................... [No Effect...Delay/Rotary Speaker]
Selects the effect type.
No Effect: No effect will be applied. Select this when you
wish to play using a dry sound without any effects.
Hall ReverbDelay/Rotary Speaker: For details on each
effect, refer to Effect Parameters (p.76).
On
Checked: The effect will be used.
Unchecked: The effect will not be used. However if one of

53a. Effect Parameters


The parameters that can be set here will depend on the
effect which was selected. For details on the parameters of
each effect, refer to Effect Parameters (p.76).

53b. Dynamic Modulation........................[None...VDA EG]


Selects the dynamic modulation source.
By operating the selected source, the parameter shown
together with the arrow in the lower line can be modified
in realtime.
For example, if you wish to use a pedal controller (XVP
10 or EXP2) connected to the ASSIGNABLE PEDAL/
SWITCH 1 jack to control dynamic modulation, make the
following settings.
First, select either CC#12 or CC#13 as the sour ce. Then set
the Global mode 62. Assignable Pedal (p.68) parameter

Assignable Switch/Pedal 1 to the value which matches


the setting you made here (either FX Control 1 (CC#12) or
FX Control 2 (CC#13)). Now you can use the pedal controller connected to the i30 to control the parameter of the
effect.
The amount of change produced by dynamic modulation
will depend on the value of the parameter being controlled, the way in which the source is operated, and the
value of the Intensity parameter.
None: Dynamic modulation will not be used.
Intensity.............................................................. [15...+15]
Specifies the sensitivity with which the effect parameter
will be controlled by the selected source.
+15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Wet sound to be heard.
0: Nothing will happen when the source is operated.
15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Dry sound to be heard.

6. Pattern
61. Pattern
In Song mode you can use 100 patterns. Be aware that if you
modify the data of a pattern, each location in which that pattern was put will be affected.
61a
61b
61c
61d
61e
61f
61g

Indication of Put
locations

61a. Measure
Indicates the current measure.

61b. Pattern.......................................................... [0...99]


Selects the pattern that you wish to input.

61c. Length .......................................................... [1...99]

53c. EQ
This is a 2-band shelving equalizer.
For several types of effect, this equalizer will still be effective even if the On box is un-checked in 52c. FX1 or 5
2d. FX 2. For details refer to 52c. FX1 and 52d. FX
2.
Low EQ .............................................................. [12...+12]
Cuts or boost the low frequency range.
+12: Maximum boost for the low frequency range.
12: Maximum cut for the low frequency range.
High EQ ............................................................. [12...+12]
Cuts or boost the high frequency range.
+12: Maximum boost for the high frequency range.
12: Maximum cut for the high frequency range.

Page Menu Command........................................

After pressing the REC/WRITE key, you can specify the


length of the pattern that will be input.
After specifying the length, press the REC/WRITE key.

61d. Beat.................................................... [1/4...16/16]


After pressing the REC/WRITE key, you can specify the
time signature of the pattern that will be input.
After specifying the time signature, press the REC/
WRITE key.

61e. Resolution.....................................................[Hi...  ]
Specifies the timing precision at which data will be
recorded.
Hi: Notes will be recorded precisely at the timing at which
they were actually played. In this case, the resolution will
be 96 clocks per quarter note.
 : The recorded timing of the notes will be adjusted to the
nearest quarter note interval.
With a setting of 

Refer to 51. Placement

   

Refer to 11. Prog 18

       
61f.  (Tempo) .................................................. [40...240]
Specifies the tempo.

61g. Remove Data


Checked: Performance data can be removed from the pattern as desired.
For example if you wish to remove only a specific note,
press the REC/WRITE key to begin data entry, and when
you reach the location at which you wish to remove a
note, press that note on the keyboard. While you continue
holding a note, all occurrences of that note will be
removed. Similarly, pitch bend data will be removed dur-

ing the interval that you continue holding the joystick in


the X (left/right) direction, and aftertouch data will be
removed during the interval that you continue applying
pressure to the keyboard.

Page Menu Command ........................................

61D. Get from Track


This command loads performance data from a track into
the specified pattern.

1 In 61b. Pattern, select the destination pattern for the


Get operation, and specify the length of the pattern in
61c. Length.

2 Select this command.


61A
61B
61C
61D
61E

The dialog box shown at the


right will appear.

3 In the From cell, select the


song.

61F

4 Select the track.

Refer to 11. Prog 18

5 Select the first measure of the


Get source.

61A. Step Recording (Loop Type)


This command allows you to input pattern data.
This is a non-realtime method of data entry, in which you
input note data one step at a time.
When step recording pattern data, you can continue
repeating the selected area of measures and make changes
as you go. Pattern data that was previously input will
remain, and the new data will be added to it.
First use 61b. Pattern to specify the pattern that you
wish to record, and then use 61c. Length to specify the
number of measures. When you finish inputting data for
the number of measures specified by the Length parameter, you will return to the first measure, and can continue
input.
Then select this command.
For details on the procedure and settings of step recording, refer to Backing Sequence mode 61A. Step Recording (p.17), in the explanation for When ATr. KBD Track
or KBD 48 Track is specified for the Track parameter.

61B. Event Edit


This command lets you edit individual events of pattern
data that you input.
Use 61b. Pattern to select the pattern, and then select
this command. A dialog box will appear, allowing you to
specify the type(s) of events that you wish to edit.
Check the event(s) that you wish to edit, and press the OK
button. The event editing dialog box will appear.
For details on the procedure and settings of event editing,
refer to 61B. Event Edit (p.19) of Backing Sequence
mode.

61C. Erase Pattern


This command erases the selected pattern.

6 Press the OK button.


61E. Bounce Pattern
This command combines the performance data of the
bounce source and bounce destination patterns, and
places the combined performance data in the bounce destination.
The time signature and length of the resulting pattern will
be according to the settings of the bounce destination. If
the selected pattern and the bounce destination pattern
contain MIDI control change data, unexpected operation
may result from executing the bounce command. Before
executing this command, use 61B. Event Edit to prepare the MIDI control data of the two patterns.

1 Use 61b. Pattern to select the bounce destination


pattern.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the From cell select the


bounce source pattern.

4 Press the OK button.


61F. Copy Pattern
This command copies the performance data from a pattern to the specified pattern.
Be aware that when Copy Pattern is executed, pattern
data which exists in the copy destination pattern will be
erased.

1 Use 61b. Pattern to select the copy destination pattern.

2 Select this command.


The dialog box shown at the
right will appear.

Use 61b. Pattern to select the pattern, and then select


this command.

3 In the From cell select the copy

Press the OK button.

4 Press the OK button.

source pattern.

Song Play mode


In this mode you can playback SMF (Standard MIDI File) data,
and make related settings.

1. Program & Mix


11. Prog 18
12. Prog 916
Here you can make basic settings for SMF data playback, and
specify the program for each channel.

Page Menu Command .......................................


11A
11B

11A. Next File


Specifies whether or not playback will continue to another
file when the currently selected SMF finishes playing.

1 Select this command.


The dialog box shown at the
right will appear.

11a
11b
11c
11d
11e
11f

2 The Chain to next file check box


specifies whether or not the next
file will be connected following
the playback of the currently
selected file.
Checked: Playback will be connected to the next file.
When Auto Start is checked, the next file will
automatically begin playback when the currently
selected SMF file finishes playing back.

11g
11h

11a. Measure .....................................................[1...999]


Specifies the measure at which playback will begin.

11b. File ...............................................................[0...99]

3 Press the OK button.


11B. Metronome Setting
Makes settings for the metronome.

From a floppy disk or an internal hard disk, select the SMF


that you wish to playback.

These settings will be valid in modes other than Program


mode, Global mode and Disk mode.

Here you can select SMF files from the currently selected
directory. To select a different directory, use 41. Select
Directory. Also, when 11c. Jukebox is checked, you
can select SMF files from the jukebox list.

1 Select this command.

This parameter will not be displayed if no SMF files exist


in the directory, or if no SMF files are registered in the
jukebox list.

11c. Jukebox
Checked: Check this if you wish to use a jukebox list to
playback SMF files, or when you wish to use 41. Jukebox to create a jukebox list. When this is checked, the
Jukebox button will be displayed in the Jump menu (displayed when the MENU key is pressed).

11d. Meter, Name


Meter
This indicates the time signature of the selected SMF.
Name
This indicates the sequence data name of the selected
SMF.

11e.  (Tempo)..................................................[40...240]
Specifies the tempo for SMF playback.

11f. Channel Select..................................[Channel 1...16]


Selects the channel that will sound when you play the
keyboard. The program used by that channel is shown at
the right.

11g. Program .................................................[A11...R58]


Selects the program used by each channel.

11h. Play/Mute
Checked: That channel will playback when the START/
STOP key is pressed.

The dialog box shown at the


right will appear.

2 Sound specifies whether or not


the metronome will sound.
With a setting of Only Rec, the
metronome will sound during
realtime recording.
With a setting of Rec. & Play, the metronome will
sound during realtime recording and during playback.
With a setting of Off, the metronome will not sound.

3 Precount specifies whether or not a count will be


inserted before realtime recording.
2 Measure will insert a two-measure count.
1 Measure will insert a one-measure count.
None will not insert a count.

4 Output specifies the channel(s) to which the metronome sound will be output.
A setting of L will output the metronome sound to the
L channel, R to the R channel, and L+R to both the L
and R channels.
A setting of C send will output the metronome sound
to the C output channel, D send to the D output
channel, and C send + D send to both the C and D
output channels.
A setting of All will output the metronome sound to
all output channels L, R, C and D.
The OUTPUT jack(s) from which the metronome
sound is sent will depend on the selected Placement.
For example if in Song Play mode you wish to output
the metronome sound unprocessed by the effects from
OUTPUT jacks 3 and 4, select a setting of C sendD
send, and set the 31. Placement parameter to Serial
Sub.

5 Use Level to adjust the volume of the metronome.


6 Press the OK button.

13. Mix 18
14. Mix 916

When External is checked: musical data will


be transmitted from the MIDI OUT connector and the TO HOST connector.

Here you can make basic settings for SMF data playback, and
set the pan and volume for each channel.

When both Internal and External are


checked: the internal tone generator will be
used, and at the same time musical data will
be transmitted from the MIDI OUT connector and the TO HOST connector.

Refer to 11. Prog 18

When unchecked: that channel will not be


played.

13g
13h

Page Menu Command ........................................

13g. Pan ..............................[OFF, L15...CNT...R15, PROG]

Refer to 11. Prog 18

Specifies the panning of each channel to the L/R output


channels.
L15: Pan left.
CNT: Pan center.
R15: Pan right.
PROG: Use the pan setting of the program without
change.
OFF: The channel will not be output.

13h. Volume....................................................... [0...127]


Specifies the volume.
127: Maximum volume.

Page Menu Command ........................................

3. Effect
31. Placement
Selects how the two effects will be combined.
31a
Serial
Parallel 1
Parallel 2
Parallel 3

Refer to 11. Prog 18

2. Track Status
21. Status 18
22. Status 916
Here you can make basic settings for playback of SMF data,
and specify how each channel will be played back.

Refer to 11. Prog 18

Serial Sub
Parallel Sub

31a. Effect Placement


Use the radio buttons to select the way in which the effects
will be connected.
This selection will change the effect connections that are
shown in 32. Effects.

Page Menu Command ........................................


31A
31B
31C

21g
21h

Refer to 11. Prog 18

31A. Copy All Effects


21g. Internal
21h. External
Specifies which tone generator will be used by the channel.
When Internal is checked: the internal tone
generator will be used.

The FX1 and FX2 effects used in Song mode, Program


mode and as the ACC Effects in Arrangement Play mode
will be copied as a pair.

31B. Copy FX
This command copies the FX1 effect to FX2, or the FX2
effect to FX1.

31C. Swap FX
This command exchanges the FX1 and FX2 effects.

32. Effects

Page Menu Command .......................................

Here you can set the send levels, and specify the effects that
will be used for SMF playback.
The L and R output channels will be panned according to the
settings of 13. Mix 18 and 14. Mix 916.

Refer to 31. Placement


Refer to 11. Prog 18

33. FX1
34. FX2

32a
32b
32c
32d
32e

Sets the parameters of the effects that were selected in 32.


Effects.
Effect name
33a

32a. C Send Level ........................................[0...9, PROG]


Specifies the level that will be sent from output channel C.
PROG: The send level setting of the program will be used.

32b. D Send Level ........................................[0...9, PROG]

33b
33c

Specifies the level that will be sent from output channel D.


PROG: The send level setting of the program will be used.

32c. FX 1.....................[No Effect...Delay/Rotary Speaker]


32d. FX 2.....................[No Effect...Delay/Rotary Speaker]
Selects the effect type.
No Effect: No effect will apply. Use this when you wish to
play using a dry sound, without applying any effect.
Hall ReverbDelay/Rotary Speaker: Refer to Effect
Parameters (p.76) for details on each effect.
On
Checked: the effect will be used.
Unchecked: the effect will not be used. However if one of
the following effects are selected, only the 2-band shelving
equalizer that is set in 33c. EQ will apply.
Stereo Delay
Cross Delay
Stereo Chorus 1, 2
Stereo Exciter
Auto Pan
Tremolo

32e. C Pan, D Pan/L Return, R Return


Depending on the selection in 31a. Effect Placement,
these parameters may not be displayed.
C Pan, D Pan ........................................................[OFF, L...R]
Sets the panning before and after the effect.
L: Pan left.
R: Pan right.
OFF: No output to L & R.
L Return, R Return ...................................................... [0 ...9]
Specifies the return amount of the output to the 1/L/
MONO and 2/R OUTPUT jacks.

33a. Effect Parameters


The parameters that can be set here will depend on the
effect which was selected. For details on the parameters of
each effect, refer to Effect Parameters (p.76).

33b. Dynamic Modulation ....................... [None...VDA EG]


Selects the dynamic modulation source.
By operating the selected source, the parameter shown
together with the arrow in the lower line can be modified
in realtime.
For example, if you wish to use a pedal controller (XVP10
or EXP2) connected to the ASSIGNABLE PEDAL/
SWITCH 1 jack to control dynamic modulation, make the
following settings.
First, select either CC#12 or CC#13 as the sour ce. Then set
the Global mode 62. Assignable Pedal (p.68) parameter
Assignable Switch/Pedal 1 to the value which matches
the setting you made here (either FX Control 1 (CC#12) or
FX Control 2 (CC#13)). Now you can use the pedal controller connected to the i30 to control the parameter of the
effect.
The amount of change produced by dynamic modulation
will depend on the value of the parameter being controlled, the way in which the source is operated, and the
value of the Intensity parameter.
None: Dynamic modulation will not be used.
Intensity.............................................................. [15...+15]
Specifies the sensitivity with which the effect parameter
will be controlled by the selected source.
+15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Wet sound to be heard.
0: Nothing will happen when the source is operated.
15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Dry sound to be heard.

33c. EQ

41d. Filename

This is a 2-band shelving equalizer.


For several types of effect, this equalizer will still be effective even if the On box is un-checked in 32c. FX1 or 3
2d. FX 2. For details refer to 32c. FX1 and 32d. FX
2.

The SMF name is displayed here.

41e. Size
The size of the SMF is displayed (in kbyte units).

41f. Save Date

Low EQ .............................................................. [12...+12]


Cuts or boosts the low frequency range.
+12: Maximum boost for the low frequency range.
12: Maximum cut for the low frequency range.

The date on which the SMF was saved is displayed. From


the left, this indicates the day, month and year.

41g. Open button, Up button


The Open button opens the selected directory, moving the
current directory one level downward.
The Up button moves the current directory one level
upward.

High EQ ............................................................. [12...+12]


Cuts or boosts the high frequency range.
+12: Maximum boost for the high frequency range.
12: Maximum cut for the high frequency range.

Page Menu Command ........................................

These buttons can be used when a directory is selected in


the directory window.

41h. Drive Select


Selects the media that you wish to use.
If a hard disk is installed, you can select either the hard
disk or the floppy disk.
The volume label assigned to the disk will be displayed,
and if the disk has no volume label, this will be indicated
as no label.

Refer to 31. Placement


Refer to 11. Prog 18

41. Jukebox Mode

4. Select Directory/Jukebox Mode

Here you can create a jukebox list to specify the order in which
SMF files will be played back.

If 11c. Jukebox is unchecked 41. Select Directory will be


displayed, and if checked 41. Jukebox will be displayed.

Up to 100 songs can be registered in a jukebox list. Lists can be


saved and loaded. Before saving to disk, you must defeat the
write protect setting of the disk.

41. Select Directory


From a floppy disk inserted in the floppy disk drive, or from
an installed hard disk, select the directory which contains the
SMF that you wish to playback.

Refer to 11. Prog 18

41a
Jukebox list

41b
41c
41d

41i

41e
41f

41i. Add button, Delete button

41g
41h

41a. Current Directory


The directory currently being viewed is called the current directory. The full pathname of the directory will be
shown in the LCD screen. Slash / characters are used to
delineate directory levels.
You can use the Open button and the Up button to
change the current directory.

41b. Directory Window


This area shows the files within the current directory.
You can select files or directories in this window.

41c. File/Icon
SMF and DOS directory files are displayed.
For details on the icons, refer to Disk mode About files,
directories and icons (p.70).

The Add button adds an SMF to the jukebox list. In the


directory window, select the SMF that you wish to add to
the list, and then press this button to add it to the jukebox
list.
The Delete button deletes an SMF from the jukebox list.

Page Menu Command ........................................


41A
41B

41A. Load Jukebox List


This command loads the jukebox list that you wish to use.

1 In the directory window, select


the desired jukebox list file
(extension .JKB), and then select
this command.
The dialog box shown at the
right will appear.

2 Press the OK button.


41B. Save Jukebox List
This command saves the jukebox list that you created as a
file.

1 After creating a jukebox list, select this command.


The dialog box shown at the
right will appear.

2 Press the text edit button to


access the text edit dialog box,
and input the filename.

3 Press the OK button.


The jukebox list file will be saved to the media that
was selected by Drive Select.

Program mode
1. Perf. Edit
11. Perf. Edit
Here you can select programs, and do simple program editing.
Program are used not only for playing in Arrangement Play
mode, but also as the sounds that are played in Backing
Sequence mode, Song mode, and Song Play mode.

Attack Time ......................................................... [10...+10]


Adjusts the time from when the note is played until the
program reaches its maximum level.
This adjusts the VDA Attack Time parameter of oscillators
1 and 2.
Release Time ....................................................... [10...+10]
Adjusts the time from when the note is release until the
sound decays to silence.
This adjusts the VDA Release Time parameter of oscillators 1 and 2.

11a

VDA Level............................................................ [10...+10]


Adjusts the volume of the program.
This adjusts the VDA Level parameter of oscillators 1 and
2.
11b

Velocity Sensitivity ...............................................[10...+10]


Adjusts the degree to which keyboard playing dynamics
will affect the tone and volume.

11a. Program Select ....................................... [A11...R58]


Selects the program.
The i30 provides two ways to select a program; either
directly, or by category.
To select a program directly, use the PROGRAM keys to
input the bank and number. The upper row of keys 18
input the upper digit, and the lower row of keys 18 input
the lower digit of the number.
To select a program by category, press this button to
access the category dialog box. Select the desired category,
and a list of programs in that category will appear. Select a
program from this list. When you select a style, the list
will disappear automatically, but if you press the safety
pin at the upper left of the list to lock the display, you will
be able to select programs from the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.
Programs of banks AG use either one or two oscillators.
Programs which use one oscillator are called single programs, and programs which use two oscillators are called
double programs.
Programs of bank R use a single drum kit oscillator. These
programs are called drum programs.

11b. Performance Editor


Pitch MG (Vibrato) Intensity .................................. [10...+10]
Modifies the depth of pitch MG to adjust the vibrato.
This adjusts the Pitch MG Intensity parameter of oscillators 1 and 2.
VDF Cutoff Frequency .......................................... [10...+10]
Modifies the brightness of the program.
This adjusts the VDF Cutoff Frequency parameter of oscillators 1 and 2.
VDF EG Intensity .................................................. [10...+10]
Adjusts the way in which the oscillator will be affected by
the VDF EG (which modifies the tonal character over
time).
This adjusts the VDF EG Intensity parameter of oscillators
1 and 2.

This adjusts the EG Intensity parameter of VDF Velocity


Sensitivity, and the Level parameter of VDA Velocity Sensitivity for oscillators 1 and 2.
DRY:FX Balance ...................................................[10...+10]
Adjusts the balance between the sound which has been
processed through the effects and the dry sound.
This adjusts the DRY:WET parameter for FX1 and FX2.

Page Menu Command ........................................


11A

11A. Write Program


This command writes an edited program into the i30s
memory.
Be sure to write any program that you wish to keep. If you
turn the power off or select another program before writing an edited program, it will not be possible to recover
your edits.

1 Select this command.


The dialog box shown at the
right will appear.

2 The program name will be


shown in the Name cell. If you
wish to modify the program
name, press the text edit button
to access the text edit dialog box, and input the program name.

3 In the Category cell, specify the category of the program that you wish to write.

4 In the Write to User Program cell, specify the writing


destination.
When writing a single program or double program,
select F11F88 or G11G88. When writing a drum
program, select R51R58.

5 Press the OK button.

2. Oscillator
Here you can make basic settings for the oscillator, specify the
pitch, and make settings for controlling the pitch by joystick or
aftertouch.
The parameters which are displayed will differ depending on
the program that was selected in 11. Perf Edit.

21. OSC Basic


Makes basic settings for the oscillator.
Display when a program
from banks AG is selected

21a
21b

21c. OSC 1, OSC 2


Multisample ............................................................ [0...522]
Selects the multisample that you wish to use.
Multisamples are the waveforms that are the basis for the
sound of a program, and the overtones and frequency
components of the multisample will determine the basic
character or impression of the sound.
This will appear when a program from banks AG has
been selected.
Level....................................................................... [00...99]
Sets the level of the oscillator.
When this parameter is adjusted, the 51 (52). VDA 1
(VDA2) OSC Level parameter value will also change
simultaneously.
Pan ............................................................. [L15...R15, OFF]
Specifies the panning of each oscillator to the L/R channels.
L15: Pan left.
R15: Pan right.
OFF: The oscillator will not be output.

21c

Display when a program


from bank R is selected

This will appear when a program from banks AG has


been selected.
Panning for a bank R program is set in 7. Drum Kit.
Delay........................................................................ [0...99]
Sets the delay from note-on until oscillator 2 will sound.

Page Menu Command .......................................


Refer to 1. Perf. Edit

21a. Oscillator Mode


This will appear when a program is selected from banks
AG.
Single: OSC 1, VDF 1 and VDA 1 will be used. Such programs are called single programs. The maximum polyphony is 64 notes.
Double: OSC 1,2, VDF 1,2 and VDA 1,2 will be used. Such
programs are called double programs. The maximum
polyphony is 32 notes.

21b. Mono, Hold


Mono
Checked: The program will be monophonic. It will sound
using last-note priority.
Unchecked: The program will be polyphonic. The maximum simultaneous polyphony will be 32 notes for a double program, or 64 notes for a single program.
Hold
Checked: Even after the key is released, the program will
function as though the key were still pressed. If the VDA
EG sustain level is 0, the sound will decay. This is suitable
for playing drum sounds, and you should check this when
selecting a program from bank R.

21B
21C
21D

21B. Copy Oscillator


This command copies settings from one oscillator to the
other.

1 Select this command.


The dialog box shown at the
right will appear.

2 Use the radio buttons to select


the direction of the copy operation.

3 Press the OK button.


21C. Swap Oscillator
This command exchanges settings between the two oscillators.

1 Select this command.


The dialog box shown at the
right will appear.

2 Press the OK button.

21D. Initialize Program


This command initializes the settings of a program.

23. Pitch Bend

When you wish to create a program from scratch, use this


command to initialize it before you begin editing.

Here you can specify how the pitch will be affected by the joystick (located at the left of the keyboard) and by keyboard
aftertouch.

For details on the initialized parameter values, refer to


Appendix (p.??) in the Players Guide.

23a

1 Use 11a. Program Select to select the program that


you wish to initialize.

2 Select this command.

23b

The dialog box shown at the


right will appear.

3 Press the OK button.

22. Basic Pitch


Specifies the basic pitch of the oscillator.

23a. Joystick X................................................ [12...+12]


Specifies the maximum pitch change in semitone units
that will occur when the joystick is moved in the X-axis
(left/right).
+12: Moving the joystick all the way to the right will raise
the pitch one octave.
12: Moving the joystick all the way to the right will lower
the pitch one octave.

22a
22b
22c

23b. Aftertouch ............................................... [12...+12]


Specifies the maximum pitch change in semitone units
that will occur when pressure is applied to the keyboard.

22a. Octave ....................................................... [32...4]


Specifies the basic pitch of the oscillator in one-octave
steps.

+12: Applying pressure to the keyboard will raise the


pitch one octave.
12: Applying pressure to the keyboard will lower the
pitch one octave.

The basic pitch of the multisample is 8'.

22b. Transpose ................................................[12...+12]


Adjusts the basic pitch of oscillator 2 in semitone steps,
over a range of 1 octave.
+12: The pitch will be one octave higher than oscillator 1.
0: The pitch will be the same as oscillator 1.
12: The pitch will be one octave lower than oscillator 1.

22c. Detune ....................................................[50...+50]


Specifies the deviation between the pitch of oscillators 1
and 2, in units of one cent (a semitone = 100 cents).
Use this when you wish to give the sound a sense of
depth.
This value is the pitch difference between oscillators 1 and
2.
+50: The pitch of oscillator 1 will be lowered 25 cents, and
the pitch of oscillator 2 will be raised 25 cents.
0: There will be no difference between the basic pitch of
oscillators 1 and 2.
50: The pitch of oscillator 1 will be raised 25 cents, and
the pitch of oscillator 2 will be lowered 25 cents.

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

31g. Key Sync

3. Pitch

Unchecked: When a chord is played as an arpeggio, the


LFO effect applied to the first-played note will continue to
apply in the same way to the second and subsequent
notes. However, delay and fade-in effects will apply only
to the first-played note.
Checked: The LFO will start each time a note is played.

Here you can add vibrato to modulate the pitch of the oscillator, or create an auto-bend effect that will change the pitch over
time.

31. Pitch MG 1
32. Pitch MG 2

Page Menu Command .......................................

Applies LFO to the pitch to add vibrato to the sound.

Refer to 1. Perf. Edit

Refer to 21. OSC Basic


31a
31b

33. MG Control

31c

Makes settings to control the LFO effect from the joystick or


from aftertouch.

31d
31e
31f
31g

33a

31a. LFO Waveform


Selects one of six waveforms to specify the shape of the
LFO modulation (vibrato).

33b
33c

Sawtooth wave
(downward)

Triangle wave
Square wave 1

Sawtooth wave
(upward)

Square wave 2

Random

33a. Joystick +Y
31b. Intensity ........................................................[0...99]
Specifies the depth of the LFO effect.

31c. Frequency .....................................................[0...99]


Specifies the speed of the LFO effect.

31d. Delay............................................................[0...99]
Specifies the time from note-on (i.e., when the key is
played) until the LFO begins to take effect.

31e. Fade in .........................................................[0...99]


Specifies the time from when the LFO begins to take effect
until it reaches the value specified by the Intensity parameter.
Note-on

Note-off
Fade in

Intensity
Delay

31f. KBD Tracking........................................... [99...+99]


+99: The LFO effect will become faster as you play higher
notes on the keyboard.
0: The LFO speed will have the same speed regardless of
which note you play.
99: The LFO effect will become faster as you play lower
notes on the keyboard.

Specifies how deeply the LFO effect will be applied when


the joystick is moved all the way in the +Y direction (away
from yourself).
Intensity.................................................................... [0...99]
99: The LFO effect will reach its maximum depth when the
joystick is moved all the way away from yourself.
0: The LFO effect will not change even if the joystick is
moved all the way away from yourself.

33b. Aftertouch
Specifies how deeply the LFO effect will be applied when
pressure is applied to the keyboard.
Intensity.................................................................... [0...99]
99: The LFO effect will reach its maximum depth when
pressure is applied to the keyboard.
0: The LFO effect will not change even if pressure is
applied to the keyboard.

33c. Frq. Control JS & AT


Frequency ................................................................... [0...9]
9: Joystick or aftertouch operations will cause the LFO
effect to reach the maximum speed.
0: Joystick or aftertouch operations will not affect the LFO
effect.

Page Menu Command .......................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

34. Pitch EG

Higher pitch

These settings cause the pitch to change over time.

Note-on

Attack Level
Note-off
time
Release Level

Basic pitch

34a

Start
Level

34b
34c

Attack Decay
Time
Time

Release Time

Lower pitch

34e. Time Modulation Velocity ......................... [99...+99]

34d

Specifies how keyboard playing dynamics will affect the


various times (Attack, Decay, Release) of the pitch EG.

34e

+99: Pitch change will occur more rapidly as notes are


played more strongly.
99: Pitch change will occur more slowly as notes are
played more strongly.

34a. EG Intensity
Sets the sensitivity of the pitch EG effect.
OSC 1 ................................................................. [99...+99]
OSC 2 ................................................................. [99...+99]
Specifies how greatly the pitch EG will affect each oscillator.
+99: The maximum pitch change will occur, according to
the curve specified by the EG.
99: The maximum pitch change will occur, according to
the inverse of the curve specified by the EG.

Settings of the Pitch EG

Softly played notes

Strongly played notes

Page Menu Command ........................................


Refer to 1. Perf. Edit

34b. Level Vel. Sens .........................................[99...+99]


Refer to 21. OSC Basic

Specifies how greatly the keyboard playing dynamics will


affect the various levels (Start, Attack, Release) of the pitch
EG.
+99: Strongly played notes will produce the maximum
amount of pitch change over time.
99: Strongly played notes will produce the minimum
amount of pitch change over time.

Settings of the Pitch EG Softly played notes

Strongly played notes

34c. Time
Attack .......................................................................[0...99]
Specifies the time over which the pitch will change from
the initial pitch to the Attack Level.
Decay .......................................................................[0...99]
Specifies the time over which the pitch will change from
the Attack Level to the basic pitch.

