Owner’s Manual
Thank you, and congratulations on your choice of the Roland Digital Piano RD-700.
Before using this unit, carefully read the sections entitled: “IMPORTANT
SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3), and
“IMPORTANT NOTES” (p. 5).
These sections provide important information concerning the proper operation of the
unit. Additionally, in order to feel assured that you have gained a good grasp of every
feature provided by your new unit, Owner’s Manual should be read in its entirety. The
manual should be saved and kept on hand as a convenient reference.
.
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the written permission of ROLAND CORPORATION.
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The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to alert the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK).
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
11. Only use attachments/accessories specified by the
manufacturer.
12. Never use with a cart, stand, tripod, bracket,
or table except as specified by the
manufacturer, or sold with the apparatus.
When a cart is used, use caution when
moving the cart/apparatus combination to
avoid injury from tip-over.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. When the provided
plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
13. Unplug this apparatus during lightning storms or when
unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE: NEUTRAL
BROWN: LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.
2
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101a
•
•
014 Protect the unit from strong impact.
The unit should be located so that its location or
(Do not drop it!)
position does not interfere with its proper venti-
lation.
..........................................................................................................
101cThis (RD-700) for use only with Roland stand KS-
..........................................................................................................
015 Do not force the unit’s power-supply cord to share
•
•
an outlet with an unreasonable number of other
devices. Be especially careful when using
17. Use with other stands is capable of resulting in
instability causing possible injury.
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
102b
•
Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103a:
..........................................................................................................
016 Before using the unit in a foreign country, consult
•
At regular intervals, you should unplug the power
plug and clean it by using a dry cloth to wipe all
dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
•
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
022a
•
Always turn the unit off and unplug the power
cord before attempting installation of the circuit
board (p. 25).
..........................................................................................................
104 Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106 Never climb on top of, nor place heavy objects on
..........................................................................................................
026 Do not put anything that contains water (e.g.,
flower vases) on this unit. Also, avoid the use of
insecticides, perfumes, alcohol, nail polish, spray
cans, etc., near the unit. Swiftly wipe away any
liquid that spills on the unit using a dry, soft cloth.
..........................................................................................................
•
•
•
the unit.
..........................................................................................................
107b
•
Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
108a
•
Before moving the unit, disconnect the power
plug from the outlet, and pull out all cords from
external devices.
..........................................................................................................
109a
•
Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 25).
..........................................................................................................
110a
•
Whenever you suspect the possibility of lightning
in your area, pull the plug on the power cord out
of the outlet.
..........................................................................................................
115a
•
Install only the specified circuit boards (SRX
Series). Remove only the specified screws (p. 15).
..........................................................................................................
•
118 Should you remove the screws fastening the board
slot cover, make sure to put them in a safe place
out of children's reach, so there is no chance of
them being swallowed accidentally.
..........................................................................................................
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IMPORTANT NOTES
291b
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2,
3 and 4, please read and observe the following:
Power Supply
Maintenance
301
401a
• Do not connect this unit to same electrical outlet that is
• For everyday cleaning wipe the unit with a soft, dry cloth
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
307
Additional Precautions
• Please be aware that the contents of memory can be
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
551
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
308
• Although the LCD and LEDs are switched off when the
POWER switch is switched off, this does not mean that the
unit has been completely disconnected from the source of
power. If you need to turn off the power completely, first
turn off the POWER switch, then unplug the power cord
from the power outlet. For this reason, the outlet into
which you choose to connect the power cord’s plug
should be one that is within easy reach.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
Placement
553
351
• Use a reasonable amount of care when using the unit’s
• Using the unit near power amplifiers (or other equipment
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
554
• Never strike or apply strong pressure to the display.
556
352
• When connecting / disconnecting all cables, grasp the
• This device may interfere with radio and television
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
reception. Do not use this device in the vicinity of such
receivers.
354a
5•57A small amount of heat will radiate from the unit during
normal operation.
• Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
355
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
358
559a
• Do not allow objects to remain on top of the keyboard.
• When you need to transport the unit, package it in the box
This can be the cause of malfunction, such as keys ceasing
to produce sound.
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
• Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/or damage to the unit.
5
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Main Features
Progressive Hammer Action
Equipped With Organ Tone Wheel
Sound Generator
For organ Tones, the RD-700 comes equipped with an organ
Tone wheel sound generator used in the Roland Combo
Organ VK-7. This sound generator lets you recreate organ
sounds, changing the level of each footage (p. 75).
The RD-700 features a “progressive hammer action,” a new
and even more advanced form of Roland's popular keyboard
hammer action that realistically reproduces the comfortable,
natural touch of a grand piano. Basic percussive and damper
functions are also improved, recreating the subtle changes in
touch occurring between registers as you move across the
keyboard.
Rhythm and Arpeggiator Functions
You can play back Rhythm patterns and perform arpeggios
with the press of a single button.
Enjoy a variety of performance techniques, with backing
using realistic drum sounds for a real session feel, arpeggios
49, p. 51).
In addition, the progressive hammer action keyboard has
been designed with consideration given to the environment,
and the hammer section is completely lead-free.
New Piano Tones
The RD-700's authentic piano Tones feature wide dynamic
range and rich expressive power. It is also furnished with a
wealth of electronic piano, organ, string, synth pad, and
other Tones that allow you to use the instrument as a stage
piano. Once you try it onstage, you'll come to fully
understand its capabilities.
You can also control various functions, such as adjusting
volume levels and selecting Tones, simply and easily from an
external MIDI device. This provides fast and intuitive control
when using the keyboard on stage (p. 59).
Also included is a “Piano Edit” function that allows you to
make subtle changes to the piano Tones, allowing you to
create Tones for all kinds of performance situations (p. 66).
Expandability
You can install up to two SRX Series Wave Expansion
Boards, a favorite for use with Roland's XV Series.
enjoy performing with the most up-to-date Tones available
as they are continually released (p. 15).
A Full 128 Voices
The RD-700 features 128-voice polyphony, with all sounds
available in every performance mode. Enjoy natural
performances even when layering multiple sounds.
Sophisticated Design
Simple Push-Button Operation
The great-looking titanium-colored instrument body makes
for a top-class onstage image. With simple rear cable
connections, the design also shows that due consideration
has been given to operability.
You can access Split and Layer modes and carry out other
main operations simply by pressing a single button (p. 41).
Furthermore, pressing the ONE TOUCH [PIANO] button lets
you immediately switch to the settings most suited for piano
performances, regardless of the mode or settings currently in
effect (p. 35).
GM/GM2 Compatible
The RD-700 is compatible with both General MIDI and
General MIDI 2 standards. When working with music files
that conforms to General MIDI and/or General MIDI 2 (GM
scores), you can combine the RD-700 with a sequencer, and
use the RD-700 to play back the data.
Full-Graphic LCD Screen
The panel includes a high-visibility fully graphic liquid
crystal display. This allows you to carry out operations
smoothly while viewing Tone names and other information
in the easy-to-read LCD screen.
Convention Used in This Manual
• Words enclosed in square brackets [ ] indicate panel
buttons.
High-Quality Effects
Example: [SPLIT] indicates the SPLIT button.
• (p. **) indicates a reference page
In addition to favorite Roland synthesizer and XV Series
multi-effects, the RD-700 also features a sympathetic
resonance effect that reproduces the resonance of an acoustic
piano. You can also get realistic tone changes by pressing the
damper pedal (p. 76). And the digital equalizer lets you make
an even wider range of Tone adjustments (p. 73).
• The explanations in this manual include illustrations that
depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer,
enhanced version of the system (e.g., includes newer
sounds), so what you actually see in the display may not
always match what appears in the manual.
6
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Main Features.............................................................................................................6
Panel Descriptions...................................................................................................12
Getting Ready...........................................................................................................15
Precautions lors de l’installation de la carte d’extension Wave............................................. 19
Installer les cartes de série SRX................................................................................................... 20
Connecting the RD-700 to External Equipment................................................................................... 22
Turning On the Power.................................................................................................................. 24
Overview of the RD-700...........................................................................................31
Part .................................................................................................................................................. 31
Basic Operation of the RD-700................................................................................................................ 32
Main Screens.................................................................................................................................. 32
Listening to the Demo (DEMO PLAY).....................................................................34
Performing with the Keyboard................................................................................35
To Switch to Single Mode ............................................................................................................ 41
Playing with Two Layered Tones ([LAYER]) ........................................................................... 42
Playing Different Tones in Two Different Sections of the Keyboard ([SPLIT])................... 43
Changing Tones in Layer and Split Mode................................................................................. 44
Adjust the Volume Level for Individual Parts (PART SWITCH/LEVEL) ...................................... 45
Transposing the Key of the Keyboard ([TRANSPOSE])..................................................................... 46
Adding Reverberation to the Sound (REVERB knob)......................................................................... 47
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Contents
Adding Breadth to the Sound (CHORUS knob).................................................................................. 47
Playing Rhythm ([RHYTHM]) ............................................................................................................... 51
Using the RD-700 As a Master Keyboard...............................................................59
Setting the Amount of Reverb and Chorus............................................................................... 63
Setting the Transposition for Each Individual Part (Key Transpose).................................... 64
Setting the Range for the Change in Pitch with the Bender (Bend Range)........................... 64
Changing Tone Elements (ATK/REL/COF/RES)................................................................... 64
Making the settings.................................................................................................................................. 66
Parameters................................................................................................................................................. 66
Selecting the Piano Sound............................................................................................................ 66
Changing the Width of the Sound (Stereo Width)................................................................... 66
Changing the Sound’s Nuance (Nuance) .................................................................................. 66
Changing the Sense of Space Surrounding the Sound (Ambience)....................................... 67
Changing the Amount of Reverb Effect (Reverb Level).......................................................... 67
Making the Midrange Equalizer Settings (EQ-SW/EQ Gain/EQ Frequency/EQ Q)........ 67
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Detailed Settings for Each Function ([EDIT]) ........................................................68
Setting the Device ID Number (Device ID)............................................................................... 71
Switching the Pedal’s Polarity (Pedal Polarity)........................................................................ 71
Setting the Keyboard Touch (Key Touch).............................................................................. 71
Pedal, [CONTROL] Knob, and Equalizer Settings (Control/EQ)........................................... 73
Assigning Functions to Pedals (FC1/FC2)................................................................................ 73
Changing the Equalizer Frequency Settings (Freq/Q)............................................................ 74
Simulating the Creation of Organ Tones (Tone Wheel Mode).............................................. 75
Making Multi-Effects Settings..................................................................................................... 77
Setting Chorus and Delay............................................................................................................ 78
Making Tone Settings (Tone Edit)........................................................................................... 79
Selecting the Part to Be Set (<Part>, Tone)................................................................................ 80
Changing Tone Elements............................................................................................................. 81
How to Make Settings .................................................................................................................. 82
Adjusting the Tempo (Tempo).................................................................................................... 82
Changing Patterns (Pattern) ........................................................................................................ 82
Selecting Rhythm Variations (Rhythm Type)........................................................................... 82
Changing the Drum Set (Rhy Set) .............................................................................................. 83
Changing the Pattern Without Changing the Drum Set (Rhy Set Change) ......................... 83
Switching the Intro and Ending On or Off (Intro/Ending) .................................................... 83
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Contents
Selecting Parts to Play Arpeggios (Dest. Part).......................................................................... 84
Setting the Key Range for the Arpeggio Performances (Key Range).................................... 84
Setting the Way Arpeggios are Played (Style).......................................................................... 84
Changing the Groove Feel (Beat Pattern/Accent Rate/Shuffle Rate)................................... 86
Keeping the Force of the Notes Constant (Velocity)................................................................ 87
(Velocity Sens/Max)..................................................................................................................... 88
Setting MIDI Receive Parts (Internal Part Prm)...................................................................... 89
Selecting the Part to Be Set (<Part>, Tone)................................................................................ 90
Setting the Receive Channel (Receive Channel)....................................................................... 90
Making the Effect ON/OFF Settings (MFX Switch) ................................................................ 90
Setting the Tuning Method (Temperament/Key).................................................................... 91
Connecting External MIDI Devices.........................................................................95
Recording RD-700 Performances to an External MIDI Sequencer.................................................... 95
Playing the RD-700’s Internal Sound Generator from an External MIDI Device ........................... 97
Making connections...................................................................................................................... 97
Setting the Channels ..................................................................................................................... 97
Selecting RD-700 Sounds from an External MIDI Device....................................................... 97
Using the RD-700 as a GM Sound Module (GM Mode)..................................................................... 98
Points to Note Regarding GM Mode.......................................................................................... 98
Playing Back GM Scores............................................................................................................... 98
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Troubleshooting.......................................................................................................99
Error Messages/Other Messages .........................................................................103
Effect/Parameter List.............................................................................................104
Tone List.................................................................................................................135
Rhythm Set List....................................................................................................................................... 138
Arpeggio Style List ................................................................................................142
Rhythm Pattern List...............................................................................................143
Setup List................................................................................................................144
Shortcut List...........................................................................................................145
MIDI Implementation..............................................................................................146
Main Specifications................................................................................................164
Index........................................................................................................................165
Purpose-Oriented Index ........................................................................................168
Information .............................................................................................................170
General MIDI
General MIDI is a set of recommendations which seeks to provide a way to go beyond the limitations of
proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating
devices and music files that meet the General MIDI standard bear the General MIDI logo (
). Music files
bearing the General MIDI logo can be played back using any General MIDI sound generating unit to produce
essentially the same musical performance.
General MIDI 2
The upwardly compatible General MIDI 2 (
) recommendations pick up where the original General
MIDI left off, offering enhanced expressive capabilities, and even greater compatibility. Issues that were not
covered by the original General MIDI recommendations, such as how sounds are to be edited, and how
effects should be handled, have now been precisely defined. Moreover, the available sounds have been
expanded. General MIDI 2 compliant sound generators are capable of reliably playing back music files that
carry either the General MIDI or General MIDI 2 logo.
In some cases, the conventional form of General MIDI, which does not include the new enhancements, is
referred to as “General MIDI 1” as a way of distinguishing it from General MIDI 2.
11
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Panel Descriptions
Front Panel
2
6
7
8
9
CONTROL
1
3 4
5
1 VOLUME Slider
Adjusts the overall volume that is output from the rear panel
OUTPUT jacks and PHONES jack (p. 25).
6 PART SWITCH/LEVEL
Turns each part's sound on and off (PART SWITCH), and
adjusts the volume level for each part (PART LEVEL slider)
(p. 45).
When [MIDI TX] is on, this controls each part for the external
MIDI sound generator (p. 62).
2 EQUALIZER
[ON/OFF]
Turns the equalizer on/off (p. 48).
7 KEYBOARD CONTROL
[LOW] knob
Adjusts the sound's low-frequency range.
[ARPEGGIO]
Switches Arpeggiator on/off (p. 49).
[MID] knob
Adjusts the sound's midrange frequencies.
[TRANSPOSE]
[HIGH] knob
Adjusts the sound's high-frequency range.
8 ONE TOUCH
[SPLIT]
3 REVERB knob
Puts the keyboard in “Split mode,” wherein you can use
more than one tone by having different tones play in
different parts of the keyboard (p. 43).
Adjusts the amount of reverb (p. 47).
4 CHORUS knob
Adjusts the amount of chorus (p. 47).
[LAYER]
Puts the keyboard in “Layer mode,” in which the keyboard
plays two tones simultaneously (p. 42).
5 MULTI EFFECTS
[PIANO]
[CONTROL] knob
Selects the optimum settings for piano performances (p. 35).
Adjusts the way that effects are applied (p. 53).
[SETUP]
[ON/OFF]
Calls up the stored settings (Setup) (p. 54).
Switches the multi-effects on/off (p. 53).
Additionally, pressing [PIANO] and [SETUP]
simultaneously allows you to access more detailed piano
performance settings (PIANO EDIT) (p. 66).
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Panel Descriptions
10
12
13
14
11
15
9 DISPLAY
14 FUNCTION
This shows the Tone names and the values of various
settings, etc (p. 32).
[EDIT]
Press this button when you wish to adjust various settings
(p. 68).
10 CURSOR [
Press these to switch pages and to move the cursor (p. 33).
], [
], [ ], [ ]
[WRITE]
Stores the current settings to “Setup” (p. 56).
11 [DEC/NO], [INC/YES]/[ENTER]
[MIDI TX]
This is used to modify values.
generator (p. 59).
If you keep on holding down one button while pressing the
other, the value change accelerates.
[NUM LOCK]
You can input numerical values with the TONE SELECT
Use “ENTER” to finalize a value or execute an operation.
buttons when this button is lit (p. 37).
12 PART SELECT buttons
Selects the part for which the tone is to be selected (p. 44).
In addition, you can listen to the demo songs by
simultaneously pressing this button and [WRITE] (DEMO
PLAY) (p. 34).
13 EXPANSION [A], [B]
This selects a sound from a wave expansion board, sold
separately (p. 39).
15 TONE SELECT buttons
Pressed to select tones (p. 36).
You can also input numerical values with these buttons
when the [NUM LOCK] button is on. [NUM LOCK] turns on
automatically in the Edit and other screens, enabling input of
numerical values with the buttons.
Pitch Bend/Modulation Lever
This allows you to control pitch bend or apply vibrato (p. 48).
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Panel Descriptions
Rear Panel
2
5
6
7
4
8
MIDI
OUT
PEDAL
OUTPUT
THRU
IN
DAMPER
FC
1
FC
2
R
L(MONO)
PHONES
1
BALANCED
TIP
RING
HOT
COLD
SLEEVE
GND
3
1 GND Terminal
Connect using a grounded cable (optional) as conditions
require.
6 PEDAL Jacks (DAMPER, FC1, FC2)
Connecting the pedal switch (DP-6) provided with the RD-
700 to the DAMPER jack allows you to use the switch as a
damper pedal.
In some cases, depending on the environment in which the
unit is installed, the surface of the panel may sometimes feel
rough and grainy. This is due to an infinitesimal electrical
charge, which is absolutely harmless. However, if you are
concerned about this, connect the ground terminal with an
external ground. When the unit is grounded, a slight hum
may occur, depending on the particulars of your installation.
If you are unsure of the connection method, contact the
nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
model) connected to the FC-1 or FC-2 jack, you can then
assign a variety of functions to the pedal (p. 23, p. 73).
7 OUTPUT R/L (MONO) Connectors
Provide output of the audio signals. These are connected to
an amp or other device. For monaural output use the L/
MONO jack (p. 22).
These also feature balanced output.
Unsuitable places for connection
- Gas pipes (may result in fire or explosion)
8 PHONES Jack
A set of headphones can be connected to this jack (p. 22).
- Telephone-line ground or lightning rod (may be
dangerous in the event of lightning)
output from the output jacks.
2 [POWER] Switch
Switch turns the power on/off (p. 24).
3 AC Inlet
Connect the included power cable to this inlet. (p. 22).
4 Wave Expansion Board Installation
Slot
Remove the cover for installation of optional wave expansion
boards (SRX Series) (p. 15).
5 MIDI Connectors (IN, OUT, THRU)
Used for connecting external MIDI devices and for
transmission of MIDI messages (p. 22, p. 59, p. 95).
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Getting Ready
Installing the Wave Expansion Board
Up to two optional Wave Expansion Boards (SRX Series) can be installed in
the RD-700.
Wave Expansion Boards store Wave data, Patches, and Rhythm Sets, and by
equipping the RD-700 with these boards, you can greatly expand your
sound palette.
Cautions When Installing an Wave Expansion Board
● To avoid the risk of damage to internal components that can be caused by
static electricity, please carefully observe the following whenever you
handle the board.
• Before you touch the board, always first grasp a metal object (such as
a water pipe), so you are sure that any static electricity you might
have been carrying has been discharged.
• When handling the board, grasp it only by its edges. Avoid touching
any of the electronic components or connectors.
• Save the bag in which the board was originally shipped, and put the
board back into it whenever you need to store or transport it.
● Use a Philips screwdriver that is suitable for the size of the screw (a
number 2 screwdriver). If an unsuitable screwdriver is used, the head of
the screw may be stripped.
● To remove a screw, rotate the screwdriver
counter-clockwise. To tighten a screw, rotate
the screwdriver clockwise.
loosen
tighten
● Be careful that the screws you remove do not
drop into the interior of the RD-700.
● Do not leave the rear panel cover removed. After installation of the Wave
Expansion Boards is complete, be sure to replace the cover.
● Do not touch any of the printed circuit pathways or connection terminals.
● Be careful not to cut your hand on the edge of the installation bay.
● Never use excessive force when installing a circuit board. If it doesn’t fit
properly on the first attempt, remove the board and try again.
● When circuit board installation is complete, double-check your work.
● Always turn the unit off and unplug the power cord before attempting
installation of the circuit board.
● Install only the specified circuit board(s) (SRX Series). Remove only the
specified screws.
Install the Wave Expansion Boards after removing the rear panel cover.
There are two slots (A and B) into which a board can be installed. Specify
which slot's board is to be used by pressing EXPANSION [A] or [B] on the
front panel when using waves, tones, or Rhythm Sets from the wave
expansion boards.
15
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Getting Ready
Installing SRX Series Boards
1
Before installing any Wave Expansion Board, turn off the
power on the RD-700 and all devices connected to it.
2
Refer to the following illustration of the RD-700’s rear panel,
and remove the screws indicated. Then, remove the cover.
fig.Q-02.e
Screws to be removed
3
Insert the Wave Expansion Board connector into a connector
for an SRX Series slot (SRX A or SRX B), while simultaneously
inserting the board holders into the holes in the Wave
Expansion Board.
fig.Q-05.e
Wave Expansion Board (SRX series)
NOTE
If the same type of Wave
Expansion Board is
installed in the SRX A slot
and the SRX B slot, it will
only be possible to select
data from the Wave
Board holder
Expansion Board that was
installed in the SRX A slot.
Position them as shown
before you install the board.
Connector
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Getting Ready
4
Use the Installation Tool supplied with the Wave Expansion
Board to turn the holders in the LOCK direction, so the board
will be fastened in place.
fig.Q-06.e
LOCK
Installation tool
5
Use the screws that you removed in step 2 to fasten the cover
back in place.
17
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Getting Ready
Checking the Installed Wave Expansion Boards
After installation of the Wave Expansion Boards has been completed, check
to confirm that the installed boards are being recognized correctly.
For instructions on
selecting Wave Expansion
Board Tones, refer to
“Selecting Wave
Expansion Board Tones”
fig.panel
CONTROL
2
1
Turn on the power, as described in “Turning On the Power”
(p. 24).
NOTE
2
Hold down EXPANSION [A] or [B] for several seconds.
If “—————-” appears
in which the board was
installed, it may be that the
wave expansion board is
not being recognized
The name of the installed wave expansion board appears in the display.
fig.LCD
properly. Use the
procedure in “Turning Off
the Power” (p. 25) to turn
the power off, then reinstall
the wave expansion board
correctly.
The example here depicts what you would see if the SRX-02 “Concert
Piano” Wave Expansion Board were installed in the SRX A slot.
By releasing the button, you go back to the previous screen.
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Getting Ready
Installation de la carte d’extension Wave
(French language for Canadian Safety Standard)
Vous pouvez installer jusqu’à 2 cartes d’extension optionnelles dans le RD-
700.
Ces cartes d’extension mémorisant des données Wave, des morceaux et des
ensembles rythmiques, elles vous permettront d’augmenter
considérablement le timbre.
Precautions lors de l’installation de la carte d’extension Wave
● Veuillez suivre attentivement les instructions suivantes quand vous
manipulez la carte afin d’éviter tout risque d’endommagement des pièces
internes par l’électricité statique.
• Toujours toucher un objet métallique relié à la terre (comme un tuyau
par exemple) avant de manipuler la carte pour vous décharger de
l’électricité statique que vous auriez pu accumuler.
• Lorsque vous manipulez la carte, la tenir par les côtés. Évitez de
toucher aux composants ou aux connecteurs.
• Conservez le sachet d’origine dans lequel était la carte lors de l’envoi
et remettez la carte dedans si vous devez la ranger ou la transporter.
● Utiliser un tournevis cruciforme correspondant à la taille de la vis (un
tournevis numéro 2). En cas d’utilisation d’un tournevis inapproprié, la
tête de la vis pourrait être endommagée.
● Pour enlever les vis, tourner le tournevis
dans le sens contraire des aiguilles d’une
montre. Pour resserrer, tourner dans le
sens des aiguilles d’une montre.
desserrer
resserrer
● Veillez à ne pas laisser tomber de vis dans le châssis du RD-700.
● Ne pas laisser la plaque arrière détachée. Après avoir installé la ou les
carte(s) d’extension, bien remettre la plaque en place.
● Ne pas toucher aux circuits imprimés ou aux connecteurs.
● Veillez à ne pas vous couper les doitgs sur le bord de l’ouverture
d’installation.
● Ne jamais forcer lors de l’installation de la carte de circuits imprimés. Si
la carte s’ajuste mal au premier essai, enlevez la carte et recommencez
l’installation.
● Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
● Toujours éteindre et débrancher l’appareil avant de commencer l’installation de
la carte.
● N’installez que les cartes de circuits imprimes spécifiées (SRX Series). Enlevez
seulement les vis indiquées.
Installer les cartes d’extension après avoir enlevé la plaque arrière.
19
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Getting Ready
Installer les cartes de série SRX
1
Avant d’installer une carte d’extension Wave, éteindre tous les
appareils reliés au RD-700.
2
Détacher la plaque arrière en enlevant les vis indiquées sur le
schéma suivant.
fig.Q-02.f
Vis à enlever
3
Insérer le connecteur de la carte dans un des créneaux pour la
série SRX (SRX A, SRX B) tout en enfonçant les supports à
carte dans les trous de celle-ci.
fig.Q-05.f
Carte d'extension Wave (serie SRX)
NOTE
Si la même sorte de carte
d’extension Wave est
installée dans les créneaux
SRX A et SRX B, il ne sera
possible de sélectionner
que les données de la carte
d’extension Wave installée
dans le créneau SRX A.
Support à carte
Avant l’installation, orienter les supports
à carte tel qu’indiqué sur le schéma.
Connecteur
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Getting Ready
4
5
Pour tourner les supports en position LOCK (verrouillé),
utilisez l’outil d’installation de la carte d’extension fournie à
cet effet. De cette façon, la carte sera bien fixée à sa place.
fig.Q-06.f
LOCK
Outil d'installation
Reposez le couvercle en remettant les vis enlevées (comme
spécifié) à l’étape 2.
Vérification des cartes d’extension audio aprés installation
Lorsque l’installation des cartes d’extension audio est terminée, procéder à
une vérification pour s’assurer que l’ordinateur les identifie correctement.
fig.Q-07
CONTROL
2
1
Mettre sous tension de la façon décrite sous “Turning On the
Power” (p. 24).
NOTE
Si “----------------“ est affiché
à côté du nom de la fente
la carte d’extension audio
installée ne soit pas
2
Tenez EXPANSION [A] ou [B] enfoncé pendant plusieurs
secondes.
fig.LCD
reconnue correctement.
Mettre hors tension de la
façon décrite sous
“Turning Off the Power”
(p. 25) et réinstaller
L’exemple montre ce qui serait affiché si la carte d’extension audio SRX-02
“Concert Piano“était installée dans la fente SRX A.
correctement la carte
Lorsque vous le relâcherez, vous serez ramené à l'écran précédent.
d’extension audio.
21
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Getting Ready
Connecting the RD-700 to External
Equipment
NOTE
The RD-700 is not equipped with an amplifier or speakers. In order to
produce sound, you need to hook up audio equipment such as a monitor
speaker or a stereo set, or use headphones.
To prevent malfunction
and/or damage to speakers
or other devices, always
turn down the volume, and
turn off the power on all
devices before making any
connections.
* Audio cables, MIDI cables, headphones, and expression pedals are not included.
Consult your Roland dealer if you need to purchase accessories such as these.
fig.00-05.e
to Power outlet
MIDI IN
Stereo
MIDI sound module etc.
Roland
MIDI OUT
headphones
Pedal switch
(DP-2, DP-6 etc.)
Expression pedal (EV-5)
or Pedal switch
MIDI sequencer etc.
Monitor speakers
(powered)
Mixer etc.
Power amp.
1
Before you begin making connections, confirm the following.
Is the volume level of the RD-700 or connected amp turned all the way
down?
Is the power to the RD-700 or connected amp turned off?
22
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Getting Ready
NOTE
2
3
Connect supplied AC power cable to the RD-700, and plug the
other end into an AC power outlet.
Use Stereo headphones.
NOTE
Use only the specified
expression pedal (EV-5;
sold separately). By
Connect the RD-700 and the external device.
Use audio cables to connect audio equipment, such as an amp or speakers.
Use MIDI cables to connect MIDI devices.
connecting any other
expression pedal, you risk
causing malfunction and/
or damage to the unit.
If you are using headphones, plug them into the PHONES jack.
Connect pedal switches or expression pedals as necessary.
Connecting Pedals
Connect the pedal included with the RD-700 to one of the Pedal jacks.
When connected to the Damper jack, the pedal can be used as a damper
pedal.
Connecting the pedal to the FC-1 or FC-2 jack allows you to assign a variety
of functions to the pedal (p. 73).
About the Output Jacks
The RD-700’s output jacks are capable of use with either balanced or
unbalanced output.
To use balanced output, use a cable with a balanced (TRS type) phone plug.
To use unbalance output, use a cable with an unbalanced (TS type) phone
plug.
fig.TRS
TRS
TS
SLEEVE (Ground)
RING (Cold)
SLEEVE (Ground)
TIP (Hot)
TIP (Hot)
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Getting Ready
Turning the Power On and Off
Once the connections have been completed, turn on power to your various
devices in the order specified. By turning on devices in the wrong order, you
risk causing malfunction and/or damage to speakers and other devices.
Turning On the Power
1
Before you switch on the power, turn the volume down all the
way by rotating the VOLUME Slider.
Also completely turn down the volume of any connected audio device and
other equipment.
fig.00-06
NOTE
To prevent incorrect
functioning of the Pitch
Bend Lever (p. 48), refrain
from touching the lever
while the power to the RD-
700 is turned on.
2
Press the upper portion of the [POWER] switch to turn on the
power.
The unit is powered up, and the display's backlighting comes on.
fig.00-07
NOTE
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
3
Turn on the power to connected external devices.
4
Adjust the volume of the connected external device.
5
Adjust the RD-700’s volume to obtain the proper volume level.
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Getting Ready
Turning Off the Power
1
Before you switch on the power, turn the volume down all the
way by rotating the VOLUME Slider.
Also completely turn down the volume of any connected audio device and
other equipment.
2
3
Turn off the power to connected external devices.
Press the lower portion of the [POWER] switch on the back of
the RD-700.
The power is switched off.
fig.00-07
Adjusting the Volume
fig.00-08
1
Adjust the volume using the VOLUME slider.
Move the slider up to increase the volume, or down to lower it.
Also adjust the volume of the connected device to an appropriate level.
25
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Getting Ready
Restoring the Factory Settings
(Factory Reset)
NOTE
When using the RD-700 for the first time, start by returning the settings to
their factory defaults so that the RD-700 operates as described in the
procedures in the owner’s manual.
Executing this operation
deletes the Setup settings
(p. 54). If you want to keep
any internally stored
content, use the “Bulk
Dump (Bulk Dump
Notes
SETUP)” procedure to save
the data to an external
sequencer (p. 92).
Never turn off the power during Factory Reset (while “Now,
Executing” appears in the display).
Turning off the power while Factory Reset is in progress may result in
corrupted internal data and may prevent the power from being turned on
again. If you have confirmed that the internal data has been lost, or if a
similar problem exists, consult the retailer from whom you purchased the
instrument, or the nearest Roland Service Center. Note, however, that
Roland assumes no liability, including compensation, for consequences
arising from any loss of data.
fig.panel
CONTROL
2,4 6,7 3,5
1
1
Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu2.eps_150
2
Press CURSOR [
] to select “9.Utility.”
3
Press CURSOR [ ] to display the Edit screen.
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Getting Ready
fig.utility1.eps_150
4
5
Press CURSOR [
] to select “Factory Reset All.”
Press CURSOR [ ].
A screen like the one shown below appears.
fig.utility1.eps_150
To cancel the Factory Reset, press [DEC/NO].
6
7
Press [INC/YES].
The confirmation message appears.
fig.LCD_150
To cancel the Factory Reset, press [DEC/NO].
After performing a Factory
Reset, you may need to re-
adjust the display contrast.
When this occur, adjust
Press [INC/YES] once again to start the Factory Reset
operation.
During the execution, “Now, Executing” appears in the display.
depth of the display (p. 28).
After the Factory Reset operation is finished, the display will indicate
“COMPLETED” and the Tone screen will appear.
You can also restore only part of the setting to their factory status. Refer to
“Restoring the settings to the factory condition (Factory Reset)” (p. 94).
27
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Getting Ready
Adjusting the Display Contrast
(LCD Contrast)
The characters in the display may be difficult to view immediately after
turning on the power or after extended use; this may also be because of
where and how the display is situated. Follow the steps below to adjust the
display’s contrast.
The LCD CONTRAST
setting affects the RD-700
as a whole (i.e., is a system
setting). This setting
remains stored in memory
even while the power is off.
fig.panel
CONTROL
2,4
5
3
1,6
1
Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu1.eps_150
2
3
Press CURSOR [
] to select “0.System.”
Press CURSOR [ ] to display the Edit screen.
fig.system1.eps_150
4
5
Press CURSOR [
] or [
] to move the cursor to the “LCD
Contrast” parameter.
Press [INC/YES] or [DEC/NO] to select the value (1–10).
The brightness of the display changes as the value is changed. Adjust the
contrast so that the display is easy to view.
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Getting Ready
6
Press [EDIT] to make the indicator go dark.
You are returned to the Tone screen.
Tuning to Other Instruments’ Pitches
(Master Tune)
For a cleaner ensemble sound while performing with one or more other
instruments, ensure that each instrument’s basic pitch is in tune with that of
the other instruments. In general, the tuning of an instrument is indicated
by the pitch in Hertz (Hz) of the middle “A” note.
The Master Tune setting is
a system setting that is
applied to the entire RD-
700 (i.e., is a system
This matching of other instruments’ basic reference pitches is called
“tuning.”
setting), This setting
remains stored in memory
even while the power is off.
fig.panel
CONTROL
2
3
1
1
Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu1.eps_150
2
3
Press CURSOR [
] to select “0.System.”
Press CURSOR [ ] to display the Edit screen.
fig.system1.eps_150
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Getting Ready
CONTROL
4
5
6
4
Press CURSOR [
parameter.
] to move the cursor to the “Master Tune”
For faster value increases,
keep [INC/YES] pressed
down and press [DEC/
NO]. For decreasing value
faster, keep [DEC/NO]
pressed down and press
[INC/YES].
5
6
Press [INC/YES] or [DEC/NO] to select the value (415.3–
440.0–466.2).
Press [EDIT] to make the indicator go dark.
You are returned to the Tone screen.
30
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Overview of the RD-700
Basic Organization of the RD-700
Units of Sound
The RD-700 can be divided into two sections: a keyboard
controller section and a sound generator section. The two
When using the RD-700, you will notice that a variety of
different categories come into play when working with
sounds. What follows is a simple explanation of each sound
category.
sections are connected internally by means of MIDI.
fig.00-G1
Sound
Generator
Section
Tone
The individual sounds used when playing the RD-700 are
referred to as “Tones.” The RD-700 provides 468 types of
Tones. Tones are assigned to each part.
Play
The Tones also include various groups of percussion
instrument assembled into “Rhythm Sets.” Each key (note
number) of a Rhythm Set will produce a different percussion
instrument.
Keyboard Controller Section
(controllers such as keyboard, pitch bend lever, etc.)
Part
Keyboard Controller Section
A sound generator of this type which can control multiple
sounds using one device is referred to as a multitimbral
sound generator. The RD-700 contains a multitimbral sound
generator capable of playing sixteen Tones simultaneously.
This section includes the keyboard, the Pitch Bend/
Modulation Lever, the panel knobs, and any pedal connected
to the rear panel. Actions such as pressing and releasing of
keys on the keyboard, depressing a pedal, and so forth, are
converted to MIDI messages and sent to the sound generator
section, or to an external MIDI device.