4. VDF (Variable Digital Filter)


You can modify the tone color by using the filter to cut a portion of the high frequency range from the waveform that was
selected in 2. Oscillator.

41. VDF 1
42. VDF 2
Specifies the shape of the filter.

41a

41b

41c

Release .....................................................................[0...99]
Specifies the time over which the pitch will change from
the basic pitch to the Release Level after you release the
key.

34d. Level
Start.................................................................... [99...+99]
Specifies the initial pitch; i.e., the pitch at the moment that
the key is pressed.

41a. Cutoff
Sets the Frequency and Color parameters to specify the
shape of the filter.
Amplitude
Cutoff frequency

Attack ................................................................. [99...+99]


Specifies the pitch that will be reached after the Attack
Time has elapsed.

Color

0 (muted tone)

Release ............................................................... [99...+99]


Specifies the pitch that will be reached after the Release
Time has elapsed.

99 (bright tone)

Frequency................................................................. [0...99]
Specifies the cutoff frequency at which the VDF will begin
to apply.

Mode..................................................... [Off, Low, High, All]


Specifies the area in which keyboard tracking will function.

99: The sound will have the maximum brightness.


0: The sound will be most muted.

Low: Keyboard tracking will apply to the area below the


note specified by the Pivot Key parameter.
High: Keyboard tracking will apply to the area above the
note specified by the Pivot Key parameter.
All: Keyboard tracking will apply to the entire keyboard,
centered on the note specified by the Pivot Key parameter.
Off: The sound will become darker as you play downward on the keyboard, and brighter as you play upward
on the keyboard.

Color ........................................................................ [0...99]


Specifies how the region around the cutoff frequency will
be boosted to add character to the sound.
99: Maximum effect.
EG Intensity .............................................................. [0...99]
Specifies how greatly the VDF EG will affect the oscillator.
99: The brightness of the sound will change the maximum
amount.

Pivot Key ..............................................................[C1...G9]


Specifies the note at which keyboard tracking will be centered.

41b. Velocity Sensitivity

How cutoff frequency changes for each Mode depending on the


Intensity and Pivot Key parameters

EG Intensity ........................................................ [99...+99]


Specifies how keyboard playing dynamics will affect the
EG Intensity of the Cutoff.

Mode=OFF

Mode=LOW

Brighter

Intensity=0

+99: The EG Intensity will be increased as you play more


strongly.
0: The EG Intensity will be unaffected by the strength of
your playing.
99: The EG Intensity will be decreased as you play more
strongly.

Darker
C1

Intensity>0
Pivot Key

Mode=HIGH

Note-off

VDF EG settings

Note-off
Note-on

Softly played notes

Note-on

G9

Intensity>0
Intensity=0

C1

Pivot Key

Mode=ALL

Note-off

Strongly played notes

C1

41c. Keyboard Tracking


These settings specify how the brightness of the sound
will be affected by the keyboard area that you play. This
allows you to simulate the sounds of acoustic instruments
in which notes appear to become brighter as higher
pitches are played.

G9

Intensity=50
Intensity<50

C1

Pivot Key

G9

Page Menu Command .......................................

Color .................................................................. [99...+99]


Specifies how keyboard playing dynamics will affect the
Color.
+99: The Color will be increased as you play more
strongly.
99: The Color will be decreased as you play more
strongly.

Pivot Key

G9

Intensity>0
Intensity=0

Intensity=50
Intensity<50

When VDF EG Intensity is set to a positive (+) value

Note-on

Intensity=0

Intensity<50
Intensity=50

Refer to 1. Perf. Edit

Refer to 21. OSC Basic

43. VDF MG
The waveform selected by the LFO Waveform parameter can
be used to modulate the filter cutoff frequency. This can be
used to produce auto-wah effects.

43a
43b

Intensity.............................................................. [99...+99]
Specifies how the volume will be affected by the keyboard
location at which you play.
+99: The sound will become brighter as you play upward
on the keyboard.
0: The sound will become darker as you play downward
on the keyboard, and brighter as you play upward on the
keyboard. The result is the same as when the Mode
parameter is turned Off.
50: The cutoff frequency will be the same for any note of
the keyboard.
99: The sound will become brighter as you play downward on the keyboard.

43c
43d
43e
43f

43a. Enable
Selects the oscillator(s) whose filter cutoff frequency will
be modulated.

43b. LFO Waveform


The filter cutoff frequency will be modulated by the waveform that you select here.
Sawtooth wave
(downward)

Triangle wave
Square wave 1

Sawtooth wave
(upward)

Square wave 2

Random

44. FEG 1
45. FEG 2
Makes settings for the VDF EG to specify how the filter cutoff
frequency will change over time.

44a

43c. Intensity ....................................................... [0...99]


Specifies the depth of modulation.

44b
44c

99: The maximum change in brightness will occur.

Low values

High values

43d. Frequency .................................................... [0...99]


Specifies the speed of modulation.
99: The change in brightness will occur at the maximum
speed.

Low values

High values

43e. Delay ........................................................... [0...99]


Specifies the time until modulation will begin.
99: The maximum delay will occur until modulation
begins.
0: Modulation will begin as soon as the note is played.

43f. Key Sync


Unchecked: When a chord is played as an arpeggio, the
LFO effect applied to the first-played note will continue to
apply in the same way to the second and subsequent
notes. However, delay and fade-in effects will apply only
to the first-played note.
Checked: When a chord is played as an arpeggio, the LFO
will start each time a note is played.

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

44a. Time
Attack ...................................................................... [0...99]
Specifies the time over which the filter will change from
the base level to the specified Attack Level.
Decay....................................................................... [0...99]
Specifies the time over which the filter will change from
the Attack Level to the Break Point.
Slope ....................................................................... [0...99]
Specifies the time over which the filter will change from
the Break Point to the Sustain Level.
Release .................................................................... [0...99]
Specifies the time over which the filter will change following note-off to reach the Release Level.

44b. Level
Attack ................................................................. [99...+99]
Specifies the cutoff frequency after the Attack Time has
elapsed.
Break .................................................................. [99...+99]
Specifies the cutoff frequency after the Decay Time has
elapsed.
Sustain ................................................................ [99...+99]
Specifies the cutoff frequency after the Slope Time has
elapsed.
Release ............................................................... [99...+99]
Specifies the cutoff frequency after the Release Time has
elapsed.
EG level (specified by
the EG Intensity
Attack Level
Note-off
parameter)
Sustain Level
Note-on
Base level of
cutoff frequency
(specified by the
VDF Cutoff
parameter)

Break
Point

Attack
Time

Decay
Time

time
Slope
Time

Release
Time

Release
Level

44c. Time Modulation

Dc (Decay Time) .................................................... [, 0, +]


Specifies the effect that keyboard location will have on the
VDF EG decay time.

Velocity..................................................................... [0...99]
Specifies how keyboard playing dynamics will affect the
various times (Attack, Decay, Slope, Release) of the VDF
EG.

+: Decay Time will be shortened as the keyboard location


changes.
: Decay Time will be lengthened as the keyboard location
changes.

99: Maximum lengthening of the VDF EG times will occur


when you play more strongly.
0: VDF EG times will not be affected.

Sl (Slope Time) ...................................................... [, 0, +]


Specifies the effect that keyboard location will have on the
VDF EG slope time.

At (Attack Time) .................................................... [, 0, +]


Specifies the effect that keyboard playing dynamics will
have on the VDF EG attack time.

+: Slope Time will be shortened as the keyboard location


changes.
: Slope Time will be lengthened as the keyboard location
changes.

+: The Attack Time will become shorter as you play more


strongly.
: The Attack Time will become longer as you play more
strongly.

Rl (Release Time)................................................... [, 0, +]
Specifies the effect that keyboard location will have on the
VDF EG release time.

Dc (Decay Time) .................................................... [, 0, +]


Specifies the effect that keyboard playing dynamics will
have on the VDF EG decay time.

+: Release Time will be shortened as the keyboard location


changes.
: Release Time will be lengthened as the keyboard location changes.

+: The Decay Time will become shorter as you play more


strongly.
: The Decay Time will become longer as you play more
strongly.

When all parameters are set to +

Sl (Slope Time) ...................................................... [, 0, +]


Specifies the effect that keyboard playing dynamics will
have on the VDF EG slope time.
+: The Slope Time will become shorter as you play more
strongly.
: The Slope Time will become longer as you play more
strongly.

Note-off
Note-on

VDF EG settings

VDF EG settings

Note-off

Sof tly played notes

Refer to 21. OSC Basic

46. Control

When all parameters are set to +

Note-on

Higher-pitched notes

Refer to 1. Perf. Edit

+: The Release Time will become shorter as you play more


strongly.
: The Release Time will become longer as you play more
strongly.

Note-on

Lower-pitched notes

Note-off
Note-on

Page Menu Command .......................................

Rl (Release Time)................................................... [, 0, +]
Specifies the effect that keyboard playing dynamics will
have on the VDF EG release time.

Note-off

Note-off
Note-on

Note-off
Note-on

Strongly played notes

Specifies the sensitivity with which the joystick or aftertouch


will affect the filter cutoff frequency or filter modulation.

46a
46b

Key Track.................................................................. [0...99]


Specifies how the various VDF EG times (Attack, Decay,
Slope, Release) will be affected by the keyboard location
that you play.
The effect will depend on the settings of the 41c. Keyboard Tracking parameters Mode and Pivot Key.
99: The maximum change in VDF EG times will occur.
0: VDF EG times will not change.
At (Attack Time) .................................................... [, 0, +]
Specifies the effect that keyboard location will have on the
VDF EG attack time.
+: Attack Time will be shortened as the keyboard location
changes.
: Attack Time will be lengthened as the keyboard location
changes.

46c

46a. Joystick X
Specifies how the brightness of the sound will change
when the joystick is moved in the X axis (left/right).
Cutoff Frequency ................................................. [99...+99]
+99: The maximum brightness will occur when the joystick is moved toward the right, and the minimum brightness when the joystick is moved toward the left.
99: The minimum brightness will occur when the joystick
is moved toward the right, and the maximum brightness
when the joystick is moved toward the left.

46b. Joystick Y
Specifies how modulation will be applied when the joystick is moved in the Y axis (toward yourself).
VDF MG Intensity.......................................................[0...99]
99: When the joystick is moved all the way toward yourself, the brightness of the oscillator(s) which were checked
in 43a. Enable will be modulated the maximum
amount.
0: Moving the joystick toward yourself will not affect the
brightness.

46c. Aftertouch
Specifies how the brightness will be modulated when
pressure is applied to the keyboard.
Cutoff Frequency ................................................. [99...+99]
+99: Maximum brightness will occur when pressure is
applied to the keyboard.
99: Minimum brightness will occur when pressure is
applied to the keyboard.
VDF MG Intensity.......................................................[0...99]
99: Maximum modulation of the brightness of the oscillator(s) that were checked in 43a. Enable will occur when
pressure is applied to the keyboard.
0: Pressure applied to the keyboard will not affect the
brightness.

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

5. VDA (Variable Digital Amplifier)


These settings determine the volume of the sound that was created by the OSC and VDF sections.

51. VDA 1
52. VDA 2

51b. Velocity Sensitivity


Level ................................................................... [99...+99]
Specifies how keyboard playing dynamics will affect the
VDF EG Attack Level, Break Point, and Sustain Level.
+99: Maximum change in VDA EG levels will occur when
you play strongly.
0: VDA EG levels will not change.
99: Minimum change in VDA EG levels will occur when
you play strongly.

51c. Keyboard Tracking


Specifies how the volume will be affected by the keyboard
location at which you play. This allows you to simulate
the characteristics of wind instruments which appear
louder in higher registers.
Intensity .............................................................. [99...+99]
Specifies how the volume will be affected by the keyboard
location at which you play.
+99: The volume will increase as you play upward on the
keyboard.
0: The volume will be the same for any note on the keyboard. This is the same result as when the Mode parameter is turned Off.
99: The volume will increase as you play downward on
the keyboard.
Mode ..................................................... [Off, Low, High, All]
Specifies the area of the keyboard in which keyboard
tracking will apply.
Low: Keyboard tracking will apply in the area below the
note specified by the Pivot Key parameter.
High: Keyboard tracking will apply in the area above the
note specified by the Pivot Key parameter.
All: Keyboard tracking will apply to the entire keyboard,
centered on the note specified by the Pivot Key parameter.
Off: The volume will be the same for all notes.
Pivot Key.............................................................. [C1...G9]
Specifies the note on which keyboard tracking will be centered.
How the volume will be affected for each mode by the Intensity and
Pivot Key settings
Mode=OFF

Mode=LOW

Volume

Intensity=99

VDA
Level

Specifies the volume.


C1

Pivot Key

Intensity=00

G9

Mode=HIGH

51a

VDA
Level
Intensity=+99
C1 Pivot Key G9

Mode=ALL
Intensity=+99

51b

Intensity=0

Intensity=0

VDA
Intensity=99 Level

VDA
Level

51c

Intensity=+99

C1

Pivot Key

G9

Intensity=99
C1

Pivot Key

G9

Page Menu Command ........................................


51a. OSC Level..................................................... [0...99]

Refer to 1. Perf. Edit

Specifies the level of the oscillator.


When this parameter is modified, the 21. OSC Basic
Level parameter value will also change in tandem.

Refer to 21. OSC Basic

53. VDA EG 1
54. VDA EG 2

At (Attack Time) .................................................... [, 0, +]


Specifies the way in which keyboard playing dynamics
will affect the VDA EG attack time.

Makes VDA EG settings to specify how the volume will


change over time.

53a

+: The Attack Time will become shorter as you play more


strongly.
: The Attack Time will become longer as you play more
strongly.
Dc (Decay Time) .................................................... [, 0, +]
Specifies the way in which keyboard playing dynamics
will affect the VDA EG decay time.

53b
53c

+: The Decay Time will become shorter as you play more


strongly.
: The Decay Time will become longer as you play more
strongly.

53a. Time
Attack....................................................................... [0...99]
Specifies the time over which the volume will rise from 0
to the specified Attack Level.
Decay....................................................................... [0...99]
Specifies the time over which the volume will change
from the Attack Level to the Break Point.
Slope........................................................................ [0...99]
Specifies the time over which the volume will change
from the Break Point to the Sustain Level.
Release..................................................................... [0...99]
Specifies the time over which the volume will change after
note-off to a level of 0.

Sl (Slope Time) ...................................................... [, 0, +]


Specifies the way in which keyboard playing dynamics
will affect the VDA EG slope time.
+: The Slope Time will become shorter as you play more
strongly.
: The Slope Time will become longer as you play more
strongly.
Rl (Release Time)................................................... [, 0, +]
Specifies the way in which keyboard playing dynamics
will affect the VDA EG release time.
+: The Release Time will become shorter as you play more
strongly.
: The Release Time will become longer as you play more
strongly.
When all parameters are set to +
Note-off
Note-on

53b. Level
Attack....................................................................... [0...99]
Specifies the volume that will be reached after the Attack
Time has elapsed.
Break ....................................................................... [0...99]
Specifies the volume that will be reached after the Decay
Time has elapsed.
Sustain ..................................................................... [0...99]
Specifies the volume that will be reached after the Slope
Time has elapsed, and will be held until note-off.
Attack Level
Note-off
Sustain Level
Volume Note-on
Break
Point
Attack
Time

Decay
Time

Time
Slope
Time

Release
Time

53c. Time Modulation

VDA EG settings

Note-off
Note-on

Softly played notes

Note-off
Note-on

Strongly played notes

KBD Track ................................................................. [0...99]


Specifies how the various VDA EG times (Attack, Decay,
Slope, Release) will be affected by the keyboard location
that you play.
99: The maximum change in VDA EG times will occur.
0: VDA EG times will not change.
At (Attack Time) .................................................... [, 0, +]
Specifies the effect that keyboard location will have on the
VDA EG attack time.
+: Attack Time will be shortened as the keyboard location
changes.
: Attack Time will be lengthened as the keyboard location
changes.
Dc (Decay Time) .................................................... [, 0, +]
Specifies the effect that keyboard location will have on the
VDA EG decay time.

Velocity..................................................................... [0...99]
Specifies how keyboard playing dynamics will affect the
various times (Attack, Decay, Slope, Release) of the VDA
EG.

+: Decay Time will be shortened as the keyboard location


changes.
: Decay Time will be lengthened as the keyboard location
changes.

99: The maximum change in VDA EG times will occur


when you play strongly.
0: Velocity will not affect the VDA EG, so there will be no
change in VDA EG times.

Sl (Slope Time) ...................................................... [, 0, +]


Specifies the effect that keyboard location will have on the
VDA EG slope time.
+: Slope Time will be shortened as the keyboard location
changes.

: Slope Time will be lengthened as the keyboard location


changes.
Rl (Release Time) ................................................... [, 0, +]
Specifies the effect that keyboard location will have on the
VDA EG release time.
+: Release Time will be shortened as the keyboard location
changes.
: Release Time will be lengthened as the keyboard location changes.

Note-off

Note-off
Note-on

Makes settings for the effects that will be applied to the program.
Effect settings of the program will be used for the Main KBD of
the arrangement.

61. Placement
Selects how the two effects will be combined.

When all parameters are set to +

Note-on

6. Effect

Note-off

61a

Note-on

Serial
Parallel 1
VDA EG settings

Softly played notes

Strongly played notes

Parallel 2
Parallel 3

Page Menu Command ........................................

Serial Sub
Parallel Sub

Refer to 1. Perf. Edit

Refer to 21. OSC Basic

61a. Effect Placement


Use the radio buttons to select the way in which the effects
will be connected.

55. Control
You can control the volume by applying pressure to the keyboard.

This selection will change the effect connections that are


shown in 62. Effects.

Page Menu Command ........................................


Refer to 1. Perf. Edit

55a

61B
61C
61D

61B. Copy All Effects


The FX1 and FX2 effects used in Song mode, Program
mode, and as the ACC Effect in Arrangement Play mode
will be copied as a pair.

55a. Aftertouch
Specifies how the volume will change when pressure is
applied to the keyboard.
OSC Level............................................................ [99...+99]
+99: Maximum increase in volume will occur when pressure is applied to the keyboard.
99: Maximum decrease in volume will occur when pressure is applied to the keyboard.

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 21. OSC Basic

61C. Copy FX
This command copies the FX1 effect to FX2, or the FX2
effect to FX1.

61D. Swap FX
This command exchanges the FX1 and FX2 effects.

62. Effects

63. FX 1

Selects the effects which will be used by the program.

Sets the parameters of the effect that was selected in 62.


Effects.

62a

Effect name

62b
63a
62c
62d
62e
63b
63c

62a. OSC 1 Send Level


62b. OSC 2 Send Level

63a. Effect Parameters

C ................................................................................ [0...9]
Specifies the level that will be sent from output channel C.

The parameters that can be set here will depend on the


effect which was selected. For details on the parameters of
each effect, refer to Effect Parameters (p.76).

D................................................................................ [0...9]
Specifies the level that will be sent from output channel D.

63b. Dynamic Modulation ................... [None...VDA & EG]

62c. FX 1.....................[No Effect...Delay/Rotary Speaker]


62d. FX 2.....................[No Effect...Delay/Rotary Speaker]
Selects the effect type.
No Effect: No effect will apply. Use this when you wish to
play using a dry sound, without applying any effect.
Hall ReverbDelay/Rotary Speaker: Refer to Effect
Parameters (p.76) for details on each effect.
On
Checked: the effect will be used.
Unchecked: the effect will not be used. However if one of
the following effects are selected, only the 2-band shelving
equalizer that is set in 63c. EQ will apply.
Stereo Delay
Cross Delay
Stereo Chorus 1, 2
Stereo Exciter
Auto Pan
Tremolo

62e. C Pan, D Pan/L Level, R Level


Depending on the selection in 61a. Effect Placement,
these parameters may not be displayed.
C Pan, D Pan .......................................................[OFF, L....R]
Sets the panning before and after the effect.
L: Pan left.
R: Pan right.
OFF: No output.
L Level, R Level ............................................................ [0...9]
Specifies the return amount of the output to the 1/L/
MONO and 2/R OUTPUT jacks.

Page Menu Command........................................

Selects the dynamic modulation source.


By operating the selected source, the parameter shown
together with the arrow in the lower line can be modified
in realtime.
For example, if you wish to use a pedal controller (XVP10
or EXP2) connected to the ASSIGNABLE PEDAL/
SWITCH 1 jack to control dynamic modulation, make the
following settings.
First, select either CC#12 or CC#13 as the sour ce. Then set
the Global mode 62. Assignable Pedal (p.68) parameter
Assignable Switch/Pedal 1 to the value which matches
the setting you made here (either FX Control 1(CC#12) or
FX Control 2 (CC#13)). Now you can use the pedal controller connected to the i30 to control the parameter of the
effect.
The amount of change produced by dynamic modulation
will depend on the value of the parameter being controlled, the way in which the source is operated, and the
value of the Intensity parameter.
None: Dynamic modulation will not be used.
Intensity.............................................................. [15...+15]
Specifies the sensitivity with which the effect parameter
will be controlled by the selected source.
+15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Wet sound to be heard.
0: Nothing will happen when the source is operated.
15: The maximum amount of control will occur when
you operate the source. For example if you are controlling
Dry/Wet, the source is set to Aftertouch, and Dry/Wet is
set to 50:50, applying pressure to the keyboard will cause
the Dry sound to be heard.

63c. EQ
This is a 2-band shelving equalizer.

Refer to 1. Perf. Edit

Refer to 61. Placement

For several types of effect, this equalizer will still be effective even if the On box is un-checked in 62c. FX1 or 6
2d. FX 2. For details refer to 62c. FX1 and 62d. FX
2.

Low EQ .............................................................. [12...+12]


Cuts or boosts the low frequency range.
+12: Maximum boost for the low frequency range.
12: Maximum cut for the low frequency range.
High EQ ............................................................. [12...+12]
Cuts or boosts the high frequency range.
+12: Maximum boost for the high frequency range.
12: Maximum cut for the high frequency range.

Page Menu Command ........................................


Refer to 1. Perf. Edit

Refer to 61. Placement

0: The drum sample will be played at the volume specified


by the VDA setting.
99: The drum sample will not sound.

71f. Adjustment of Decay Time........................ [99...+99]


Adjusts the decay time of the drum sample.
This decay time adjustment is relative to the VDA decay
time setting of the bank R program.
+99: The decay time will be the maximum length, and the
sound will be held longer than the decay time specified by
the VDA EG.
0: The sound will decay according to the decay time specified by the VDA EG.
99: There will be virtually no decay time, and the sound
will disappear quickly.

71g. Pan.........................................[L15...CNT...R15, OFF]


Specifies the panning for each key.

7. Drum Kit
This will be displayed if you select a drum program (bank R).
Here you can make settings for the drum kit used by the drum
program.
A drum kit is a set of drum samples that are assigned to the
keyboard, providing dozens of percussion instruments that
can be played by pressing different notes.
Drum samples are the waveforms which are the basis of each
percussion instrument, and the overtones and frequency components in each drum sample will determine the basic character of each percussion instrument.

71a
71b
71c
71d
71e

L15: Pan left.


R15: Pan right.
OFF: No output.

71h. C Send, D Send ...............................................[0...9]


For each key, specify the level that will be sent from output channels C and D.
Be aware that if 62a. OSC 1 Send Level is set to 0, this
will have no effect.

71i. Exclusive Group ....... [None, Group1...Group16, Self]


Specifies whether or not each key will be grouped.
None: The key will not be grouped.
Group1Group16: The key to which the drum sample is
assigned will be grouped. When you play the keyboard,
notes in the identical group will be sounded monophonically in last-note priority. If you play only keys that have
been set to the same group, only the last-played note will
be sounded.
Self: If a key with this setting is played repeatedly, the
previous note will be silenced before the note is newly
sounded again.

71f

Page Menu Command ........................................

71g
71h
71i

Refer to 1. Perf. Edit

71a. Key ............................................................ [A0...C8]


Specifies the key to which the drum sample and its settings will be assigned.

71b. Drumsample............................................... [0...405]


Selects the drum sample which will be assigned to the key
that was specified in 71a. Key.

71c. Transpose ................................................[24...+24]


Adjusts the pitch of the drum sample in semitone steps.

71d. Detune ....................................................[50...+50]


Adjusts the pitch of the drum sample in steps of one cent.

71e. Adjustment of Level..................................[99...+99]


Adjusts the volume of the drum sample that is assigned to
the key.
This volume adjustment is relative to the VDA setting of
the bank R program.
+99: The drum sample will be played at maximum volume.

71B

71B. Copy Drum Kit


This command copies the settings of another drum kit.

Edit Style mode


In this mode you can input user style data.

11f. Length .......................................................... [0...16]


Specifies the length of the chord variation.

1. Recording
11. Recording Track
Here you can record user style data in realtime.
11a
11b
11c
11d
11e
11f
11g
11h
11i
11j
11k

Each track of the chord variation will be the same length.

11g. Meter.........................................[**/**, 4/4...16/16]


This indicates the time signature of the measure. If you
press the REC/WRITE key, you will be able to specify the
time signature of the chord variation you are about to
record.
When you finish making the setting, press the REC/
WRITE key.

11a. Style .......................................................[C11...C68]


Selects the user style that you wish to realtime record.

11b. Element....................................... [Variation 1...Fill 2]


Selects the element.
Variation 14: Select one of these when you wish to record
a variation that will be selected when you press one of the
front panel VARIATION 14 keys during arrangement
play.
Intro 12: Select one of these when you wish to record an
intro that will be selected when you press one of the front
panel INTRO/ENDING 12 keys during arrangement
play.
Ending 12: Select one of these when you wish to record
an ending that will be selected when you press one of the
front panel INTRO/ENDING 12 keys during arrangement play.
In the case of Intro 1 and Ending 1, the recorded data will
simply be played back in parallel with the chords that are
played on the keyboard during the intro or ending, so you
should select these if you want to create an elaborate intro
or ending.
Fill 12: Select one of these when you wish to record a fillin that will be selected when you press one of the front
panel FILL 12 keys during arrangement play.

11c. Chord Variation


Selects the chord variation for which you wish to record
sequence data.
If you selected Variation 14 in 11b. Element, you will
be able to select CV 1CV 6.
If you selected Intro 12, Ending 12, or Fill 12 in 11b.
Element, you will be able to select CV 12.

11d. Measure .......................................................[1...16]


This indicates the current measure.

11e. Key....................................................[C maj...B min]


Specifies the key that will used to input the chord variation that was selected in 11c. Chord Variation.
If you specify a key that is different than the key in
which you actually input the chord variation, the
desired chord development will not be obtained during arrangement play.

**/**: The time signature that is already recorded for that


measure (or that was specified when recording other
tracks) will be used.
4/416/16: The specified time signature will be used.
It is not possible to change the time signature during realtime recording. If you want the time signature to change
during a chord variation, first use 51C. Event Edit to
insert a time signature event into the measure at which the
change will occur, and then record the performance data
to each track.
Recording from the second measure of track 2
When the time signature is set to **/**
Track 1

1 (4/4)

Track 2

1 (4/4)

Track 1

1 (4/4)

2 (3/4)

3 (4/4)

Track 2

1 (4/4)

2 (3/4)

3 (4/4)

2 (3/4)

3 (4/4)
Recording

When the time signature is set to 7/8


Track 1

1 (4/4)

2 (3/4)

3 (4/4)

3 (4/4)

Track 2

1 (4/4)

Track 1

1 (4/4)

2 (7/8)

3 (7/8)

4 (7/8)

Track 2

1 (4/4)

2 (7/8)

3 (7/8)

4 (7/8)

Recording

If you modify the value of this parameter, causing the


measures to become longer, rests will be inserted in the
lengthened portion. Conversely, if measures become
shorter, the shortened portion will no longer be played,
but if you use the original time signature to record new
tracks or use 51C. Event Edit to return to the original
time signature, the data which had not been played will
reappear.

    
   

A rest is inserted

   
Not played

11h. Resolution .................................................... [Hi...  ]


Adjusts the timing precision at which data will be
recorded.
Hi: Notes will be recorded precisely at the timing at which
they were actually played. In this case, the resolution will
be 96 clocks per quarter note.
 : The recorded timing of the notes will be adjusted to the
nearest quarter note interval.
With a setting of 

   

4 Write to User Style selects the writing destination.


5 Press the OK button.
11B. Get Style
This command loads the specified style into the currently
selected style.

1 Select this command.


The dialog box shown at the
right will appear.

2 In the From cell, select the style.

Use the front panel


ARRANGEMENT/STYLE keys
to select the style.
Alternatively, press From to access the category list,
and select a category to access the style list. From the
list, select the style that you wish to load.

       
11i.  (Tempo) ................................................ [40...240]

3 Press the OK button.


11C. Get Drums Part

Specifies the tempo for recording.

This command loads the drum part of the specified style


into the currently selected style.

11j. Recording Track


Use the radio buttons to specify the track for recording.

1 Select this command.


The dialog box shown at the
right will appear.

11k. Remove Data


Checked: Performance data can be removed from the
track as desired.
For example if you wish to remove only a specific note,
press the REC/WRITE key to begin data entry, and when
you reach the location at which you wish to remove a
note, press that note on the keyboard. While you continue
holding a note, all occurrences of that note will be
removed. Similarly, pitch bend data will be removed during the interval that you continue holding the joystick in
the X (left/right) direction, and aftertouch data will be
removed during the interval that you continue applying
pressure to the keyboard.

Page Menu Command ........................................


11A

11H

11B

11I

11C

11J

11D

11K

11E

11L

11F

11M

11G

2 In the From cell, select the style.


Use the front panel
ARRANGEMENT/STYLE keys
to select the style.
Alternatively, press From to access the category list,
and select a category to access the style list. From the
list, select the style that you wish to load.

3 Press the OK button.


11D.
11E.
11F.
11G.
11H.