“Parts” are where Tones that are created when the RD-700 is
used as a sound generator are assigned. Since different Tones
can be assigned to each of the Parts and controlled
individually, you can have multiple Tones play
Sound Generator Section
simultaneously (layer), divide the keyboard into separate
ranges and have different Tones sound in the different parts
(Split), and enjoy playing ensemble performances.
The sound generator section produces the sound. Here, MIDI
messages received from the keyboard controller section or
external MIDI device are converted to musical signals, which
are then output as analog signals from the OUTPUT and
PHONES jacks.
The sixteen Parts played by the RD-700’s internal sound
generator are referred to as “Internal Parts.”
Local Parts and MIDI TX Parts
The RD-700 features three Parts (UPPER1, UPPER2, and
LOWER) that you can use for freely controlling the Internal
Parts with the RD-700’s buttons and keyboard. These three
Parts that are used for controlling the Internal Parts are
collectively known as the “Local Parts.” Three of the sixteen
Internal Parts are assigned to the Local Parts for control (the
RHYTHM Part is fixed at Part 10).
Furthermore, you can freely control external MIDI sound
generators with the RD-700 in the same manner as with the
Local Parts. You can likewise control the external MIDI
sound generator with the three Parts (UPPER1, UPPER2, and
LOWER), with this group of three Parts being referred to as
the “MIDI TX (Transmit) Parts.” The external MIDI sound
generator is assigned to these three Parts for control (the
RHYTHM Part can also be partially set).
31
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Overview of the RD-700
The Rhythm/Arpeggio Screen
Basic Operation of the RD-700
Pressing CURSOR [
] when the Tone screen is displayed
switches the RD-700 to this screen.
Main Screens
You can change Rhythm patterns, Arpeggio patterns, and the
tempo.
The Tone Screen (Basic Screen)
The names of the Tones currently selected for the Local Parts
Pressing CURSOR [
] when this screen is displayed
are displayed. This is the screen that is ordinarily displayed.
returns you to the Tone screen.
fig.00-G4
When ONE TOUCH [PIANO] is pressed, setting the RD-700
to the optimal status for piano performances, this screen is
displayed.
You can change the Local Part UPPER1, UPPER2, and
LOWER Tones and tempo.
fig.00-G2
Special Indications
When the contents of a Setup (p. 54) are changed, an
asterisk (a “*” mark) appears on the right of the
Setup number. If you want to use the changed
content as a new Setup, save the settings to a Setup
(p. 56).
The Tone Wheel Screen
In the Tone screen, when any ORGAN Tone “Tone Wheel 1–
10” is selected for any of the Local Parts, this screen is
displayed when CURSOR [
] is pressed. The mode when
With Clock Source (p. 70) set to MIDI, the tempo
indication changes to “M:” for each screen.
The tempo can be changed with the external MIDI
devices when this mark is indicated.
this screen is displayed is called “Tone Wheel mode,” and
while in this mode you can simulate the creation of sounds
using an organ’s harmonic bars.
Pressing CURSOR [
] when this screen is displayed
returns you to the Tone screen.
fig.00-G3
With EQ Control (p. 70) set to SYSTEM, this mark
appears on the screen.
Equalizer settings do not change when Setups are
switched while this mark is indicated.
With Rhythm Type (p. 82) set to “2,” this mark
appears on the screen.
The Setup Screen
The currently selected Setup is displayed.
About the Function Buttons
Pressing CURSOR [
] when the Tone screen or Tone Wheel
fig.00-G6
Screen is displayed switches the RD-700 to this screen. You
can also have this screen displayed by pressing [SETUP]. You
can change the Setups.
Pressing CURSOR [
] when this screen is displayed
returns you to the Tone screen or Tone Wheel Screen.
fig.00-G5
[EDIT]
By pressing [EDIT] to make the indicator light, you can enter
“Edit mode.” In Edit mode you can make detailed settings
for various functions.
You can exit Edit mode by pressing [EDIT], extinguishing its
indicator. When exiting from Edit mode, [EDIT]’s indicator
goes out.
32
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Overview of the RD-700
Additionally, when multiple parameters are presented
horizontally in a row, as shown in the MIDI TX screen, you
can get the cursor to move more rapidly by holding down
the CURSOR button that points in the direction you want the
cursor to move while you also press the CURSOR button that
[WRITE]
Stores the current settings to “Setup”
[MIDI TX]
When [MIDI TX] is pressed, the button’s indicator lights up,
and the RD-700 switches to the mode enabling it to control an
external MIDI sound generator. The status of this button
determines whether the RD-700’s buttons are used to control
the Local Parts ([MIDI TX] off), or to control the MIDI TX
Parts ([MIDI TX] on).
points in the opposite direction.
fig.00-G10
In addition, you can make detailed settings for the MIDI
messages to be transmitted to the external sound generator.
[NUM LOCK]
When [NUM LOCK] is pressed, the button’s indicator lights
up, enabling input of numerical values using the TONE
SELECT buttons. The button indicators automatically light
according to the values set.
Changing the Settings Values
fig.00-G11
About the CURSOR Buttons
ig.00-G7
When changing settings values, you can use [DEC/NO] and
[INC/YES], or the TONE SELECT buttons (numeric keys).
The CURSOR buttons are used for switching screens, and for
moving to an item whose setting you want to change (by
moving the cursor).
[DEC/NO], [INC/YES]
Pressing [INC/YES] increases the value, and [DEC/NO]
decreases it. Keep the button pressed for continuous
adjustment. For faster value increases, keep [INC/YES]
pressed down and press [DEC/NO]. For decreasing value
faster, keep [DEC/NO] pressed down and press [INC/YES].
Moving Between Display Pages
When arrow symbols (“ ” and “ ”) appear at the upper right
of the display screen, it indicates that there are additional
pages in the directions shown by the arrows.
TONE SELECT Buttons (Numeric Keys)
You can switch screens with CURSOR [
] and [
].
fig.00-G8
When [NUM LOCK] is on (lit), numerical values can be input
directly using the TONE SELECT buttons, which then serve
as [0]–[9] numeric keys. When you enter the number, the
value will blink. This indicates that the value has not yet
been finalized. To finalize the value press [ENTER].
With some parameters, [NUM LOCK] may come on
automatically, allowing you to input numerical values
directly with the TONE SELECT buttons.
Navigating Among Items To Be Set (CURSOR)
When more than one parameter is present in a screen, the
name and value of the parameter to be changed is shown
with a box around it. This box is referred to as the “cursor.”
The negative (-) or positive (+) sign of numerical values are
switched with [DEC/NO] or [INC/YES].
The cursor is moved with the CURSOR buttons.
fig.00-G9
Cursor
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Listening to the Demo (DEMO PLAY)
Here’s how to listen to these songs.
The RD-700 features the internal demo songs that exhibit the special
capabilities of the instrument.
No. Song Name
Composer/Copyright
NOTE
01.
02.
03.
04.
05.
RD Party
Retro-Active
Escape
High-End Speak
No me digas
Pastorale
Scott Wilkie © 2001 Roland Corporation
All rights reserved.
Igor Len
© 2001 Roland Corporation
© 2001 Roland Corporation
© 2001 Roland Corporation
© 2001 Roland Corporation
© 2001 Roland Corporation
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
Scott Tibbs
Scott Tibbs
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Igor Len
06.
fig.panel
CONTROL
4,5
2 3
1
1
NOTE
Hold down [NUM LOCK] and press [WRITE].
The Demo screen appears.
No data for the music that
is played will be output
from the MIDI OUT
connector.
fig.LCD
2
3
Press CURSOR [
hear.
] / [
] to select the song that you wish to
NOTE
When CHAIN PLAY is selected, the entire group of songs is played back
repeatedly.
While the demo songs are
playing back, playing the
keyboard will not produce
sound.
Press CURSOR [ ] or [INC/YES] to start playback of the
demo song.
When the end of the selected the song is reached, playback then repeats
from the beginning of the song.
When ONE TOUCH
[PIANO] or [SETUP] is
pressed, the song is
4
5
Press CURSOR [ ] or [DEC/NO] to stop a song during
playback.
stopped, and the Tone
screen or Setup screen
appears in the display.
Press [DEC/NO] while the song is stopped to finish with the
Demo screen.
You are returned to the Tone screen.
34
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Performing with the Keyboard
Piano Performances (One Touch [Piano])
Now, try performing with the piano.
With the RD-700, you can call up the optimal settings for piano
performances with the press of a single button.
fig.panel
CONTROL
1
1
Press ONE TOUCH [PIANO].
When ONE TOUCH
fig.LCD
[PIANO] is pressed, all
settings other than the
Piano Edit settings (p. 66)
are switched to their status
at the time the RD-700’s
power was turned on
Store any arrangements of
settings that you want to
keep in Setup (p. 56).
The performance setting (Single Mode ➔ p. 41) is selected as the piano tone
for the entire keyboard.
With the RD-700, you can also make more detailed settings to make the
sound even better match your favorite piano performances. Please refer to
each as needed.
• Fine Adjustment of Piano Tones (Piano Edit) ➔ p. 66
• Fine Adjustment of the Piano Touch Sense ➔ p. 71
35
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Performing with the Keyboard
Performing with a Variety of Tones
The RD-700 provides 468 types of Tones.
Each one of these individual sounds is called a tone.
Tones are assigned to the TONE SELECT buttons according to the tone
category selected.
For more on the RD-700’s
internal tones, refer to the
“Tone List” (p. 135).
Try selecting and performing with a number of different tones.
fig.panel
CONTROL
1
3
2,4
1
2
3
4
When changing tones in
Layer mode (p. 42) or Split
changed with the PART
SELECT buttons, without
pressing the ONE TOUCH
[PIANO] button. For
Press ONE TOUCH [PIANO].
This selects a single tone to be played over the entire keyboard.
Press any of the TONE SELECT buttons to select the tone
category.
details, refer to “Changing
Tones in Layer and Split
Mode” (p. 44).
Press [INC/YES] or [DEC/NO] to select the tone.
The TONE SELECT button for the selected category flashes.
NOTE
If [NUM LOCK] is turned
on, the Tone Category
cannot be selected with
TONE SELECT button.
For details, refer to p. 37.
Either press the flashing TONE SELECT button or play the
keyboard.
The TONE SELECT button stops flashing and remains lit, and the selected
tone is set.
Play the keyboard, and you will hear the selected tone.
NOTE
The next time you choose this TONE SELECT button, the tone you’re
selected here is played.
Tones selected with [RHY/
GM2] are registered in the
following order: “Rhythm
Sets,” “GM2 Rhythm Sets,”
and “GM2 Tones.” Refer to
the “Tone List” (p. 135).
36
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Performing with the Keyboard
Specifying the Tone Number to Select a Tone
([NUM LOCK])
Each individual tone has a different tone number.
You can select tones with the TONE SELECT buttons by inputting numerals
with these buttons to specify tone numbers.
For more on the RD-700’s
internal tones, refer to the
“Tone List” (p. 135).
Turn [NUM LOCK] on when inputting numerals with the TONE SELECT
buttons.
fig.panel
CONTROL
1
4
3
1
2
Press ONE TOUCH [PIANO].
When changing tones in
Layer mode (p. 42) or Split
changed with the PART
SELECT buttons, without
pressing the ONE TOUCH
[PIANO] button. For
This selects a single tone to be played over the entire keyboard.
Press [NUM LOCK] to make the indicator light.
This enables input of numerals with the TONE SELECT buttons.
The numerical value that can be entered with each button is indicated
beneath the buttons.
details, refer to “Changing
Tones in Layer and Split
Mode” (p. 44).
3
4
Enter the tone number with the TONE SELECT buttons.
The screen Tone name flashes.
Press [ENTER].
The tone is set.
Play the keyboard, and you will hear the selected tone.
When [NUM LOCK] is turned off, the TONE SELECT buttons included in
the selected Tone numbers lit.
37
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Performing with the Keyboard
Playing a Rhythm Set
Among the tones that can be selected with the TONE SELECT buttons are
Rhythm Sets, which are collections of a variety of percussion instrument
sounds and special sound effects. Here’s how to select a Rhythm Set and
play percussion sounds.
fig.panel
CONTROL
1
4
2
1
2
Press ONE TOUCH [PIANO].
Tones selected with [RHY/
GM2] are registered in the
following order: “Rhythm
Sets,” “GM2 Rhythm Sets,”
and “GM2 Tones.” Refer to
the “Tone List” (p. 135).
This selects a single tone to be played over the entire keyboard.
Press TONE SELECT [RHY/GM2].
If [NUM LOCK] is turned on at this time, the Rhythm Set Category cannot
be selected. Turn [NUM LOCK] off.
3
4
Press different keys to play different percussion instruments.
The combination of sounds
assigned to the keyboard
varies according to the
Rhythm set. Refer to
“Rhythm Set List” (p.
138).
To select a different Rhythm Set, press [INC/YES] or [DEC/
NO].
38
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Performing with the Keyboard
Selecting Wave Expansion Board Tones
Up to two optional wave expansion boards (SRX series) can be installed into
For instructions on
the RD-700.
installing the Expansion
Board, refer to “Installing
the Wave Expansion
Board” (p. 15).
Use the following procedure when selecting tones stored on an wave
expansion board.
fig.panel
CONTROL
1
4
2
3
1
2
Press ONE TOUCH [PIANO].
When changing tones in
Layer or Split mode, select
PART SELECT buttons,
without pressing the ONE
TOUCH [PIANO] button.
For details, refer to
This selects a single tone to be played over the entire keyboard.
Press EXPANSION [A] or [B] to make its indicator light.
fig.LCD
“Changing Tones in
Layer and Split Mode” (p.
44).
If you hold down EXPANSION [A] or [B] for several seconds, the
name of the installed wave expansion board appears in the
display (p. 18).
3
4
Press [NUM LOCK] to turn on the button indicator.
For details on the Tone list
for Wave Expansion Board,
refer to the “Patch List”
and the “Rhythm Set List”
of the owner’s manual for
the SRX Series.
Press [INC/YES] or [DEC/NO], or press the TONE SELECT
buttons to select the Tone.
When using the TONE SELECT buttons to input Tone numbers, press
[ENTER] afterwards to set the number.
5
Play the keyboard, and you will hear the selected tone.
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Performing with the Keyboard
Selecting Tones Without Pressing [NUM LOCK]
You can select tones stored on expansion boards with [NUM LOCK] off.
1. Press EXPANSION [A] or [B] to make its indicator light.
2. Use the TONE SELECT buttons to specify the tone number.
Wave expansion board tones are assigned to the TONE SELECT buttons
as shown below.
fig.Q1-10
001 011 021 031 041 051 061 071 081
Rhythm
Set
:
:
:
:
:
:
:
:
:
Tone
Number
010 020 030 040 050 060 070 080 090
091
:
100
101
:
3. Press [DEC/NO] or [INC/YES] to select the tone.
The TONE SELECT button included in the selected Tone numbers flash.
4. Either press the flashing TONE SELECT button or play the keyboard.
The TONE SELECT button stops flashing and remains lit, and the
selected tone is set.
Wave Expansion Board Rhythm Set Tone Numbers
When selecting a Wave Expansion Board Rhythm Set with the RD-700, the
Wave Expansion Board Rhythm Sets are placed after Patches (called Tones
on the RD-700).
Thus, when you want to specify a Wave Expansion Board Rhythm Set in
terms of a Tone number, the Tone number can be arrived at by adding the
desired Rhythm Set number in the Rhythm Set List to the last Patch number
in the Patch List.
40
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Performing with the Keyboard
Playing Two Tones on the Keyboard
The setting that determines whether one or two Tones are played by a key
is referred to as “Key Mode.”There are three Key modes.
● Single: The same Tone is played by all keys on the keyboard. This is the
normal playing mode.
● Split: One key acts as the division point (the “split point”) separating
the keyboard into left- and right-hand sides, with a different
Tone played in each.
● Layer: Two sounds are played simultaneously.
In Layer mode, the two overlapping parts are called UPPER1 and UPPER2;
in Split mode, the part in the right-hand side of the keyboard is referred to
as the UPPER part, and the part in left-hand side of the keyboard is referred
to as the LOWER part. In Single mode, UPPER1 is played over the entire
keyboard.
One tone can be assigned to each part.
fig.Q1-13
Layer Mode
UPPER 1
UPPER 2
Split Mode
Split Point
LOWER
UPPER
To Switch to Single Mode
You can use the following two methods to switch from modes such as Split
or Layer mode, in which two or more Tones are played together, to the
mode whereby one Tone is played over the entire keyboard (Single mode).
• Press ONE TOUCH [PIANO]
Switch to the mode most suitable for piano performances, where the piano
Tone is used by the entire keyboard.
However, pressing ONE TOUCH [PIANO] renders all settings made up to
that point ineffective. Save any settings you want to keep to a Setup (p. 56)
before pressing ONE TOUCH [PIANO].
• To Turn Off [LAYER] or [SPLIT] (Extinguishing the Indicator)
This switches the RD-700 to the mode in which the UPPER1 Tone is played
by all keys.
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Performing with the Keyboard
Playing with Two Layered Tones ([LAYER])
fig.panel
CONTROL
1,2
1
Press [LAYER], getting the indicator to light.
PART SWITCH [UPPER1] and [UPPER2] are lit.
Try fingering the keyboard.
fig.LCD
The Tones for UPPER1 and UPPER2 are layered and played.
2
To exit Layer mode, press [LAYER] once more, and the
indicator light goes out.
Pressing Two TONE SELECT buttons Simultaneously (Layer Mode)
* Keep [NUM LOCK] off when carrying out this operation.
You can switch to Layer mode without pressing the [LAYER] button simply
by pressing two TONE SELECT buttons at the same time.
For example, if you want to layer a piano sound with strings, together press
both [PIANO] and [STRINGS].
The [LAYER] indicator automatically lights up, and when you begin
playing the keyboard, the piano and strings sounds are layered together.
When this is done, the tone for the button that is pressed down first
(indicator lit in red) is assigned to UPPER1, and the other tone (indicator lit
in orange) is assigned to UPPER2. The UP1 and UP2 Part names are both
highlighted in the screen, with both Parts being selected.
When two TONE SELECT buttons are selected, then pressing any TONE
SELECT button selects the Tone for that button, and the RD-700 reverts to
Single mode.
* The procedure described above does not switch the RD-700 to Layer mode when [LOWER] is
selected in the PART SELECT buttons.
42
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Performing with the Keyboard
Playing Different Tones in Two Different Sections of
the Keyboard ([SPLIT])
You can change the split
point.
Such a division of the keyboard into right- and left-hand sections is called a
“Split,” and the key where the division takes place is called the “Split
Point.”The split-point key is included in the UPPER section.
Please refer to “Changing
the Keyboard’s Split
Point” (p. 44).
The Split Point has been set at the factory to “C4.”
fig.panel
CONTROL
1,2
1
Press [SPLIT], getting the indicator to light.
PART SWITCH [LOWER] lights.
Try fingering the keyboard.
fig.LCD
The UPPER tone plays in the right-hand section of the keyboard, and the
LOWER tone plays in the left-hand section.
fig.LCD
Split Point (C4)
LOWER
UPPER
2
To exit Split mode, press [SPLIT] once more, and the indicator
light goes out.
Selecting Both Layer and Split Mode
When both [LAYER] and [SPLIT] are on, the LOWER Tone is played at the
left side of the Split Point, while the UPPER1 and UPPER2 Tones are layered
to the right of the Split Point.
43
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Performing with the Keyboard
Changing the Keyboard’s Split Point
You can change the point at which the keyboard is divided (the Split Point)
in Split mode.
1
Hold down [SPLIT] for several seconds.
A screen such as the following appears, and the current value of the setting
is displayed.
fig.LCD
You can freely set the
ranges for UPPER1,
UPPER2, and LOWER as
you prefer. For details,
refer to “Setting the Key
Range for Each Part (Key
Range)” (p. 88).
2
Hold down [SPLIT] and press a key.
When you release [SPLIT], the previous display will reappear.
The split-point key is included in the UPPER section.
Changing Tones in Layer and Split Mode
When you want to change tones in Layer and Split mode, use the PART
SELECT buttons to specify the part for which the tone is to be changed.
fig.panel
CONTROL
2
1
1
Press the PART SELECT button for the part whose tone you
want to change, causing the part’s indicator to light up.
The indicator for the currently selected TONE SELECT button lights up in
the same color as the indicator for the selected part.
2
Select the tone category with a TONE SELECT button, then
press [INC/YES] or [DEC/NO] to select the tone.
When [NUM LOCK] is on, you can specify tone numbers with the TONE
SELECT buttons (p. 37).
44
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Performing with the Keyboard
Adjust the Volume Level for Individual
Parts (PART SWITCH/LEVEL)
fig.panel
CONTROL
PART LEVEL Slider
PART SWITCH
Parts that are played on the RD-700 using the instrument’s internal sound
generator are called Local Parts.
You can use the PART SWITCHes and PART LEVEL sliders to make
individual settings determining whether the sound for each part is played
as well as the volume level for RHYTHM part and Local Parts (LOWER,
UPPER1, and UPPER2).
For more on the control of
MIDI TX parts, refer to
“Adjusting the Volume of
Each Part (MIDI TX Part)”
(p. 62).
PART SWITCH
This determines whether or not the sounds in the particular part are played.
When a part’s PART SWITCH indicator is lit (on), the part sounds when the
keyboard is played. The screen Part names are indicated in uppercase
letters.
NOTE
The volume of Parts for
which any Tone Wheel
setting 1–10 is selected
cannot be adjusted with the
PART LEVEL sliders.
When a part’s PART SWITCH indicator is not lighted (off), the part does not
sound even when the keyboard is played. The screen Part names are
indicated in lowercase letters.
PART SWITCH will turn on or off each time you press it.
PART LEVEL Slider
Adjusts the volume of an individual Part.
When a part’s PART SWITCH indicator is not lighted, no sound is produced
for the part even when the slider is moved.
Use the VOLUME slider
when adjusting the overall
volume level (p. 25).
45
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Performing with the Keyboard
Transposing the Key of the Keyboard
([TRANSPOSE])
You can transpose performances without changing the keys you are
playing, as well as change the pitch by an octave. This feature is called
“Transpose.”
This is a convenient feature to use when you want to match the pitch of the
keyboard performance to a vocalist’s pitch, or perform using the printed
music for trumpets or other transposed instruments.
NOTE
Note messages from MIDI
IN will not be transposed.
The reference Transpose setting is C4, and the setting can be adjusted in
semitone units in a range of -41–0– +42.
fig.panel
CONTROL
1,2,3
1
Hold down [TRANSPOSE] for several seconds.
A screen such as the following appears, and the current value of the setting
is displayed.
fig.LCD
Even when the Transpose
function is turned on, the
Split Point remains
unchanged.
2
Hold down [TRANSPOSE] and press a key.
For example, to have “E” sound when you play “C” on the keyboard, hold
down [TRANSPOSE] and press the E4 key. The degree of transposition then
becomes “+4.”
When you release [TRANSPOSE], the previous display will reappear.
When the amount of transposition is set, the Transpose function switches
on, and [TRANSPOSE] lights up
transposition for each of
the Local parts (p. 31)
individually. For details,
refer to “Setting the
When the indicator is flashing, a Transpose settings value of “0” is selected.
3
To turn off Transpose, press [TRANSPOSE] so that its
Transposition for Each
Individual Part (Key
Transpose)” (p. 88).
indicator goes off.
The next time [TRANSPOSE] is pressed, the sound is transposed by an
amount corresponding to the value set here.
46
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Performing with the Keyboard
Adding Reverberation to the Sound
(REVERB knob)
The RD-700 can apply a reverb effect to the notes you play on the keyboard.
Applying reverb adds pleasing reverberation to what you play, so it sounds
For more detailed
almost as if you were playing in a concert hall.
fig.Q1-25
information about the
reverb effect settings, refer
to “Making Reverb
Settings” (p. 78).
1
NOTE
Adjust the REVERB knob to select the amount of reverb effect
to be applied.
When the Tone Edit’s
Reverb Amount setting in
the Edit mode is set to “0,”
then no effect is applied,
even when the REVERB
knob is turned (p. 80).
Rotating the knob clockwise applies a deeper reverb, and rotating it
counterclockwise applies less reverb.
Adding Breadth to the Sound
(CHORUS knob)
You can apply a chorus effect to the notes you play on the keyboard. By
adding the chorus effect, you can give the sound greater dimension, with
For more detailed
more fatness and breadth.
fig.Q1-26
information about the
chorus effect settings, refer
to “Setting Chorus and
Delay” (p. 78).
NOTE
When the Tone Edit’s
1
Adjust the CHORUS knob to select the amount of chorus effect
Chorus Amount setting in
the Edit mode is set to “0,”
then no effect is applied,
even when the CHORUS
knob is turned (p. 80).
to be applied.
Rotating the knob clockwise applies a deeper chorus, and rotating it
counterclockwise applies less chorus.
47
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Performing with the Keyboard
Changing the Sound’s Pitch in Real
Time (Bender/Modulation Lever)
NOTE
While playing the keyboard, move the lever to the left to lower the pitch, or
to the right to raise the pitch. This is known as Pitch Bend.
The effect obtained when
you move the lever may
differ according to the tone
being used. Additionally,
the effect applied by
moving the lever is
You can also apply vibrato by manipulating the lever away from you. This
is known as Modulation.
If you move the lever away from you and at the same time move it to the
right or left, you can apply both effects simultaneously.
fig.Q1-27
predetermined for each
tone, and cannot be
changed.
screen is displayed, the
that tilting the lever from
left to right switches the
Rotary effect from fast to
slow. For details, refer to
“Simulating the Creation
of Organ Tones (Tone
Wheel Mode)” (p. 75).
BENDER
BENDER
Modulation
Pitch Bend
Adjusting the Level of the Sound’s Low, Mid,
and High-Frequency Ranges (EQUALIZER)
The RD-700 is equipped with a three-band equalizer.
NOTE
You can adjust the levels of the low-frequency, midrange, and high-
frequency ranges using the EQUALIZER [LOW], [MID], and [HIGH] knobs,
Equalization is applied to
the overall sound output
from the OUTPUT jacks.
respectively.
fig.Q1-28
NOTE
Sounds may become
distorted when certain
used. In such instances, use
the PART LEVEL sliders or
other controls to lower Part
volumes, or in Edit mode,
adjust the Master Volume
settings in the System (p.
volume level.
1
Press EQUALIZER [ON/OFF] to make its indicator light.
The equalizer is turned on.
2
Turn the knobs to adjust the levels in each range.
Turning a knob towards the minus (-) sign cuts the level of that frequency
range; turn the knob towards the plus (+) sign to boost the level of that
range.
You can make more
detailed settings for the
equalizer. For details, refer
to “Changing the
3
To turn the equalizer off, press EQUALIZER [ON/OFF],
Equalizer Frequency
Settings (Freq/Q)” (p. 74).
extinguishing its indicator.
48
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Using the Convenient Functions in
Performances
Creating Arpeggios from the Chords
You Play ([ARPEGGIO])
Just by playing a chord, you can play an arpeggio (a chord that is played one
and key range for
note at a time) using the notes making up that chord.
arpeggios to be played.
For details, refer to
“Setting the Key Range
for the Arpeggio
Performances (Key
Range)” (p. 84).
fig.panel
CONTROL
1,3
1
performances that use
arpeggios to an external
MIDI device from MIDI
OUT. When transmitting,
set Arpeggio’s Dest Part
setting to ALL in Edit mode
(p. 84).
Press [ARPEGGIO], getting the indicator to light.
2
Press the key as shown in the figure below.
fig.Q2-3
E
At the factory settings,
arpeggios stop playing
when you release the keys,
but you can also have
arpeggios continue playing
even after the keys are
released (p. 73).
C
G
E
G
C
E
G
E
C
E
The arpeggio is played with the sequence of notes, C, E, G, E, C, E, G, E, and
so on.
Try playing some other chords, too.
When the Arpeggio’s
Arpeggio Hold is set to ON
in Edit mode (p. 87):
- the [ARPEGGIO] indicator
flashes.
- if an arpeggio is played
while a rhythm plays, the
arpeggio will stop at the
moment that the rhythm
stops.
3
If you press [ARPEGGIO] once more, the indicator light goes
out, and the keyboard returns to the normal performance
mode.
49
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Using the Convenient Functions in Performances
Changing the Arpeggio Style
You can select the way an arpeggio is played (the style) to match a variety
of different musical genres.
For more information on
arpeggio styles, refer to
“Setting the Way
1
Press [ARPEGGIO], getting the indicator to light.
Arpeggios are Played
(Style)” (p. 84).
2
Press CURSOR [ ] to go to the Arpeggio/Rhythm screen.
The following Arpeggio/Rhythm screen appears.
fig.LCD
When you’re at the Tone
screen, you can press
CURSOR [
] to go to the
Arpeggio/Rhythm screen.
From the Arpeggio/
Rhythm screen, you can get
back to the Tone screen by
3
pressing CURSOR [
].
Press CURSOR [
] to move the cursor to “ARP.”
4
Press [INC/YES] or [DEC/NO] to select the style.
The arpeggio’s style changes.
5
6
Try playing the keyboard.
If you press [ARPEGGIO] once more, the indicator light goes
out, and the keyboard returns to the normal performance
mode.
Changing Arpeggio Tempos
1
In the Arpeggio/Rhythm screen, press CURSOR [
] to move
the cursor to “ ” in the screen.
2
When you play the keyboard, arpeggios are played at the selected tempo.
By changing the arpeggiator settings you can create arpeggios with various
patterns.
For details, refer to “Making Arpeggio Settings (Arpeggio)” (p. 83).
50
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Using the Convenient Functions in Performances
Playing Rhythm ([RHYTHM])
The RD-700 features internal drum patterns complementing Jazz, Rock, and
other various musical genres. These drum patterns are referred to as
“Rhythms.”
When an Local part and
MIDI TX part are played
simultaneously, the
You can turn Rhythms on and off individually in any key mode. You can
perform using Rhythms combined with various functions, for example
performing arpeggios while a Rhythm is playing.
performances of both parts
are synchronized.
fig.panel
CONTROL
1,2,3
1
ending Rhythm Patterns
play at the beginnings and
ends of Rhythms.
Press PART SWITCH [RHYTHM] to make the button indicator
light.
The Rhythm begins playing
For details, refer to
“Switching the Intro and
Ending On or Off (Intro/
Ending)” (p. 83).
2
3
Press [RHYTHM] once more; the indicator goes out, and the
Rhythm stops playing.
You can set the RD-700 so
played even when PART
SWITCH [RHYTHM] is
pressed.
The Rhythm stops after playing the ending, when the Rhythm setting is set
to playing with the Ending (p. 83).
Also, with this setting, when a rhythm is playing, [RHYTHM] can be rapidly
pressed twice to stop the rhythm without playing the ending.
Set the Rhythm Pattern’s
Pattern to OFF in Edit
mode. Refer to “Changing
Patterns (Pattern)” (p. 82).
When the Arpeggio’s
Arpeggio Hold is set to ON
in Edit mode (p. 87), if an
arpeggio is played while a
rhythm plays, the arpeggio
will stop at the moment
that the rhythm stops.
51
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Using the Convenient Functions in Performances
Changing the Rhythm Pattern
You can select the way a Rhythm is played (the pattern) to match a variety
of different musical genres.
1
Press PART SWITCH [RHYTHM] to make the button indicator
light.
For more information
about the kind of Rhythm
Patterns, please refer to
“Rhythm Pattern List” (p.
143).
The Rhythm begins playing.
2
Press CURSOR [ ] to go to the Arpeggio/Rhythm screen.
The following Arpeggio/Rhythm screen appears.
fig.LCD
When the Tone screen is
displayed, the Arpeggio/
Rhythm screen appears
when CURSOR [
] is
pressed. Pressing CURSOR
[
] when the Arpeggio/
3
Rhythm screen is showing
then displays the Tone
screen.
Press CURSOR [
] or [
] to move the cursor to “RHY.”
4
5
Press [INC/YES] or [DEC/NO] to select the pattern.
The Rhythm’s pattern changes.
If you press [RHYTHM] once more, the indicator light goes
out, and the Rhythm stops playing.
Changing Rhythm Tempos
1
In the Arpeggio/Rhythm screen, press CURSOR [
] to move
the cursor to “ ” in the screen.
2
The Rhythm are played at the selected tempo.
You can change various settings such as tempo and pattern of the Rhythm.
For details, refer to “Making the Rhythm Settings (Rhythm Pattern)” (p.
82).
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Using the Convenient Functions in Performances
Applying Effects to the Sound
(MULTI EFFECTS)
In addition to chorus (p. 47) and reverb (p. 47), the RD-700 also allows you
For further details on the
onboard effects, see the
“Effect/Parameter List”
(p. 104).
to apply “multi-effects” to sounds. Multi-effects provides a collection of 65
different effects, such as distortion and rotary, from which you can choose.
The factory settings have a suitable effect assigned to each of the tones.
fig.panel
CONTROL
1,2,3
1
2
3
Press MULTI EFFECTS [ON/OFF], getting its indicator to
light.
The allowable values
adjusted with the
[CONTROL] knob vary
with the selected effect. For
details, refer to “MFX
Control” (p. 77).
Adjust the amount of multi-effect applied with the
[CONTROL] knob.
NOTE
Effects are not applied to
Tones for which the Tone
Edit MFX settings in Edit
mode are set to “00
To cancel the multi-effect, press MULTI EFFECTS [ON/OFF],
the indicator light goes out.
THROUGH” (p. 80). In that
case, the MULTI EFFECTS
[ON/OFF] indicator will
blink.
The RD-700 cannot use more than one multi-effect at a time. Therefore, there
is a “Source” parameter for whatever multi-effects settings you select, and a
“Dest.” parameter for the part to which those settings are to be applied.
Thus, you should note that depending on the Source or Dest. settings, some
Parts may not have multi-effects applied while in Split or Layer mode.
For more detailed information, refer to “MFX Source, MFX Dest” (p. 77).
You can change the multi-effects type as well as a variety of other multi-
effects settings. For details, refer to “Making Multi-Effects Settings” (p. 77).
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Using the Convenient Functions in Performances
Selecting Stored Settings ([SETUP])
The RD-700’s Local Part (p. 31) and MIDI TX Part (p. 31) tone settings, effect
NOTE
settings, and other such settings are collectively referred to as a “Setup.”
The current settings are
erased when a Setup is
called up. Be sure to save
any Setup you would like
to keep first before calling
up another Setup (p. 56).
Once you’ve stored your preferred settings, and settings for the songs to be
performed as a Setup, you can then switch whole groups of settings during
a performance just by switching Setups.
You can store up to 100 different Setups.
The RD-700 is shipped from the factory with recommended Setups already
prepared.
Now try actually calling up a Setup.
fig.panel
CONTROL
1
3
2
1
When the Tone screen is
displayed, the [SETUP]
indicator lights and the
Setup screen appears when
Press [SETUP], getting the indicator to light.
The Setup screen, shown below, appears in the display.
fig.LCD
CURSOR [
] is pressed.
From the Setup screen, you
can get back to the Tone
screen by pressing
CURSOR [
].
screen is displayed if “Tone
Wheel” is selected for any
Part in the Tone screen.
For detailed, refer to
2
3
Press [NUM LOCK] to make the indicator light.
Press [INC/YES]/[DEC/NO] or TONE SELECT buttons to
select the Setup to be called up.
“Simulating the Creation
of Organ Tones (Tone
Wheel Mode)” (p. 75).
After [INC/YES] or [DEC/NO] is pressed, the following screen appears; the
Setup screen then reappears after a few moments.
The screen does not change when the TONE SELECT buttons are used to
input Setup numbers. Press [ENTER] afterwards to set the number.
Setups indicated by a
“RHY:” before the name let
you enjoy performing with
a session-like feel while
playing a Rhythm. Be sure
to check it out.
fig.LCD
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Using the Convenient Functions in Performances
4
Try playing the keyboard.
The [RHYTHM] indicator
flashes if you select a setup
The settings are switched to those of the Setup that has been called up.
that has Intro/Ending set
to ON. Press [RHYTHM] to
start the rhythm with the
Intro.