Get Perc Part


Get Bass Part
Get ACC1 Part
Get ACC2 Part
Get ACC3 Part

These commands load the specified part into the currently


selected style.
For the procedure, refer to 11C. Get Drums Part.

11I. Get Style Element


This command loads the specified style element into the
currently selected style.

1 Select this command.


11A. Write Style
This command writes a style into the i30s memory.
Be sure to write any style that you wish to keep. If you
turn off the power or select another style before writing, the data cannot be recovered.

1 Select this command.


The dialog box shown at the
right will appear.

2 Name indicates the style name.


If you wish to modify the style
name, press the text edit button
to access the text edit dialog
box, and input the style name.

3 Category specifies the category of the style that is


being written.

The dialog box shown at the


right will appear.

2 In the From cell, select the style.


Use the front panel
ARRANGEMENT/STYLE keys
to select the style.
Alternatively, press From to access the category list,
and select a category to access the style list. From the
list, select the style that you wish to load.

3 In the Element cell, select the element that you wish to


load.
You can select the same type of element as was
selected in 11b. Element.
For example if Variation 14 is currently selected, you
will be able to select Variation 14 here.

4 Press the OK button.

11J. Initialize Style

C send + D send to output channels C and D.


If All is selected, the metronome sound will be output
to output channels L, R, C and D.
The OUTPUT jack(s) from which the metronome
sound will be output will depend on the selected
Placement.

This command initializes the settings of a style.


When you wish to create a style from scratch, use this
command to initialize the style before you begin editing.
For details on the parameter settings following initialization, refer to Appendix (p.??) in the Players Guide.

5 Adjust Level to set the volume of the metronome.

1 In 11a. Style, select the style that you wish to initial-

6 Press the OK button.

ize.

2 Select this command.


The dialog box shown at the
right will appear.

3 Press the OK button.


11K. Erase User Style

12. Program & Mix


Here you can specify the program, pan and volume for each
track. These parameters are used only while style data is being
input, and do not affect the arrangement. Set these to the values that make it easiest for you to input style data.

This command erases a user style.


If it becomes impossible to write a user style because of
insufficient memory, use this command to erase unneeded
user styles.

12a
12b
12c

1 Select this command.


The dialog box shown at the
right will appear.

2 Select the user style (C11C68)


that you wish to erase.

3 Press the OK button.


11L. Memory Status
This command displays the remaining amount of internal
memory.

1 Select this command.


The dialog box shown at the
right will appear.
Styles can use up to 15,200
events per block.

2 Press the Exit button.


11M. Metronome Setting
This command lets you make metronome settings.
These settings will be valid in modes other than Program
mode, Global mode or Disk mode.

1 Select this command.


The dialog box shown at the
right will appear.

2 Sound specifies whether or not


the metronome will sound.
When Only Rec is selected, the
metronome will sound only
during realtime recording.
When Rec. & Play is selected, the metronome will
sound during realtime recording and during playback.
When Off is selected, the metronome will not sound.

3 In Precount, specify whether or not a count will be


added before realtime recording.
2 Measure will insert a two measure count.
1 Measure will insert a one measure count.
If None is selected, no count will be inserted.

4 Output specifies the channel(s) to which the metronome sound will be output.
L will output the metronome sound to the L output
channel, R to the R output channel, and L+R to output
channels L and R.
C send will output the metronome sound to the C
output channel, D send to the D output channel, and

12a. Program .................................................[A11...R58]


To select a program, press this button to access the category dialog box. Select the desired category, and a list of
programs in that category will appear. Select a program
from this list. When you select a program, the list will disappear automatically, but if you press the safety pin at the
upper left of the list to lock the display, you will be able to
select programs from the list.
By making settings in Global mode 6. Assign (p.68), you
can also use SW 1, SW 2, a connected foot switch, or the
pedals of an EC5 external controller etc. to select programs.
For the track selected by 11j. Recording Track, you can
also use the front panel PROGRAM keys to select the program directly by entering the bank and number. Keys 18
in the upper row input the upper digit, and keys 18 in
the lower row input the lower digit.

12b. Pan ............................. [OFF, L15...CNT...R15, PROG]


Specifies the panning to output channels L and R.
L15: Pan left.
CNT: Pan center.
R15: Pan right.
PROG: Use the pan setting of the program without
change.
OFF: The track will not be output.

12c. Volume ....................................................... [0...127]


Specifies the volume of the track.
127: Maximum volume.

Page Menu Command ........................................

Page Menu Command ........................................

Refer to 11. Recording Track


Refer to 11. Recording
Track

3. Chord Var. Table


2. Style Parameters
21. Style Parameters
Makes settings for the Wrap-Around Point, Tension Available,
and Note Retrigger for the Bass track and ACC 13 tracks.

31. Chord Var. Table


Assigns the chord variation table for the element that was
selected in 11b. Element.
When a chord is detected in Arrangement Play mode, the
chord variation to be played is determined by this table. If the
assigned chord variation does not contain data, the i30 will
search (starting from CV 1) for a chord variation which does
contain data, and will substitute this automatically.
Selected chord variation

21a
21b

31b

21c

21a. Wrap-Around Point ...................................... [1...12]


Depending on the chord progression, the range in which a
track plays may appear unnaturally high by one octave.
When a note higher than the point set for this parameter is
specified as the root of the chord, that track will automatically play an octave lower. This allows you to prevent the
track from sounding unnaturally high.
112: This can be set in semitone steps upward from the
root of the key specified in 11e. Key. If you specify a
different value for each part, chord progressions will
sound more natural. Conversely, if you set the same value
for all tracks, they will all drop down an octave at the
same point in the song, producing an unnatural impression.

21b. Tension Available


Specifies whether or not the tension included in the chord
that was played will be added to the ACC13 tracks.
Checked: The tension included in the chord that was
played will be added.
Unchecked: The tension included in the chord that was
played will not be added.

21c. Note Retrigger


This setting harmonizes the notes of the Bass track or the
ACC13 tracks to the new chord when the chord is
changed.
Checked: The sound of the track will be halted, and new
notes which match the chord that was played will be
sounded.
Unchecked: Each time you play a new chord, currentlysounding chordal notes will be halted, and the track will
remain silent until the data of that track directs that a new
note be played.

31a. Chord Variation Table


Assigns a chord variation to each chord Majoraug M7.
If Variation 14 was selected in 11b. Element, you will
be able to select from CV 1CV 6.
If Intro 12, Ending 12, or Fill 12 was selected in 11b.
Element, you will be able to select from CV 1CV 2.

Page Menu Command ........................................

Refer to 11. Recording Track

the X (left/right) direction, and aftertouch data will be


removed during the interval that you continue applying
pressure to the keyboard.

4. Pattern
41. Pattern
Each user style can contain up to 100 patterns. Be aware that if
you modify the data of a pattern, each location where that pattern was put will be affected.
41a

Page Menu Command .......................................


Refer to 11.
Recording Track

41F

41B

41G

41C

41b

41D

41c

Refer to 11.
Recording Track

41E

41d
41e
41f

41B. Step Recording (Loop Type)

41g

This command allows you to input pattern data.

Locations where the


pattern was Put

This is a non-realtime method of data entry, in which you


input note data one step at a time.

41a. Measure
This indicates the current measure.

41b. Pattern..........................................................[0...99]

When step recording pattern data, you can continue


repeating the selected area of measures and make changes
as you go. Pattern data that was previously input will
remain, and the new data will be added to it.

Press the REC/WRITE key, and you can specify the length
of the pattern that you are about to input.

First use 41b. Pattern to specify the pattern that you


wish to record, and then use 41c. Length to specify the
number of measures. When you finish inputting data for
the number of measures specified by the Length parameter, you will return to the first measure, and can continue
input.

After making this setting, press the REC/WRITE key.

Then select this command.

Selects the pattern that you wish to input.

41c. Length...........................................................[0...16]

41d. Meter.................................................. [1/4...16/16]


Press the REC/WRITE key, and you can specify the time
signature of the pattern.

For details on the procedure and settings of step recording, refer to Backing Sequence mode 61A. Step Recording (p.17), in the explanation for When ATr. KBD Track
or KBD 48 Track is specified for the Track parameter.

After making this setting, press the REC/WRITE key.

41e. Resolution .....................................................[Hi...  ]


Specifies the resolution to which the timing of the
recorded data will be adjusted.
Hi: The data will be recorded precisely at the timing at
which it was actually played. In this case, the resolution
will be 96 clocks per quarter note.
 : The data will be recorded at timing intervals of a quarter note.
With a setting of 

   

41C. Event Edit


This command lets you edit individual events of pattern
data that you input.
Use 41b. Pattern to select the pattern, and then select
this command. A dialog box will appear, allowing you to
specify the type(s) of events that you wish to edit.
Check the event(s) that you wish to edit, and press the OK
button. The event editing dialog box will appear.
For details on the procedure and settings of event editing,
refer to 61B. Event Edit (p.19) of Backing Sequence
mode.

41D. Erase Pattern

       
41f.  (Tempo)..................................................[40...240]
Specifies the tempo.

41g. Remove Data


Checked: Performance data can be removed from the pattern as desired.
For example if you wish to remove only a specific note,
press the REC/WRITE key to begin data entry, and when
you reach the location at which you wish to remove a
note, press that note on the keyboard. While you continue
holding a note, all occurrences of that note will be
removed. Similarly, pitch bend data will be removed during the interval that you continue holding the joystick in

This command erases the selected pattern.


Use 11b. Pattern to select the style [pattern ??] that you
wish to erase, and then select this command.
Press the OK button.

41E. Get from Track

5. Edit

This command loads the performance data of a pattern in


a track into the specified track.

1 In 41b. Pattern, select the destination pattern for the


Get operation, and specify the length of the pattern in
61c. Length.

51. Edit
Here you can perform non-realtime data input (step recording)
and editing for each track.

2 Select this command.


The dialog box shown at the
right will appear.

Refer to 11. Recording


Track

3 In the From cell, select the style.


4 Select the element and chord
variation.
If Variation 14 is selected as
the element, you can select a chord variation of CV 1
CV 6.
If Intro 12, Ending 12 or Fill 12 is selected as the
element, you can select a chord variation of CV 1
CV 2.

5 Select the track.

51l
51m

51l. Start Measure


51m. End Measure

You can select Drums Track, Perc Track, or ACC13


Tracks.

Specifies the first and last measure of the style data that
you wish to edit or step-record.

6 Select the first measure of the Get source.


7 Press the OK button.
41F. Bounce Pattern
This command combines the performance data of the
bounce source and bounce destination patterns, and
places the combined performance data in the bounce destination.
The time signature and length of the resulting pattern will
be according to the settings of the bounce destination. If
the selected pattern and the bounce destination pattern
contain MIDI control change data, unexpected operation
may result from executing the bounce command. Before
executing this command, use 41C. Event Edit to prepare the MIDI control data of the two patterns.

1 Use 41b. Pattern to select the bounce destination


pattern.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the From cell select the


bounce source pattern.

4 Press the OK button.


41G. Copy Pattern
This command copies the performance data from a pattern to the specified pattern.
Be aware that when Copy Pattern is executed, pattern
data which exists in the copy destination pattern will be
erased.

1 Use 41b. Pattern to select the copy destination pattern.

2 Select this command.


The dialog box shown at the
right will appear.

3 In the From cell, select a user


style.

4 Select the copy source pattern.


5 Press the OK button.

Page Menu Command ........................................


Refer to 11.
Recording Track

51I

51B

51J

51C

51K

51D

51L

51E

51M

51F
51G
Refer to 11.
Recording Track

51H

51B. Step Recording (Loop Type)


This command allows you to input style data.
This is a non-realtime method of data entry, in which you
input note data one step at a time.
When step recording style data, you can continue repeating the selected area of measures and make changes as
you go. Style data that was previously input will remain,
and the new data will be added to it.
First use 11b. Element and 11c. Chord Variation to
specify the chord variation that you wish to record, and
then use 51l. Start Measure and 51m. End Measure
to specify the range of measures. When you finish inputting data for the measures specified by Start Measure and
End Measure, you will return to the first measure, and can
continue input.
Then select this command.
For details on the procedure and settings of step recording, refer to Backing Sequence mode 61A. Step Recording (p.17), in the explanation for When ATr. KBD Track
or KBD 48 Track is specified for the Track parameter.

51C. Event Edit


This command lets you edit individual events of style
data that you input.
First use 11b. Element and 11c. Chord Variation to
specify the chord variation that you wish to record. Then
select this command, and a dialog box will appear, allowing you to specify the event.
Check the event that you wish to edit and press the OK
button, and the event edit dialog box will appear.
For details on the procedure and settings of event edit,
refer to Backing Sequence mode 61B. Event Edit (p.19).

51D. Erase Track


This command erases the data of the specified track.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track to be


erased.

3 Select this command.


The dialog box shown at the
right will appear.
If you check All Tracks, the
performance data of all tracks
will be deleted.

4 Press the OK button.


51E. Copy Track
This command copies the performance data from the copy
source track to the specified track.
Be aware that when Copy Track is executed, track data
which exists in the copy destination track will be erased.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Select this command.
The dialog box shown at the
right will appear.

4 In the From cell select the copy


source element, chord variation,
and track.
If you check All Tracks,
performance data of all tracks will be copied.

5 Press the OK button.


51F. Delete Measure
This command deletes the specified measures.
When the Delete Measure command is executed, performance data of measures following the deleted measures
will be moved forward in units of a measure.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Use 51l. Start Measure and 51m. End Measure to
specify the range of measures to be deleted.

4 Select this command.


The dialog box shown at the
right will appear.
If All Tracks is checked,
performance data will be
deleted from the specified
measures of all tracks.

5 Press the OK button.


Example: When measures 34 are deleted, the performance
data of measures 57 will move forward.
Before
deletion

After
deletion

51G. Erase Measure


This command erases various types of performance data
etc. from the specified measures. The Erase Measure command can also be used to erase only a specified type of
data.
If control data extends over the boundary of the measures being erased, only the portion of data that falls
within the specified measures will be erased. Also, if
note data extends across one or more measures, be
aware that deleting a measure through which the note
extends will also delete that note from the subsequent
measures.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Use 51l. Start Measure and 51m. End Measure to
specify the range of measures from which data will be
erased.

4 Select this command.


The dialog box shown at the
right will appear.
If All Tracks is checked,
performance data will be erased
from the specified measures of
all tracks.

5 Kind lets you specify the type(s) of data that will be


erased.
All Data will erase all data.
Aftertouch will erase aftertouch and polyphonic
aftertouch data.

6 Press the OK button.


Example: If measures 23 are erased, measures 23 will be empty.
Before
erasure

After
erasure

No data

51H. Quantize
This command corrects the timing of Style data that has
already been input. Refer to Appendices (p.82) for
details on how the timing correction will take place. When
Quantize is executed, the performance data will change as
follows.
When the Quantize operation is executed on note data,
the note-on timing will be corrected, but the length of
the notes will not change.
If the quantize resolution is set to Hi, timing will be
corrected to intervals of the base resolution ( /96),
meaning that note data will not be affected. For example, continuously changing data such as joystick or
aftertouch will consume large amounts of memory, but
if this is quantized, any changes in this data that occur
in less than the quantization interval will be combined
into one event, which will save memory.
Likewise, identical types of control data which occur at
the same timing will be combined into one, also saving
internal memory.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track, and use


51l. Start Measure and 51m. End Measure to
specify the range of measures in which the timing will
be corrected.

3 Select this command.


The dialog box shown at the
right will appear.

4 In the Resolution cell, specify


the resolution to which the timing will be corrected.
Selecting a rougher resolution
will conserve memory, but be aware that the changes
in the performance data will also become rougher.

5 Kind specifies the type of data whose timing will be


corrected.
Aftertouch will correct the timing of aftertouch and
polyphonic aftertouch data.
Control Change will correct the timing of control
change data, but it is not possible to specify the control
change number.

6 Offset specifies the direction and distance from the


standard timing interval that the data will be moved,
in one-tick units.
0.48 is an  unit, and 0.24 is a  unit. Negative ()
values will move the data forward, and positive (+)
values will move the data backward. This lets you
simulate dragging or rushing the beat.

7 Intensity specifies the sensitivity of the correction; i.e.,


how closely the data will be moved to the location
specified by 4 and 6.
With a setting of 0% no correction will take place, and
with a setting of 100% the data will be moved just as
specified by the settings of 4 and 6.

8 Press the OK button.

51I. Shift Note


This command shifts the note numbers within the specified measures by the specified amount.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Select this command.
The dialog box shown at the
right will appear.

4 Use Bottom Note and Top Note


to specify the range of notes that
will be shifted.
The note numbers in the
specified range will be shifted.
These parameters can also be set from the keyboard.
It is not possible to set Top Note lower than Bottom
Note.

5 Shift specifies the amount of pitch change.


You can specify a pitch shift of 24+24 in semitone
steps.

6 Press the OK button.


51J. Key Transpose
This command transposes the data of the specified track
to the specified key.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Confirm the key in 11e. Key.
Be aware that if this setting does not match the
original chord variation, executing the Key Transpose
command may produce an unintended transposition.

4 Select this command.


The dialog box shown at the
right will appear.

5 Specify the current key in the


Current Key cell, and specify
the key following transposition
in the To cell.

6 Press the OK button.


51K. Modify Velocity
This command modifies the velocity of the note data in
the specified range of measures according to the specified
curve.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Select this command.
The dialog box shown at the
right will appear.

4 Start Value specifies the velocity value at the starting measure.

5 End Value specifies the velocity


value at the ending measure.

6 Curve specifies the curve with which the velocity will


be modified over the range of measures.

7 Intensity specifies how closely the velocity values will


be moved toward the curve that was selected in 6.

With a setting of 0%, the velocity of the note data will


remain unaffected. With a setting of 100%, the velocity
values will match the specified curve.

Curve and velocity


(When the Start Velocity is 1 and the End Velocity is 127)
Curve 1

Curve 2

126

126

Velocity

Velocity

Velocity

Put
Example: Pattern 20 was Put to measures 2, 4, and 6 of track 10. When
playback reaches those measures, pattern 20 will be recalled,
and the data of pattern 20 will be played.
Track 10
1
2
3
4
5
6
7
(Drums)

8 Press the OK button.

126

7 Press the Exit button.

Curve 3
Pattern 20

Copy
Start
Measure

126

End
Measure

Curve 4

Velocity

Start
Measure

End
Measure

Curve 5

126
Velocity

126
Velocity

2
Start
Measure

End
Measure

Start
Measure

End
Measure

Example: The performance data of pattern 41 was copied to the second


measure.
Before
1
2
3
4
copy
Pattern 41

Curve 6

RANDOM

After
copy

2
Start
Measure

End
Measure

Start
Measure

End
Measure

6. Test
51L. Get Track from Song
This command loads data from a specified track into the
currently selected track.

1 Use 11b. Element and 11c. Chord Variation to

61. Test
Here you can verify how the chord variation you input will
actually play within the arrangement.

select the element and chord variation.

2 Use 11j. Recording Track to select the track.


3 Select this command.
The dialog box shown at the
right will appear.

4 In the From cell, specify the


song.

Settings of 11a. Style


and 11b. Element
Chord name display
Setting of 31a. Chord
Variation Table

5 Specify the track and the starting measure from which data
will be loaded.

6 Press the OK button.


51M. Put/Copy Pattern
This command puts (assigns) or copies the specified pattern to the currently selected track.

1 Use 11b. Element and 11c. Chord Variation to


select the element and chord variation.

2 Use 11j. Recording Track to select the track.

First press the START/STOP key to begin play. Then play


chords on the keyboard for each element you created, and listen to the result for each chord variation.
After creating a chord variation, assign it to a chord in 31a.
Chord Variation Table, and test it here. When you are finished
listening, press the START/STOP key once again.

Page Menu Command .......................................

3 Select this command.


The dialog box shown at the
right will appear.

4 Specify the pattern.


5 In the Measure cell, specify the
destination measure at which
the data will be put or copied.

6 To put (assign) the data, press the Put button. To copy


the data, press the Copy button.
In the case of Put button, the pattern will be recalled at
the beginning at the measure in which it was put.
When you wish to repeatedly playback a certain
pattern, using Put will allow you to use memory more
efficiently. If you modify the pattern which was Put,
the change will be reflected in all locations where that
pattern was Put.
In the case of Copy button, the pattern data will be
copied to the measure. Use this operation when you
wish to use the data of a pattern with slight changes.

Refer to 11. Recording Track

Global mode
In this mode you can make settings which affect the entire i30,
such as settings for master tuning, MIDI, the RIT. key, the
ACCEL. key, and SW 1 and SW 2.

1. Basic Setup
11. Basic Setup
Here, you can set the master tuning, transpose position, and
the response curves for velocity/aftertouch.

Pre-Oscillator & MIDI OUT: Transposition will be


applied to the note data before it enters the tone generator.
Note data produced by the keyboard and data received at
the MIDI IN connector will be shifted by the transpose
setting, and sent to the tone generator and from the MIDI
OUT connector.
Since the transposed note data will be transmitted from
the MIDI OUT connector, you can select this setting when
you want data created on the i30 to be played back at the
same pitch by an external tone generator.
MIDI IN

11a

Record

Sequencer

Play

11b

Pitch change
Scale

Transpose
Note Number
Change

11c

Tone
generator

MIDI OUT

11c. Response Curve


Selects the sensitivity of velocity and aftertouch.

11a. Master Tune.............................................[50...+50]


Adjusts the overall tuning in units of one cent (a step =
100 cents).

11b. Transpose Position


Selects the location at which transposition will take place.
This setting will affect the MIDI data that is transmitted
and received, and the data that is recorded on the
sequencer. (This setting has no effect when the i30s keyboard is used to play the i30s internal tone generator.)
Post-Keyboard: Transposition will be applied to the note
data transmitted by the keyboard.
The note data will be shifted by the transpose setting, and
sent to the tone generator and from the MIDI OUT connector to external devices.
Select this setting when you wish to create sequence data
using transposed note data.
MIDI IN
Record

Sequencer

MIDI OUT

Note data produced by the keyboard and data received at


the MIDI IN connector will be shifted by the transpose
setting, and sent to the tone generator. Note data transmitted from the MIDI OUT connector will not be transposed.
MIDI IN

Sequencer

Play
Scale

Transpose
Pitch change

MIDI OUT

(90)

Velocity effect

9
7 6
8 7

5
43
3
2

Tone
generator

Pre-Oscillator: Transposition will be applied to the note


data before it is sent to the tone generator.

Record

Maximum
(127)

1
MIDI velocity
127
ppp (keyboard playing dynamics) fff
Scale

Note number
change

18: Each curve has its own characteristics, so select a


curve as appropriate for your own playing strength, playing style, and the desired result.
9: The velocity value will be fixed at 90, regardless of your
keyboard playing dynamics. Use this setting when you
want all velocity values to be even, or when you do not
want the volume or brightness to be affected by the velocity.

Minimum
(1)

Play

Transpose

Velocity ...................................................................... [1...9]


When you use keyboard playing dynamics to modify the
volume or brightness, the change will occur according to
the curve that you select here.

Tone
generator

Aftertouch .................................................................. [1...8]


When you apply aftertouch to modify the volume, brightness, or pitch, the change will occur according to the curve
that you select here.
6, 7: Since curve 6 produces change in twenty-four steps
and curve 7 in twelve steps, these are useful when you
wish to record aftertouch on the sequencer but do not
want to consume excessive memory.
By selecting curve 7 and setting the depth of pitch
changed produced by aftertouch to one octave, you can
cause the pitch to change in semitone steps.
8: This is a random curve, for use when you wish to produce special effects or when you want aftertouch to apply
irregular modulation.

Maximum
(127)

2. Scale
8: RANDOM

Specifies the scales that the i30 will use.


7
Aftertouch effect

6
3

Minimum
(1)
0
(soft)

21. Normal Scale

MIDI aftertouch
(key pressure)

127
(strong)

Page Menu Command........................................


11A
11B
11C

In Arrangement Play mode and Backing Sequence mode,


you can use a connected assignable pedal etc. to switch
between the scale specified here and the KBD scale that is
selected in Arrangement Play mode and Backing Sequence
mode.
In other modes, you can use a connected assignable pedal etc.
to switch between the scale specified here and the scale that is
selected in 22. Special Scale.
For example if you wish to use SW 1 to switch the scale, set the
61. SW 1, SW 2 parameter SW 1 to Scale Change (CC#4).
When the Normal scale is selected, the SW 1 LED will be dark.
21a

11A. Write Global Setting


This command writes the settings of Global mode.
Press the OK button in the dialog box to write the Global
mode settings.

11B. Touch Panel Calibration


When input via the LCD panel does not occur as
expected, or if the edit cell moves to a location other than
the spot at which you pressed the LCD panel, use this
command to calibrate the touch panel.

1 Select this command.


The dialog box shown at the
right will appear.
If you are unable to select this
command from the page menu,
hold down the EXIT key and
press the [+] key.

2 Press the upper left square in the LCD screen.

21a. Normal Scale


Type ............................. [Equal Temperament...User Scale 32]
Equal TemperamentPelog: Refer to Arrangement Play
mode 64b. KBD Scale (p.8).
User Scale 1User Scale 32: These are the scales that you
create in 23. User Scale.
Key ............................................................................ [C...B]
Selects the tonic of the selected scale.

When selected correctly, it will be highlighted.

3 Press the lower right square in the LCD screen.

Page Menu Command .......................................

When selected correctly, it will be highlighted.

4 Press the Done button.


If the calibration was not performed correctly, an error
message will appear. Perform the procedure again
from the beginning.

11C. JS X Calibration
If the result of the specified pitch bend range does not
occur when the joystick is moved all the way to the left or
right side, or if the maximum or minimum result occurs
before the joystick reaches the far left or right, use this
command to calibrate the joystick.

1 Select this command.


The dialog box shown at the
right will appear.

2 Move the joystick all the way to


the left, then all the way to the
right.

3 Release the joystick.


4 Press the Done button.
If the calibration was not performed correctly, an error
message will appear. Perform the procedure again
from the beginning.

Refer to 11. Basic Setup

22. Special Scale

23. User Scale

In modes other than Arrangement Play mode and Backing


Sequence mode, you can use a connected assignable pedal etc.
to switch between the scale specified here and the scale that is
selected in 21. Normal Scale.

Here you can make settings for the 32 user scales.

23a

For example if you wish to use SW 1 to switch the scale, set the
61. SW 1, SW 2 parameter SW 1 to Scale Change (CC#4).
When the Normal scale is selected, the SW 1 LED will be dark.
22a

23a. User Scale .....................................................[1...32]


Selects a number, and the pitches of that scale will be displayed below.

22a. Special Scale


Type.............................. [Equal Temperament...User Scale 32]
Equal TemperamentPelog: Refer to Arrangement Play
mode 64b. KBD Scale (p.8).
User Scale 1User Scale 32: These are the scales that you
create in 23. User Scale.
Key .............................................................................[C...B]
Selects the tonic of the selected scale.

Page Menu Command ........................................


Refer to 11. Basic Setup

You can adjust the pitch of each note to create an original


scale. The pitch of each note can be adjusted in the range
of 50 +50 cents.

Page Menu Command ........................................


Refer to 11. Basic Setup
23B

23B. Copy Scale


This command copies a scale.
This is convenient when you wish to create a user scale
that is based on an existing scale.

1 Select a user scale.


2 Select this command.
The dialog box shown at the
right will appear.

3 Select the scale that you wish to


copy.

4 Press the OK button.

MIDI messages. It will not be possible to input backing


sequence data or to use keyboard detection of chords in
Arrangement Play mode etc.

3. Filter, MIDI
31. Filter, MIDI
Here you can make settings for MIDI filtering, the global MIDI
channel, and local control on/off.

31a

Page Menu Command .......................................


Refer to 11.
Basic Setup

31G

31B

31H

31C

31I

31D

31J

31E

31K

31F
31b

31B. Dump SET (All Data)


This command transmits all data of the user area to a connected MIDI device.

31c

31a. Filter
Specifies whether or not each type of MIDI message will
be transmitted and received.
Enable Program Change
Checked: MIDI program change messages will be transmitted and received.
Enable Bank Change
Checked: MIDI bank change messages will be transmitted
and received.
Discard KORG GM Module Compatibility
Checked: Bank A and bank B will be transmitted as [MSB:
0, LSB: 0], and bank R will be transmitted as [MSB: 0, LSB:
4].
Enable Control Change
Checked: MIDI control change messages (pitch bend, volume, sustain, pedal, and other controller messages) will
be transmitted and received.
Enable Aftertouch
Checked: MIDI aftertouch messages will be transmitted
and received.
Enable Exclusive
Checked: MIDI system exclusive parameter change messages will be transmitted.

31b. Global MIDI Channel .....................................[1...16]


Specifies the global MIDI channel of the i30.
If the Filter parameter Enable Exclusive is checked, MIDI
system exclusive messages can be received on the channel
specified here.
Transmission/reception of MIDI messages in Program
mode will use the channel that you specify here. This
channel is also used to transmit chord data detected by
the i30 to a Korg ih Interactive Vocal Harmony unit.

31c. Local Control On


Checked: The keyboard, joystick, SW 1 and SW 2, and
connected foot pedals etc. can be used to control the internal tone generator.
Unchecked: The keyboard, joystick, SW 1 and SW 2, and
connected foot pedals etc. can be used to control an external MIDI device. In this case, these controllers will not
control the internal tone generator, but will only transmit

This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.

1 Select this command.


The dialog box shown at the
right will appear.

2 Press the OK button.


The maximum data size is 1
MB, and approximately 7
minutes and 50 seconds are
required for transmission.
The following user area data is transmitted.
Arrangement data
Arrangement global data
Keyboard set data
Program data
Global setting data
Style data
Backing sequence data
Song data

31C. Dump Arrangements


This command transmits the arrangement data of all user
arrangements to a connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The data size is 21 KB, and approximately 10 seconds are
required for transmission.

31D. Dump Arrangement Global


This command transmits the arrangement global data to a
connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The data size is 54 bytes, and approximately 1 second are
required for transmission.

31E. Dump KBD Sets


This command transmits all keyboard set data to a connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The data size is 3.6 KB, and approximately 2 seconds are
required for transmission.

31F. Dump Program


This command transmits the program data of all user programs to a connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The data size is 30.5 KB, and approximately 15 seconds are
required for transmission.

31G. Dump Global Setting


This command transmits global setting data to a connected MIDI device.

31K. Receive Dumped Data


This command allows the i30 to receive the data which
was dumped by the 31B. Dump SET31J. Dump
Songs.
When reception is completed, press the EXIT button.

Data dump procedure


Transmitting data (from the i30 to a MIDI device)

1 Connect the i30 and the MIDI device.


If you are using a personal computer which is able to
receive MIDI exclusive messages, connect the serial
port of the personal computer to the TO HOST
connector of the i30.
If you are using a MIDI data filer, connect the MIDI IN
connector of the MIDI data filer to the MIDI OUT
connector of the i30.

2 Press the Global key to enter Global mode.


3 Press the MENU key, and then press the Filter, MIDI
button.
The Filter, MIDI page will appear.

4 Press the page menu button, and select the appropriate command to transmit the desired data.

5 Make the necessary settings in the dialog box.

Select this command, and press the OK button.

Press the OK button and the data will be transmitted.


While transmission is taking place, the display will
indicate Now Transmitting MIDI Data.
The data size and the time required for transmission
will depend on the type of data.

The data size is 422 bytes, and approximately 1 second are


required for transmission.

Never turn off the power of the i30 while data is being
transmitted.

This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.

31H. Dump Style


This command transmits the style data of all user styles to
a connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The maximum data size is 787 KB, and approximately 5
minutes and 40 seconds are required for transmission.

31I. Dump Backing Sequences


This command transmits all backing sequence data to a
connected MIDI device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The maximum data size is 265 KB, and approximately 1
minute and 50 seconds are required for transmission.

Receiving data (from a MIDI device to the i30)

1 Connect the i30 and the MIDI device.


If you are using a personal computer which is able to
receive MIDI exclusive messages, connect the serial
port of the personal computer to the TO HOST
connector of the i30.
If you are using a MIDI data filer, connect the MIDI
OUT connector of the MIDI data filer to the MIDI IN
connector of the i30.

2 Set the MIDI channel of the MIDI device to match the


global MIDI channel of the i30. If data that was previously sent to the MIDI device is being retransmitted
back to the i30 for reception, set the global MIDI channel of the i30 to the global MIDI channel setting that
was used when the data was transmitted.
For details on setting the MIDI channel of the
transmitting device, refer to the owners manual for
the device you are using. The global MIDI channel of
the i30 is set in 3. Filter, MIDI.

3 Access the 3. Filter, MIDI page, and press the page


menu command Receive Dumped Data.

31J. Dump Songs


This command transmits song data to a connected MIDI
device.
This allows you to store data on a MIDI data filer or a personal computer which is able to receive MIDI exclusive
messages.
Select this command, and press the OK button.
The maximum data size is 266 KB, and approximately 1
minute and 50 seconds are required for transmission.

4 Transmit the data from the MIDI device.


Refer to the owners manual for your device for the
data transmission procedure.

5 When reception is finished, press the EXIT button.


Never turn off the power of the i30 while a data dump
is being received.

4. Clock, Host, Damper

Page Menu Command .......................................

41. Clock, Host, Damper

Refer to 11. Basic Setup

Here, you can select the clock source, specify the rate at which
data will be transmitted to an external device, and set the
polarity of the damper pedal.

41a

5. Ritardando & Accelerando


51. Rit. & Accel.

41b

Here, you can specify how the tempo will change when you
press the front panel RIT. key or ACCEL. key.

41c

When you press the RIT. key, the performance will gradually
become slower. When you press the ACCEL. key, the performance will gradually become faster.

51a

41a. Clock Source


Internal: The i30s own clock will be used.
In Arrangement Play mode, Backing Sequence mode,
Song mode and Song Play mode, MIDI clock messages
are continually transmitted from MIDI OUT, so when
Internal is selected as the clock source, an external MIDI
sequencer can synchronize to the i30. In this case, connect
the i30s MIDI OUT to the MIDI IN of the external
sequencer.
External TO HOST: The i30 will synchronize to MIDI
clock messages transmitted from the sequencer that is
connected to the TO HOST connector. In this case, Start,
Stop, Continue, Song Select and Song Position Pointer
messages are supported.
External MIDI IN: The i30 will synchronize to MIDI
clock messages transmitted from another sequencer connected to the MIDI IN connector. In this case, Start, Stop,
Continue, Song Select and Song Position Pointer messages
are supported.
When External TO HOST is selected, the tempo display
will indicate HST in Arrangement Play mode, Backing
Sequence mode and Song mode. If External MIDI IN is
selected, the tempo display will indicate MID. In both
of these cases, the tempo setting the i30 itself will be
ignored, and it will not be possible for the i30 to playback
sequence data by itself.
In Song Play mode, the i30 will use its own clock for playback, regardless of the setting of this parameter. (I.e., the
same operation as when Internal is selected.)

41b. TO HOST Baud Rate


Specifies the rate at which data will be transmitted to a
personal computer or MIDI sequencer connected to the
TO HOST connector.
38.4k: Select this when connecting the i30 to an IBM PC
(compatible).
31.25k: Select this when connecting the i30 to an Apple
Macintosh.

41c. DAMPER Switch Polarity


A foot switch connected to the DAMPER jack located on
the rear panel of the i30 can be used as a sustain pedal.
However, the polarity of the i30 and the foot switch must
match.
If the polarity does not match, notes will be sustained
even when the pedal is released: in this case, you will
need to select the opposite polarity.

51b

51a. rit. (ritardando)


1: Pressing the RIT. key will slow the performance slightly.
7: Pressing the RIT. key will slow the performance by the
maximum amount.
Length ( x  )............................................................ [1...32]
This setting specifies the length of time over which the
performance will slow down when you press the RIT. key.
The RIT. key LED will blink while the tempo of the performance is changing.

51b. accel. (accelerando)


1: Pressing the ACCEL. key will speed up the performance slightly.
7: Pressing the ACCEL. key will speed up the performance by the maximum amount.
Length ( x  )............................................................ [1...32]
This setting specifies the length of time over which the
performance will slow down when you press the RIT. key.
The ACCEL. key LED will blink while the tempo of the
performance is changing.

Page Menu Command .......................................


Refer to 11. Basic Setup

6. Assign

Page Menu Command ........................................

61. SW 1, SW 2
Here you can assign the functions that will be controlled by the
front panel SW 1 and 2.

Refer to 11. Basic Setup

62. Assignable Pedal


Specifies the function that will be assigned to the foot switch or
assignable pedal connected to the rear panel ASSIGNABLE
SWITCH/PEDAL 1 or 2 jacks.

61a

61b
62a

62b

61a. SW 1 ................ [OFF, DRUMS PLAY/MUTE...Damper]


61b. SW 2 ................ [OFF, DRUMS PLAY/MUTE...Damper]
Assigns the functions that will be controlled by SW 1 and
SW 2.
Intro 1, Intro 2: An intro can be played while an arrangement is playing.
Break: A break can be inserted while an arrangement is
playing.
Arrange/Style Down, Arrange/Style Up: The arrangement (style) preceding or following the currently selected
arrangement (style) can be selected. When the STYLE key
LED is lit, styles will be selected.
Program Down, Program Up: The program preceding or
following the currently selected program can be selected.
KBD Set Down, KBD Set Up: The keyboard set preceding or following the currently selected keyboard set can be
selected.
Variation Down, Variation Up: The variation preceding
or following the currently playing variation can be
selected.
Scale Change: The scale of the keyboard part can be
switched (CC#4). In Arrangement Play mode and Backing
Sequence mode, you can switch between the KBD Scale
and Normal Scale of the KBD part. In other modes, you
can switch between the Special Scale and Normal Scale of
the keyboard channel.
When the SW 1 or SW 2 LED is lit, the KBD Scale or Special Scale (CC#4=127) will be selected. When the LED is
dark, the Normal Scale (CC#4=000) will be selected.
FX 1 On/Off: In Arrangement Play mode and Backing
Sequence mode, ACC FX1 can be switched on/off. In
other modes, FX 1 can be switched on/off (CC#92).
FX 2 On/Off: In Arrangement Play mode and Backing
Sequence mode, ACC FX2 can be switched on/off. In
other modes, FX 2 can be switched on/off (CC#94).
Damper: While SW 1 or SW 2 are pressed, the sound will
be sustained just as when the damper pedal is pressed
(CC#64: 127 when pressed, 000 when released).
Chord Latch: While SW 1 or SW 2 are pressed, the chord
will not change.
Chord Latch+Damper: The functions of both Damper and
Chord Latch will be assigned.
Other: Operating SW 1 or SW 2 will produce the same
result as operating the corresponding key of the front
panel.

62a. Assignable Switch/Pedal 1 ......... [OFF, DRUMS PLAY/


MUTE...Data Entry]
62b. Assignable Switch/Pedal 2 ......... [OFF, DRUMS PLAY/
MUTE...Data Entry]
Specifies the function which will be controlled by the connected foot switch or assignable pedal.
DRUMS PLAY/MUTEDamper: The assigned functions
will be the same as for SW 1 and SW 2. For details refer to
61a. SW 1, SW 2.
Master Volume: Master volume can be controlled.
KBD Expression: Expression can be controlled for the
Main KBD, Sub KBD and Lower KBD parts in Arrangement Play mode and Backing Sequence mode, or for the
keyboard part in other modes (CC#11).
VDF Cutoff: The VDF Cutoff Frequency can be controlled
for the Main KBD, Sub KBD and Lower KBD parts in
Arrangement Play mode and Backing Sequence mode, or
for the keyboard part in other modes (CC#74).
Joystick +X (BEND): The Joystick +X axis can be controlled for the Main KBD, Sub KBD and Lower KBD parts
in Arrangement Play mode and Backing Sequence mode,
or for the keyboard part in other modes.
Joystick X (BEND): The Joystick X axis can be controlled for the Main KBD, Sub KBD and Lower KBD parts
in Arrangement Play mode and Backing Sequence mode,
or for the keyboard part in other modes.
Joystick +Y (CC#1): The Joystick +Y axis can be controlled
for the Main KBD, Sub KBD and Lower KBD parts in
Arrangement Play mode and Backing Sequence mode, or
for the keyboard part in other modes.
Joystick Y (CC#2): The Joystick Y axis can be controlled
for the Main KBD, Sub KBD and Lower KBD parts in
Arrangement Play mode and Backing Sequence mode, or
for the keyboard part in other modes.
FX Control 1 (CC#12): The effect parameter whose
Dynamic Modulation setting is CC#12 can be controlled.
FX Control 2 (CC#13): The effect parameter whose
Dynamic Modulation setting is CC#13 can be controlled.
Data Entry: The value of the edit cell can be input.
If a selection in the range Master VolumeData Entry is
selected, use an assignable pedal.

Page Menu Command........................................


Refer to 11. Basic Setup

63. EC 5
Specifies the functions which will be controlled by a Korg EC5
connected to the rear panel EC5 connector.

63a

63a. Assignable Switch for EC5


A................................... [OFF, DRUMS PLAY/MUTE...Damper]
B ................................... [OFF, DRUMS PLAY/MUTE...Damper]
C ................................... [OFF, DRUMS PLAY/MUTE...Damper]
D................................... [OFF, DRUMS PLAY/MUTE...Damper]
E ................................... [OFF, DRUMS PLAY/MUTE...Damper]
Assigns the function that will be controlled by switches
AE of a connected Korg EC5.
The functions which can be assigned are the same as for
SW 1 and SW 2. For details refer to 61. SW 1, SW 2.

Page Menu Command........................................


Refer to 11. Basic Setup

Disk mode
In this mode you can save or load data to and from a floppy
disk or an installed hard disk.
MS-DOS format 3.5 inch 2HD or 2DD floppy disks can be
used.
When a floppy disk is formatted on the i30, the capacity of a
2HD disk will be 1.44 MB (18 sectors/track), and the capacity
of a 2DD disk will be 720 KB (9 sectors/track).

DOS directory

1 program
(E11F88)
.PRG file

One 2.5 inch E-IDE type hard disk can be installed in the i30.
The following models are recommended.
Toshiba
Hitachi
Fujitsu

MK1401MAV
DK224A-14
M2723TAM

Undefined DOS file

Files which can be loaded

Bank E, F
All 128 user bank programs
1 drum kit program
(R51R58)
Bank R
All 8 user drum programs

1.4 GB
1.4 GB
1.2 GB

1 user arrangement
(C11D88)
.ARR file
All user bank arrangements

When a hard disk is formatted on the i30, the maximum capacity will be 1 GB.

.ARG file
Arrangement global parameters

For installation of a hard disk, please contact a nearby Korg


dealer.

.ARK file
48 KBD sets

1 KBD set
(1188)

SET directory

About files, directories and icons


The i30 uses files and directories to organize the data on
disk in a hierarchical manner. In order to clearly indicate
the contents of a file (whether it is a file or a directory, and
if a file, what type of data it contains), the display will
show not only the name but also an icon. Files and directories have differently shaped icons.
On the i30, files which can be read by an MS-DOS computer are referred to as DOS files or DOS directories.
The i30 distinguishes different types of DOS file by the
extension which is added to the DOS filename. DOS files
with extensions other than those listed below are assumed
to be Standard MIDI files.
Extension
.SET
.PRG
.GBL
.SNG
.ARR
.ARK
.ARG
.STY
.BSQ
.MID
.EXL
.JKB

1 user style
(C11C68)
.STY file
All user styles

Type
Arrangements, Keyboard sets, Arrangement global parameters, Styles, Programs, Drum kits,
Global parameters, Backing sequences, Songs
Programs, Drum kits
Global parameters
Songs
Arrangements
Keyboard sets
Arrangement global parameters
Styles
Backing sequences
Standard MIDI files
MIDI exclusive data
Jukebox lists

When data is saved by the i30, one of these eleven filename extensions will be added automatically, according to the type of data. However if a personal computer
etc. is used to modify the filename extension, and you
then attempt to load this file back into the i30, it will be
considered a file of undefined type, and will be handled as a Standard MIDI File.
The files handled by the i30 are organized as shown in the
diagram at right.
Items other than .GBL files and .ARG files are shown as
directory icons, since it is possible to open them and
divide the contents.

1 block
4 user styles
(blocks 112)
1 backing sequence data
(09)

.BSQ file
10 backing sequence
1 song data
(09)
.SNG file
10 songs
100 patterns

1 pattern data
(0099)

.GBL file
Global parameters
.MID file
SMF data; converted to Song data when loaded. Can be played back as is in Song Play mode.
.JKB file
Jukebox list file for Song Play mode.
.EXL file
Exclusive data used by MIDI data filer.

1. File
11. File
Here you can load the selected file or directory into internal
memory.
11a
11b
11c
11d
11e
11f
11g
11h

Page Menu Command .......................................


11A

11G

11B

11H

11C

11I

11D

11J

11E

11K

11F

11A. Load
This command loads the file or directory that was selected
in the directory window.
The dialog box that appears will depend on the type of file
from which data is being loaded.

11a. Current Directory


The directory which is currently the subject of operation is
referred to as the Current Directory.
The LCD will show the full pathname of the directory. A
slash / character is used as the delimiter between directory levels.
You can use the Open button and Up button to change
the current directory.

11b. Directory Window


File information for the current directory is shown here.
Select files or directories in this window.

11c. File/Icon
An icon which indicates the type of file is displayed here.
For details on icons, refer to About files, directories and
icons (p.70).

11d. File Name


The name of the file is shown here.

11e. Size
The size of the file is shown (in bytes).

11f. Date Saved


The date that was assigned when the file was saved is
shown here. From the left, the numbers indicate the day,
month and year. However, the i30 does not contain a calendar, so you must use 11K. Set Date to set the date
before saving.

11g. Open button, Up button


The Open button opens a directory, moving the current
directory one level downward.
The Up button moves the current directory one level
upward.
These buttons can be operated when a directory is
selected in the directory window.

11h. Drive Select


This selects the media that will be used for loading or saving data.
If a hard disk is installed, you will be able to select either
the hard disk or the floppy disk.
The volume label assigned to the disk will be displayed. If
no volume label has been assigned, the display will indicate no label.

If you wish to reproduce the complete state of the instrument at the time that the data was saved, it is recommended that you select and load a .SET directory.
Load .SET
The .ARR, .ARK, .ARG, .STY, .PRG, .GBL, .BSQ and .SNG
files of the same name as the SET which are located in the
.SET directory will be loaded together.

1 In the directory window, select


the .SET directory that you wish
to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Press the OK button.


Load .ARR/.STY/.ARK/ .SNG/.BSQ/.PRG/
.GBL/ .ARG
The arrangement, style, keyboard set, song, backing
sequence, program, global, or arrangement global data
will be loaded.

1 In the directory window, select the file that you wish to


load.

2 Select this command.


The dialog box shown at the
right will appear.
The dialog box shown is the one
which will appear if you select
a program file in step 1.

3 Press the OK button.


Load Styles
One block of style data will be loaded.

1 In the directory window, select the block that you wish


to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the block that you wish to


load.
Block 1: C11C14
Block 2: C15C18
Block 3: C21C24
Block 4: C25C28
Block 5: C31C34
Block 6: C35C38
Block 7: C41C44
Block 8: C45C48

Block 9: C51C54
Block 10: C55C58
Block 11: C61C64
Block 12: C65C68

4 Press the OK button.


Load Programs/Drum Programs
One bank of program data will be loaded.
In the directory window, select the program bank that you
wish to load. Then select this command, and press the OK
button.
Load an Arrangement
Data for one arrangement will be loaded.

1 In the directory window, select the arrangement that


you wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Verify the load source.


4 Select the loading destination.

Load a KBD Set


Data for one keyboard set will be loaded.

1 In the directory window, select the keyboard set that


you wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Verify the load source.


4 Select the loading destination.
5 Press the OK button.
Load a Pattern
Data for one pattern will be loaded.

1 In the directory window, select the pattern that you


wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the loading destination.


4 Press the OK button.

5 Press the OK button.


Load a Backing Sequence
Data for one backing sequence will be loaded.

1 In the directory window, select the backing sequence


data that you wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the loading destination.

Load a Song
Data for one song will be loaded.

1 In the directory window, select the song that you wish


to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the loading destination.


4 Press the OK button.

4 Press the OK button.


Load a Program
Data for one program will be loaded.

1 In the directory window, select the program that you


wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Verify the load source.

Load a Style
Data for one style will be loaded.

1 In the directory window, select the style that you wish


to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the loading destination.


4 Press the OK button.

4 Select the loading destination.


5 Press the OK button.
Load a Drum Program
Data for one drum program will be loaded.

1 In the directory window, select the drum program that


you wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Verify the load source.


4 Select the loading destination.
5 Press the OK button.

Load a Standard MIDI File


Load a Standard MIDI File (format 0 or 1).

1 In the directory window, select the Standard MIDI File


that you wish to load.

2 Select this command.


The dialog box shown at the
right will appear.

3 Select the loading destination.


If you wish to convert the data
into GM data as you load it,
check the check box.

4 Press the OK button.

11B. Rename
This command modifies the name of a file or directory.
This command can be used only when a DOS file, DOS
directory, or .SET directory is selected.

1 In the directory window, select the file or directory


whose name you wish to modify.

2 Select this command.


The dialog box shown at the
right will appear. (The name of
the selected file or directory will
be displayed.)

3 Press the text edit button to


access the text edit dialog box,
and input the name.

4 Press the OK button.


11C. Delete
This command deletes the selected file or directory.

1 In the directory window, select the file or directory that


you wish to delete.

2 Select this command.


The dialog box shown at the
right will appear. (The name of
the selected file or directory will
be displayed.)

3 Press the OK button.


11D. Copy
This command copies a DOS file, DOS directory, or .SET
file to disk.

1 In the directory window, select the file or .SET directory that you wish to copy.

2 Select this command.


The dialog box shown at the
right will appear.

3 In Drive Select, specify the


copy destination disk.

4 Use the Open button and Up


button to select the copy destination directory.

5 If you wish to modify the name, press the text edit button to access the text edit dialog box, and input the
name.

6 Press the OK button.

11F. Available Bytes


This command displays the remaining disk capacity.
Use Drive Select to select the disk, and then select this
command.
After checking the remaining disk capacity, press the
EXIT button.

11G. Save
This command saves the data of the current directory to
disk as a SET directory.

1 Use the Open button and Up button to move to the


desired directory, and then select this command.
The dialog box shown at the
right will appear.

2 Check the data that you wish to


save. If you uncheck any of
these and save the data, some
settings needed for the data may
not be saved, which will mean that the data may not
playback correctly when it is reloaded. For this reason,
you should normally save all of the data without
unchecking any items here.
.ARR: Arrangement data
.PRG: Program data
.BSQ: Backing sequence data
.ARG: Arrangement global data
.GBL: Global data
.SNG: Song data
.ARK: Arrangement keyboard data
.STY: Style data
All: C11C68
Block 1: C11C14
Block 2: C15C18
Block 3: C21C24
Block 4: C25C28
Block 5: C31C34
Block 6: C35C38

3 Press the OK button.


The data will be saved in the same hierarchical level as
the displayed files. Use 11K. Set Date to specify the
date and time that the data was saved.

11H. B.SEQ to Std MIDI File


This command saves backing sequence data to floppy
disk as SMF data (.MID file). This command is available if
the current directory is a DOS directory.
The data will be saved in Format 0.

1 Select this command.


11E. Hide .XXX Files
This command lets you specify that certain files not be displayed.

1 Select this command.


The dialog box shown at the
right will appear.

2 Check the filename extensions


that you do not want to be displayed in the directory window.
Unknown: Undefined files

3 Press the OK button.

The dialog box shown at the


right will appear.

2 Select the backing sequence


data that you wish to save.

3 Press the text edit button to


access the text edit dialog box, and input the filename.

4 Press the OK button.


Program Bank numbers of the backing sequence data
will be converted according to the Filter parameter
settings of Global mode 31. Filter, MIDI (page 64).
Backing sequence data that was saved here can be
played back on a device which supports Standard
MIDI Files. However if you intend to playback the
data on the i30, it is recommended that you save
backing sequence data in the native i30 format using
11G. Save, since this will result in a more accurate
reproduction.

11I. Song to Std MIDI File


This command saves song data to disk as SMF data (.MID
file). This command is available if the current directory is
a DOS directory.

1 Select this command.


The dialog box shown at the
right will appear.

2. MIDI Data Filer


21. MIDI Data Filer
Here you can transmit MIDI system exclusive data to an external MIDI device, or receive MIDI system exclusive data from
an external MIDI device and save it on the i30.

2 Select the song data that you


wish to save.

3 Press the text edit button to


access the text edit dialog box,
and input the filename.

Refer to 11. File

4 Specify the format.


Format 0: Sixteen tracks of MIDI data will be saved
together as a single track.
Format 1: Each track will be saved separately.

5 Press the OK button.


Song data that was saved here can be played back on a
device which supports Standard MIDI Files. However
if you intend to playback the data on the i30, it is
recommended that you save song data in the native
i30 format using 11G. Save, since this will result in
a more accurate reproduction.

Page Menu Command ........................................


21A
21B

11J. Create Directory

Refer to 11. File

This command creates a new directory in the current


directory.

1 Select this command.


The dialog box shown at the
right will appear.

2 Press the text edit button to


access the text edit dialog box,
and input the directory name.

3 Press the OK button.


11K. Set Date
This command specifies the date which will be recorded
in a file when it is saved.

1 Select this command.


The dialog box shown at the
right will appear.

2 Set each of the following parameters.


Year: (19802079)
Month: (112)
Day: (131)

3 Press the OK button.

21A. Load & Transmit


This command transmits a MIDI data file from the i30s
floppy disk to an external MIDI device connected to the
i30s MIDI OUT connector.

1 Into the floppy disk drive, insert a floppy disk containing MIDI system exclusive data.

2 Select this command.


The dialog box shown at the
right will appear.

3 Press the OK button.


21B. Receive & Save
This command receives a MIDI system exclusive data file
from an external MIDI device connected to the MIDI IN
connector, and saves it on the i30. (The data is saved with
a filename extension of .EXL.)

1 Select this command.


The dialog box shown at the
right will appear.

2 Transmit the MIDI system


exclusive data from the connected external MIDI device.

3 When transmission is completed, press the text edit button to access the text edit
dialog box, and input the file name.

4 Press the OK button.

3. Format
31. Format
Before a floppy disk which has been used by another device or
a newly purchased floppy disk can be used by the i30, it must
first be formatted here. Once a disk has been formatted, it need
not be reformatted before it is used by the i30.

Refer to 11. File

Page Menu Command........................................


31A

31A. Format
This command formats a floppy disk or the internal hard
disk.
At this time, the volume label (a name for each disk) that
you specify will be written to the disk.

1 If you wish to format a floppy disk, insert the floppy


disk into the floppy disk drive.

2 Use Drive Select to specify the media that you wish to


format. If no hard disk is installed, you can skip this
step.

3 Select this command.


The dialog box shown at the
right will appear.

4 Press the text edit button to


access the text edit dialog box,
and input the volume label.

5 Press the OK button.


When a floppy disk is formatted on the i30, the
capacity of a 2HD disk will be 1.44 MB (18 sectors/
track), and the capacity of a 2DD disk will be 770 KB
(9 sectors/track).
When a hard disk is formatted on the i30, the
maximum capacity will be 1 GB.

Effect Parameters
This section explains the effects used in each mode and their
parameters.

Reverbs
These effects simulate the acoustics of a hall etc. to add a sense
of spatial presence to the sound.

1. Hall Reverb
This simulates the reverberation of a medium sized hall,
producing a sense of natural acoustics.

2. Ensemble Hall
This reverb is suitable for string or brass ensembles, and
simulates the natural acoustics of an ensemble hall.

11. Early Reflections 2


The way in which the early reflections change in level
over time differs from Early Reflection 1. Use this according to your taste.

12. Early Reflections 3


Compared with Early Reflection 1 and Early Reflection 2,
this effect reverses the envelope of the early reflections.
When used on sound which have a strong attack, such as
cymbals, it produces a reverse-playback effect.
Pre Delay

0...200 msec

E.R. Time
Dry/Wet

100...800 msec
Dry, 99:1...1:99, FX

The time from the direct sound until the


early reflections
Duration of the early reflections
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

3. Concert Hall Reverb


This simulates the acoustics of a large concert hall, with
emphasis on the early reflections.

4. Room Reverb
This simulates the acoustics of a smaller room.

5. Large Room Reverb


This simulates the acoustics of a larger room, with the
reverb density emphasized. When the reverb time is set to
approximately 0.5 seconds, an impression similar to gated
reverb will be produced.

6. Live Stage Reverb


This simulates the reverberation and acoustics typical of a
live performance in a gymnasium.

7. Wet Plate Reverb


An effect of deeply applied plate reverb.

8. Dry Plate Reverb


An effect of lightly applied plate reverb.

9. Spring Reverb

Stereo Delays
These effect types allow you to set independent delay times for
the left and right channels, so that you can create delay patterns which take advantage of stereo. The High Damp setting
lets you apply a natural-sounding attenuation to the repeated
delays.

13. Stereo Delay


A stereo delay with feedback, that allows independent
delay times to be set for the left and right channels.

14. Cross Delay


A stereo delay that allows independent delay times to be
set for the left and right channels. For the input to the
delay, the feedback of the left and right channels is
crossed, so that the repeated delays alternate between left
and right.
Delay Time L
Delay Time R
High Damp

0...500 msec
0...500 msec
0...99 %

Feedback

99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

This simulates a resonant spring-type reverb unit.


Pre Delay

0...200 msec

E.R. Level
Reverb Time
High Damp

(depends on the effect)


(depends on the effect)
0...99 %

Dry/Wet

Dry, 99:1...1:99, FX

The time from the direct sound until the


early reflections
Increasing the value will make the reverberation clearer and more echo-like
The level of the early reflections
The time over which the reverb will decay
High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Early Reflections
The early reflection effects isolate the initial reflections of the
sound (a very important element in determining the overall
acoustic character of a space) from the rest of the reverberation.
By adjusting the Early Reflection Time you can create a wide
range of effects, such as adding richness to the sound, or creating echo-like sounds.

10. Early Reflections 1


This isolates the acoustically important initial reflections
of the sound from the rest of the reverberation. Since the
low frequency range is emphasized, this effect type is
ideal for drums and other percussion.

Left channel delay time


Right channel delay time
High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Dual Mono Delay


15. Dual Mono Delay
This consists of two mono delays, with independent delay
time, feedback and high damp settings.
Delay Time L
High Damp L

0...500 msec
0...99 %

Feedback L

99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Delay Time R
High Damp R

0...500 msec
0...99 %

Feedback R

99...+99 %

Dry/Wet R

Dry, 99:1...1:99, FX

Left channel delay time


High frequency attenuation of the left
channel
Increasing this value will cause the high
frequencies to decay more rapidly, making
the sound darker
The amount which is fed back into the left
channel
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Right channel delay time
High frequency attenuation of the right
channel
Increasing this value will cause the high
frequencies to decay more rapidly, making
the sound darker
The amount which is fed back into the
right channel
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Multitap Delays
Each effect input is equalized, and sent to two independent
delays (delay A and B). The output of delay B is fed back to
delay A and B.

16. St. Multi Tap Delay 1


A 2-channel multi-repeat delay.

17. St. Multi Tap Delay 2


A 2-channel multi-repeat delay with cross-panning.

18. St. Multi Tap Delay 3


A 2 channel multi-repeat delay with feedback alternating
between the two delays.
Delay Time A
Delay Time B
Feedback

0...500 msec
0...500 msec
99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

Delay time of delay A


Delay time of delay B
Amount of delay B that is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Chorus
These are stereo-type effects with two chorus blocks, and can
add natural spaciousness and depth to any type of sound;
piano, string, or brass etc.