Selecting Setups Without Pressing [NUM LOCK]
Using the TONE SELECT buttons, you can specify groups of ten Setups at a
time.
1. Press [SETUP], getting the indicator to light.
At this time, turn [NUM LOCK] off.
2. Use the TONE SELECT buttons to specify the Setup number.
Setups are assigned to the TONE SELECT buttons as shown below.
fig.Q1-10
001 011 021 031 041 051 061 071 081 091
SETUP
:
:
:
:
:
:
:
:
:
:
Number
010 020 030 040 050 060 070 080 090 100
3. Press [DEC/NO] or [INC/YES] to select the Setup.
When [INC/YES] or [DEC/NO] is pressed, the TONE SELECT buttons
included in the selected Setup numbers flash, and the following screen
appears.
fig.LCD
4. Either press the flashing TONE SELECT button or play the keyboard.
The TONE SELECT button stops flashing and remains lit, and the
selected Setup is set.
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Using the Convenient Functions in Performances
Storing Settings to Setups ([WRITE])
When the contents of a Setup are changed, an asterisk (a “*” mark) appears
on the right of the tempo indication. If you want to use the changed content
as a new Setup, use the following procedure to save the settings to a Setup.
You can also change the name of a Setup.
You can store 100 Setups on the RD-700.
fig.panel
CONTROL
2,4,8 3,6 9,10 5 3
1
1
Press [WRITE], getting the indicator to light.
The Setup screen appears.
fig.LCD
New Setup Name
Destination
2
Press CURSOR [
Setup name.
] to move the cursor to the destination
3
4
Select the save-destination Setup, either by pressing [INC/
YES] or [DEC/NO].
When using the TONE SELECT buttons to input Setup numbers, press
[ENTER] afterwards to set the number.
Press CURSOR [
name.
] to move the cursor to the new Setup
fig.LCD
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Using the Convenient Functions in Performances
5
6
Press CURSOR [ ]/[ ] to move the cursor to the positions
where the characters are to be input.
Press [INC/YES] or [DEC/NO] to enter the characters.
The following characters are available.
Space, A–Z, a–z, 0–9, ! “ # $ % & ‘ ( ) * +, - . / ; : < = > ? @ [ ¥ ] ^ _ ` { | }
When EXPANSION [A] is pressed, a single-character blank space is
inserted; pressing EXPANSION [B] deletes one character.
7
8
Repeat steps 5–6 to input the name.
Pressing CURSOR [
], even while inputting the name, moves the cursor
to the save-destination Setup number.
When you have finished determining the save destination and
the name for the new Setup, press CURSOR [
cursor to the confirmation message.
The [INC/YES] indicator is flashing.
] to move the
fig.LCD
If you do not want to save the Setup, press [DEC/NO].
The operation is cancelled, and you are returned to the Tone screen.
9
Press [INC/YES].
The confirmation message appears.
fig.LCD
NOTE
Never switch off the power
while “Please keep on
power” appears in the
display.
10
Doing so may damage the
internal memory, making it
impossible to use this
instrument.
When [INC/YES] is pressed, saving of the Setup begins.
When you have finished saving the Setup, “COMPLETED” appears in the
display and the [WRITE] indicator goes out.
You are returned to the Tone screen.
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Using the Convenient Functions in Performances
Settings Not Saved in a Setup
The following settings cannot be saved to a Setup.
- Rec Setting (p. 95)
- [CONTROL] knob positions (values)
- System settings (p. 69)
System settings are saved each time one of these parameters is changed.
Setup <000>
When you press the ONE TOUCH [PIANO] button, and then press
CURSOR [ ] or [SETUP] to bring up the Setup screen, SETUP<000> is
displayed.
This Setup <000> is called “Piano Setup.”
fig.LCD
This SETUP<000> is the Setup containing the stored settings for ONE
TOUCH [PIANO]; the contents cannot be overwritten by pressing the
[WRITE] button as with other Setups.
When saving content changed from the ONE TOUCH [PIANO] settings,
write the settings to SETUP<001> or later.
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Using the RD-700 As a Master Keyboard
By connecting an external MIDI device to the MIDI OUT connector on the
RD-700’s rear panel, you can then control the external MIDI device with the
RD-700.
Normally, the RD-700 transmits Note messages from the MIDI OUT
connector, but when [MIDI TX] is on, you can control not only Note
messages, but a variety of other external MIDI device settings as well.
You can control internal and external sound generators independently.
What’s MIDI?
MIDI (Musical Instruments Digital Interface) is a standard specification that
allows musical data to be exchanged between electronic musical
instruments and computers. By using a MIDI cable to connect devices that
have MIDI connectors, you can create an ensemble in which a single MIDI
keyboard can play multiple instruments, or change settings automatically as
the song progresses.
About MIDI Connectors
The RD-700 has the following three types of MIDI connector. Their
functions differ as described below.
fig.Q3-02
MIDI
OUT
THRU
IN
For instructions on
connecting the external
devices, refer to
“Connecting the RD-700
to External Equipment”
(p. 22).
MIDI N Connector
Performance messages from an external MIDI device are received here.
tones.
MIDI OUT Connector
MIDI messages are transmitted from this connector to external MIDI
devices. The RD-700’s MIDI OUT connector is used for sending the
performance data of the keyboard controller section as well as data used for
saving various settings and patterns (Bulk Dump ➔ p. 92).
MIDI THRU Connector
MIDI messages received at MIDI IN connectors are re-transmitted without
change from this connector to an external MIDI device. Use this in situations
such as when you use multiple MIDI devices simultaneously.
Connecting to External MIDI Sound Generators
fig.Q3-03
MIDI IN
Sound Module A
MIDI OUT
RD-700
VOLUME
EQUALIZER
MID
KEYBOARD CONTROL
PART SELECT
UPPER
EXPANSION
A
FUNCTION
WRITE MIDI TX NUM LOCK
LOW
HIGH
ARPEGGIO
TRANSPOSE
RHYTHM
LOWER
UPPER
2
UPPER
1
ON
/
OFF
LOWER
2
UPPER
1
B
EDIT
CURSOR
SPLIT
LAYER
DEMO PLAY
REVERB
CHORUS
MULTI EFFECTS
CONTROL
ON
TONE SELECT
STRINGS
CLA
V
/
BRASS
/
VOICE/
SYNTH
PIANO
0
E.PIANO
MALLET
ORGAN
3
P
AD
GTR
/
BASS
6
WINDS
RHY
/
GM2
9
/
OFF
PIANO
SET UP
DEC
/
NO
INC/YES
PIANO EDIT
ONE TOUCH
ENTER
1
2
4
5
7
8
PART SWITCH/LEVEL
MODULATION
BENDER
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Using the RD-700 As a Master Keyboard
MIDI Send Channel Settings
When you have finished connecting the external MIDI device, match the
keyboard’s Transmit channel and the Receive channel for each of the
external MIDI sound generator’s Parts. Sounds is produced when the MIDI
channels for the sending device (the RD-700) and the receiving device (the
You can save the
keyboard’s Transmit
channel to a Setup (p. 56).
external MIDI sound generator) are set to the same MIDI channel.
fig.panel
CONTROL
2
1
1
Press [MIDI TX], getting the indicator to light.
For instructions on setting
each of the external MIDI
sound generator’s Part’s
Receive channel, refer to
the owner’s manual for
each device.
The MIDI Tx screen appears.
If “Ch” doesn’t appear on screen, press CURSOR [ ] several times to
display the following screen.
fig.LCD
Part names for Parts in
which PART SWITCH is
set to OFF appear in the
display in lowercase letters,
such as “up1,” “up2,”
2
Press CURSOR [ ], [
], [ ], or [
] to move the cursor,
“lwr,” and “rhy.”
then press [INC/YES] or [DEC/NO] to set the Transmit
channel (Ch) for each part.
MIDI messages for Parts
with the PART SWITCH set
to OFF are not transmitted.
Part
Settings
Description
NOTE
UP1 (UPPER1)
UP2 (UPPER2)
LWR (LOWER)
RHY (RHYTHM)
When Rec Mode is set to
ON in the Utility Rec
RD-700 performance
data is sent over a select-
ed channel.
1–16
Setting in Edit mode, the
MIDI TX screen as shown
to the left is not displayed.
Set Rec Mode to OFF when
setting the MIDI Transmit
channel (p. 95).
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Using the RD-700 As a Master Keyboard
Selecting Sounds on an External MIDI Device
To switch the tones of an external MIDI device, the program number and the
MSB/LSB of the Bank Select message are entered as numerical values on the
RD-700.
fig.panel
CONTROL
2
1
1
Press [MIDI TX], getting the indicator to light.
If “MSB” doesn’t appear on screen, press CURSOR [ ] several times to
display the following screen.
fig.LCD
NOTE
Parameter
Tx
Settings
If the external MIDI sound
generator transmits a
MSB (Bank Select MSB)
LSB (Bank Select LSB)
PC (Program Change)
CC 32
0~127, ---(OFF)
0~127, ---(OFF)
0~127, ---(OFF)
Program number or a Bank
number for which no Tone
has been assigned, an
CC 00
Program Change
alternate Tone may be
selected, or in some cases,
there may be no sound
played. If you do not want
to transmit the Program
number or Bank Select, use
the procedure described
left to set the PC/MSB/LSB
to “--- (OFF).”
2
Press CURSOR [ ], [
], [ ], or [
] to move the cursor,
then press [INC/YES] or [DEC/NO] to set the MSB, LSB, and
PC for each part.
Pressing [INC/YES] and [DEC/NO] simultaneously switches the settings
value to “--- (OFF).”
When this setting is “--- (OFF),” bank select messages will not be
transmitted.
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Using the RD-700 As a Master Keyboard
Adjusting the Volume of Each Part
(MIDI TX Part)
fig.panel
CONTROL
PART LEVEL Slider
PART SWITCH
When the [MIDI TX] indicator is on, you can use the PART SWITCH/
LEVEL controls to control the MIDI TX parts in the same way as with the
Local parts (p. 31).
For more on controlling the
Local parts, refer to
“Adjust the Volume Level
for Individual Parts
(PART SWITCH/LEVEL)”
(p. 45).
PART SWITCH
When the [MIDI TX] indicator is on, PART SWITCH determines whether or
not MIDI Note messages for each of the MIDI TX parts are transmitted from
MIDI OUT.
When the PART SWITCH indicator for a part is lit (on), MIDI Note messages
are transmitted from MIDI OUT when the keys for that part are played.
When the PART SWITCH indicator for a part is not lighted (off), MIDI Note
messages are not transmitted from MIDI OUT even when the keys for that
part are played.
PART SWITCH will turn on or off each time you press it.
PART LEVEL Slider
When the [MIDI TX] indicator is on, PART LEVEL adjusts the volume level
of each of the MIDI TX parts.
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Using the RD-700
As a Master
Keyboard
Using the RD-700 As a Master Keyboard
Adjusting the Volume and Pan
Sets the panning (localizes sound image) for each of the
Detailed Settings for
Transmitted Parts ([MIDI TX])
Tones.
After pressing [MIDI TX], you can then set the following
The Volume setting is mainly used in the Split and Layer key
modes to obtain the desired balance in volume between each
part.
parameters affecting MIDI TX parts.
fig.LCD
The Pan setting positions the sound image of each part when
the output is in stereo. With an increase in the value for L,
more of the sound will be heard as coming from the left side.
Similarly, more of the sound will originate at the right if the
value of R is increased. When set to 0, the sound is heard as
coming from the center.
Parameter
VOL (Volume)
PAN (Pan)
TX CC#
CC07
CC10
Value
0-127
L63–0–63R
Setting the Amount of Reverb and
Chorus
This sets the depth of the reverb and chorus effects.
Parameter
REV (Reverb)
CHO (Chorus)
TX CC#
CC93
CC91
Value
0–127
0–127
Setting the Key Range (LWR/UPR)
Set the keyboard range in which each Part will sound.
This can be used to make notes in different areas of the
keyboard play different Tones.
Specify the lower limit (LWR) and upper limit (UPR) of the
key range being set.
Parameter
LWR (Lower)
Value
A0–C8
A0–C8
How to Make Settings
1. Press [MIDI TX], getting the indicator to light.
UPR (Upper)
NOTE
The RD-700 is set to control the external MIDI devices.
This is effective only when [SPLIT] is on (p. 43) in the key
range settings.
2. Press CURSOR [
], [
], [
], or [
] to move the
cursor to the parameter to be set.
You can get the cursor to move more rapidly by holding
down the CURSOR button that points in the direction
you want the cursor to move while you also press the
CURSOR button that points in the opposite direction.
NOTE
You cannot set the key range’s lower limit higher than the
upper limit, nor can you set the upper limit below the lower
limit.
3. Press [INC/YES] or [DEC/NO] to set the value.
Press [INC/YES] and [DEC/NO] simultaneously to
switch the Value to “--- (OFF).”
You can use PART SWITCH for each individual part to select
whether or not MIDI Note messages for that part are to be
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Using the RD-700 As a Master Keyboard
transmitted (p. 62).
Changing Tone Elements
(ATK/REL/COF/RES)
Setting the Transposition for Each
Individual Part (Key Transpose)
You can make changes in tones by adjusting the settings of
the following four elements.
You can perform with each part transposed to a different
ATK (Attack Time):
pitch.
The time it takes after the key is pressed for a sound to reach
full volume.
When the Keyboard Mode is Layer, you can create a richer
sound by setting the two Tones to different octaves. Also, if
the Keyboard Mode is set to Split and you are playing a bass
Tone in the lower Part, you can use the Key Shift function to
play the bass at a lower pitch.
REL (Release Time):
The time it takes after the key is released for a sound to
become inaudible.
COF (Cutoff):
Adjusts how much the filter is opened.
Parameter
Value
-48 – 0 –+48
RES (Resonance):
TRA (Transpose)
This boosts the portions in the region around the cutoff
frequency, lending a particular quality to the sound.
Excessively high settings can produce oscillation, causing the
sound to distort.
Setting the Range for the Change in
Pitch with the Bender (Bend Range)
This sets the amount of pitch change that will occur when
you move the Pitch Bend lever (+/- 4 octaves).
Parameter TX CC#
Value
Description
Higher values pro-
duce a milder attack;
Parameter
RPN
Value
ATK
REL
COF
CC73
CC73
CC74
-63– +63 lower values pro-
duce a sharper at-
tack.
B.R (Bend Range) 00H/00H
0–48
Higher values pro-
duce longer decay;
set lower values for a
-63– +63
clear-cut sound.
Higher values
brighten the sound;
-63–+63
-63–+63
lower values make
the sound seem dark-
er.
Higher value makes
the special quality of
the sound stronger;
lower value reduce
these characteristics.
RES
CC71
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Using the RD-700 As a Master Keyboard
Smoothly Changing the Pitch
(Portamento)
Setting the Change in Volume
According to the Force Used to
Play the Keyboard (Velocity)
Set the change in volume that occurs in response to the force
used to play the keyboard (velocity) and the maximum value
of the change.
Portamento is a function that causes the pitch to change
smoothly from one note to the next note played.
The Portamento Time setting determines the time for the
change in pitch when the portamento effect is applied to the
sound. Higher settings will cause the pitch change to the next
note to take more time.
NOTE
This setting is disregarded with certain tones.
Parameter
TX CC#
CC65
Value
Parameter
Value
Description
POR
OFF, ON
(Portamento Switch)
This setting determines how
the volume changes in re-
sponse to the velocity. The
volume is increased as the
keyboard is played with
greater force when a positive
Value is used; when a nega-
tive value is selected, the vol-
ume decreases as the keys are
played with greater force. If
this is set to “0,” the volume
will not be affected by the
strength of your playing on
the keyboard.
P.T
CC5
0–127
(Portamento Time)
Changing the Pitch
(Coarse Tune/Fine Tune)
SNS
(Velocity Sens)
-63–+63
This makes settings related to the pitch of each Part.
Parameter
RPN
Description
Value
Sets the
C.T
(Coarse
Tune)
sound’s pitch
in semitone
units.
-48– +48 (+/-
4 octaves)
This is the maximum value
for the change in volume oc-
curring in response to the ve-
locity. Lowering this value
will produce softer notes
even if you play the key-
board strongly.
00H/02H
MAX
(Velocity Max)
1–127
Sets the
sound’s pitch
in units of one 50 cents)
cent.
F.T
(Fine
Tune)
-50– +50 (+/-
00H/02H
1 cent = 1/100 semitone
Turning Each Controller On and Off
These settings determine whether the external MIDI device is
controlled (ON), or not (OFF) by the pedals connected to
each PEDAL jack, the [CONTROL] knobs, the Modulation
lever, and the Bender.
Parameter
DMP
Description
Damper pedal
Value
FC1
Pedal connected to the FC1 jack
Pedal connected to the FC2 jack
[CONTROL] Knobs
Modulation Lever
SwitchFC2
CTR
ON,
OFF
MOD
BND
Bender
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(Piano Edit)
You can make more detailed settings to fashion just the
Parameters
Tones you want using the piano Tone selected by pressing
ONE TOUCH [PIANO] (p. 35).
This function is called “Piano Edit.”
Selecting the Piano Sound
This chooses the piano Tone to be selected when ONE
The settings made in Piano Edit are stored to ONE TOUCH
[PIANO].
TOUCH [PIANO] is pressed.
There are sixteen Tones to choose from.
NOTE
When ONE TOUCH [PIANO] is pressed, all settings other
Changing the Width of the Sound
than the Piano Edit settings are switched to their status at the
time the RD-700’s power was turned on.
(Stereo Width)
Store any arrangements of settings that you want to keep in
Adjusts the spaciousness of the sound.
Setup (p. 56).
Parameter
Value
Description
Making the settings
1. While holding down ONE TOUCH [PIANO], press
Changes the width of the
sound. The higher the
value set, the wider the
sound is spread out.
Stereo Width
0–63
[SETUP].
[EDIT] and [NUM LOCK] are lit, and the following
Piano Edit screen appears.
fig.04-01
Changing the Sound’s Nuance
(Nuance)
This changes the Tone’s subtle nuances by altering the phase
of the left and right sounds.
Parameter
Value
Nuance
OFF, TYPE1, 2, 3
NOTE
Depending on the piano Tone selected, this setting may not
be available.
2. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
CURSOR [
] or [
parameter to be set.