19. Stereo Chorus 1


The modulation of the right channel is out of phase with
the modulation of the left channel. This produces a spacious stereo chorus.

20. Stereo Chorus 2


The left and right channels are modulated in-phase.
Delay Time
Mod Depth
Mod Speed
LFO Waveform
Dry/Wet

0...200 msec
0...99
0.03...30 Hz
Sine, Triangle
Dry, 99:1...1:99, FX

Delay from the original sound


Depth of modulation
Speed of modulation
Selects the modulation waveform
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Quadrature Choruses
21. St. Quadrature Chorus
This is a stereo chorus in which the two channels are modulated 90 degrees out of phase with each other.

22. St. Crossover Chorus


This is a stereo chorus in which the two channels are modulated 90 degrees out of phase with each other, and the
chorus portion of each channel is mixed into the output of
the other channel.
Delay Time L
Delay Time R
Mod Depth
Mod Speed
Mod Waveform

0...250 msec
0...250 msec
0...99
1...99
Triangle+10...Triangle10,
Sine10...Sine+10

Dry/Wet

Dry, 99:1...1:99, FX

Left channel delay time


Right channel delay time
Depth of modulation
Speed of modulation
Selects the modulation waveform
Select the symmetry of the waveform in a
range of 10 to +10
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Harmonic Chorus
23. St. Harmonic Chorus
Harmonic Chorus splits the signal into a high frequency
band and a low frequency band. Two chorus units L and R
are applied to the high frequency band, and the low frequency band is output without change. This effect is ideal
for use on low frequency range instruments such as bass.
Delay Time A
Delay Time B
Mod Depth
Mod Speed
Filter Splitpoint

0...500 msec
0...500 msec
0...99
1...99
160 Hz...10.0 kHz

Dry/Wet

Dry, 99:1...1:99, FX

Delay time for the modulated sound


Delay time for the unmodulated sound
Depth of modulation
Speed of modulation
Frequency at which the input signal will be
split into high and low frequency bands
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Symphonic Ensemble
24. Symphonic Ensemble

29. Enhancer

This is a multi-stage chorus effect, and is ideal for rich and


thick sounds such as strings.
Mod Depth
Dry/Wet

0...99
Dry, 99:1...1:99, FX

Depth of modulation
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

This effect cannot be used simultaneously with the following effects.


1923:
24:
2527:
3233:
34:
3536:
3839:
42:
43:
46:
47:

Enhancer

Chorus, Quadrature Chorus, Harmonic Chorus


Symphonic Ensemble
Flanger
Phaser
Rotary Speaker
Tremolo
Chorus-Delay, Flanger-Delay
Delay/Chorus
Delay/Flanger
Delay/Phaser
Delay/Rotary Speaker

Flangers
This effect adds feedback to a chorus effect. When used on
sounds with rich overtone content, such as cymbals, it creates a
strongly distinctive effect with a pitched feeling added to the
modulation.

25. Stereo Flanger 1


Same-phase modulation is applied to both channels.

26. Stereo Flanger 2

This is a 2-channel enhancer. It contains a delay to give the


sound spaciousness. An enhancer raises the clarity of the
sound, sharpens its definition and strengthens its presence, bringing the sound to the front of the mix.
Harmonic Density
Hot Spot

1...99
1...20

Stereo Width

0...99

Delay Time
Dry/Wet

1...99
Dry, 99:1...1:99, FX

Distortions
30. Distortion
This effect provides a range of distortion from slight to
intense, and even adds a wah effect, making it ideal for
solos. The wah effect is adjusted by Hot Spot and Resonance. Hot Spot can be controlled in realtime by dynamic
modulation.

31. Over Drive


Applies a smooth overdrive. Like distortion, above,
dynamic modulation can be used to control the Hot Spot
of the wah filter.
Drive (Edge)
Hot Spot
Resonance
Out Level
Dry/Wet

1...111
0...99
0...99
0...99
Dry, 99:1...1:99, FX

The right and left channels are modulated in opposite


phase. This produces a spacious stereo flanging effect.

27. St. Crossover Flanger


Two flangers with opposite-phase modulation apply feedback to each other.
Delay Time
Mod Depth
Mod Speed
Feedback

0...200 msec
0...99
1...99
99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

Delay from the original sound


Depth of modulation
Speed of modulation
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Exciter
28. Stereo Exciter
This adds sparkle to the sound itself, sharpening the definition of the sound.
Harmonic Density
Hot Spot

99...+99
1...10

Dry/Wet

Dry, 99:1...1:99, FX

Depth of the exciter effect


Center frequency at which the exciter
effect will be applied
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Depth of the exciter effect


Center frequency at which the exciter
effect will be applied
Width of the stereo image spread by the
delay
Delay from the original sound
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Amount of distortion/overdrive
Center frequency of the wah filter
Gain of the resonant wah filter
Output level of the distorted sound
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Phasers
These effect types are 2-channel stereo phasers.
While chorus and flanger modulate the delay time to create
modulation, a phaser modulates the phase of the input signal,
creating an effect with a different character than either chorus
or flanger. It is especially effective when used on electric piano
or guitar-type sounds.

32. Stereo Phaser 1


Since the modulation of the right and left channels is in
opposite phase, a spacious phaser effect is produced.

33. Stereo Phaser 2


Same-phase modulation is applied to both phaser blocks.
Hot Spot

0...99

Mod Depth
Mod Speed
LFO Waveform
Feedback

0...99
0.03...30 Hz
Sine, Triangle
99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

Center frequency at which the phase shift


effect is applied
Depth of the phase shift modulation effect
Speed of modulation
Selects the modulation waveform
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Rotary Speaker

Combination Effects Serial

This effect type simulates the rotary speaker effect which is


popular for organ sounds.

Effect types 38 and 39 connect a mono-in/stereo-out chorus or


flanger in series with a stereo delay.

34. Rotary Speaker

38. Chorus-Delay

This effect type uses independent LFOs to simulate the


rotational effect of the rotor and horn of a rotary speaker.
You can operate a dynamic modulation source to switch
between slow rotation and fast rotation.
Vibrato Depth
Acceleration

0...15
1...15

Slow Speed
Fast Speed
Dry/Wet

1...99
1...99
Dry, 99:1...1:99, FX

Depth of the effect


Speed at which the rotation speed will
change when the dynamic modulation
source is operated
Slow rotation speed
Fast rotation speed
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Tremolo
These effect types cyclically modulate the volume.
This is a stereo-type program which combines two tremolo blocks. Since opposite-phase modulation is applied to
each tremolo block, the sound will appear to be panned
back and forth between left and right.

36. Tremolo
Unlike the above Auto Pan, the two tremolo blocks are
modulated with the same phase.
Sine, Triangle
99...+99

Chorus Delay Time


Mod Depth
Mod Speed
Chorus Feedback

0...50 msec
0...99
1...99
99...+99 %

Delay Time
Delay Feedback

0...450 msec
99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

Selects the modulation waveform


Adjustment to LFO waveform

The signal is sent through a mono-in/stereo-out flanger


which uses LFOs that are 90 degrees out of phase, and
then through a stereo delay. Feedback can be adjusted for
both flanger and delay.
Flanger Delay Time
Mod Depth
Mod Speed
Flanger Feedback

0...50 msec
0...99
1...99
99...+99 %

Delay Time
Delay Feedback

0...450 msec
99...+99 %

Dry/Wet

Dry, 99:1...1:99, FX

Level
LFO Shape =99
LFO Shape =0
LFO Shape =+99

Mod Depth
Mod Speed
Dry/Wet

0...99
0.03...30 Hz
Dry, 99:1...1:99, FX

Depth of modulation
Speed of modulation
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Parametric Equalizer
37. Stereo Parametric EQ
This is a 3-band equalizer, with adjustable cutoff frequency and gain for each of the bands (low, mid, high).
For the mid-range, you can also adjust the width of the
frequency band.
Low Frequency
Low Gain
Mid Frequency
Mid Gain
Mid Width
High Frequency
High Gain
Dry/Wet

0...29
12...+12 dB
0...99
12...+12 dB
0...99
0...29
12...+12 dB
Dry, 99:1...1:99, FX

Delay time of the chorus


Depth of modulation
Speed of modulation
The amount which is fed back into the
effect
Negative () settings will invert the phase
Delay from the original sound
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

39. Flanger-Delay

35. Auto Pan

LFO Waveform
LFO Shape

The signal is sent through a mono-in/stereo-out chorus


which uses LFOs that are 90 degrees out of phase, and
then through a stereo delay. Feedback can be adjusted for
both chorus and delay.

Low range cutoff frequency


Amount of cut/boost for the low EQ
Mid range center frequency
Amount of cut/boost for the mid EQ
Width of the mid-frequency range
High range cutoff frequency
Amount of cut/boost for the high EQ
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Delay time of the flanger


Depth of modulation
Speed of modulation
The amount which is fed back into the
effect
Negative () settings will invert the phase
Delay from the original sound
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Combination Effects Parallel


The following effect types (4047) are parallel effects in which
two different effects are applied to each of the two channels.

40. Delay/Hall Reverb


This effect type provides delay on the left channel, and
hall-type reverb on the right channel.

43. Delay/Flanger
This effect type provides delay on the left channel, and
flanger on the right channel.
Delay Time
Delay High Damp

0...500 msec
0...99 %

Delay Feedback

99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Mod Depth
Mod Speed
Flanger Feedback

0...99
0.03...30 Hz
99...+99 %

Dry/Wet R

Dry, 99:1...1:99, FX

41. Delay/Room Reverb


This effect type provides delay on the left channel, and
room-type reverb on the right channel.
Delay Time
Delay High Damp

0...500 msec
0...99 %

Delay Feedback

99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Pre Delay

0...150 msec

Reverb Time

(depends on the effect)

Reverb High Damp

0...99 %

Dry/Wet R

Dry, 99:1...1:99, FX

Delay from the original sound


High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
The time from the direct sound until the
early reflections
Time over which the reverberation will
decay
High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

42. Delay/Chorus
This effect type provides delay on the left channel, and
chorus on the right channel.
Delay Time
Delay High Damp

0...500 msec
0...99 %

Delay Feedback

99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Mod Depth
Mod Speed
LFO Waveform
Dry/Wet R

0...99
0.03...30 Hz
Sine, Triangle
Dry, 99:1...1:99, FX

Delay from the original sound


High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Depth of modulation
Speed of modulation
Selects the modulation waveform
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Delay from the original sound


High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Depth of modulation
Speed of modulation
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

44. Delay/Distortion
This effect type provides delay on the left channel, and
distortion on the right channel.

45. Delay/Over Drive


This effect type provides delay on the left channel, and
overdrive on the right channel.
Delay Time
Delay Feedback

0...500 msec
99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Drive (Edge)
Hot Spot
Resonance
Distortion Level

1...111
1...99
0...99
1...99

Delay from the original sound


The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Amount of distortion/overdrive
Center frequency of the wah filter
Gain of the resonant wah filter
Output level of the distorted sound

46. Delay/Phaser
This effect type provides delay on the left channel, and
phaser on the right channel.
Delay Time
Delay High Damp

0...500 msec
0...99 %

Delay Feedback

99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Mod Depth
Mod Speed
Phaser Feedback

0...99
0.3...30 Hz
99...+99 %

Dry/Wet R

Dry, 99:1...1:99, FX

Delay from the original sound


High frequency attenuation
Higher settings of this parameter will
cause the high frequencies to decay more
rapidly, making the sound darker
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Depth of modulation
Speed of modulation
The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

47. Delay/Rotary Speaker


This effect type provides delay on the left channel, and a
rotary speaker effect on the right channel.
Delay Time
Delay Feedback

0...500 msec
99...+99 %

Dry/Wet L

Dry, 99:1...1:99, FX

Acceleration

1...15

Slow Speed
Fast Speed
Dry/Wet R

1...99
1...99
Dry, 99:1...1:99, FX

Delay from the original sound


The amount which is fed back into the
effect
Negative () settings will invert the phase
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)
Speed at which the rotation speed will
change when the dynamic modulation
source is operated
Slow rotation speed
Fast rotation speed
Balance between the original (Dry) sound
and the sound processed by the effect
(FX)

Appendices
1. Data available for event editing
on the i30
ATr. KBD Track and KBD 48 Tracks of Backing
Sequence mode
Tracks 116 of Song mode
Drum TrackACC 3 Track of Edit Style mode
C1...G9
(Note data)
BAR
(Bar line)
Pattern xx
(Pattern number)
BEND
(Pitch bend)
AFTT
(Aftertouch)

V. 2...126
(Velocity)

PROG
(Program change)
CTRL
(Control change)
PAFT
(Polyphonic aftertouch)

Length 0:00...4:00, Tie


(Length)
Meter 1/4...16/16
(Time signature)*
Meter 1/4...16/16
(Time signature)*
Value 8192...+8191
(Value)
Value 0...127
(Value)

Bank AB, CD, E, FG, R,


B.5...127 (Program
bank)
No. 0...127
(Control change number)
C1...G9
(Note number)

No. 0...127
(Program number)
Value 0...127
(Value)
Value 0...127
(Value)

Be aware that since the time signature is recorded in the


tempo track, modifying the time signature of one track
will also change the corresponding measure of all tracks.

Control Track of Backing Sequence mode


Type
Arrangement
Style
Style Element
Full KBD Play
Chord Scanning
Chord Memory
Bass Inversion
Transpose
Drums Mute
Perc Mute
Bass Mute
ACC1 Mute
ACC2 Mute
ACC3 Mute
Main KBD Mute
Sub KBD Mute
Lower KBD Mute
Main KBD Program
Sub KBD Program
Lower KBD Program
Main KBD Octave
Sub KBD Octave
Lower KBD Octave
KBD Set
Chord Sound
Ensemble
KBD Lock
Split Point

Value
A11...D88
A11...C68
Off, Variation 1...4, Intro 1...2, Ending 1...2, Fill
1...2, Break
Off/On
Off/Lower (Easy)/Upper/Full/Lower (Normal)
Off/On
Off/On
11...+11
Play/Mute
Play/Mute
Play/Mute
Play/Mute
Play/Mute
Play/Mute
Play/Mute
Play/Mute
Play/Mute
A11...R58
A11...R58
A11...R58
2...+2
2...+2
2...+2
11...88
Off/On
Off/On
Off/On
C2...C7

Chord Track of Backing Sequence mode


Root

Chord type

C...B

Major...No Chord

Tension
9...13

Bass
/C.../B

2. Operation when control change


data is received/transmitted
i30 operation
MSB of Bank Select
joystick movement in +Y
1: Oscillator LFO
0...127
direction
joystick movement in Y
2: Filter LFO
0...127
direction
0...63
normal scale
4: Foot Controller
64...127
special scale
6: Data Entry (MSB)
0...127
MSB of RPN data
7: Volume
0...127
volume
0...63
left
10: Panpot
64
center
65...127
right
11: Expression
0...127
volume
12: Effect Control 1
0...127
effect control 1
13: Effect Control 2
0...127
effect control 2
32: Bank Select (LSB)
0...127
LSB of Bank Select
38: Data Entry (LSB)
0...127
LSB of RPN data
0...63 (Off)
sustain off
64: Sustain Pedal Switch on/off
64...127 (On) sustain on
release time of VDF/
72: Release Time
0...127
VDA EG
73: Attack Time
0...127
attack time of VDA EG
74: Brightness
0...127
cutoff frequency of VDF
91: Send C Level
0...127
send C level
0 (Off)
effect 1 off
92: Effect 1 On/Off
1...127 (On) effect 2 on
93: Send D Level
0...127
send D level
0 (Off)
effect 2 off
94: Effect 2 On/Off
1...127 (On) effect 2 on
00
select Pitch Bend Range
100: RPN (LSB)
01
select Fine Tune
02
select Coarse Tune
101: RPN (MSB)
00
MSB of RPN
120: All Sound Off
halt sound
121: Reset All Controller
initialize controllers
Control change number
0: Bank Select (MSB)

Value
0...127

*2

*4
*3

*3
*7
*7
*2
*4

*5
*5
*6

*1

*4
*4

*1: The channel that is specified as the global MIDI channel


will be used for CC#92 and 94 on/off.
*2: Bank Select data is normally specified as part of a program
change event, but there may be cases in which this is
insufficient to change banks on an external device. In such
cases, use CC#00 and CC#32. For the relation between the
bank select data and the banks of the external device, refer
to the owners manual for your device.
*3: On the i30, the actual volume is determined by multiplying the Volume value (CC#07) with the Expression value
(CC#11).
*4: Use RPC (Registered Parameter Control) messages to set
the Pitch Bend Range, Fine Tune, or Coarse Tune. The procedure is to use an RPN (Registered Parameter Number)
message to select the parameter that you wish to edit, and
then use Data Entry to input the value for that parameter.
Use CC#100 (value: 0002) and CC#101 (value: 00) to
select the parameter, and use CC#06 and CC#38 to input
the data. The correspondence between Data Entry values
and parameter values are shown below for each parameter.

RPN=0 (Pitch Bend Range)

...

Parameter value (Semitone steps)


0
+1

...

CC#38
00
00

...

CC#06
00
01
12

00

+12

CC#06
32

CC#38
00

Parameter value (1 cent steps)


50

For example if you wish to set a transpose (coarse tune)


setting of 12 for the track that is set to channel 1, you can
use one of the following methods.
Specify channel 1 for the control change messages, and
transmit CC#101 with a value of 00 and CC#100 with a
value of 02 to select the RPN Coarse Tune. Then transmit
CC#06 with a value of 52 (corresponding to a parameter
value of 12), and transmit CC#38 with a value of 00 to set
the parameter to the desired value of 12.
Transmit [B0, 65, 00] and [B0, 64, 02] to the i30 to select the
RPN Coarse Tune. Then transmit [B0, 06, 34] and [B0, 26,
00] to set the parameter value to 12.
With data of 64, the setting of the program will be used. 63
or lower will shorten the time, and 65 or higher will
lengthen it.
With data of 64, the setting of the program will be used. 63
or lower will darken the tone, and 65 or higher will
brighten it.
Data on the channel that is specified as the global MIDI
channel will be valid only if CC#12 or CC#13 is specified
as the effect dynamic modulation source.

...
...

64

00

0
...

...
...

25

...

00

...

48

...

...

RPN=1 (Fine Tune)

96

00

+50

*5:

*6:

RPN=2 (Coarse Tune)

*7:

...

...

64

00

0
...

12

...

00

...

52

...

...

Parameter value (Semitone steps)


24

...

CC#38
00

...

CC#06
40

88

00

+24

3. Timing corrections produced by the Quantize operation


Quantize

Original
100%

Quantize Resolution = 
Offset = 0.00, Intensity = 100%
50%

Quantize Resolution = 
Offset = 0.00, Intensity = 50%

100%

Quantize Resolution = 
Offset = +0.24, Intensity = 100%

100%

50%

100%

+0.24

+0.24

75%

+0.24

Quantize Resolution = 
Offset = 0.12, Intensity = 100%
0.12

+0.24

75%

Quantize Resolution = 
Offset = +0.24, Intensity = 75%
100%

100%

75%

+0.24
100%

0.12

+0.24
100%

0.12

Arrangements
Bank A (Preset)

Bank B (Preset)

Bank C (User)

Bank D (User)

Arrangement

Style

Arrangement

Style

Arrangement

Style

Arrangement

Style

A11
A12
A13
A14
A15
A16
A17
A18
A21
A22
A23
A24
A25
A26
A27
A28
A31
A32
A33
A34
A35
A36
A37
A38
A41
A42
A43
A44
A45
A46
A47
A48
A51
A52
A53
A54
A55
A56
A57
A58
A61
A62
A63
A64
A65
A66
A67
A68
A71
A72
A73
A74
A75
A76
A77
A78
A81
A82
A83
A84
A85
A86
A87
A88

A11
A12
A13
A14
A15
A16
A17
A18
A21
A22
A23
A24
A25
A26
A27
A28
A31
A32
A33
A34
A35
A36
A37
A38
A41
A42
A43
A44
A45
A46
A47
A48
A51
A52
A53
A54
A55
A56
A57
A58
A61
A62
A63
A64
A65
A66
A67
A68
A71
A72
A73
A74
A75
A76
A77
A78
A81
A82
A83
A84
A85
A86
A87
A88

B11
B12
B13
B14
B15
B16
B17
B18
B21
B22
B23
B24
B25
B26
B27
B28
B31
B32
B33
B34
B35
B36
B37
B38
B41
B42
B43
B44
B45
B46
B47
B48
B51
B52
B53
B54
B55
B56
B57
B58
B61
B62
B63
B64
B65
B66
B67
B68
B71
B72
B73
B74
B75
B76
B77
B78
B81
B82
B83
B84
B85
B86
B87
B88

B11
B12
B13
B14
B15
B16
B17
B18
B21
B22
B23
B24
B25
B26
B27
B28
B31
B32
B33
B34
B35
B36
B37
B38
B41
B42
B43
B44
B45
B46
B47
B48
B51
B52
B53
B54
B55
B56
B57
B58
B61
B62
B63
B64
B65
B66
B67
B68
B71
B72
B73
B74
B75
B76
B77
B78
B81
B82
B83
B84
B85
B86
B87
B88

C11
C12
C13
C14
C15
C16
C17
C18
C21
C22
C23
C24
C25
C26
C27
C28
C31
C32
C33
C34
C35
C36
C37
C38
C41
C42
C43
C44
C45
C46
C47
C48
C51
C52
C53
C54
C55
C56
C57
C58
C61
C62
C63
C64
C65
C66
C67
C68
C71
C72
C73
C74
C75
C76
C77
C78
C81
C82
C83
C84
C85
C86
C87
C88

C23
C16
C65
C16
C26
C68
C14
C46
C12
C32
C67
C21
C51
C61
C55
C52
C56
C33
C37
C63
C41
C22
C53
C57
C31
C11
C64
C15
C18
C25
C58
C45
C13
C34
C62
C48
C27
C28
C35
C43
C54
C36
C44
C47
C24
C17
C66
C38
C23
C65
C26
C68
C14
C46
C12
C52
C56
C42
C37
C63
C13
C34
C27
C28

D11
D12
D13
D14
D15
D16
D17
D18
D21
D22
D23
D24
D25
D26
D27
D28
D31
D32
D33
D34
D35
D36
D37
D38
D41
D42
D43
D44
D45
D46
D47
D48
D51
D52
D53
D54
D55
D56
D57
D58
D61
D62
D63
D64
D65
D66
D67
D68
D71
D72
D73
D74
D75
D76
D77
D78
D81
D82
D83
D84
D85
D86
D87
D88

A12
A13
A17
A24
A28
A34
A35
A36
A37
A38
A41
A53
A56
A61
A62
A63
A65
A65
A66
A66
A68
A72
A72
A78
A88
B11
B11
B12
B14
B15
B16
B21
B22
B23
B25
B26
B31
A31
B32
B33
B41
B42
B43
B45
B46
A47
B47
B48
B56
B61
A64
B64
B65
B66
B68
B71
B72
B73
B75
B76
A81
A82
B84
B88

8 Beat
Guitar Ballad
L.A. R&B
Sweet Beat
Analog Night
8 Beat Rock
Shuffle Shade
Rhythm & Beat
16 Beat
Windy Beat
Home Beat
16 Beat Ballad
Miami Beat
Analogyst
Thin Funk
16 Beat Rock
Pop 6/8
Back to 60's
Rock 6/8
Flipper 6/8
Flipper 4/4
Twist
Hully Gully
Beach Surfer
Party Polka
Nonstop Party
Motown
Love Disco
Disco '70
80's Dance
House
Techno
Progressive
Underground
Jungle
Garage
Euro Rap
Hiphop
Dancing Tribe
Down Beat
Basic Bossa
Jazzy Bossa
Miss Bossa
Samba
Sambalegre
Beguine
Last Rhumba
Cha Cha Cha
Tango
Habanera
Paso Doble
Cumbia
Baion
Calypso
Reggae
Dance Reggae
Mambo
Salsa
Merengue
Meneito
Macarena
Tikitikita
Lambada
Disco Samba

8 Beat 1
8 Beat 2
8 Beat 3
8 Beat 4
8Beat Analog
8 Beat Rock
8Beat Shuffl
R&B
16 Beat 1
16 Beat 2
16 Beat 3
16 Beat 4
16Beat Pop
16BeatAnalog
16 Beat Funk
16 Beat Rock
Slow Pop
Slow Rock 1
Slow Rock 2
Flipper 6/8
Flipper 4/4
Twist
Hully Gully
Surf Rock
Party Polka
Disco Party
Motown
Love Disco
Disco '70
80's Dance
House
Techno
Progress.
Underground
Jungle
Garage
Rap
Hip Hop
DancingTribe
Down Beat
Bossa 1
Bossa 2
Bossa 3
Samba 1
Samba 2
Beguine
Last Rhumba
Cha Cha Cha
Tango
Habanera
Paso Doble
Cumbia
Bajon
Calypso
Reggae
Dance Reggae
Mambo
Salsa
Merengue
Meneito
Macarena
Tikytikita
Lambada
Disco Samba

Waltz
Mazurka
Polka
German Waltz
Laendler
German Polka
W. Musette
French March
Vienna Waltz
Slow Waltz 1
Slow Waltz 2
Operetta
Foxtrot
Bigband Fox
Quickstep
Charleston
40's Big Band
Big Band
Fast Big Band
Latin Big Band
Broadway
Hollywood
Jazz Waltz
5/4 Swing
Ballad
Medium Swing
Be Bop
Acid Jazz
Latin Jazz
Still Life
Party Funk
Groove
R. & B.
6/8 Blues
Gospel
Blues Shuffle
Pop Shuffle
Hip Blues
Get Funked
Electric Funk
Light Rock
Pop Rock
Open Rock
Heavy Rock
Rock Ballad
Half Time
Rock & Roll
Rock Hip Hop
Country
Country Beat
Country Ballad
Dixieland
On The Bridge
Tarantella
Sevillana
Gipsy
9/8 Roman
Ciftetelli
Mariachi
Raspa
Venezia
Minuetto
Bolero
New Age

I.Waltz
Mazurka
Polka
German Waltz
Laendler
German Polka
Waltz Musette
French March
Wien Waltz
Slow Waltz 1
Slow Waltz 2
Fox Trot 1
Fox Trot 2
BigBand Fox
Quick Step
Charleston
40's BigBand
BigBand
Fast BigBand
LatinBigBand
Broadway
Hollywood
Jazz Waltz
5/4 Swing
Swing Ballad
Medium Swing
Bebop
Acid Jazz
Latin Jazz
New Jazz
Party Funk
Groove
R&B
6/8 Blues
Gospel
BluesShuffle
Pop Shuffle
Hip Blues
R&B Funk
Rhythm&Funk
Light Rock
Pop Rock
Open Rock
Heavy Rock
Rock Ballad
Half Time
Rock & Roll
Rock Hip Hop
Country
Country Beat
Country Bld.
Dixieland
March
Tarantella
Sevillana
Gipsy
9/8 Roman
Ciftetelli
Mariachi
Raspa
Baroque
Minuet
Bolero
New Age

The Duke
Mood Swing
Warm Ballad
Jimmy's mood
Swing Shuffle
8 Beat 5
16 Beat 5
Pop Ballad
4/4 Ballad
8Beat Standard
8Beat Ballad
Folk Ballad
2 Beat Country
Country Shuffle
3/4 Country
Modern Country
Light Rock 2
R&B Dance
60's Rock
60's Dance
SambaFunk
MemphisSoul
J.B. Soul
Hiphop Funk
Jazz Funk
90's Funk
Quebradita
Orleans
Tejano
CajanZydeco
Norteno
Hora
Red Rose
Lite Bossa
Jazz Waltz 2
German Waltz 2
Energy
Toonchi
6/8 Jazz Pop
Dancefloor
Eurobeat
Speedy
Nitro
Hey Hey!
70's Folk
Monkey Rock
Front Beat
Kitaguni
The Count
6/8 Swing
All Star
Unplugged
Analog Soul
Pop Ballad 2
4/4 Ballad 2
Greyhound
Light Crunch
R&B 6/8
Johnny...
VibraBeach
Sunflower
Black Shape
Trance
Rave Party

Big Band 2
Mood Swing
6/8 Swing
Mood Swing
Swing Shuffle
8 Beat 5
16 Beat 5
Pop Ballad
4/4 Ballad
8Beat Standard
8Beat Ballad
Folk Ballad
2Bt Country
CntryShufl
Country3/4
Mdn.Country
Light Rock 2
R&B Dance
60's Rock
60's Dance
SambaFunk
60's Funk 1
60's Funk 2
HipHopFunk
JazzFunk
90's Funk
Quebradita
Orleans
Tejano
Zydeco
Norteno
Hora
Trad. Bolero
Lite Bossa
Jazz Waltz 2
German Waltz 2
Energy 1
Energy 2
6/8JazzPop
Dancefloor
Eurobeat
Pop House
Typed Beat
J-Pop
70's Acoustic
J-Rock
Front Beat
Enka
Big Band 2
6/8 Swing
Swing Shuffle
8 Beat 5
16 Beat 5
Pop Ballad
4/4 Ballad
Mdn.Country
Light Rock 2
R&B 6/8
60's Rock
60's Dance
Trad. Bolero
Lite Bossa
Energy 1
Energy 2

SoloKeys*Ballad
90's R&B
SoloKeys*Shuffle
R&B Ballad
16Beat MetalRock
Eurodance 6/8
Eurodance 4/4
Twist 2
Hully Gully 2
Web Surfer.com
Dance Polka
Cool Slow Jungle
Urban Funk
Bossa Nova
Lite Bossa 2
Guitar Bossa
Sambalegro 2
Soft Samba
Beguine 2
Beguine 3
Cha Cha Cha 2
Habanera 2
Habanera 3
Reggae 2
Technosamba
Valzer
Valzer 2
Mazurka 2
Stubenmusik
Bavarian Waltz
Stuben Polka
Ballroom Waltz
Sweet Waltz
Slow Waltz 3
Ballroom Fox
Organ Fox
BigBand Brass
6/8 Popballad
VegasBigBand
Flag Waver
Swing Ballad
West Coast Jazz
Hard Swingin'
Lightly Latin
Smooth Jazz
House Mix
Jammin' Funk
Groove 2
Fast 4/4
Medium Rock
Escola de Samba
Thrash Rock
NewAge Ballad
Medium 16 Beat
Country Hop
Country 2 Step
Bluegrass Circle
Medium Country
Marching Parade
Trantella 2
Mucho Mambo
Salsa Picante
Raspa 2
New Age 2

8 Beat 2
8 Beat 3
8Bt. Shuffle
16 Beat 4
16 Beat Rock
Flipper 6/8
Flipper 4/4
Twist
Hully Gully
Surf Rock
Party Polka
Jungle
Hip Hop
Bossa 1
Bossa 2
Bossa 3
Samba 2
Samba 2
Beguine
Beguine
Cha Cha Cha
Habanera
Habanera
Dance Reggae
Disco Samba
I.Waltz
I.Waltz
Mazurka
German Waltz
Laendler
German Polka
Wien Waltz
Slow Waltz 1
Slow Waltz 2
Fox Trot 2
BigBand Fox
40's BigBand
Slow Pop
BigBand
Fast BigBand
Swing Ballad
Medium Swing
Bebop
Latin Jazz
New Jazz
House
Party Funk
Groove
Hip Blues
Light Rock
Samba 1
Heavy Rock
Rock Ballad
Half Time
Rock Hip Hop
Country
Country Beat
Country Bld.
March
Tarantella
Mambo
Salsa
Raspa
New Age

Programs
Bank A (General MIDI) Bank B (General MIDI) Bank C (Preset)
Program

A11
A12
A13
A14
A15
A16
A17
A18
A21
A22
A23
A24
A25
A26
A27
A28
A31
A32
A33
A34
A35
A36
A37
A38
A41
A42
A43
A44
A45
A46
A47
A48
A51
A52
A53
A54
A55
A56
A57
A58
A61
A62
A63
A64
A65
A66
A67
A68
A71
A72
A73
A74
A75
A76
A77
A78
A81
A82
A83
A84
A85
A86
A87
A88

Piano 1
Piano 2
Piano 3
Piano Honky
E.Piano 1
Digi Piano
Harpsicord
Clavinet
Celesta
Glocken
Music Box
Vibraphone
Marimba
Xylophone
Tubular
Santur
Full Organ
Organ 2
Organ 3
Church Organ 1
Reed Org1
Musette
Harmonica
Bandoneon
NylonGtr.
SteelGtr.
Jazz Gtr.
Clean Gtr
Muted Gtr
OverDrive
Dist.Gtr
Gtr_Harm.
Acoustic Bs.
Fingerd Bs.
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
Synth Bass 2
Violin
Viola
Cello
Contrabass
Tremolo Str.
PizzicatoStr.
Harp
Timpani
Strings
Slow Strings
SynStrings1
SynStrings2
Choir Aahs
Voice Ooh
SynVox
Orchest.Hit
Trumpet
Trombone
Tuba
MuteTrumpet
French Horns
Pop Brass
Syn.Brass 1
Syn.Brass 2

Bank No.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063

Program
B11
B12
B13
B14
B15
B16
B17
B18
B21
B22
B23
B24
B25
B26
B27
B28
B31
B32
B33
B34
B35
B36
B37
B38
B41
B42
B43
B44
B45
B46
B47
B48
B51
B52
B53
B54
B55
B56
B57
B58
B61
B62
B63
B64
B65
B66
B67
B68
B71
B72
B73
B74
B75
B76
B77
B78
B81
B82
B83
B84
B85
B86
B87
B88

Soprano Sax
Alto Sax
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Clarinet
Piccolo
Flute
Recorder
Pan Flute
Bottle Blow
Shakuhachi
Whistle
Ocarina
SquareWave
Saw Wave
Syn.Calliope
Chiffer Lead
Charang
Solo Vox
5th Saw Wave
Bass & Lead
Fantasia
Warm Pad
PolySynth
Space Voice
BowedGlass
Metal Pad
Halo Pad
Sweep Pad
Ice Rain
Soundtrack
Crystal
Atmosphere
Brightness
Goblin
Echo Drops
Star Theme
Sitar
Banjo
Shamisen
Koto
Kalimba
Bagpipe
Fiddle
Shanai
Tinkle Bell
Agogo
Steel Drums
Woodblock
Taiko
Melo. Tom 1
Synth Drum
Reverse Cym.
Gt.FretNoise
Breath Noise
Seashore
Bird
Telephone
Helicopter
Applause
Gun Shot

Bank No.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127

Program
C11
C12
C13
C14
C15
C16
C17
C18
C21
C22
C23
C24
C25
C26
C27
C28
C31
C32
C33
C34
C35
C36
C37
C38
C41
C42
C43
C44
C45
C46
C47
C48
C51
C52
C53
C54
C55
C56
C57
C58
C61
C62
C63
C64
C65
C66
C67
C68
C71
C72
C73
C74
C75
C76
C77
C78
C81
C82
C83
C84
C85
C86
C87
C88

90's Piano
Rock Piano
New Piano
M1 Piano
Whirly
DW-8000 EP
HarpsiFunk
Clavmation
Country Piano
Cross Stage
Orgel
Syn Vibes
Balaphone
Gamelan
Church Bell
Celtic Plug
Gospel Organ
Click Organ
Rotary Organ
Velo "B"
Euro Pipe
French Musette
Akordeon
Cassotto
L&R Ac.Guitar
12 Strings
Pedal Steel
L&R El.Guitar
Clean Funk
Disto Mutes
Solo Dist
Power Chord
Upright
Bass/Harm
Picked Bass 2
Fat Fretty
Super Round
Dyna Slap
Dance Bass
Square Bass
The Strings
Chamber Viola
Cello Ensemble
Chamb DoubleBass
Octave Strings
Aaaaaah
Pedal Steel 2
Pedal Steel Pad
Marcato
Expr Str
Analog Pad
Analog Strings
Doolally
Air Vox Double
Glassglide
Impact Hit
Flugel Horn
Dynabone
OB.Tuba
Mute Ensemble
Horn Ensemble
Brass Band
Syn Brass 3
Sfz< Brass

Bank D (Preset)

Bank No.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1

000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063

Program
D11
D12
D13
D14
D15
D16
D17
D18
D21
D22
D23
D24
D25
D26
D27
D28
D31
D32
D33
D34
D35
D36
D37
D38
D41
D42
D43
D44
D45
D46
D47
D48
D51
D52
D53
D54
D55
D56
D57
D58
D61
D62
D63
D64
D65
D66
D67
D68
D71
D72
D73
D74
D75
D76
D77
D78
D81
D82
D83
D84
D85
D86
D87
D88

Alto Breath
Folk Sax
Soft Tenor
Perky Saxes
Oboe 2
Woodwinds
Small^Orch
Clarn Ensemble
Synth Fife
Breath Flute
Traverso
Kawala
Bottle Blow 2
Shakuhachi 2
Whistle 2
Ocarina 2
Soft Solo
Big Lead
Pure Pan Lead
Rubby
Dist Lead
Vox Lead
Big Fives
Big & Raw
Thick Pad
Soft Pad
Farluce
Heaven
Glass Pad
Panner Pad
Polar Pad
Celestial
Caribean
Rave
Bell Pad
Ambient Pad
Elastik Pad
Bell Choir
Big Panner
Odyssey
Tambra
Bouzouki
Oud
Kanoon
Ukulele
Jaw Harp
Mando Trem
Hichiriki
Zawinesque
E. Guitar 1
E. Bass velo
Sax Section
Strad Piano
Gut String Git
Babyface Rhodes
Upright 2
Stereo Dist.2
Mute Dist.Guitar
Power Chord 2
Muted Gtr 3&2
Jazz Guitar 2
Tight Chug Gtr2
F.Guitar 1
Solo Wahfeedback

Bank No.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1

064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127

Bank E (Preset)
Program
E11
E12
E13
E14
E15
E16
E17
E18
E21
E22
E23
E24
E25
E26
E27
E28
E31
E32
E33
E34
E35
E36
E37
E38
E41
E42
E43
E44
E45
E46
E47
E48
E51
E52
E53
E54
E55
E56
E57
E58
E61
E62
E63
E64
E65
E66
E67
E68
E71
E72
E73
E74
E75
E76
E77
E78
E81
E82
E83
E84
E85
E86
E87
E88

Piano & Strings


Piano Pad
Midi Piano
Fresh Air
Mark IIbis
Hard Tines
Funky Roads
Piano Vibes
Tone Wheel
70' Organ
Theatre Organ
Jimmy Organ
Double Brass
Slow Sunset
Ultra Rez
Dance ReMix
R&R Guitar
Reso Guitar
Electric Ac
Mr. Clean
Hackbrett
Guitar Strings
Stereo Dist
Guitar/Bass
Finger Dark
Dyno-Bass
Bass/Mute
Stick Bass
Deep House
Dr.Octave
Rap Bass
E. Bass3 to Sl6
Velo Flute
Flute Muted
Trump Ens
Lyle Stack
Folk Clarinet
Sect Winds
Fall Angels
Lylesircs
i3 Strings
N-Strings
Ravel Pad
Dark Pad
Yoshi Pad
Swell Pad
Slow Str Pad
Double Strings
Violin 2
Lite Voices
Air Vox
Ambi Voice
Airways
Stab Pad
Poppin'Pad
Mono Lead
Train
Space Wing
Trumpet Section
Large Bones
New York Alto
Jay 'n Kay
Fragments
Brass Fall

Bank F (User)

Bank No.
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2

000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063

Program
F11
F12
F13
F14
F15
F16
F17
F18
F21
F22
F23
F24
F25
F26
F27
F28
F31
F32
F33
F34
F35
F36
F37
F38
F41
F42
F43
F44
F45
F46
F47
F48
F51
F52
F53
F54
F55
F56
F57
F58
F61
F62
F63
F64
F65
F66
F67
F68
F71
F72
F73
F74
F75
F76
F77
F78
F81
F82
F83
F84
F85
F86
F87
F88

Ambipiano
Cross EP
Cross EP 2
Cross Dyno
Houston EP
EPno+Pad
Ballad EP
Clavage Galore
Soft EP/Pad
ReedRead E.Piano
BuzzBass E.Piano
Analog SynPiano
i30 Whirly
E.Pianarmon
DWGS E.P. 2&3
Paris Pad
Trem. Organ
Soft Tremolo
16"+Mix 4
Jazz 9
Cheese 4 Dinner
Horn & Akkor
Trumpet & Akkor
Button Accordion
Nylon Guitar 2
Nylon Guitar 3
F. Guitar 2
F. Guitar 3
Tight A.Guitar
i30 L&R A.Guitar
A.Guitar Diode
PedalSteel & Sax
E. Guitar 2
Funk Guitar 1
Funk Guitar 1&2
Skank Guitar
E. Guitar 3
Muted Guitar 2
Jazz Guitar 4
Dist Lead 2
After Wah
Lead Guitar
StringDistGuitar
Tight Chug Gtr
Guitarlog
Comp/Chor. GT
Overdrive GT.
Power Chord 3
Reggae Bass
E. Bass3 velo
E. Bass 3
Slap Bass 3
Slap Bass 4
E. Bass 4
E. Bass 5
VPM Bass
EnergeticStrings
AnaloglowStrings
Horn & Strings
Violino Vibrato
Viola Vibrato
Cello 2
Cajun Fiddle
Light Pizz

Bank G (User)
Bank No.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3

000
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063

Program
G11
G12
G13
G14
G15
G16
G17
G18
G21
G22
G23
G24
G25
G26
G27
G28
G31
G32
G33
G34
G35
G36
G37
G38
G41
G42
G43
G44
G45
G46
G47
G48
G51
G52
G53
G54
G55
G56
G57
G58
G61
G62
G63
G64
G65
G66
G67
G68
G71
G72
G73
G74
G75
G76
G77
G78
G81
G82
G83
G84
G85
G86
G87
G88

Ooh-Aah
Vocal Chord
Digital Air
Breathy
Mayceinery Solo
Thoughtless
Iced Organ
Gurgling Organ
Trumpet Ensemble
Expander Brass
The B. Bros.
SynBrass 4
MuteTrumpet2
Trombone 2
Pop Brass 2
BriteBones
Sharp Brass
Tromb Ens
TubaShort
BigBand Solo
Flute Vibrato
Flute & Voice
SlowAir VibrASax
Folk Sax 2
Dist Harmonica
Bass & Lead 2
SYNCING 1
SYNCING 2
SYNCING 3
Runnning Solo
Syn Flute
Distoflutes Solo
Digital MeawCat
Analog Analogy
Digitaloyd Pad
Hybridigi Brass
OB Brass Simile
Sharp Edge
GlidingDarkness
Paddonbelz
Marimboyd
My dream
Electric Gap
Comp/Buss GT
Ethnic Strings
Spitting Lead
Strat-Pad
Arpa Pad
Soft Timpani
Oil Drum
UdermetalRecall
Ambience
WindChimes
Glide Fx
Jet Start
Radioactive!!!
Introspect
Heart Beat
Laughing
Wind
Gallop
Telephone2
Stadium!!
Explosion

Bank R (Drum)
Bank No.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3

064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127

Program
R11
R12
R13
R14
R15
R16
R17
R18
R21
R22
R23
R24
R25
R26
R27
R28
R31
R32
R33
R34
R35
R36
R37
R38
R41
R42
R43
R44
R45
R46
R47
R48
R51
R52
R53
R54
R55
R56
R57
R58

GM Kit 1
GM Kit 2
Room Kit
Power Kit
Electronic Kit
Analog Kit
Dance Kit
Jazz Kit
Brush Kit
Orchestra Kit
Percussion Kit
Latin Perc. Kit
Arabian Kit
SFX Kit
Techno Kit
Rock Kit
GM Kit 3
Ballad Kit
i30 Perc. Kit
i30 Latin Perc.
Jazz Kit 2
R & B Kit
Techno Kit2
Brush Kit 2
Lo-Fi Kit
Pop Kit
i30 Rock Kit
Defness Kit
Rum'n'Bass Kit
Donka Kit
Kicks & Snares
Tom & HH & Cym
User Kit 1
User Kit 2
User Kit 3
User Kit 4
User Kit 5
User Kit 6
User Kit 7
User Kit 8

Bank No.
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4

000
001
008
016
024
025
026
032
040
048
064
065
116
056
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
110
111
072
073
074
075
076
077
078
079

Excl = Exclusive Group

Drum Kits
R11 GM Kit 1
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
GatedSnare
Dry Kick 2
Rock Kick
Snare 2
Open HH 1
Gated Kick
Side Stick
RollSnare2
RollSnare1
Fat Kick
Ambi.Kick
Side Stick
DrySnare 1
Syn Claps
FullRoomSD
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Lo
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R12 GM Kit 2
Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
Cracker SD
Dry Kick 2
Ambi.Kick
AmbiSnare2
Close HH
PillowKick
SideStick2
RollSnare2
RollSnare1
ProcesKick
Fat Kick
Side Stick
DrySnare 1
Syn Claps
Rock Snare
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R13 Room Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 2
AmbiSnare1
Syn Kick 3
SynSnare 1
LightSnare
TightSnare
Fat Kick
Gated Kick
FullRoomSD
Open HH 1
Real Kick
Metronome2
AmbiSnare2
PowerSnare
Rock Kick
Ambi.Kick
Side Stick
GatedSnare
Syn Claps
LightSnare
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Lo
Crash Cym
Tom 1 Lo
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R14 Power Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
PicloSnare
Snare 1
Rock Kick
Mondo Kick
FullRoomSD
Open HH 1
Fat Kick
Metronome2
AmbiSnare2
FullRoomSD
Ambi.Kick
Gated Kick
Side Stick
PowerSnare
Hand Claps
GatedSnare
ProcessTom
Close HH
ProcessTom
Pedal HH 1
ProcessTom
Open HH 1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R15 Electronic Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
Rock Snare
OilDrum
Syn Kick 1
Gated Kick
PowerSnare
ClosSynHH1
Fat Kick
Zap 1
GatedSnare
PowerSnare
Ambi.Kick
Syn Kick 4
Syn Rim
SynSnare 2
Syn Claps
AmbiSnare1
Syn Tom 1
Close HH
Syn Tom 1
Pedal HH 1
Syn Tom 1
Open HH 1
Syn Tom 1
Syn Tom 1
Crash Cym
Syn Tom 1
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R16 Analog Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Explosion
AmbiSnare1
Real Kick
GatedSnare
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
SynTom2 Hi
SynTom2 Hi
SynTom2 Lo
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R17 Dance Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Snare 1
Snare 1
Syn Kick 3
SynSnare 1
Snare 1
AmbiSnare2
Ambi.Kick
Rock Snare
WhiteNoise
Zap 2
Dry Kick 1
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Dance Kick
Metronome2
FullRoomSD
Syn Claps
AmbiSnare1
ProcessTom
Close HH
ProcessTom
ClosSynHH1
ProcessTom
OpenSynHH1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R18 Jazz Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample

Excl

Syn Kick 1
SynSnare 1
Syn Kick 3
SynSnare 1
LightSnare
AmbiSnare2
Ambi.Kick
PillowKick
FullRoomSD
Open HH 1
Dry Kick 1
Metronome2
DrySnare 1
FullRoomSD
Ambi.Kick
Dry Kick 2
Side Stick
LightSnare
Hand Claps
Snare 2
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R21 Brush Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Hi
DrySnare 1
Orch B.Drm
Punch Kick
FingrSnap1
Open HH 1
Dry Kick 1
Side Stick
Brush Tap
Brush Tap
PillowKick
Dry Kick 2
Side Stick
BrushNoise
Brush Slap
BrushSwish
Brush Tom
Close HH
Brush Tom
Pedal HH 1
Brush Tom
Open HH 1
Brush Tom
Brush Tom
Crash Cym
Brush Tom
Ride Cym 2
China Cym
Ride Edge
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 1
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R22 Orchestra Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
------RollSnare2
RollSnare1
FingrSnap1
Close HH
Pedal HH 1
Open HH 1
Ride Edge
Stick Hit
Snap
Metronome1
Tubular 3
Real Kick
Orch B.Drm
Side Stick
DrySnare 1
Castanet1V
DrySnare 1
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Orch Cym
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
Applause 1
-----------------------------------------

Excl
None
None
None
Group07
Group07
None
Group01
Group01
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R23 Percussion Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
------Flexatone
FingCymbal
Tsuzumi
Lo Bongo
Hi Bongo
Lo Bongo
Tambourine
Agogo 1
Wind
Agogo 1
Slap Bongo
WoodBlockL
Claves
WoodBlockM
BongBellOp
WoodBlockH
Castanet 1
Baya 2
Shaker 1
Baya 1
Maracas 1
Baya 2
Cabasa
Tabla 3
Tabla 2
Viblaslap
Tabla 1
MuteTriang
Orch B.Drm
OpenTriang
Guiro S
JingleBell
Guiro L
MarcTree 1
MarcTree 2
Maracas 1
Hand Claps
Syn Claps
Scratch Lo
Scratch Hi
ScratchDbl
Whistle S
Whistle L
Slap Conga
Mute Conga
Open Conga
Open Conga
Mute Cuica
Open Cuica
Timbal1Pil
Timbal1HiR
Timbal1HiO
Timbal1LoO
Syn Claves
SynCowbell
FingrSnap1
Taiko Hi
Taiko Lo
Zap 2
RollSnare1
RollSnare2
Orch Cym
Orch Cym
Udu
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit

Excl
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group01
Group01
None
Group01
Group03
None
Group03
Group02
None
Group02
None
None
None
None
None
None
None
None
Group04
Group04
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group05
Group05
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R24 Latin Perc. Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
--MuteTriang
OpenTriang
Flexatone
FingCymbal
SynCowbell
Castanet 1
Castanet1V
FingrSnap1
Snap
MetalHitHi
MetalHitLo
Tsuzumi
Tsuzumi
Tsuzumi
Orch B.Drm
Orch B.Drm
Agogo 1
Agogo 1
Open Conga
Mute Conga
Palm Conga
Slap Conga
SynMaracas
Open Conga
MuteTriang
OpenTriang
Mute Conga
Palm Conga
Slap Conga
Tambourine
Open Conga
Lo Bongo
Lo Bongo
Hi Bongo
Timbal1LoO
Slap Bongo
Timbal1LoO
Tambourine
Timbal1Pil
Timbal1HiO
Timbal1Pil
Timbal1HiO
Timbal1HiR
Timbal1HiR
Rek Dom 2
Rek Dom 2
Rek Dom 2
Rek Slap
BongBellOp
WoodBlockL
WoodBlockM
BongBellMt
Maracas 1
Manbo Bell
Cabasa
Shaker 3
Cowbell 1
Shaker 1
Shaker 1
Shaker 2
Tambourim3
Tambourim1
Tambourim2
Tambourim2
Tambourim1
Udu
DjembeOpen
Maracas 1
Maracas 1
Mute Cuica
Guiro L
Guiro S
Guiro S
Open Cuica
Claves
Whistle S
Whistle L
Sagat Open
Sagat HfOp
SagatClose
JingleBell
MarcTree 1
MarcTree 2
Tri Roll
Cast Roll
Metronome1
Metronome2

Excl
None
Group07
Group07
None
None
None
Group06
None
None
None
None
None
None
None
None
Group01
Group01
None
None
None
None
None
None
None
None
Group02
Group02
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group03
Group03
Group03
None
None
Group04
Group04
Group05
Group05
Group05
None
None
None
Group02
Group06
None
None

Excl = Exclusive Group

R25 Arabian Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Metronome2
Tubular 3
Cowbell 1
Cowbell 1
RollSnare1
FingrSnap1
Zap 2
Tite HH 1
Gt Scratch
Gt Scratch
Stick Hit
Palm Conga
Metronome2
Metronome1
Ambi.Kick
Real Kick
Side Stick
Snare 1
Hand Claps
Snare 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Open HH 1
Tom 1 Hi
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
Darabuka O
Darabuka M
Tambourine
Darabuka R
Cowbell 1
Darabuka R
Cabasa
Douf Dom
Douf Tak 2
Lo Bongo
Douf Tak 1
Hi Bongo
Douf Rim
Tabla Dom
Tabla Roll
Tabla Tak
Tabla Flam
Tabla Rim
Slap Bongo
Tabla 2
Rek Dom 2
Rek Tak
Rek Dom 1
Rek Rim
Rek Rim
Rek Slap
Tambourine
Rek Dom 2
Tambourine
Rek Tak
Rek Rim
Rek Slap
Sagat Open
Sagat HfOp
SagatClose
JingleBell
DjembeOpen
DjembeOpen
Darabuka O
Sagat Open
Sagat HfOp
SagatClose
JingleBell
Real Kick
Cast Roll
-------------------------

R27 Techno Kit

R26 SFX Kit


Excl
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
Group02
None
Group03
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group04
Group04
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
None
None
Group05
Group05
Group05
None
Group06
Group06
Group06
Group07
Group07
Group07
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
--------------------Scratch b
Scratch c
GtCutNois1
GtCutNois2
Chic 2
Chic 1
Bass Slide
Gt Scratch
Zap 1
WhiteNoise
Scratch Hi
Scratch Lo
Stick Hit
Footstep 2
Metronome2
Metronome1
Gtr Slide
GtCutNois1
GtCutNois1
StringSlap
StringSlap
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 1
Applause 1
Door Creak
Door Slam
Scratch a
MarcTree 2
Car Engine
Car Stop
Car Pass
Car Crash
Siren
Train
Jetstar
Helicopter
Laser Gun
Gun Shot 2
MachineGun
Laser Gun
Explosion
Dog
Gallop
Bird 1
Rain
Thunder
Wind
Seashore
Stream
Bubble
Kitty
Bird 2
Growl 2
Stadium
Telephone1
Telephone2
-------------------------------------

Excl
None
None
None
None
None
None
None
None
None
None
Group01
Group01
None
None
None
None
None
None
None
None
Group02
Group02
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group03
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dry Kick 2
Rock Snare
Gated Kick
FullRoomSD
PicloSnare
Rock Snare
Syn Kick 1
Dance Kick
Snare 1
Close HH
Ambi.Kick
Zap 1
FullRoomSD
SynSnare 2
Syn Kick 1
Syn Kick 1
Zap 1
SynSnare 1
Syn Claps
LightSnare
OilDrum
Ride Edge
OilDrum
Ride Edge
OilDrum
Crash LP
OilDrum
OilDrum
Crash Cym
OilDrum
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Zap 2
Ride Cym 2
Hi Bongo
Lo Bongo
Douf Rim
Douf Dom
Douf Dom
SolidHit
SolidHit
MouthHarp1
MouthHarp1
Cabasa
SynMaracas
Explosion
Jetstar
Rev.Cymbal
Crash Cym
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R28 Rock Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample

Excl

Syn Kick 1
SynSnare 2
SynTom2 Lo
SynSnare 1
LightSnare
AmbiSnare2
Dry Kick 2
PillowKick
PicloSnare
ClosSynHH1
Ambi.Kick
Metronome2
DrySnare 1
LightSnare
Metal Kick
Gated Kick
Metronome2
Rock Snare
Hand Claps
FullRoomSD
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R31 i30 Perc. Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Tambo.Push
GR13-TB1
Tabla 1
Flexatone
FingCymbal
Tsuzumi
Lo Bongo
Hi Bongo
Lo Bongo
Tambourine
Agogo 1
Wind
Agogo 1
Slap Bongo
WoodBlockL
Claves
WoodBlockM
BongBellOp
WoodBlockH
Castanet 1
Baya 2
Shaker 1
Baya 1
Maracas 1
Baya 2
Cabasa
Tabla 3
Tabla 2
Viblaslap
Tabla 1
MuteTriang
Orch B.Drm
OpenTriang
Guiro S
JingleBell
Guiro L
MarcTree 1
MarcTree 2
Maracas 1
Hand Claps
Syn Claps
Scratch Lo
Scratch Hi
ScratchDbl
Whistle S
Whistle L
Slap Conga
Conga Toe
Conga Open
Conga Open
Mute Cuica
Open Cuica
Timbal1Pil
Timbal2HiR
Timbal2HO1
Timbal2LoO
Syn Claves
SynCowbell
FingrSnap1
Taiko Hi
Taiko Lo
Zap 2
RollSnare1
RollSnare2
Orch Cym
Orch Cym
Udu
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit
Orch Hit

Excl
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group01
Group01
None
Group01
Group03
None
Group03
Group02
None
Group02
None
None
None
None
None
None
None
None
Group04
Group04
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group05
Group05
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R32 i30 Latin Perc.