NOTE
This effect is difficult to hear when headphones are used.
3. Press [INC/YES] or [DEC/NO] to set the value.
4. When you finish making settings, press ONE TOUCH
[PIANO].
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Making Detailed Settings for the Piano Tones (Piano Edit)
Making the Midrange Equalizer
Settings (EQ-SW/EQ Gain/
EQ Frequency/EQ Q)
Changing the Sense of Space
Surrounding the Sound
(Ambience)
Changing the sound’s ambience allows you give your
performances a sound resembling that obtained in a wide
open space.
This sets the midrange equalization.
Parameter
Value
Description
This determines
Parameter
Value
0–5
Description
whether the following
EQ-Freq, EQ Gain, and
EQ Q settings are en-
abled (ON), or not
(OFF).
The effect becomes deeper
as the value is increased.
EQ-SW
ON, OFF
Ambience
NOTE
Change the amount of
equalization (gain).
EQ Gain
-15.0–+15.0 dB
Depending on the piano Tone selected, this setting may not
be available.
200, 250, 315, 400,
500, 630, 800,
1000, 1250, 1600,
2000, 2500, 3150,
4000, 5000, 6300,
8000 Hz
Set Frequency Point.
Changes the level of
the selected frequency
range, with frequency
selected here at the cen-
ter.
EQ
Frequency
Changing the Amount of Reverb
Effect (Reverb Level)
Adjusts the depth of the Reverb effect. This functions the
same way as the REVERB knob, but the setting made here
can be called up simply by pressing ONE TOUCH [PIANO].
Adjusts the “Q” (band-
width) of equalization.
The higher the value,
the narrower the range
of frequencies that are
affected.
0.5, 1.0, 2.0, 4.0,
8.0
EQ Q
Parameter
Value
Description
The reverb effect be-
comes stronger as the val-
ue is increased.
Reverb Level
0–127
NOTE
Depending on the piano Tone selected, this setting may not
be available.
67
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Detailed Settings for Each Function ([EDIT])
fig.EditTable.j
The process of changing tone parameters to create the tones
4. Tone Edit (P. 79)
<Part> Tone
Reverb Amount
Chorus Amount
MFX
you like, and changing the settings for various functions is
known as “editing.”
Mono/Poly
Coarse Tune
Fine Tune
When [EDIT] is pressed and the indicator is lit, the RD-700
switches to “Edit mode.”
Portamento Switch
Portamento Time
Attack Time
Release Time
Cutoff
Resonance
Bend Range
Stretch Tune
You can save edited settings to Setups.
Edited settings are discarded when the RD-700’s power is
turned off, so be sure that any settings you want to keep are
saved to a Setup. For details, refer to “Storing Settings to
Setups ([WRITE])” (p. 56).
5. Rhythm Pattern (P. 82)
Tempo
Pattern
System function (0. System) settings are saved the instant a
change is made in any of the parameter values. Therefore, no
changes to the settings are lost, even when the power is
turned off.
Rhythm Type
Rhythm Set
Rhythm Set Change
Intro/Ending
6. Arpeggio (P. 83)
Tempo
Destination Part
Key Range
Style
Octave Range
Motif
Beat Pattern
Accent Rate
Shuffle Rate
Velocity
Parameters That Can Be Set
You can set the following parameters in Edit mode.
fig.EditTable.j
Arpeggio Hold
EDIT
7. Local Part Parameter (P. 87) <Local Part>
Key Range
0.System (P. 69)
Master Tune (→P. 29)
Master Volume
EQ Control
Velocity Sensitivity
Velocity Max
LCD Contrast (→P. 28)
Tone Remain
Clock Source
Rx GM System ON
Rx GM2 System ON
Rx GS Reset
Control Channel
Device ID
Key Transpose
Damper Pedal Switch
FC1 Pedal Switch
FC2 Pedal Switch
Modulation Switch
Bender Switch
Control Switch
Part Assign
Pedal Polarity
8. Internal Part Parameter (P. 89) <Part>
1. Key Touch (P. 71)
2. Control/EQ (P. 73)
Key Touch
Key Touch Offset
Velocity
Velocity Delay Sensitivity
Velocity Keyfollow Sensitivity
Receive Channel
Volume
Pan
MFX Switch
Voice Reserve
Rx Bank Select
Rx Program Change
Rx Modulation
Rx Bender
FC1
FC2
Control
Source
Rx Volume
EQ Low Frequency
EQ Mid Frequency
EQ Mid Q
EQ High Frequency
<Band> Gain
Harmonic Bar (P. 76)
Rx Hold -1
Rx Pan
Temperament
Temperament Key
9. Utility (P. 92)
Rec Setting
Bulk Dump Temporary
Bulk Dump SETUP
Factory Reset Current
Factory Reset All
3. MFX/Reverb/Chorus (P.76)
MFX Source
MFX Destination
Type
MFX Control
<Other Parameter> Value
Reverb Type
Reverb Pre-Delay
Reverb Time
Reverb High Cut
<Other Parameter> Value
Chorus/Delay
Chorus Pre-Delay
Chorus Rate
Chorus Feedback
<Other Parameter> Value
Delay-Center
Delay-Left
Delay-Right
<Other Parameter> Value
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Detailed Settings for Each Function ([EDIT])
Setting Parameters
Making System Settings (System)
fig.Q5-01
Functions that affect the RD-700’s overall operating
environment are called “System functions.”
Getting [EDIT]
indicator light
How to Make Settings
1. Press [EDIT], getting the indicator to light.
Enter the Edit Mode
The Edit Menu screen appears.
fig.Editmenu1.eps
Edit Menu Screen
Select a menu
2. Press CURSOR [
] to select “0.System.”
3. Press CURSOR [
fig.Editmenu1.eps
] to display the Edit screen.
Edit Screen
fig.system1.eps_150
Switch screens
Select an item
fig.system2.eps_150
Change the value
:
You can input the value using
the TONE SELECT buttons, and
press [ENTER] to set the value.
(The number of Edit screen
pages may vary according
to the menu selected.)
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
Exit the Edit Mode
CURSOR [
] or [
Extinguishing
[EDIT] indicator
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
When you exit Edit mode, the changed System settings
are stored to the RD-700.
You are returned to the Tone screen.
Settings for system functions are saved in the RD-700
whenever a change is made to their parameters. These
settings are not deleted even when the power is turned off.
For more on the following system function parameters, refer
to the corresponding pages.
Master Tune ➔p. 29
LCD Contrast ➔p. 28
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Detailed Settings for Each Function ([EDIT])
Adjusting the Volume
(Master Volume)
Changing the Clock (Timing)
Source (Clock Source)
You can control the tempo from an external MIDI device. Set
this to MIDI when synchronizing to the clock (tempo) of an
external MIDI device.
Adjusts the volume of the entire RD-700.
Parameter
Master Volume
Value
0–127
Parameter
Value
Description
INT
Synchronized to the internal clock
Preventing Equalizer Settings
MIDI device’s clock
Clock
Source
from Being Switched (EQ Control)
MIDI
You can store different equalizer settings (p. 74) for each
The tempo indication “
”
individual Setup (p. 54).
changes to “M:” for each screen.
This setting determines whether or not the Setup equalizer
settings values are to be changed when Setups are switched.
the Rhythm Edit screen (p. 82), and the Arpeggio Edit Screen
(p. 83).
Parameter
Value
Description
Equalizer settings change when
Setups are switched.
SETUP
NOTE
EQ
Control
Equalizer settings do not change
when Setups are switched.
The tempo cannot be set if Clock Source is set to MIDI
without there being any external MIDI device connected.
This can result in arpeggios (p. 49) and Rhythms (p. 51) not
sounding, and may change the manner in which certain
effects are applied.
SYSTEM
When this is set to SYSTEM, a “
upper right of each screen.
” is displayed in the
Switching Between Reception of
GM/GM2 System On and GS
Reset
NOTE
With this setting set to SYSTEM, you cannot change the
Control/EQ settings (p. 74).
Specifies whether General MIDI System On, General MIDI 2
System On, or GS Reset messages from external MIDI
devices will be received (ON) or not (OFF).
Retaining the Current Tone Even
When Tones Are Switched (Tone
Remain)
Parameter
Rx GM System ON
Rx GM2 System ON
Rx GS Reset
Value
This setting specifies whether the currently heard sound will
continue (ON) or not (OFF) when another tone is selected.
ON, OFF
Parameter
Tone Remain
Value
OFF, ON
Using Program Change
NOTE
Messages to Switch Setups
(Control Channel)
Effects settings change as soon as you switch to a new Tone,
without being influenced by the Tone Remain setting.
Because of this, certain effects settings can cause notes that
were until then sounding to no longer be heard, even though
Tone Remain has been set to on.
You can switch the RD-700’s Setups with MIDI messages
from an external MIDI device.
Set the MIDI Receive channel for receiving the MIDI
messages (Program Changes) from the external MIDI device
to be used for switching Setups.
When not switching Setups from an external MIDI device, set
this to OFF.
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Detailed Settings for Each Function ([EDIT])
Setting the Keyboard Touch
Parameter
Value
Control Channel
1–16, OFF
You can make advanced settings for the touch used for the
keys.
NOTE
When the Control Channel settings are transmitted along
with the part’s MIDI receive channel, switching of Setups
takes priority over the switching of tones.
How to Make Settings
1. Press [EDIT], getting the indicator to light.
For more information about “Switching Setups” (p. 97).
The Edit Menu screen appears.
fig.Editmenu1.eps_150
Setting the Device ID Number
(Device ID)
The Device ID number is an identification number used
when transmitting and receiving MIDI Exclusive messages.
When transmitting Exclusive messages, the device ID
numbers of the corresponding devices must be matched.
2. Press CURSOR [
]/[
] to select “1.Key Touch.”
Parameter
Device ID
Value
3. Press CURSOR [
fig.keytouch1.eps_150
] to display the Edit screen.
17–32
Switching the Pedal’s Polarity
(Pedal Polarity)
Switch the polarity of pedals connected to the RD-700.
This can be set individually for each of the Pedal jacks on the
rear panel (FC1, FC2, DAMPER).
4. Press CURSOR [
] or [
] to move the cursor to the
parameter to be set.
On some pedals, the electrical signal output by the pedal
when it is pressed or released is the opposite of other pedals.
If your pedal has an effect opposite of what you expect, set
this parameter to Reverse.
5. Press [INC/YES] or [DEC/NO] to set the value.
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
If you are using a Roland pedal (that has no polarity switch),
set this parameter to STANDARD.
Parameter
Damper
FC1
Value
STANDARD, REVERSE
FC2
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Detailed Settings for Each Function ([EDIT])
Changing the Key Touch
(Key Touch)
NOTE
The setting below allows you to adjust the response you get
When this settings value continues into the positive or
negative direction, the Key Touch’s five-step value is
switched automatically in accordance with that value.
from the keyboard when you finger the keys.
Parameter
Value
Description
SUPER
LIGHT
An even lighter setting than
LIGHT.
Setting a Constant Volume Level
in Response to the Playing Force
(Velocity)
This sets the keyboard to a
light touch. You can achieve
fortissimo (ff) play with a less
forceful touch than usual, so
the keyboard feels lighter.
This setting makes it easy to
play, even for children.
This sets the sound to play at a fixed volume, regardless of
the strength used to play the keyboard (the velocity).
LIGHT
Parameter
Value
Description
Volume levels and the way
sounds are played change in re-
sponse to the velocity.
REAL
This sets the keyboard to the
standard touch. You can play
with the most natural touch.
This is the closest to the touch
of an acoustic piano.
Velocity
MEDIUM
Values for the volume and the
way sounds are played remain
constant.
Key Touch
1–127
This sets the keyboard to a
heavy touch. You have to fin-
ger the keyboard more force-
fully than usual in order to
play fortissimo (ff), so the
keyboard touch feelsheavier.
Dynamic fingering adds
even more feeling to what
you play.
Changing the Timing of Sounds
in Response to the Velocity
(Velocity Delay Sens)
HEAVY
This sets the interval from the time the key is played to when
the sound is produced.
As the value is increased, the timing of the sound is delayed
more when more force is used to play the keys.
SUPER
HEAVY
An even heavier setting than
HEAVY.
Parameter
Velo Delay Sens
Value
-63–+63
NOTE
This setting is switched automatically according to the value
of Key Touch Offset, which follows.
Changing the Touch Sensitivity
According to the Key Range
(Velocity Keyfollow Sens)
Making Fine Adjustments to the
Keyboard Touch (Key Touch Offset)
This setting changes the touch sensitivity according to the
key range being used.
This setting provides even more precise adjustment of the
key touch than available with the Key Touch setting alone.
This allows you to get ten levels of adjustment between Key
Touch settings values.
As the value is increased, the touch becomes heavier in the
upper registers, and lighter in the lower keys.
Parameter
Value
Parameter
Value
Description
Velo Keyfolw Sens
-63–+63
Key Touch
Offset
The touch sensitivity becomes
heavier as the value increases.
-10– +9
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Detailed Settings for Each Function ([EDIT])
Assigning Functions to Pedals
(FC1/FC2)
This setting determines the function of the pedal switches or
expression pedals (such as the optional EV-5) that are
connected to the FC1 and FC2 jacks on the rear panel.
Pedal, [CONTROL] Knob, and
Equalizer Settings
(Control/EQ)
You can change the functions assigned to the pedals and
[CONTROL] knob and change the equalizer settings.
Param-
eter
Function/Parameter Setting
Changed
Value
OFF
How to Make Settings
1. Press [EDIT], getting the indicator to light.
No control
CC01-CC31,
CC33-CC95
Controller Numbers 1–31,
33–95
The Edit Menu screen appears.
fig.Editmenu1.eps_150
96:
PITCH
BEND
Applies the same effect (pitch
bend) obtained by tilting the
bender to the left and right.
97: AFTER
TOUCH
After Touch
2. Press CURSOR [
]/[
] to select “2.Control/EQ.”
Each pedal press raises the key
range in octave steps (up to 3
octaves higher).
98: OCT-UP
3. Press CURSOR [
fig.conteq1.eps_150
] to display the Edit screen.
Each pedal press lowers the
key range in octave steps (up to
3 octaves lower).
99: OCT-
DOWN
100:
START/
STOP
Starts/Stops the external se-
quencer.
fig.conteq2.eps_150
FC1
FC2
The tempo will be modified to
the pedal.
101:
TAP TEMPO
102:
RHY
PLY/STP
Starts and stops Rhythms (p.
51).
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
CURSOR [
] or [
parameter to be set.
103:
Switches the rhythm variations
(p. 82).
5. Press [INC/YES] or [DEC/NO] to set the value.
RHYTHM
TYPE
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
104:
ARPEGGIO
SW
Performs the same function as
[ARPEGGIO]. Switches the Ar-
peggio (p. 49) on and off.
You are returned to the Tone screen.
Performs the same function as
MULTI EFFECTS [ON/OFF].
Switches the multi-effects (p.
53) on and off.
105:
MFX
ON/OFF
106:
CONTROL
SRC
Transmitting the same MIDI
messages as the Src settings (p.
74).
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Detailed Settings for Each Function ([EDIT])
Changing the [CONTROL] Knob
Settings (Control/Src)
Normally, the [CONTROL] knob is used for making settings
that adjust the multi-effects (MFX Control), but they can also
be used for settings that change the way tones are played or
the tempo.
Changing the Equalizer
Frequency Settings (Freq/Q)
This changes the EQUALIZER knob frequency settings.
Parameter
Value
Description
Selects the frequency
for the low-frequency
equalizer. This general-
ly changes the level of
the frequency range ex-
tending below this
point.
Parameter
Value
Description
EQ Low
Freq
200, 400 Hz
OFF
The[CONTROL]knob
adjusts the amount of
multi-effect applied.
MFX CONTROL
Set Frequency Point for
the mid-frequency
200, 250, 315, 400,
500, 630, 1000,
1250, 1600, 2000,
2500, 3150, 4000,
5000, 6300, 8000
Hz
Control
The[CONTROL]knob
TONE CONTROL changes the way tones
are played.
equalizer. Changes the
level of the selected fre-
quency range, with fre-
quency selected here at
the center.
EQ Mid
Freq
TEMPO
CONTROL
The[CONTROL]knob
changes the tempo.
This setting deter-
mines the MIDI mes-
sages that will be used
for transmitting the
settings of the [CON-
TROL] knob. MIDI
messages are not
transmitted when
TEMPO CONTROL is
selected for the Con-
trol.
Adjusts the “Q” (band-
width) of mid-frequen-
cy equalization. The
higher the value, the
narrower the range of
frequencies that are af-
fected.
CC1–CC31,
CC33–CC95,
96: PITCH BEND,
97:
0.5, 1.0, 2.0, 4.0,
8.0
EQ Mid-Q
Src
AFTER TOUCH
Selects the frequency
for the low-frequency
equalizer. This general-
ly changes the level of
the frequency range ex-
tending above this
point.
EQ High
Freq
2000, 4000, 8000
Hz
NOTE
When TONE CONTROL is assigned to Control, you cannot
change the parameters affected by the [CONTROL] knob.
The parameters that are changed are predetermined for each
individual Tone.
Selects the frequency
range for the Gain set-
ting. Corresponds to
the LOW, MID, and
HIGH EQUALIZER
knobs.
Additionally, effects may not be applied to some Tones (for
example GM Tones).
LOW, MID,
HIGH
<Band>
When Control is set to TONE CONTROL, turning the
[CONTROL] knob changes the way the tone is played,
regardless of whether MULTIEFFECT [ON/OFF] is switched
on or off.
The gain of the range
determined by <Band>
can be changed. You
can also change this
value by turning the
[EQUALIZER] knob.
-12.0–+12.0 dB
(0.2 dB steps)
Gain
NOTE
With the System’s EQ Control set to SYSTEM (p. 70), you
cannot change the above parameters. “---” appears in the
screen.
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Detailed Settings for Each Function ([EDIT])
While the Tone Wheel screen is displayed, the TONE
SELECT buttons provide for selection among Tone
Wheels 1–10.
Simulating the Creation of Organ
Tones (Tone Wheel Mode)
5. When the PART LEVEL sliders are moved, the harmonic
When any of the “Tone Wheel 1–10” Tones is selected for any
of the Local Parts (UPPER1, UPPER2, LOWER), you can
perform in “Tone Wheel mode,” in which the creation of
organ sounds is simulated.
bars move in the display, and the tone changes.