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
--MuteTriang
OpenTriang
Flexatone
FingCymbal
Agogo2 Btb
Castanet 1
Castanet1V
FingrSnap1
Snap
MetalHitHi
MetalHitLo
Tsuzumi
Tsuzumi
Tsuzumi
Open Surdo
Mute Surdo
Agogo2 Lo
Agogo2 Hi
Tumba
Conga Heel
Conga Toe
Slap Conga
SynMaracas
Conga Open
MuteTriang
OpenTriang
QuintoHeel
Quinto Toe
QuintoClSl
Tambourine
QuintoOpen
Bongo2LoOp
Bongo2HiOp
Hi Bongo
Timbal2LoO
Slap Bongo
Timbal2LoO
Tambourine
Timbal2HiP
Timbal2HO1
Timbal2LoP
Timbal2HO1
Timbal2HiR
Timbal2HO2
PandeiroTO
PandeiroHl
PandeiroTo
PandeiroTC
BongBellOp
WoodBlockL
WoodBlockM
BongBellMt
Maracas 1
Manbo Bell
Cabasa
Shaker 3
ChachaBell
Shaker 1
Shaker 1
Shaker 2
Tambourim3
Tambourim1
Tambourim2
Tambourim2
Tambourim1
Udu
DjembeOpen
Maracas3-1
Maracas3-2
Mute Cuica
Guiro L
Guiro S
Guiro S
Open Cuica
Claves
Whistle S
Whistle L
Sagat Open
Sagat HfOp
SagatClose
JingleBell
MarcTree 1
MarcTree 2
Tri Roll
Cast Roll
Metronome1
Metronome2

Excl
None
Group07
Group07
None
None
None
Group06
None
None
None
None
None
None
None
None
Group01
Group01
None
None
None
None
None
None
None
None
Group02
Group02
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group03
Group03
Group03
None
None
Group04
Group04
Group05
Group05
Group05
None
None
None
Group02
Group06
None
None

R33 GM Kit 3
A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
Cracker SD
Dry Kick 2
Ambi.Kick
AmbiSnare2
Close HH
PillowKick
SideStick2
RollSnare2
RollSnare1
ProcesKick
Fat Kick
Side Stick
DrySnare 1
Syn Claps
Rock Snare
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R34 Ballad Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 5
Stick Hit
Loop-EZ BD
PicloSnare
JazzRingSD
OldAmbi.SD
Dry Kick 2
Ambi.Kick
DrySnare 1
Close HH
Soft Kick
Side Stick
RollSnare2
RollSnare1
Jazz Kick
PillowKick
SideStick2
DrySnare 3
Hand Claps
SynSnare 1
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
BongBellOp
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R35 Jazz Kit 2


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Orch B.Drm
Acid Snare
Tubby Kick
FingrSnap1
Sizzle SD
Stick Hit
Ambi.Kick
Soft Kick
DrySnare 3
Close HH
Dry Kick 2
Metronome2
DrySnare 2
FullRoomSD
PillowKick
Jazz Kick
SideStick2
DrySnare 1
Hand Claps
JazzRingSD
JazzFl Tom
Close HH
JazzFl Tom
Pedal HH 1
JazzHi Tom
Open HH 3
JazzHi Tom
JazzHi Tom
Crash Cym
JazzHi Tom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
BongBellOp
Crash Cym
Viblaslap
Ride Cym 3
Hi Bongo
Lo Bongo
Slap Conga
Conga Open
Tumba
Timbal2HO1
Timbal2LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R36 R & B Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 5
Stick Hit
Loop-EZ BD
DrySnare 2
JazzRingSD
OffCentrSD
Jazz Kick
Tubby Kick
JazzRingSD
Tite HH 2
Soft Kick
Syn Rim
Sizzle SD
SynSnare 2
Real Kick
ProcesKick
SideStick2
DrySnare 1
Hand Claps
Cracker SD
Syn Tom 1
Tite HH 2
Syn Tom 1
Pedal HH 2
Syn Tom 1
Open HH 3
Syn Tom 1
Syn Tom 1
Crash Cym
Syn Tom 1
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
BongBellOp
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal2HO1
Timbal2LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R37 Techno Kit2


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dry Kick 2
Rock Snare
Gated Kick
OffCentrSD
Soft Snare
Sizzle SD
Syn Kick 1
Syn Kick 6
Cyber SD 1
Close HH
SynKick 11
Zap 1
PicloSnare
SynSnare 2
Syn Kick 1
Syn Kick 7
Zap 1
Sizzle SD
Syn Claps
OffCentrSD
ProcesTom2
Ride Cup
ProcesTom2
Ride Cym 1
ProcesTom2
China Cym
ProcesTom2
ProcesTom2
Crash Cym
ProcesTom2
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Zap 2
Ride Cym 2
Hi Bongo
Lo Bongo
Douf Rim
Douf Dom
Douf Dom
SolidHit
SolidHit
MouthHarp1
MouthHarp1
Cabasa
SynMaracas
Explosion
Jetstar
Rev.Cymbal
Crash Cym
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R38 Brush Kit 2


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample

Excl

Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Lo
Tom 1 Hi
Ride Cym 1
Orch B.Drm
Punch Kick
FingrSnap1
Close HH
Dry Kick 1
SideStick2
Brush Tap
DrySnare 1
PillowKick
Dry Kick 2
Side Stick
Brush Tap
Brush Slap
BrushSwish
Brush Tom
Close HH
Brush Tom
Pedal HH 1
Brush Tom
Open HH 3
Brush Tom
Brush Tom
Crash Cym
Brush Tom
Ride Cym 2
China Cym
Ride Edge
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 1
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Conga Open
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R41 Lo-Fi Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

10

Drumsample
Snare 1
Snare 1
Syn Kick 3
SynSnare 1
Snare 1
JazzRingSD
Ambi.Kick
Rock Snare
WhiteNoise
Zap 2
Dry Kick 1
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Loop-EZ BD
Metronome2
GR02-SN3
Hand Claps
Acid Snare
JazzFl Tom
GR08-HH1
JazzFl Tom
OpenSynHH2
JazzHi Tom
GR08-HH2
JazzHi Tom
JazzHi Tom
Crash Cym
JazzHi Tom
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Bongo2LoOp
Lo Bongo
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R42 Pop Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 1
Syn Kick 3
SynSnare 1
LightSnare
AmbiSnare2
Ambi.Kick
PillowKick
FullRoomSD
Open HH 1
Dry Kick 1
Metronome2
DrySnare 1
FullRoomSD
Ambi.Kick
Ambi.Kick
Side Stick
DrySnare 2
Hand Claps
Cracker SD
Tom 1 Lo
Tite HH 1
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 2
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R43 i30 Rock Kit


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
SynTom2 Lo
Cracker SD
LightSnare
Cracker SD
Dry Kick 2
Gated Kick
LightSnare
ClosSynHH1
Dry Kick 2
Metronome2
PowerSnare
LightSnare
Metal Kick
Mondo Kick
Metronome2
Rock Snare
Hand Claps
BigRock SD
ProcessTom
Tite HH 2
ProcessTom
Pedal HH 2
ProcessTom
Open HH 3
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R44 Defness Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
SynTom2 Lo
SynSnare 1
LightSnare
PowerSnare
Dry Kick 2
Dance Kick
AmbiSnare1
ClosSynHH1
Syn Kick 2
Metronome2
OffCentrSD
LightSnare
Metal Kick
Defness BD
Metronome2
Defness SD
Hand Claps
AmbHouseSD
JazzFl Tom
Pedal HH 2
JazzFl Tom
PedalDstHH
JazzHi Tom
Open HH 3
JazzHi Tom
JazzHi Tom
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R45 Drum'n'Bass Kit


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
SynTom2 Lo
DrySnare 2
LightSnare
SynSnare 1
Dry Kick 2
SolidHit
PicloSnare
TiteSynHH1
Syn Kick 2
Side Stick
Cyber SD 2
Soft Snare
Syn Kick 9
Soft Kick
Metronome2
Club Snare
Syn Claps
OffCentrSD
Tom 1 Hi
Close HH
Tom 1 Hi
Pedal HH 2
Tom 1 Hi
Open HH 2
Tom 1 Hi
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 1
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 3
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R46 Analog Kit 2


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Explosion
AmbiSnare1
Real Kick
Syn Kick 5
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R47 Kicks & Snares


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Fat Kick
Rock Kick
Ambi.Kick
Crisp Kick
Punch Kick
PillowKick
Soft Kick
Dry Kick 1
Dry Kick 2
Dry Kick 3
Real Kick
Jazz Kick
Gated Kick
Mondo Kick
ProcesKick
Metal Kick
Dance Kick
Tubby Kick
Syn Kick 1
Syn Kick 2
Syn Kick 3
Syn Kick 4
Syn Kick 5
Syn Kick 6
Syn Kick 7
Syn Kick 8
Syn Kick 9
SynKick 10
SynKick 11
Defness BD
Loop-EZ BD
DJ Scratch
Orch B.Drm
Snare 1
Snare 2
Snare 3
Snare 4
PicloSnare
Soft Snare
LightSnare
FullRoomSD
JazzRingSD
OffCentrSD
DrySnare 1
DrySnare 2
DrySnare 3
TightSnare
AmbiSnare1
AmbiSnare2
Rock Snare
GatedSnare
PowerSnare
BigRock SD
Cracker SD
AmbHouseSD
RollSnare1
RollSnare2
SynSnare 1
SynSnare 2
SynSnare 3
SynSnare 4
SynSnare 5
NoiseSnare
DanceSnare
Sizzle SD
Acid Snare
Club Snare
Cyber SD 1
Cyber SD 2
Defness SD
OldAmbi.SD
GR02-SN3
ClapsSnare
Brush Slap
Brush Tap
BrushSwish
BrushSwirl
Stick Hit
Side Stick
SideStick2
Syn Rim
---------------

Excl
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group01
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

R48 Tom & HH & Cym


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample

Excl

------------------------------Tom 1 Lo
Tom 1 Hi
Tom 2 Lo
Tom 2 Lo V
Tom 2 Hi
Tom 2 Hi V
Tom 3 Lo
Tom 3 Lo
JazzFl Tom
JazzHi Tom
ProcessTom
ProcesTom2
OilDrum
Syn Tom 1
SynTom2 Lo
SynTom2 Hi
SolidHit
Brush Tom
BrushTom V
Tite HH 1
Tite HH 2
Close HH
Open HH 1
Open HH 2
Open HH 3
Pedal HH 1
Pedal HH 2
CloseDstHH
OpenDst HH
PedalDstHH
TiteSynHH1
TiteSynHH2
ClosSynHH1
ClosSynHH2
OpenSynHH1
OpenSynHH2
OpenSynHH3
OpenSynHH4
OpenSynHH5
OpenSynHH6
GR08-HH1
GR08-HH2
Crash Cym
Crash LP
China Cym
China LP
Splash Cym
Splash LP
Orch Cym
OrchCym LP
SynCrash 1
SynCrash 2
Ride Edge
Ride Cup
Ride Cym 1
Ride Cym 2
Ride Cym 3
---------------------------------

None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

11

Excl = Exclusive Group

R51 User Kit 1


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

12

Drumsample
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
GatedSnare
Dry Kick 2
Rock Kick
Snare 2
Open HH 1
Gated Kick
Side Stick
RollSnare2
RollSnare1
Fat Kick
Ambi.Kick
Side Stick
DrySnare 1
Syn Claps
FullRoomSD
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Lo
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R52 User Kit 2


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 1
SynSnare 2
Syn Kick 3
SynSnare 1
FullRoomSD
Cracker SD
Dry Kick 2
Ambi.Kick
AmbiSnare2
Close HH
PillowKick
SideStick2
RollSnare2
RollSnare1
ProcesKick
Fat Kick
Side Stick
DrySnare 1
Syn Claps
Rock Snare
Tom 2 Lo
Close HH
Tom 2 Lo
Pedal HH 1
Tom 2 Lo
Open HH 1
Tom 2 Hi
Tom 2 Hi
Crash Cym
Tom 2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Edge
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R53 User Kit 3


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
Group07
Group07
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Syn Kick 2
AmbiSnare1
Syn Kick 3
SynSnare 1
LightSnare
TightSnare
Fat Kick
Gated Kick
FullRoomSD
Open HH 1
Real Kick
Metronome2
AmbiSnare2
PowerSnare
Rock Kick
Ambi.Kick
Side Stick
GatedSnare
Syn Claps
LightSnare
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Lo
Crash Cym
Tom 1 Lo
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R54 User Kit 4


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
PicloSnare
Snare 1
Rock Kick
Mondo Kick
FullRoomSD
Open HH 1
Fat Kick
Metronome2
AmbiSnare2
FullRoomSD
Ambi.Kick
Gated Kick
Side Stick
PowerSnare
Hand Claps
GatedSnare
ProcessTom
Close HH
ProcessTom
Pedal HH 1
ProcessTom
Open HH 1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

Excl = Exclusive Group

R55 User Kit 5


A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Dance Kick
SynSnare 2
Syn Kick 3
SynSnare 1
Rock Snare
OilDrum
Syn Kick 1
Gated Kick
PowerSnare
ClosSynHH1
Fat Kick
Zap 1
GatedSnare
PowerSnare
Ambi.Kick
Syn Kick 4
Syn Rim
SynSnare 2
Syn Claps
AmbiSnare1
Syn Tom 1
Close HH
Syn Tom 1
Pedal HH 1
Syn Tom 1
Open HH 1
Syn Tom 1
Syn Tom 1
Crash Cym
Syn Tom 1
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R56 User Kit 6


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Explosion
AmbiSnare1
Real Kick
GatedSnare
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
SynTom2 Hi
SynTom2 Hi
SynTom2 Lo
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R57 User Kit 7


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample
Snare 1
Snare 1
Syn Kick 3
SynSnare 1
Snare 1
AmbiSnare2
Ambi.Kick
Rock Snare
WhiteNoise
Zap 2
Dry Kick 1
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Dance Kick
Metronome2
FullRoomSD
Syn Claps
AmbiSnare1
ProcessTom
Close HH
ProcessTom
ClosSynHH1
ProcessTom
OpenSynHH1
ProcessTom
ProcessTom
Crash Cym
ProcessTom
Ride Cym 2
Rev.Cymbal
Ride Cup
Tambourine
Splash Cym
SynCowbell
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Palm Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Syn Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

R58 User Kit 8


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3
F3
F#3
G3
G#3
A3
A#3
B3
C4
C#4
D4
D#4
E4
F4
F#4
G4
G#4
A4
A#4
B4
C5
C#5
D5
D#5
E5
F5
F#5
G5
G#5
A5
A#5
B5
C6
C#6
D6
D#6
E6
F6
F#6
G6
G#6
A6
A#6
B6
C7
C#7
D7
D#7
E7
F7
F#7
G7
G#7
A7
A#7
B7
C8

Drumsample

Excl

Syn Kick 1
SynSnare 1
Syn Kick 3
SynSnare 1
LightSnare
AmbiSnare2
Ambi.Kick
PillowKick
FullRoomSD
Open HH 1
Dry Kick 1
Metronome2
DrySnare 1
FullRoomSD
Ambi.Kick
Dry Kick 2
Side Stick
LightSnare
Hand Claps
Snare 2
Tom 1 Lo
Close HH
Tom 1 Lo
Pedal HH 1
Tom 1 Lo
Open HH 1
Tom 1 Lo
Tom 1 Hi
Crash Cym
Tom 1 Hi
Ride Cym 2
China Cym
Ride Cup
Tambourine
Splash Cym
Cowbell 1
Crash Cym
Viblaslap
Ride Cym 2
Hi Bongo
Lo Bongo
Slap Conga
Open Conga
Open Conga
Timbal1HiO
Timbal1LoO
Agogo 1
Agogo 1
Cabasa
SynMaracas
Whistle S
Whistle L
Guiro S
Guiro L
Claves
WoodBlockM
WoodBlockM
Mute Cuica
Open Cuica
MuteTriang
OpenTriang
Cabasa
JingleBell
MarcTree 1
Castanet1V
Baya 1
Tom 2 Hi V
-------------------------------------------

None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
Group02
Group02
Group04
Group04
None
None
None
Group03
Group03
Group05
Group05
None
None
None
None
Group06
Group06
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None
None

13

Styles
Bank B (Preset)

Bank A (Preset)
A11
A12
A13
A14
A15
A16
A17
A18
A21
A22
A23
A24
A25
A26
A27
A28
A31
A32
A33
A34
A35
A36
A37
A38
A41
A42
A43
A44
A45
A46
A47
A48

14

8 Beat 1
8 Beat 2
8 Beat 3
8 Beat 4
8Beat Analog
8Beat Rock
8Beat Shuffl
8 R&B
16 Beat 1
16 Beat 2
16 Beat 3
16 beat 4
16Beat Pop
16BeatAnalog
16 Beat Funk
16 Beat Rock
Slow Pop
Slow Rock 1
Slow Rock 2
Flipper 6/8
Flipper 4/4
Twist
Hully Gully
Surf Rock
Party Polka
Disco Party
Motown
Love Disco
Disco '70
80's Dance
House
Techno

A51
A52
A53
A54
A55
A56
A57
A58
A61
A62
A63
A64
A65
A66
A67
A68
A71
A72
A73
A74
A75
A76
A77
A78
A81
A82
A83
A84
A85
A86
A87
A88

Progress.
Underground
Jungle
Garage
Rap
Hip Hop
DancingTribe
Down Beat
Bossa 1
Bossa 2
Bossa 3
Samba 1
Samba 2
Beguine
Last Rhumba
Cha Cha Cha
Tango
Habanera
Paso Doble
Cumbia
Bajon
Calypso
Reggae
Dance Reggae
Mambo
Salsa
Merengue
Meneito
Macarena
Tikytikit
Lambada
Disco Samba

B11
B12
B13
B14
B15
B16
B17
B18
B21
B22
B23
B24
B25
B26
B27
B28
B31
B32
B33
B34
B35
B36
B37
B38
B41
B42
B43
B44
B45
B46
B47
B48

Valzer
Mazurka
Polka
German Waltz
Laendler
German Polka
Valzer Muset
French March
Wien Waltz
Slow Waltz 1
Slow Waltz 2
Fox Trot 1
Fox Trot 2
BigBand Fox
Quick Step
Charleston
40's BigBand
BigBand
Fast BigBand
LatinBigBand
Broadway
Hollywood
Jazz Waltz
5/4 Swing
Swing Ballad
Medium Swing
Bebop
Acid Jazz
Latin Jazz
New Jazz
Party Funk
Groove

Bank C (User)
B51
B52
B53
B54
B55
B56
B57
B58
B61
B62
B63
B64
B65
B66
B67
B68
B71
B72
B73
B74
B75
B76
B77
B78
B81
B82
B83
B84
B85
B86
B87
B88

R&B
6/8 Blues
Gospel
Blues Shuffl
Pob Shuffle
Hip Blues
R&B Funk
Rhythm&Funk
Light Rock
Pop Rock
Open Rock
Heavy Rock
Rock Ballad
Half Time
Rock & Roll
Rock Hip Hop
Country
Country Beat
Country Bld.
Dixieland
March
Tarantella
Sevillana
Gipsy
9/8 Roman
Ciftetelli
Mariachi
Raspa
Baroque
Minuet
Bolero
New Age

C11
C12
C13
C14
C15
C16
C17
C18
C21
C22
C23
C24
C25
C26
C27
C28
C31
C32
C33
C34
C35
C36
C37
C38
C41
C42
C43
C44
C45
C46
C47
C48
C51
C52
C53
C54
C55
C56
C57
C58
C61
C62
C63
C64
C65
C66
C67
C68

Jazz Funk
Swing Shuffle
Pop Ballad
German Waltz 2
Country Shuffle
HipHop Funk
4/4 Ballad
Dancefloor
Country 3/4
8Beat Standard
8Beat Ballad
R&B Dance
90's Funk
Pop House
8 Beat 5
16 Beat 5
6/8 JazzPop
Front Beat
J-Pop
R&B 6/8
Hora
Big Band 2
Mood Swing
60's Rock
2Bt Country
70's Acoustic
60's Funk 1
Enka
Samba Funk
60's Funk 2
Typed Beat
Tejano
Orleans
Lite Bossa
Energy 1
Eurobeat
Folk Ballad
Modern Country
6/8 Swing
Quebradita
Zydeco
Light Rock 2
Energy 2
J-Rock
60's Dance
Jazz Waltz 2
Norteno
Trad. Bolero

Multisamples
No.
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59

Name
A.Piano 1
A.Piano 1w
A.Piano1LP
A.Piano 2
A.Piano 2w
A.Piano 3
A.Piano 3w
M1 Piano
M1 Piano w
Grand EP
E.Piano 1
E.Piano 1w
E.Piano1LP
E.Piano 2
E.Piano 2w
E.Piano2LP
E.Piano 3
Soft EP LP
Hard EP
Hard EP w
Hard EP LP
Stage EP 1
StageEP 1w
Stage EP 2
Dyno EP 1
Dyno EP 2
Wurly EP
PianoPad 2
Clav
Clav w
Clav LP
Harpsicord
Harpsicd w
HarpsicdLP
PercOrgan1
PercOrg1LP
PercOrgan2
PercOrg2LP
Organ 1
Organ 1 LP
Organ 2
Organ 2 LP
Organ 3
Organ 4
Organ 6
Organ 6 LP
VoxOrgan 1
VoxOrgan 2
VoxOrgan 3
RotaryOrg1
Rotary1 LP
RotaryOrg2
Super BX-3
SuperBX3LP
Dist.Organ
Dist.OrgLP
PipeOrgan2
PipeOrg2LP
PipeOrgan3
PipeOrg3LP

No.
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119

Name
Cheese Org
Musette
Musette V
Bandneon
BandneonLP
Accordion
AcordionLP
Harmonica1
Harmonica2
G.Guitar 1
G.Gtr 1 LP
G.Guitar 2
F.Guitar 1
F.Gtr 1 LP
F.Guitar1V
F.Guitar 2
F.Guitar 3
ResoGuitar
A.Gtr Harm
E.Guitar 1
E.Guiter1V
E.Guitar 2
E.Guitar 3
E.Guitar 4
E.Guitar 5
E.Guitar 6
E.Guitar 7
PedalSteel
Mute Gtr 1
Mute Gtr 2
Mute Gtr 3
FunkyGtr 1
FunkyGtr1V
FunkyGtr 2
E.Gtr Harm
E.GtrHramV
Dist.Gtr 1
DistGtr1LP
Dist.Gtr1V
Dist.Gtr 2
Over Drive
OverDrv LP
OverDrv F4
MtDistGtr1
MtDstGtr1V
MtDistGtr2
DstGtrHarm
PowerChrd1
PowerChd1V
OverDvChrd
Power Gtr
PowerGtr V
PowerChrd2
Gt Scratch
Gtr Slide
GtCutNois1
GtCutNois2
Chic 1
Chic 2
Sitar 1

No.
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179

Name
Sitar 2
Sitar 2 LP
Tambura
Tambura LP
Santur
Bouzouki
BouzoukiLP
Kanoun
Mandolin
Banjo
Shamisen
Koto
Uood
Harp
Ukulele
MandlinTrm
A.Bass 1
A.Bass1 LP
A.Bass 2
A.Bass2 LP
E.Bass 1
E.Bass1 LP
E.Bass 2
E.Bass2 LP
E.Bass 3
PickBass 1
PicBass1LP
PickBass 2
PickBass 3
Fretless
FretlessLP
SlapBass 1
SlapBass 2
SlpBass2LP
SlapBass 3
SlapBass 4
SlapBass 5
SlapBass 6
SynthBass1
SynBass1LP
SynthBass2
SynBass2LP
SynthBass3
RezBass 1
RezBass 2
RezBass 3
RezBass3LP
RezBass 4
SynBs Oct1
SynBs Oct2
SynBs TB
MiniBass
House Bass
FM Bass 1
FMBass1 LP
FM Bass 2
FM Bass 3
Bass Slide
StringSlap
Kalimba

No.
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239

Name
Music Box
MusicBoxLP
Log Drum
Marimba
Marimba w
Xylophone
Vibe
Vibe w
Celesta
Glocken 1
Glocken 2
BrightBell
B.Bell LP
Metal Bell
M.Bell LP
Gamelan
Tubular
ChurchBell
FingCymbal
FingCymbNT
Gong
Gong LP
Split Drum
Split Bell
Flute
Tin Flute
TinFluteLP
Pan Flute
PanFluteLP
Syn Flute
Shakuhachi
ShakhachiV
ShakhachLP
Bottle
Recorder
Ocarina
Oboe
EnglishHrn
Eng.HornLP
BasoonOboe
BsonOboeLP
Clarinet
ClarinetLP
Bari.Sax
Bari.SaxLP
Tenor Sax
T.Sax LP
Alto Sax
A.Sax LP
SopranoSax
S.Sax LP
Bag Pipe
Tuba
Tuba LP
Horn
FlugelHorn
Trombone 1
Trombone 2
Trombone 3
Trumpet

No.
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299

Name
Trumpet LP
Mute TP 1
MuteTP1 LP
Mute TP 2
Brass 1
Brass 1 LP
Brass 2
Brass 2 LP
Brass 3
Brass 3 LP
Brass Fall
StringEns.
StrEns. V1
StrEns. V2
StrEns. V3
AnaStrings
AnaStr. V1
AnaStr. V2
AnaStr. V3
PWM
Violin
Viola
Cello
Cello LP
CBs.&Cello
Pizzicato
Voice
Choir
Soft Choir
Air Vox
Doo Voice
DooVoiceLP
Ooh Voice
Aah Voice
Wave Voice
Syn Vox
Syn Vox LP
White Pad
Ether Bell
E.Bell LP
Ghostly
Mega Pad
Synth Pad
Synth PadA
Spectrum 1
WaveSweep
WaveSweepA
WaveSweepB
MouthHarp1
MouthHrp1A
MouthHarp2
MouthHrp2A
MouthHarps
ChromRes
Applause
Stadium
BrushNoise
BruNoiseNT
WhiteNoise
WhiteNoiNT

No.
300
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359

Name
Jetstar
Jetstar LP
JetstrLPNT
BrushSwirl
MarcTree 1
MrcTree1NT
MarcTree1V
MrcTre1VNT
MarcTree 2
MrcTree2NT
MarcTree2V
MrcTre2VNT
Tri Roll
TriRoll NT
Tri Roll V
TriRollVNT
Cast Roll
CastRollNT
Lore
Lore NT
Crickets 2
Crickts2NT
MalletLoop
MalletLpNT
Sporing
Rattle
Kava
Fever 1
Fever 2
Scratchar
Zappers 1
Zappers 2
Bugs
Surfy
SleighBell
Sagatty
Sagatty NT
Idling
EthnicBeat
Tap-A
Tap-B
Tap-C
SyncWave 1
SyncWave 2
Mini 1a
VS 102
VS 48
VS 52
VS 58
VS 71
VS 72
VS 88
VS 89
13-35
DWGSOrgan1
DWGSOrgan2
DWGS E.P.1
DWGS E.P.2
DWGS E.P.3
Saw342

15

Drumsamples
No.
360
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405
406
407
408
409
410
411
412
413
414
415
416
417
418
419

16

Name
Square
Ramp
Pulse 25%
Pulse 8%
Pulse 4%
Syn Sine
Sine
Orch Hit
ImpactHitL
ImpactHitR
Rave Hit L
Rave Hit R
Philly Hit
PowerSnare
Syn Snare
SnareRl/Ht
Stick Hit
Side Stick
SideStikNT
TimbleSide
TimblSidNT
Indust
Taiko Hit
Syn Rim
Syn Rim NT
Click
Crash Cym
CrashCymLP
CrashLP NT
China Cym
ChinaCymLP
Splash Cym
Orch Crash
Orch Perc
Tite HH
Tite HH NT
Open HH
CloseSynHH
OpenSyn HH
Bell Ride
Ping Ride
Orch B.Drm
Tom 1
Tom 2 Hi
Tom 2 Lo
ProccesTom
OilDrum
Syn Tom 1
Syn Tom 2
SolidHit
Steel Drum
SteelDrmLP
Timapni
Timpani LP
Taiko
Tsuzumi
Low Bongo
Slap Bongo
Open Conga
Slap Conga

No.
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
439
440
441
442
443
444
445
446
447
448
449
450
451
452
453
454
455
456
457
458
459
460
461
462
463
464
465
466
467
468
469
470
471
472
473
474
475
476
477
478
479

Name
Palm Conga
Mute Conga
Baya
Tabla 1
Tabla 2
Djembe
Maracas
SynMaracas
SynMarcsNT
Cabasa
Cabasa NT
Sagat
Sagat NT
Tambourine
JingleBell
MuteTriang
OpenTriang
Agogo
Cow Bell
Timbale
WoodBlock1
WoodBlock2
WoodBlock3
Claves
Syn Claves
Castanet
CastanetNT
Castanet V
FingerSnap
FingSnapNT
Snap
Snap NT
Vibraslap
Guiro
Guiro LP
Hand Clap
HandClapNT
Gun Shot 1
GlassBreak
Metal Hit
HandDrill
HandDrilNT
Zap 1
Zap 2
Fret Zap 1
Fret Zap 2
Scratch Hi
ScratcHiNT
Scratch Lo
ScratcLoNT
ScratchDbl
ScratDblNT
Scratch a
Scratches
Rev.Kick
Rev.ConBD
Rev Snare1
Rev.Snare2
Rev.Snare3
Rev.Cymbal

No.
480
481
482
483
484
485
486
487
488
489
490
491
492
493
494
495
496
497
498
499
500
501
502
503
504
505
506
507
508
509
510
511
512
513
514
515
516
517
518
519
520
521
522

Name
Rev.Tom 1
Rev.Tom 2
Growl 1
Growl 1 NT
Rain
Thunder
Wind
Seashore
Seashore V
Stream
Bubble
Bird 1
Bird 2
Kitty
Dog
Growl 2
Gallop
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 2
Telephone1
Telephone2
Door Creak
Door Slam
Car Engine
CarEnginLP
Car Stop
Car Pass
Car Crash
Siren
Train
Helicopter
Gun Shot 2
MachineGun
Laser Gun
Explosion
Multi Sax
Tb & Tp 1
Tb & Tp 2
Tb & Tp 3

No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60

Name
Fat Kick
Rock Kick
Ambi.Kick
Crisp Kick
Punch Kick
PillowKick
Soft Kick
Dry Kick 1
Dry Kick 2
Dry Kick 3
Real Kick
Jazz Kick
Gated Kick
Mondo Kick
ProcesKick
Metal Kick
Dance Kick
Tubby Kick
Syn Kick 1
Syn Kick 2
Syn Kick 3
Syn Kick 4
Syn Kick 5
Syn Kick 6
Syn Kick 7
Syn Kick 8
Syn Kick 9
SynKick 10
SynKick 11
Defness BD
Loop-EZ BD
DJ Scratch
Orch B.Drm
Snare 1
Snare 2
Snare 3
Snare 4
PicloSnare
Soft Snare
LightSnare
FullRoomSD
JazzRingSD
OffCentrSD
DrySnare 1
DrySnare 2
DrySnare 3
TightSnare
AmbiSnare1
AmbiSnare2
Rock Snare
GatedSnare
PowerSnare
BigRock SD
Cracker SD
AmbHouseSD
RollSnare1
RollSnare2
SynSnare 1
SynSnare 2
SynSnare 3

No.
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120

Name
SynSnare 4
SynSnare 5
NoiseSnare
DanceSnare
Sizzle SD
Acid Snare
Club Snare
Cyber SD 1
Cyber SD 2
Defness SD
OldAmbi.SD
GR02-SN3
ClapsSnare
Brush Slap
Brush Tap
BrushSwish
BrushSwirl
Stick Hit
Side Stick
SideStick2
Syn Rim
Crash Cym
Crash LP
China Cym
China LP
Splash Cym
Splash LP
Orch Cym
OrchCym LP
SynCrash 1
SynCrash 2
Tite HH 1
Tite HH 2
Close HH
Open HH 1
Open HH 2
Open HH 3
Pedal HH 1
Pedal HH 2
CloseDstHH
OpenDst HH
PedalDstHH
TiteSynHH1
TiteSynHH2
ClosSynHH1
ClosSynHH2
OpenSynHH1
OpenSynHH2
OpenSynHH3
OpenSynHH4
OpenSynHH5
OpenSynHH6
GR08-HH1
GR08-HH2
Ride Edge
Ride Cup
Ride Cym 1
Ride Cym 2
Ride Cym 3
Tom 1 Hi

No.
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180

Name
Tom 1 Lo
Tom 2 Hi
Tom 2 Hi V
Tom 2 Lo
Tom 2 Lo V
Tom 3 Lo
JazzHi Tom
JazzFl Tom
ProcessTom
ProcesTom2
OilDrum
Syn Tom 1
SynTom2 Hi
SynTom2 Lo
SolidHit
Brush Tom
BrushTom V
Timpani
Taiko Hi
Taiko Lo
Open Surdo
Mute Surdo
Douf Dom
Douf Rim
Douf Tak 1
Douf Tak 2
Lo Bongo
Hi Bongo
Slap Bongo
Bongo2LoOp
Bongo2HiOp
Bongo2Slap
Bongo2Heel
Bongo2 Toe
Tsuzumi
QuintoOpen
QuintoOpSl
QuintoClSl
QuintoHeel
Quinto Toe
Open Conga
Slap Conga
Palm Conga
Mute Conga
Conga Open
Conga OpSl
Conga Heel
Conga Toe
Tumba
Baya 1
Baya 2
Tabla 1
Tabla 2
Tabla 3
Tabla Dom
Tabla Tak
Tabla Flam
Tabla Rim
Tabla Roll
Udu