By pressing the PART SWITCH buttons on and off, you
can adjust the sounds for other Feet.
If the cursor is moved to the value at the bottom of the
screen, you can adjust the sounds for Feet with [DEC/
NO] and [INC/YES].
An organ features nine “harmonic bars” that can be drawn in
and out, and by using the bars in different combinations of
positions, a variety of different tones can be created.
Different “Feet” are assigned to each bar, with the pitches of
the sounds being determined by these “Feet.”
6. Press CURSOR [
]/[
] to move the cursor to
<Perc> and press [DEC/NO] or [INC/YES] to change
the value.
You can simulate the creation of tones using the harmonic
bars by assigning Feet to the PART LEVEL sliders.
Perc (Percussion) adds an attack-type sound to the
beginning of the note to give the sound more crispness.
The attack sound changes according to the value.
While there are only four PART LEVEL sliders, you can
switch the Feet setting by turning the PART SWITCH
buttons on and off, thus allowing you to assign eight Feet
settings to the sliders.
NOTE
The Percussion is applied only to the UPPER1 Tone.
What Are “Feet?”
Settings
OFF
Description
No percussion is added.
Feet basically refers to the lengths of pipe used in pipe
organs. The length of pipe used to produce the reference
pitch (the fundamental) for the keyboard is eight feet.
Reducing the pipe to half its length produces a pitch one
creates a pitch one octave lower. Therefore, a pipe
producing a pitch one octave below that of the reference
of 8’ (eight feet) would be 16’; for one octave above the
reference, the pipe would be 4’, and to take the pitch up
yet another octave it would be shortened to 2’.
Percussion sounds at a pitch one octave
above that of the key pressed.
2nd
3rd
Percussion sounds at a pitch an octave and
a fifth above that of the key pressed.
The percussion’s attenuation time is length-
ened. This softens the sense of attack.
Slow
The percussive sound will decay more
quickly. This gives more of a sense of attack
for a sharp sound.
Fast
1. Bring up the Tone screen (p. 32).
If the Tone screen is not currently displayed, press
[EDIT] or [MIDI TX] so that the indicator is turned off.
The settings changed here are stored to each Tone.
Even when you exit from Tone Wheel mode, you can press
[ORGAN] to select the Tone with the changed settings.
2. In the Tone screen, select an [ORGAN] “Tone Wheel 1–
10” Tone for one of the Parts.
Changing the Undulation of the Organ
Tone (Rotary Effect)
3. Press the CURSOR [
] button.
The following Tone Wheel screen appears.
While the Tone Wheel screen is displayed, you can change
the undulation rate of the Rotary effect with the Pitch Bend
lever.
This Tone Wheel screen appears only when a Tone
Wheel Tone is selected for one of the Parts in the Tone
screen.
fig.05-10
The Rotary effect is an effect that recreates the sound of the
rotating speakers used to augment the sound of an organ.
The Rotary effect is set to alternately rotate more rapidly or
slowly when the Pitch Bend lever is moved to the left and
right; the direction is not fixed.
4. Press a TONE SELECT button to select one of the Tone
This Pitch Bend Lever setting is effective only in the Tone
Wheel screen.
Wheels from 1 through 10.
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Detailed Settings for Each Function ([EDIT])
Changing the PART LEVEL Slider
Feet Assignments (Harmonic Bar)
Setting the Multi-Effects,
Reverb, and Chorus Effects
(MFX/Reverb/Chorus)
You can change the Feet assigned to each of the PART
LEVEL sliders used in Tone Wheel mode.
The RD-700 contains three effects processors: multi-effects,
chorus, and reverb. Settings can be made separately for each
effects processor.
1. Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.05-11
How to Make Settings
1. Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu1.eps_150
2. Press CURSOR [
]/[
] to select “2.Control/EQ.”
3. Press CURSOR [
fig.05-12
] to display the Edit page.
Feet Assignments in the Tone Wheel Screen
2. Press CURSOR [
]/[
] to select “3.MFX/Reverb/
Chorus.”
1 1/3'
1'
16' 5 1/3' 8'
4' 2 2/3' 2' 1 3/5'
fig.05-12
3. Press CURSOR [
fig.mfx1.eps_150
] to display the Edit screen.
fig.mfx2.eps_150
4. Press CURSOR [
] [
] [
] [
] to move the
cursor to the parameter for changing the Feet.
“LED ON” and “LED OFF” in the screen indicate
whether PART SWITCH is switched on or off.
Parameter
RHY
Value
“CHORUS” Settings Screen
fig.mfx3-1.eps_150
LWR
16’, 5-1/3’, 8’, 4’, 2-2/3, 2’, 1-3/5’, 1-1/3’, 1’
UP2
UP1
5. Press [INC/YES] or [DEC/NO] to select the Feet.
“DELAY” Settings Screen
fig.mfx3-2.eps_150
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
76
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Detailed Settings for Each Function ([EDIT])
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
NOTE
CURSOR [
] or [
When MFX Source is set to FIXED, the MFX Dest setting is fixed
at ALL PART, and the multi-effects are applied to all parts.
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
Type
Select the Multi-Effects Type.
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
There are 65 different multi-effects available. Refer to the
“Effect/Parameter List” (p. 104).
You are returned to the Tone screen.
Making Multi-Effects Settings
The Multi-effects are multi-purpose effects that completely
Contained are 65 different effects types; select and use the
type that suits your aims. In addition to effects types
composed of simple effects such as Distortion, Flanger, and
other such effects, you can also set up a wide variety of other
effects, even connecting effects in series or in parallel.
Additionally, while some multi-effects types feature chorus
and reverb, the reverb (p. 78) and chorus (p. 78) effects
discussed later in this volume are handled separately.
NOTE
When MFX Source is set to UPPER1, UPPER2, LOWER, or
RHYTHM, the Tone Edit MFX Type settings (p. 80) also
change.
MFX Control
You can make changes to the multi-effect parameters in real
time with the [CONTROL] knob. Here, select the parameter
to be changed.
The parameters that can be changed vary with the different
multi-effects selected in Type.
MFX Source, MFX Dest
On the RD-700, the MFX Type can be stored along with the
tones assigned to each part.
the “Effect/Parameter List” (p. 104).
<Other Prm>, Value
These settings determine which multi-effects are used, as
well as the part to which the multi-effects are applied.
You can make more detailed the multi-effect parameters.
When Other Prm is selected, the indication of the
corresponding Value changes, and the value is set. Refer to
the “Effect/Parameter List” (p. 104).
Parameter
Value
Description
The multi-effect doesn't
change even when you
switch to a different tone.
This setting is convenient
when you want to use the
same multi-effect, even
when changing tones.
NOTE
Multi-effects are not applied to parts that have the Internal Part
Prm MFX Switch set to “OFF” in Edit mode.
FIXED
MFX Source
With some types of multi-effects, lowering the volume of the
Part to which the multi-effects are added may end up changing
the amount of the effect applied. In such cases, adjust the MFX
<Other Prm> Level.
UPPER1,
UPPER2,
LOWER,
RHYTHM
The MFX Type of the Tone
assigned to the selected part
is applied.
NOTE
Some multi-effects have parameters that can be specified in
terms of a note value (for example, the STEP RATE parameter of
16: STEP FLANGER). When such parameters are assigned to
MFX Control and <Other Prm>, and a note value has been
supplied for the value, you won’t be able to change the value
using the [CONTROL] knob. If you want to change the value
with the knob, use numeric values when making settings.
The multi-effect is applied
only to the part selected in
MFX Source.
SOURCE
PART
The multi-effect is applied to
parts assigned the same
multi-effect as the part se-
lected in MFX Source.
MFX Dest
SAME
MFX
Themulti-effectsareapplied
to all parts.
Use caution before setting the Feedback parameter to its
maximum or minimum values, since such settings may cause the
sound to play continuously.
ALL PART
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Detailed Settings for Each Function ([EDIT])
Reverb Time
Adjust the time length of reverberation.
The reverberation becomes longer as the value is increased.
Values: 0–127
Reverb adds the reverberation characteristics of halls or
auditoriums. Four different types are offered, so you can
select and use the type that suits your purpose.
Reverb High Cut Frequency
This sets the frequency above which the high-frequency
content of the reverb will be reduced. If you do not wish to
cut the high range of the returned sound, select BYPASS.
You can set the amount of reverb applied separately for each
individual part (p. 80).
Reverb Type
Values: 160, 200, 250, 320, 400, 500, 640, 800, 1000, 1250, 1600,
2000, 2500, 3200, 4000, 5000, 6400, 8000, 10000, 12500,
BYPASS
When you change the Reverb Type, the Reverb parameters
will be automatically adjusted to the optimal values. Rather
than setting the reverb parameters one by one, you can make
the settings more easily by first setting the Reverb Type and
then changing only the necessary parameters.
<Other Prm>, Value
You can make more detailed reverb settings.
When Other Prm is selected, the indication of the
corresponding Value changes, and the value is set.
Parameter
Value
Description
Reverb is not used.
Normal Reverb
OFF
Refer to “REVERB” (p. 134).
REVERB
Simulates the reverbera-
tion of room interiors. It
produces a well-defined
and spacious reverbera-
tion.
Chorus adds depth and spaciousness to the sound. You can
SRV ROOM
select whether to use this as a chorus effect or a delay effect.
Reverb
Type
Simulates the reverbera-
tion exhibited by hall. It
provides a deeper rever-
beration than the Room
reverbs.
You can set the amount of chorus applied separately for each
Tone (p. 80).
SRV HALL
SRV PLATE
Chorus/Delay
You can select whether to use this as a chorus effect or a
Simulates a plate reverb
unit (a type of artificial re-
verb that utilized a metal
plate).
delay effect.
Values: Chorus, Delay
When Chorus/Delay is Set to Chorus
Chorus Pre-Delay
Some Reverb Type settings have parameters that cannot be
set. Parameters that cannot be changed are indicated by “—
—–.”
Specifies the delay time from the original sound until when
the chorus sound is heard.
The delay time increases as the value is raised.
Reverb Pre-Delay
Values: 0.0–100.0
Adjust the time delay from when the direct sound begins
Chorus Rate
Specifies the modulation frequency of the chorus sound.
until the reverb sound is heard.
The delay time increases as the value is raised.
Values: 0.0–100.0
The interval between undulations is shortened as this value
is increased.
Values: 0.05–10.00
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Detailed Settings for Each Function ([EDIT])
Chorus Feedback
Sets the level at which the chorus sound is re-input (fed back)
into the chorus. By using feedback, a denser chorus sound
can be created.
Making Tone Settings (Tone Edit)
You can make more detailed settings to the tones assigned to
each of the Internal parts.
Higher values result in a greater feedback level.
NOTE
Values: 0–127
In certain selected Tones, there may be parameters that
cannot be changed.
<Other Prm>, Value
You can make more detailed chorus settings.
How to Make Settings
1. Press [EDIT], getting the indicator to light.
When Other Prm is selected, the indication of the
corresponding Value changes, and the value is set.
The Edit Menu screen appears.
fig.Editmenu1.eps_150
Refer to “CHORUS” (p. 134).
When Chorus/Delay is Set to Delay
Delay-Center
The delay time increases as the value is raised.
2. Press CURSOR [
]/[
] to select “4.Tone Edit.”
Values: 0–1000 (ms), Beat
3. Press CURSOR [
fig.tone1.eps_150
] to display the Edit screen.
Delay-Left
This sets the delay time for the delay located at the left side of
the stereo field.
Values: 0–1000 (ms), Beat
fig.tone2.eps_150
fig.tone3-1.eps_150
fig.tone1.eps_150
Delay-Right
This sets the delay time for the delay located at the right side
of the stereo field.
Values: 0–1000 (ms), Beat
Delay Center, Delay Left and Delay Right can be specified as
note value lengths for a specific tempo. In this case, specify
<Other Prm>, Value
You can make more detailed delay settings.
When Other Prm is selected, the indication of the
corresponding Value changes, and the value is set.
Refer to “DELAY” (p. 134).
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
CURSOR [
] or [
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
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Detailed Settings for Each Function ([EDIT])
Selecting the Part to Be Set
(<Part>, Tone)
the Tone (MFX)
This sets the multi-effect applied to the tone.
Choose the Part for which you want to make settings.
NOTE
Parameter
Value
The MFX selected here may not be applied with certain MFX
Source and MFX Dest settings.
1–16
For details, refer to “MFX Source, MFX Dest” (p. 77).
Parts assigned to the Local
parts are indicated by a
marker (UPPER1) appear-
ing after the part name.
<Part>
Tone
Parameter
Value
MFX
Refer to the “Effect/Parameter List” (p. 104).
When the part to be set is
selected, the name of the as-
signed tone appears.
You can select tone using
the TONE SELECT buttons.
Playing Sound Monophonically
(Mono/Poly)
Specifies whether the tone will play polyphonically (POLY)
or monophonically (MONO).
The MONO setting is effective when playing a solo
instrument tone such as sax or flute.
Setting the Reverb/Chorus Depth
(Reverb/Chorus Amount)
Additionally, when this is set to MONO/LEGATO, you can
have monophonic performances played legato. Legato is a
playing style in which the spaces between notes are
smoothed, creating a flowing feel with no borders between
the notes. This creates a smooth transition between notes,
which is effective when you wish to simulate the
hammering-on and pulling-off techniques used by a
guitarist.
This sets the depth of the reverb and chorus effects.
NOTE
When this value is set to “0,” no reverb or chorus effect is
applied when the REVERB or CHORUS knob is turned.
Parameter
Value
Description
Only the last-played note
will sound.
Parameter
Chorus Amount
Value
0–127
0–127
MONO
Two or more notes can be
played simultaneously.
Legato is applied to mono-
phonic performances.
Mono/Poly
POLY
MONO/
LEGATO
How to apply the Reverb/Chorus Amount
The manner in which the effect is applied will differ
depending on the settings for MFX Source and MFX Dest (p.
77).
Changing the Pitch
(Coarse/Fine Tune)
This sets the pitch of the tone.
- When MFX Dest is set to ALL PART
The Reverb/Chorus Amount setting for the part selected
for MFX Source applies to all parts. However, when the
MFX Source is set to FIXED, the Reverb/Chorus Amount
setting for UPPER 1 applies to all parts.
Parameter
Value
-48– +48
(+/- 4 octaves) in semitone units.
Description
Sets the sound’s pitch
Coarse Tune
- When MFX Dest is set to SAME MFX
-50– +50
(+/- 50 cents)
Sets the sound’s pitch
in units of one cent.
Fine Tune
The Reverb/Chorus Amount setting for the part selected
for MFX Source applies to parts assigned the same MFX
Type as the part selected for MFX Source.
1 cent = 1/100 semitone
NOTE
With some Tones, there may be ranges in which the pitch does
not change as intended.
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Detailed Settings for Each Function ([EDIT])
Creating Smooth Pitch Changes
(Portamento Switch/Time)
Parameter
Value
Description
Higher values brighten
the sound; lower val-
ues make the sound
seem darker.
Portamento is a function that causes the pitch to change
Cutoff
-63–+63
smoothly from one note to the next note played.
With the Mono/Poly parameter set to Mono, portamento is
especially effective when simulating playing techniques such
as a violin glissandos.
Higher value makes
the special quality of
the sound stronger;
lower value reduce
these characteristics.
Resonance
-63–+63
The Portamento Time setting determines the time for the
change in pitch when the portamento effect is applied to the
sound. Higher settings will cause the pitch change to the next
note to take more time.
NOTE
With some Tones, the effect does not work as intended.
Parameter
Portamento Switch
Portamento Time
Value
Changing the Bend Range
(Bend Range)
ON, OFF
0–127
This sets the amount of pitch change that will occur when
you move the Pitch Bend lever (2 octaves).
Changing Tone Elements
You can make changes in tones by adjusting the settings of
Parameter
Bend Range
Value
the following four elements.
0–24
Attack Time:
The time it takes after the key is pressed for a sound to reach
full volume.
Precise Modification of Chord
Sonorities (Stretch Tune)
Changes the pitch using the ‘stretch tuning’ method typically
used on acoustic pianos. This makes high-range sounds
slightly higher in pitch, and low-range sounds slightly lower
in pitch.
Release Time:
The time it takes after the key is released for a sound to
become inaudible.
Cutoff:
Adjusts how much the filter is opened.
With a setting of OFF, the Patch’s tuning will be equal
temperament. A setting of 3 will produce the greatest
difference in the pitch of the low and high ranges.
Resonance:
Emphasizes the overtones in the region of the cutoff
frequency, adding character to the sound. Excessively high
settings can produce oscillation, causing the sound to distort.
Parameter
Value
Description
NOTE
This is the standard tuning
curve.
OFF
Making abrupt changes in the settings values may cause the
sound to become distorted or overly loud. Carefully monitor
volume levels while making the settings.
1
2
This tuning curve expands the
bass and treble ends somewhat
(Stretch Tuning). It is suitable
for performances such as piano
solos.
Stretch Tune
Parameter
Value
Description
3
Higher values produce
a milder attack; lower
values produce a
Attack Time
-63– +63
sharper attack.
Higher values produce
longer decay; set lower
values for a clear-cut
sound
Release Time
-63– +63
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Detailed Settings for Each Function ([EDIT])
Making the Rhythm Settings
(Rhythm Pattern)
The RD-700 features internal drum patterns complementing
Jazz, Rock, and other various musical genres. This kind of
drum pattern is called a “Rhythm.”
With Clock Source (p. 70) set to MIDI, “M:” appears in the
display, and the RD-700 is synchronized to the tempo of the
external MIDI device. The tempo cannot be changed with the
RD-700 when “M:” is indicated.
For more about switching Rhythms on and off, refer to
“Playing Rhythm ([RHYTHM])” (p. 51).
When this is set to OFF, the Rhythm does not sound, even if
PART SWITCH [RHYTHM] is pressed.
How to Make Settings
1. Press [EDIT], getting the indicator to light.
Parameter
Pattern
Value
The Edit Menu screen appears.
fig.Editmenu2.eps_150
Refer to “Rhythm Pattern List” (p.
143).