No.
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240

Name
DjembeOpen
DjembeSlap
Darabuka O
Darabuka R
Darabuka M
Mute Cuica
Open Cuica
Shaker 1
Shaker 2
Shaker 3
Cabasa
Maracas 1
Maracas2-1
Maracas2-2
Maracas3-1
Maracas3-2
SynMaracas
Shekere Ac
Shekere Up
Shekere Dw
Caxixi 1
Caxixi 2
Caxixi 3
Sagat Open
Sagat HfOp
SagatClose
Tambourine
Tambo.Acc
Tambo.Push
Tambo.Pull
GR13-TB1
Rek Dom 1
Rek Dom 2
Rek Tak
Rek Slap
Rek Rim
PandeiroTO
PandeiroTC
PandeiroHl
PandeiroTo
PandeiroCA
JingleBell
MarcTree 1
MarcTree 2
MuteTriang
OpenTriang
Flexatone
Agogo 1
Agogo2 Hi
Agogo2 Lo
Agogo2 Btb
ChachaBell
Manbo Bell
BongBellOp
BongBellMt
Cowbell 1
CowBell 2
SynCowbell
Timbal1HiR
Timbal1HiO

No.
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295
296
297
298
299
300

Name
Timbal1LoO
Timbal1Pil
Timbal2HiR
Timbal2HO1
Timbal2HO2
Timbal2LoR
Timbal2LoO
Timbal2HiP
Timbal2LoP
Tambourim1
Tambourim2
Tambourim3
WoodBlockH
WoodBlockM
WoodBlockL
Claves
Syn Claves
Castanet 1
Castanet1V
Castanet 2
FingrSnap1
FingrSnap2
Snap
Viblaslap
Guiro S
Guiro L
Whistle S
Whistle L
Hand Claps
Syn Claps
Syn Perc.1
SynPerc1Lp
Syn Perc.2
SynPerc2Lp
Syn Perc.3
SynPerc3Lp
Syn Perc.4
Syn Perc.5
MetalHitHi
MetalHitLo
Gt Scratch
Gtr Slide
GtCutNois1
GtCutNois2
Chic 1
Chic 2
Bass Slide
StringSlap
Orch Hit
ImpactHitL
ImpactHitR
Rave Hit L
Rave Hit R
Philly Hit
BrassFall1
BrassFall2
BrassFall3
BrassFall4
Zap 1
Zap 2

No.
301
302
303
304
305
306
307
308
309
310
311
312
313
314
315
316
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358
359
360

Name
Scratch Hi
Scratch Lo
ScratchDbl
Scratch a
Scratch b
Scratch c
Growl 1
Monkey 2
Rev.Kick
Rev.ConBD
Rev.Snare1
Rev.Snare2
Rev.Snare3
Rev.Cymbal
Rev.Tom 1
Rev.Tom 2
Kalimba 1
Kalimba 2
MusicBox 1
MusicBox 2
Log Drum 1
Log Drum 2
Log Drum 3
Log Drum 4
Log Drum 5
Marimba 1
Marimba 2
Marimba 3
Marimba 4
Xylofon 1
Xylofon 2
Xylofon 3
Vibe 1
Vibe 2
Vibe 3
Vibe 4
Celeste
Glocken 1
Glocken 2
Glocken 3
BrightBell
Metal Bell
Gamelan 1
Gamelan 2
FingCymbal
Tubular 1
Tubular 2
Tubular 3
ChurchBell
Gong Hi
Gong Lo
MouthHarp1
MouthHrp1A
MouthHarp2
MouthHrp2A
Spectrum 1
Stadium
BrushNoise
WhiteNoise
Jetstar

No.
361
362
363
364
365
366
367
368
369
370
371
372
373
374
375
376
377
378
379
380
381
382
383
384
385
386
387
388
389
390
391
392
393
394
395
396
397
398
399
400
401
402
403
404
405

Name
Tri Roll
Cast Roll
Lore
MalletLoop
Rain
Thunder
Wind
Seashore
Seashore V
Stream
Bubble
Bird 1
Bird 2
Kitty
Dog
Growl 2
Gallop
Laughing V
Scream
Punch
Hart Beat
Footstep 1
Footstep 2
Applause 1
Applause 2
Telephone1
Telephone2
Door Creak
Door Slam
Car Engine
Car Stop
Car Pass
Car Crash
GlassBreak
Siren
Train
Helicopter
Gun Shot 1
Gun Shot 2
MachineGun
Laser Gun
Explosion
HandDrill
Metronome1
Metronome2

Sounds processed with INFINTYT.M.

LOOPS BY JUPITER SYSTEMS

Demo songs "Bajon ", "Big Band", "Be Bop", "Latin Jazz", "Salsa" and
"Samba1" written by Geoff Stradling 1998 StradMan Music

17

Additions and corrections


The following functionality has
been added to the i30

p.11 R46 Donka Kit of Drum Kits


(Incorrect) R46 Donka Kit
A0
A#0

NMS (Numeric MIDI file Selection) function

B0

An NMS function has been added to Song Play mode.


When an SMF is saved to disk, a unique number is assigned
to each file. In Song Play mode, you can rapidly select the
SMF that you wish to play by using the front panel ARRANGEMENT/STYLE keys to specify the file number. The
numbers which can be selected by the ARRANGEMENT/
STYLE keys are shown in the following diagram.

C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1

C2
C#2
D2
D#2
E2
F2
F#2

1While an SMF is playing, the front panel ARRANGEMENT/


STYLE keys will specify the number of the SMF which will
be played next.
Input a three-digit number. For example to input 15, you
would press 0, 1, 5. When input is completed, the
number you specified will be displayed with the NMS
parameters.
If you delete an SMF from the disk, this number will also be
deleted. Be careful not to specify a number for which an
SMF does not exist.

2Stop playback, and then press the START/STOP key to start


playback once again.
The SMF of the number that you input will play back.

Split Point Lock function


A Split Point Lock function has been added to the Arrangement Play mode dialog Chord Scanning/Split Point.
If this check box is checked, the split point will not change
even when the arrangement is changed. This setting can be
memorized in internal memory by executing the Global page
Write Arrangement Global (page menu command).

Correct the Performance Notes as


follows
p.2 Bank D (User) of Programs
(Incorrect) D25 Bottle Blow (Correct) D25 Bottle Blow 2
(Incorrect) D73 E. Bass 3 velo (Correct) D73 E. Bass velo

p.3 Bank F (User) of Programs


(Incorrect) F58 Dist. Lead (Correct) F58 Dist Lead 2

G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3

Drumsample
Snare 1
Snare 1
Syn Kick 3
Brush Slap
Snare 2
NoiseSnare
Ambi.Kick
PowerSnare
Cast Roll
Zap 2
Gated Kick
Zap 1
Gun Shot 1
SolidHit
Syn Kick 1
Syn Kick 7
Metronome2
JazzRingSD
Syn Claps
Sizzle SD
Douf Dom
TiteSynHH2
Douf Dom
OpenSynHH4
Douf Dom
OpenSynHH6
Douf Dom
Douf Dom
SolidHit
Douf Dom
Ride Cym 2
Rev.Cymbal

(Correct)R46 Analog Kit 2


Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None

A0
A#0
B0
C1
C#1
D1
D#1
E1
F1
F#1
G1
G#1
A1
A#1
B1
C2
C#2
D2
D#2
E2
F2
F#2
G2
G#2
A2
A#2
B2
C3
C#3
D3
D#3
E3

Drumsample
Explosion
AmbiSnare1
Real Kick
Syn Kick 5
PicloSnare
Rock Snare
Fat Kick
Dance Kick
AmbiSnare2
Close HH
Ambi.Kick
Zap 1
FullRoomSD
Snare 1
Syn Kick 1
Syn Kick 3
Syn Rim
SynSnare 1
Syn Claps
SynSnare 2
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
ClosSynHH1
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
SynTom2 Hi
OpenSynHH1
SynTom2 Hi
Ride Cym 2
China Cym

Excl
None
None
None
None
None
None
None
None
None
Group01
None
None
None
None
None
None
None
None
None
None
None
Group01
None
Group01
None
Group01
None
None
None
None
None
None

p.14 Bank C (User) of Styles


(Incorrect)

C11
C12
C13
C14
C15
C16
C17
C18
C21
C22
C23
C24
C25
C26
C27
C28
C31
C32
C33
C34
C35
C36
C37
C38
C41
C42
C43
C44
C45
C46
C47
C48
C51
C52
C53
C54
C55
C56
C57
C58
C61
C62
C63
C64
C65
C66
C67
C68

90's Funk
4/4 Ballad
Trad. Bolero
16 Beat 5
Orleans
Mood Swing
J-Rock
Tejano
Folk Ballad
60's Funk 1
Big Band 2
70's Acoustic
Zydeco
Swing Shuffle
Energy 1
Energy 2
JazzFunk
8Beat Standard
R&B Dance
Lite Bossa
6/8JazzPop
Pop House
60's Rock
Enka
SambaFunk
R&B 6/8
Dancefloor
Typed Beat
Hora
Pop Ballad
J-Pop
German Waltz 2
2Bt Country
Mdn.Country
60's Funk 2
Eurobeat
Country3/4
Light Rock 2
HipHopFunk
Norteno
CntryShufl
Jazz Waltz 2
60's Dance
Quebradita
6/8 Swing
Front Beat
8Beat Ballad
8 Beat 5

(Correct)

C11
C12
C13
C14
C15
C16
C17
C18
C21
C22
C23
C24
C25
C26
C27
C28
C31
C32
C33
C34
C35
C36
C37
C38
C41
C42
C43
C44
C45
C46
C47
C48
C51
C52
C53
C54
C55
C56
C57
C58
C61
C62
C63
C64
C65
C66
C67
C68

Jazz Funk
Swing Shuffle
Pop Ballad
German Waltz 2
Country Shuffle
HipHop Funk
4/4 Ballad
Dancefloor
Country 3/4
8Beat Standard
8Beat Ballad
R&B Dance
90's Funk
Pop House
8 Beat 5
16 Beat 5
6/8 JazzPop
Front Beat
J-Pop
R&B 6/8
Hora
Big Band 2
Mood Swing
60's Rock
2Bt Country
70's Acoustic
60's Funk 1
Enka
Samba Funk
60's Funk 2
Typed Beat
Tejano
Orleans
Lite Bossa
Energy 1
Eurobeat
Folk Ballad
Modern Country
6/8 Swing
Quebradita
Zydeco
Light Rock 2
Energy 2
J-Rock
60's Dance
Jazz Waltz 2
Norteno
Trad. Bolero

Additions and changes in #2.0

Additions and changes in #2.0


The following functions have been added or changed in #2.0
(revision number 2.0).

1. Change in Chord Scanning parameter


specifications
The method of chord detection used when the Chord
Scanning parameter is set to Lower can now be specified as an Arrangement Global parameter.
The specifications for Chord Scanning in Arrangement
Play mode and Backing Sequence mode have changed.
In conjunction with this, Arrangement Play mode Global has a new Option page, which allows you to
make settings related to chord scanning.
The following material explains the specifications of
the Chord Scanning parameters and how to save them
as Arrangement Global parameters.

Chord Scanning parameter


Operation when Chord Scanning has been set to Off,
Upper or Full in Arrangement Play mode and Backing
Sequence mode has not changed, and is the same as
before. Please refer to p.1 or 12 of the Parameter Guide.
If you select Lower, press the Exit button to close the
dialog box, and use the Option page to specify the
method of chord detection.

3 Set the Lower Chord Recognition Mode parameter.


Easy: Chords will be detected when you play notes to
the left of the split point. Operation will be the same as
for Lower (Easy) before the change (refer to Parameter
Guide p.1 or 12).

Normal: Chords will be detected when you play a


chord of three or more notes to the left of the split
point. Operation will be the same as for Lower (Normal) before the change (refer to Parameter Guide p.1 or
12).

One Finger: The following major chords minor seventh chords will be detected when you press between
one and three notes to the left of the split point.

Major chordsWhen you play a


single note to the left of the split
point, a major chord will be specified
with that note as the root. For example if C3 is played, the chord will be C (C major).

Minor chordWhen you play a single note (the root) to the left of the
split point and then add the black
key located to the left of that note, a
minor chord will be specified. For example if you
play C3 and add Bb2, a Cm (C minor) chord will be
specified.
Seventh chordWhen you play a
single note (the root) to the left of the
split point and then add the white
key located to the left of that note, a
seventh chord will be specified. For example if you
play C3 and add B2, a C7 (C seventh) chord will be
specified.

Minor seventh chordWhen you

Entering the Option page and making settings


1 In Arrangement Play mode, press the MENU key and
then press the Global button.
2 Press the Option tab.
The Option page will appear.

play a single note (the root) to the left


of the split point and then add the
black key and white key located to
the left of that note, a minor seventh chord will be
specified. For example if you play C3 and add Bb2
and B2, a Cm7 (C minor seventh) chord will be specified.

Saving the setting


The Lower Chord Recognition Mode parameter setting
can be saved as an Arrangement Global parameter.
This means that the chord detection method used when
the Chord Scanning parameter is set to Lower will also
be used in other arrangements.

1 In the Option page, press the page menu buton, and


press the Write Arrangement Global.
The Write Arrangement Global dialog box will appear.

2 Press the OK button.

Additions and changes in #2.0

2. Effects for the ACC part can be speci- 3. Enhanced functionality for the page
fied in Backing Sequence mode
menu commands of Edit Style mode
An ACC FX parameter and ACC Effect setting
items have been added to Backing Sequence mode,
making it possible to set the effects for the ACC part in
Backing Sequence mode as well.

1 In Backing Sequence mode, access the Arrangement


Track page.
You can access this page by pressing the EXIT key in
Backing Sequence mode.

In the page menu command of the Recording page,


the functionality of Get Drums Part Get Style Element
has been enhanced.

Get Drums/Perc/Bass/ACC1/ACC2/ACC3 Part: If


the specified part contained a pattern, executing these
commands did not correctly obtain the pattern data.
This has been changed so that the expanded contents of
the pattern will be included.
However if memory is insufficient to expand the pattern, a message of Not enough memory will be displayed, and the command cannot be executed.

Get Style Element: If the specified style contained a


pattern, executing this command did not correctly
obtain the pattern data. This has been changed so that
the expanded contents of the pattern will be included.

2 Press the popup button for the ACC FX parameter.


This parameter selects the mode whose effect selection
will be applied to the ACC part.

However if memory is insufficient to expand the pattern, a message of Not enough memory will be displayed, and the command cannot be executed.

4. Copy All Files added to the page menu


commands of Disk mode
Copy All Files has been added to the page menu commands of the File page.

3 Press Backing SEQ.


If you set this to Arrangement, the effect that was specified in Arrangement Play mode will be used, meaning
that operation will be the same as on the previous version of the i30 and i30HD.

4 Press the MENU key.


The ACC Effect buttons will appear.

Copy All Files: All files in the current directory


(excepting DOS directory and SET directory) will be
copied to the specified directory.
1 In the File page, press the Open button or Up button
to select the desired current directory.

2 From the page menu commands, select Copy All


Files.
The Copy All Files dialog box will appear.

5 Press the ACC Effect button.


The Placement tab and ACC Effects tab etc. will appear.
For details on the pages that will appear when you
press these tabs, refer to p.4 of the Parameter Guide.

3 Use the Open button or Up button to select the copy


destination directory.

4 Press the Copy button.

The settings of Pan (L, R) and Send Level (C, D) for the
arrangement will be used without modification.

Additions and changes in #2.0

5. New lyrics display function for SMF


files with embedded lyrics
A Lyrics page has been added to Song Play mode
Program & Mix. In the Lyrics page, lyrics will be displayed in time with the music when SMF data of the
following formats containing English lyrics is played
back.

Supported formats
Tune 1000
Edirol
XF
KAR
General Music
SOLTON
Midisoft

filename extension .MID


filename extension .MID
filename extension .MID
filename extension .KAR
filename extension .MID
filename extension .MID
filename extension .MID

If the file includes chord display data, chord names


will be displayed in the lowest line of the LCD screen.
The lyrics will be highlighted as the song progresses.
However depending on the way in which the lyrics
data was input, the highlighting may not be correct in
some cases.
When data containing lyric display data is loaded into
the i30 or i30HD, please be aware that lyric data and
chord display data will not be loaded.

6. Loading data
i1, i2, i3, i4S, iS40 and iS50 data can be loaded by the i30
and i30HD. However, i3, iS40 and iS50 data can be
loaded into the i30 or i30HD in units of an entire file,
but not in units of 1 Program or 1 Arrangement.

.ARR files
Arrangement

Program

i2/i3/i4S

i1

i30/i30HD

[U11U88]

[U11U88]

[F11F88]

When i1, i2, i3 and i4S programs are loaded into the i30
or i30HD, they will be placed in the User category.
When i1, i2, i3, or i4S programs are loaded into the i30
or i30HD, the equivalent Multisamples of the i30 or
i30HD will be assigned to Multisounds.

.PCG files (drum programs)


Drum Prog

i2/i3/i4S

i1

i30/i30HD

[Dr7Dr8]

[Dr17Dr18]

[R51R52]

When i1, i2, i3 and i4S drum programs are loaded into
the i30 or i30HD, they will be placed in the Drum/
Perc. category.
When i1, i2, i3, or i4S programs are loaded into the i30
or i30HD, the equivalent Drumsamples of the i30 or
i30HD will be assigned to Drumsounds.
In some cases, Drum Kits of the i1/i2/i3/i4S which
have been constructed in a special way may not be
reproducible when loaded into the i30 or i30HD.
If a drum program has been created in [U11U88] of the
i1, i2, i3 or i4, loading this into the i30 or i30HD will
produce a program which uses Multisamples.
i1/i2/i3/i4S drum programs which specify Drum Kit
parameters other than User Kit 1 or 2 cannot be reproduced on the i30 or i30HD.

i30/i30HD

[1188]

[C11C88]

.STY files
i2/i3/i4S
Style

.PCG files (programs)

i1

[1188]

When an i1/i2/i3/i4S arrangement is loaded into the


i30 or i30HD, it will be assigned to the User 4 category.
Arrangements which use i1/i2/i3/i4S Styles [P11P68]
will use i30 or i30HD Styles [A11A68] when loaded
into the i30 or i30HD.
Arrangements which use i1 Styles [I11I48] will use i30
or i30HD Styles [B11B48] when loaded into the i30 or
i30HD.
Arrangements which use i1/i2/i3/i4S Styles [U1U4]
will use i30 or i30HD Styles C11C14] when loaded
into the i30 or i30HD.
Arrangements which use i1 Styles [U11U24] will use
i30 or i30HD Styles C11C24] when loaded into the i30
or i30HD.
The program mapping differs between the i1/i2/i3/i4S
and the i30 or i30HD, but a mapping conversion table
allows a certain degree of reproducibility.
i1 settings [Dr2125] or [Dr3135] will be played as
[R11] on the i30 or i30HD.
Even if the KBD part is loaded into the i30 or i30HD,
the effects cannot be reproduced.
In some cases, i30 or i30HD Chord Scanning or KBD
Assign etc. will not be able to reproduce the i1/i2/i3/
i4S settings precisely.
Parameters which were added or modified on the i30
or i30HD will be given their recommended default values.

The following restrictions apply when loading data.

i1, i2, i3, i4S data

i2/i3/i4S

[U1U4]

i1

i30/i30HD

[U1U4] [C11C14 recommended]

When i1/i2/i3/i4S Styles are loaded into the i30 or


i30HD, they will be assigned to the User 4 category.
When loading a .ST file into the i30 or i30HD at the
same time that you load an .ARR file of the same file
name, we recommend that you load them into Block 1.
The program mapping differs between the i1/i2/i3/i4S
and the i30 or i30HD, but a mapping conversion table
allows a certain degree of reproducibility.
Other i1/i2/i3/i4S parameters will be loaded without
change into the i30 or i30HD.

.ST2 files
i1
Style

i30/i30HD

[U15U18] [C15C18 recommended]

When i1 Styles are loaded into the i30 or i30HD, they


will be assigned to the User 4 category.
When loading a .ST2 file into the i30 or i30HD at the
same time that you load an .ARR file of the same file
name, we recommend that you load them into Block 2.
The program mapping differs between the i1 and the
i30 or i30HD, but a mapping conversion table allows a
certain degree of reproducibility.
Other i1 parameters will be loaded without change into
the i30 or i30HD.

Additions and changes in #2.0

.ST3 files

.ARR files
i1

Style

i30/i30HD

[U21U24] [C21C24 recommended]

When i1 Styles are loaded into the i30 or i30HD, they


will assigned to the User 4 category.
When loading a .ST3 file into the i30 or i30HD at the
same time that you load an .ARR file of the same file
name, we recommend that you load them into Block 3.
The program mapping differs between the i1 and the
i30 or i30HD, but a mapping conversion table allows a
certain degree of reproducibility.
Other i1 parameters will be loaded without change into
the i30 or i30HD.

.BSQ files
Limitations on arrangements and styles used by the i30
or i30HD are also applied to backing sequences. (Refer
to .ARR files and .STY files in i1, i2, i3, i4S data.)
Effect settings for i1, i2, i3, and i4S backing sequences
will be loaded into the i30 or i30HD as effects of the
ACC part.
i1, i2, i3, and i4S [Extra Tracks 15] will be loaded into
the i30 or i30HD as [KBD 48]. Also, KBD Effect setting will be used for this data.
In some cases, parameters which have been newly
added or modified on the i30 or i30HD may make it
impossible for that the loaded data to be reproduced.
Backing sequence data which was converted by the i1/
i2/i3/i4S into SMF data (.SMF files) cannot be reproduced when loaded into the i30 or i30HD.

.SNG files
The program mapping differs between the i1/i2/i3 and
the i30 or i30HD, but a mapping conversion table
allows a certain degree of reproducibility.
Effect parameters etc. of the i1/i2/i3 will be loaded
without change into the i30 or i30HD.
Data which was converted on the i1/i2/i3 into SMF
data (.SMF files) cannot be reproduced even if it is
loaded into the i30 or i30HD.

iS40 and iS50 data


.PRG files (programs)
Program

iS40/iS50

i30/i30HD

[U11U88]

[F11F88]

When iS40/iS50 programs are loaded into the i30 or


i30HD, they will be assigned to the User category.
When iS40/iS50 programs are loaded into the i30 or
i30HD, the equivalent i30 or i30HD Multisamples
will be assigned for each Multisample.

Arrangement

iS40/iS50

i30/i30HD

[U11U88]

[C11C88]

When iS40/iS50 Arrangements are loaded into the i30


or i30HD, they will be assigned to the User 4 category.
The program mapping differs between the i40/i50 and
the i30 or i30HD, but a mapping conversion table
allows a certain degree of reproducibility.
i30 and i30HD Chord Scanning and KBD Assign etc.
may not precisely reproduce the settings of the iS40/
iS50.
Even if the KBD part is loaded into the i30 or i30HD,
the effects cannot be reproduced.
Parameters which were added or modified on the i30
or i30HD will be given their recommended default values.

.STY files
Style

iS40/iS50

i30/i30HD

[U11U28]

[C11C28]

When an iS40/iS50 Style is loaded into the i30 or


i30HD, it will be assigned to the User 4 category.
The program mapping differs between the i40/i50 and
the i30 or i30HD, but a mapping conversion table
allows a certain degree of reproducibility.
Other iS40/iS50 programs will be loaded without
change into the i30 or i30HD.

.BSQ files
Limitations on arrangements and styles used by the i30
or i30HD also apply to backing sequences. (Refer to
.ARR files and .STY files of iS40/iS50 data.)
Effect settings of iS40/iS50 backing sequences will be
loaded into the i30 or i30HD as effects for the ACC
part.
iS40/iS50 [Extra Tracks 15] will be loaded into the i30
or i30HD as [KBD 48]. Also, KBD Effect settings will
be used for this data.
In some cases, parameters which have been newly
added or modified on the i30 or i30HD may make it
impossible for that the loaded data to be reproduced.
Backing sequence data which was converted by the
iS40/iS50 into SMF (.SMF files) cannot be reproduced if
loaded into the i30 or i30HD.

.SMF files
SMF data (.SMF files) created by the iS40/iS50 in Song
Edit mode cannot be reproduced if loaded into the i30
or i30HD.

.PRG files (drum programs)


Drum Prog

iS40/iS50

i30/i30HD

[Dr27Dr28]

[R51R52]

When iS40/iS50 drum programs are loaded into the i30


or i30HD, they will be assigned to the Drum/Perc. category.

i30/i30HD #2.1

3. The octave of the K.Base and Harmony parts


can be set

Additions and changes in #2.1

In the KBD Prog page of Arrangement Play mode,


you can now set the octave of the K.Bass part and the
Harmony part.

In #2.1, the following functions have been added or modified.

As for the other parts, the basic pitch of the parts can
be set in 1-octave units (2 octave range).

1. Swap Arrangement added to the page menu


command of Arrangement Play mode
A Swap Arrangement function has been added to the
page menu commands in Home (Lower KBD page,
Sub KBD page, Main KBD page).

Swap Arrangement: This command exchanges


arrangement banks A and B with banks C and D. This
makes it possible to edit the arrangements (preset)
that were in banks A and B.

4. Sort/Search File page menu command added


to Song Play mode

Before you edit the data, we recommend that you


save it on a floppy disk.

A Sort/Search File function has been added to the


page menu commands in the Prog & Mix page and
Track Status page of Song Play mode.

2. Effect settings for the Main KBD part can be


saved as .ARR or .ARK data
The effect settings of the program selected for the
Main KBD part are used for the Main KBD part of an
arrangement.
Until now, the effect settings of a program were not
reflected by the Main KBD part unless they were
written. In particular when the Main KBD part of an
arrangement used a bank AE program, the effect
settings could not be written to these banks, so that if
you wished to use modified effect settings, it was
necessary to write the program to bank F or G.

Sort/Search File: This command sorts the songs in


alphabetical order. When you specify a character
string, the song containing the specified characters
will be selected.
1 Select the Sort/Search File page menu command.

With the new functionality, the effect settings of a


program will be reflected by the Main KBD part of the
arrangement even if the program was not written.
Also, if you use Write Arrangement or Write KBD Set
to write the data, those effect settings will now be
saved in the arrangement or keyboard set.
In Arrangement Play mode if you hold down the
ARR PLAY key and press the PROGRAM key, the
program selected for the Main KBD part will be
selected (Program mode), and you can edit it.

2 If you know the song name that you wish to select,


use the text edit button in the dialog box to input the
song name.
If you wish to sort the songs in alphabetical order,
this step is not necessary.
3 Press the OK button.
If you input a song name, the song with the specified
character string will appear for the File parameter. If
there is no such name, the song with the closest name
will be selected.

When an .ARR or .ARK file that was saved on a #2.1


i30/i30HD is loaded into a previous version, the
following restrictions will apply.
Load ARR File
Load 1 Arrange
Load ARK File
Load 1 KBDSET

loaded correctly
loaded correctly
cannot be loaded
loaded correctly

You can use the popup menu of the File parameter to


view a list of the sorted songs.
If you execute this function during playback, playback will stop.
1

i30/i30HD #2.1

5. Front panel OUTPUT MIXER sliders can be


used during song playback

7. Effect Control 1/2 can be selected for SW1/2


or EC-5

In Song Play mode, you can now use the OUTPUT


MIXER sliders while a song is playing back.

In the Global mode SW1, SW2 and EC5 pages, Effect


Control 1 (CC#12) and Effect Control 2 (CC#13) have
been added to the functions that can be selected for
SW1/2 and EC5.

As shown in the following table, the sliders will


adjust the volume of the corresponding channels
during song playback, or the volume during keyboard performance.

OUTPUT MIXER sliders


DRUMS
PERC
BASS
ACC1
ACC2
ACC3
LOWER
SUB
MAIN

10ch
1ch
2ch
3ch
4ch
5ch, 6ch
7ch, 8ch, 9ch
11ch16ch
Keyboard performance*

The MAIN slider


will take priority for
channels that
match the keyboard
performance
channel.

By selecting Effect Control 1 (CC#12) or Effect


Control 2 (CC#13), you can control an effect for which
CC#12 or CC#13 was specified for dynamic modulation.

If you move to Song Play mode but have not yet


operated the sliders, the volume of each channel will
be as specified by the song, regardless of the physical
position of the sliders. If you then operate even one of
the sliders, each channel will be set to the volume that
is specified by the OUTPUT MIXER sliders.

For example suppose that in the Global mode SW1,


SW2 page you select Effect Control 1 (CC#12) for
SW1. In another mode, select the Rotary Speaker
effect, and select CC#12 for the Dynamic Modulation
parameter. Each time you press the front panel SW1,
the rotary speaker will switch between slow and fast
rotation.

* Keyboard performance uses the channel that is specified by


the Channel Select parameter.

8. Load PRESET Data page menu command


added to Disk mode
In Disk mode, a Load PRESET Data command has
been added to the page menu commands of the File
page.

6. New function to cancel your keyboard input


In Song Play mode, simultaneously pressing the
front panel SYNCHRO START key and SYNCHRO
STOP key will cause any playing on the keyboard to
be cancelled. This function allows you to pretend to
play when on-stage, etc.

Load PRESET Data: The factory data will be loaded


into arrangement banks A and B, and into program
banks AE and Dr1148.
If these banks contain data that you do not want to
lose, save the data to a floppy disk before executing
this command.

To turn off this function, press either the SYNCHRO


START key or the SYNCHRO STOP key. This function will also be turned off automatically when you
exit Song Play mode.

1 Insert the included floppy disk into the disk drive.


2 In the Disk mode File page, choose the
RESTORE.PRD file which is located in the RESTORE
directory.
3 From the list of page menu commands, select Load
PRESET data, and press the OK button to execute.