You can also change a rhythm’s pattern in the “Rhythm/
Arpeggio screen” (p. 32).
2. Press CURSOR [
]/[
] to select “5.Rhythm.”
When you change Patterns while a Rhythm is being played
back, the change to the new Pattern is made at the following
measure.
3. Press CURSOR [
fig.rhythm1.eps_150
] to display the Edit screen.
Selecting Rhythm Variations
(Rhythm Type)
Each Rhythm pattern features two variations that make up
each variation different percussion sounds.
4. Press CURSOR [
] or [
] to move the cursor to the
Type 1 offering the simple Rhythm, and Type 2 featuring the
elaborate Rhythm.
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
Parameter
Rhythm Type
Value
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
1, 2
You are returned to the Tone screen.
When this is set to 2, a “ ” is displayed in the upper right of
each screen.
Specify the tempo of the Rhythm.
You can assign this function to a pedal and use the pedal to
control the function. For details, refer to “Assigning
Functions to Pedals (FC1/FC2)” (p. 73).
NOTE
The RD-700 has only one tempo setting. Once you change the
setting, the tempo indicated in the Tone screen and the
tempo setting for the arpeggiator (p. 84) both change.
When the Type is changed while a Rhythm is being played
back, a one-measure fill-in (short Phrase) is inserted, then the
new Type is played.
Parameter
Tempo
Value
20–250
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Detailed Settings for Each Function ([EDIT])
You can change a rhythm’s drum set (set of drum and
Making Arpeggio Settings
(Arpeggio)
percussion tones).
The function that allows you to perform arpeggios (chords
whose notes are played sequentially rather than together)
Parameter
Rhy Set
Value
Refer to “Tone List” (p. 135).
You can make more detailed arpeggio settings, including
tempo and range.
You can select Tones other than Rhythm Sets.
For more on switching the Arpeggiator on and off, refer to
“Creating Arpeggios from the Chords You Play
([ARPEGGIO])” (p. 49).
When this setting is changed, the Part 10 Tone also changes.
NOTE
Depending on the Rhythm Set that is selected, the Rhythm
Set may not play back properly.
How to Make Settings
1. Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu2.eps_150
Changing the Pattern Without
Changing the Drum Set
(Rhy Set Change)
Each Rhythm in a rhythm pattern has the most suitable drum
set assigned to it. When rhythm patterns are changed, the
drum sets also switch, so the tone is changed, but here the
drum set stays constant and does not change.
2. Press CURSOR [
]/[
] to select “6.Arpeggio.”
3. Press CURSOR [
fig.arpeggio1.eps_150
] to display the Edit screen.
Parameter
Value
Description
When the Rhythm is
changed, the drum set also
changes.
ON
Rhy Set
Change
When the Rhythm is
changed, the drum set does
not change.
OFF
fig.arpeggio2.eps_150
Switching the Intro and Ending
On or Off (Intro/Ending)
These settings determine whether a Rhythm’s intro and
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
ending play (ON), or don’t (OFF).
CURSOR [
] or [
parameter to be set.
Parameter
Value
Description
5. Press [INC/YES] or [DEC/NO] to set the value.
The rhythm’s intro and end-
ing are included.
ON
6. When you have finished making the settings, press
Intro/Ending
[EDIT], extinguishing its indicator.
The rhythm’s intro and end-
ing are not included.
OFF
You are returned to the Tone screen.
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Detailed Settings for Each Function ([EDIT])
This sets the speed of the arpeggio.
Played (Style)
This sets the style of the arpeggio. Select from the following
NOTE
45 options.
The RD-700 has one tempo setting. You can change this
setting in the tempo display in the Tone screen; or
alternatively, you can change the rhythm’s tempo setting (p.
82).
Parameter
Value
Description
The rhythm will be divid-
ed in quarter notes.
1/4
1/6
The rhythm will be divid-
ed in quarter note trip-
lets.
Parameter
Value
Tempo
20–250
The rhythm will be divid-
ed in eighth notes.
1/8
With Clock Source (p. 70) set to MIDI, “M:” appears in the
display, and the RD-700 is synchronized to the tempo of the
RD-700 when “M:” is indicated.
The rhythm will be divid-
ed in eighth note triplets.
1/12
1/16
1/32
The rhythm will be divid-
ed in 16th notes.
Selecting Parts to Play Arpeggios
(Dest. Part)
The rhythm will be divid-
ed in 32nd notes.
This setting selects the part that is to play arpeggios when the
PORTAMEN-
TO A, B
A style using the porta-
mento effect.
RD-700 is in Split mode or Layer mode (p. 41).
GLISSANDO
A glissando style.
Parameter
Dest.Part
Value
SEQUENCE
A–D
Styles for sequenced pat-
terns.
UPPER1, UPPER2, LOWER,
ALL
Style
ECHO
An echo-like style.
SYNTH BASS,
HEAVY SLAP,
LIGHT SLAP,
WALK BASS
When transmitting arpeggio performances from the MIDI
OUT connector, set this to “ALL.”
Styles appropriate for
bass playing.
Arpeggio Performances
(Key Range)
You cannot perform in the normal manner in the range set
for arpeggio performances, but you can specify the range
used for the arpeggios, which even allows you, for example,
to split the keyboard in Single mode (p. 41) and play
arpeggios as accompaniment in the left side, and the melody
in the right.
Styles for guitar cutting.
Styles 2–5 are effective
when 3–4 notes are held.
RHYTHMGTR
1–5
3 FINGER GTR Three-finger guitar style.
STRUM GTR
Guitar chords strummed
UP, STRUM
both up and down. Effec-
GTR DOWN,
tive when 5–6 notes are
STRUM GTR
held.
UD
Specify the leftmost and rightmost keys in the range to be
used for arpeggios.
PIANOBACK.,
Styles for keyboard in-
CLAVI
strument backing.
CHORD
Parameter
Key Range
Value
WALTZ,
SWING
WALTZ
Styles in triple meter.
A0–C8
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Detailed Settings for Each Function ([EDIT])
Changing the octave range in
arpeggio style (Octave Range)
Parameter
Value
Description
A reggae-type style. Ef-
fective when 3 notes are
held.
REGGAE
Sets the key range in octaves over which arpeggio will take
place.
If you want the arpeggio to sound using only the notes that
you actually play, set this parameter to 0.
Style effective for percus-
sive instruments.
PERCUSSION
HARP
To have the arpeggio sound using the notes you play and
notes 1 octave higher, set this parameter to +1. A setting of -1
will make the arpeggio sound using the notes you play and
notes 1 octave lower.
The playing style of a
harp.
The playing style of a
Shamisen.
SHAMISEN
BOUND BALL
RANDOM
Parameter
Octave Range
Value
A style suggestive of a
bouncing ball.
-3–+3
A style in which the notes
sound in random order.
Notes Are Played (Motif)
Rhythmic strumming of
the guitar in bossa nova
style. Hold 3–4 notes for
best results. You can in-
crease the tempo and use
this as a Samba.
Set the order to play the notes for the keys pressed from the
BOSSA NOVA
following.
NOTE
Depending on the Style settings (p. 84), some choices may
not be available. For details on the possible values, refer to
“Arpeggio Style List” (p. 142).
Typical salsa style. Hold
3–4 notes for best results.
SALSA
Style
Typical mambo style.
Hold 3–4 notes for best
results.
MAMBO
Param
Value
Description
Notes you press will be sounded
individually, beginning from low
to high.
SINGLE
UP
A rhythm style with Lat-
in percussion instru-
ments such as Clave,
Cowbell, Clap, Bongo,
Conga, Agogo etc.
LATIN PERC
Notes you press will be sounded
individually, beginning from high
to low.
SINGLE
DOWN
Typical samba style. Use
for rhythm patterns or
bass lines.
Notes you press will be sounded
individually, from low to high,
and then back down from high to
low.
SAMBA
TANGO
SINGLE
UP&
DOWN
Typical tango rhythm
style. Hold the root, 3rd
and 5th of a triad etc. for
best results.
Motif
SINGLE
RANDOM
Notes you press will be sounded
individually, in random order.
Notes you press will be sounded
two at a time, beginning from low
to high.
A style for house piano
backing. Hold 3–4 notes
for best results.
DUAL UP
HOUSE
Notes you press will be sounded
two at a time, beginning from high
to low.
The settings of all param-
eters can be freely com-
bined without restriction.
DUAL
DOWN
LIMITLESS
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Detailed Settings for Each Function ([EDIT])
Changing the Groove Feel (Beat
Pattern/Accent Rate/Shuffle Rate)
Param
Value
DUAL
UP&
DOWN
Description
Notes you press will be sounded
two at a time, from low to high,
and then back down from high to
low.
Beat Pattern
will affect the location of the accent and length of the notes to
determine the beat (rhythm).
DUAL
RANDOM
Notes you press will be sounded
two at a time, in random order.
NOTE
TRIPLE
UP
Notes you press will sound three
at a time, from low to high.
Depending on the Style settings (p. 84), some choices may
not be available. For details on the possible values, refer to
“Arpeggio Style List” (p. 142).
TRIPLE
DOWN
Notes you press will sound three
at a time, from high to low.
TRIPLE
UP&
DOWN
Notes you press will sound three
at a time, from low to high and
then back down from high to low.
Parameter
Value
1/4, 1/6, 1/8, 1/12, 1/16 1–3, 1/32 1–3,
PORTA-A 01–11, PORTA-B 01–15, SEQ-A
1–7, SEQ-B 1–5, SEQ-C 1–2, SEQ-D 1–8,
ECHO 1–3, MUTE 01–16, STRUM1–8,
REGGAE1–2, REFRAIN1–2, PERC1–4,
WALKBS, HARP, BOUND, RANDOM,
CLAVE, REV CLA, GUIRO, AGOGO,
SAMBA, TANGO 1–4, HOUSE 1–2, 3/4,
SWING 3/4
TRIPLE
RANDOM
Notes you press will sound three
at a time, in random order.
Notes will sound in the order that
they were pressed. Up to 32 notes
can be stored, so you can create
melody lines by pressing keys in
the appropriate order.
Beat Pattern
NOTE
ORDER
Notes will be played in an ascend-
ing and descending chromatic
scale between the lowest and the
highest keys that are pressed. Sim-
ply press two notes, the lowest
and highest.
Motif
GLISSAN-
DO
When PORTA-A 01– 11 and PORTA-B 01– 15 are selected,
you can use Portamento time (p. 81) to control the
portamento attack. In this case, it is not necessary to have
Portamento Sw set to ON.
All notes that are pressed will
sound simultaneously.
CHORD
Accent Rate
Modifies the strength of accents and the length of the notes to
adjust the “groove” feel of the arpeggio. A setting of 100%
will produce the most pronounced groove feel.
BASS+
CHORD
1–5
The lowest of the notes you play
will sound, and the remaining
notes will sound as a chord.
Parameter
Accent Rate
Value
The lowest of the notes you play
will sound, and the remaining
notes will be arpeggiated.
BASS+
UP 1–8
0–100%
Shuffle Rate
The lowest of the notes you play
will sound, and the remaining
notes will sound in random order.
BASS+
RND 1–3
This setting lets you modify the note timing to create shuffle
rhythms. With a setting of 50%, the notes will sound at equal
spacing. As this value is increased, the notes will become
more “bouncy,” as if they were dotted notes.
The highest of the notes you play
will sound, and the remaining
notes will be arpeggiated.
TOP+UP
1–6
Parameter
Shuffle Rate
Value
Simulated fingering of folk gui-
tar’s three-finger picking tech-
nique.
50–90%
BASS+UP
+TOP
fig.5-6-4
Shuffle Rate = 50%
Shuffle Rate = 90%
50
50
50
50
90
10
90
10
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Detailed Settings for Each Function ([EDIT])
Keyboard Part and Controllers
Settings (Local Part Param)
The sixteen Parts played by the RD-700’s internal sound
generator are referred to as “Internal Parts.”
NOTE
If the Beat Pattern (p. 86) is 1/4, there will be no shuffle effect
even if the Shuffle Rate value is increased.
Of the sixteen Internal Parts, you can select three of them to
function as the three Parts (UPPER1, UPPER2, and LOWER)
which can be freely controlled with the RD-700’s buttons and
keyboard. These three Parts are collectively known as the
“Local Parts.”
Keeping the Force of the Notes
Constant (Velocity)
This sets how strongly sounds are played when you press the
keys.
You can perform operations like Split and Layer with the
Local Parts very simply using the RD-700’s keyboard, and
you can make more detailed settings for the Parts as well.
Parameter
Value
Description
Reproduces the actual strength of
the keyboard touch.
REAL
Velocity
How to Make Settings
1. Press [EDIT], getting the indicator to light.
Sets the velocity at a fixed valued,
regardless of the keyboard touch.
1–127
The Edit Menu screen appears.
fig.Editmenu2.eps_150
Continuing Arpeggios Even After
the Keys Are Released
(Arpeggio Hold)
When the hold setting is switched on, you can have
arpeggios continue to play even after you release the keys.
2. Press CURSOR [
]/[
] to select “7.Local Part
Parameter
Value
Description
Param.”
Arpeggios continue to play
even after the keys are re-
leased.
3. Press CURSOR [
fig.intext1.eps_150
] to display the Edit screen.
ON
Arpeggio Hold
Arpeggios stop playing
when the keys are released.
OFF
fig.intext2.eps_150
The [ARPEGGIO] indicator flashes when the Arpeggio Hold
is set to ON.
Switching Hold On and Off with the Buttons
Even when not in the Edit screen, you can use the
buttons to turn the Hold function on and off.
fig.IntExt3-1.eps_150
1. Hold down [ARPEGGIO] and press [TRANSPOSE].
Hold is turned on or off each time the button is
pressed.
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
CURSOR [
] or [
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
You can set the “Key Range” by pressing the specified
keys.
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Detailed Settings for Each Function ([EDIT])
6. When you have finished making the settings, press
Setting the Change in Volume
According to the Force Used to
Play the Keyboard
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
(Velocity Sens/Max)
Selecting the Part to Be Set
(<Local Part>)
This setting determines how the volume changes in response
to the force used to play the keyboard (velocity) and the
maximum value of the change.
Choose the Local Part for which you want to make settings.
You can select the Local part by using the PART SELECT
buttons.
NOTE
This setting is disregarded with certain tones.
Parameter
<Local Part>
Value
Parameter
Value
Description
UPPER1, UPPER2, LOWER
This setting determines how
the volume changes in re-
sponse to the velocity. The
volume is increased as the
keyboard is played with
greater force when a positive
Value is used; when a nega-
tive value is selected, the vol-
ume decreases as the keys are
played with greater force. If
this is set to “0,” the volume
will not be affected by the
strength of your playing on
the keyboard.
Setting the Key Range for Each
Part (Key Range)
When [SPLIT] is pressed in normal performance conditions,
the key range is divided at the Split Point, and you can play
with two different tones on one keyboard.
-63–
+63
Velocity Sens
Using Key Range allows you to make even more detailed key
range settings.
This sets the lower and upper limit of the key range in each
part.
This is the maximum value
for the change in volume oc-
curring in response to the ve-
locity. Lowering this value
will produce softer notes
even if you play the key-
board strongly.
After moving the cursor to the parameter to be set, you can
make the setting by pressing the designated key and
[ENTER].
Velocity Max
1–127
Parameter
Key Range
Value
A0–C8
Setting the Transposition for Each
Individual Part (Key Transpose)
NOTE
You can perform with each part transposed to a different
This is effective only when [SPLIT] is on (p. 43) in the key
range settings.
pitch.
When the Keyboard Mode is Layer, you can create a richer
sound by setting the two Tones to different octaves. Also, if
the Keyboard Mode is set to Split and you are playing a bass
Tone in the lower Part, you can use the Key Shift function to
play the bass at a lower pitch.
NOTE
You cannot set the key range’s lower limit higher than the
upper limit, nor can you set the upper limit below the lower
limit.
Parameter
Key Transpose
Value
-48–0–+48
You can also set the same degree of transposition for all parts
with [Transpose]. For details, refer to “Transposing the Key
of the Keyboard ([TRANSPOSE])” (p. 46).
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Detailed Settings for Each Function ([EDIT])
Turning the Controllers in Each
Part On and Off
These settings determine whether the pedals connected to
each PEDAL jack (Damper, FC1, FC2), the Modulation lever,
the Bender, and the [CONTROL] knob are used to control the
Parts (ON), or not (OFF).
Setting MIDI Receive Parts
(Internal Part Prm)
The sixteen Parts played by the RD-700’s internal sound
generator are referred to as “Internal Parts.”
When connecting an external MIDI device to a sequencer or
other device, by assigning the Receive channel to an Internal
Part you can receive MIDI messages from the external MIDI
device and control the Internal Parts.
Parameter
Damper Pedal Sw
FC1 Pedal Sw
FC2 Pedal Sw
Modulation Sw
Bender Sw
Value
These parameters determine how each Part will receive MIDI
messages.
How to Make Settings
1. Press [EDIT], getting the indicator to light.
ON, OFF
The Edit Menu screen appears.
fig.Editmenu2.eps_150
Control Sw
Assigning Internal Parts to Local
Parts (Part Assign)
This determines which internal parts are assigned to the
2. Press CURSOR [
]/[
] to select “8. Internal Part
Local parts.
Prm.”
Parameter
Part Assign
Value
3. Press CURSOR [
fig.midipart1.eps_150
] to display the Edit screen.
1–16
fig.midipart2.eps_150
fig.midipart3.eps_150
4. Press CURSOR [
] or [
] to switch screens, and press
] to move the cursor to the
CURSOR [
] or [
parameter to be set.
5. Press [INC/YES] or [DEC/NO] to set the value.
6. When you have finished making the settings, press
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
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Detailed Settings for Each Function ([EDIT])
Selecting the Part to Be Set
(<Part>, Tone)
Making the Effect ON/OFF
Settings (MFX Switch)
Choose the Part for which you want to make settings.
This setting determines whether the multi-effects are applied
(ON), or not (OFF).
For example, with the MFX Dest setting (p. 77) set to “ALL”
(multi-effects are applied to all parts), multi-effects are not
applied to the parts for which this is set to “OFF.”
Parameter
Value
1–16
Parts assigned to the Local parts are
indicated by a marker (UPPER1) ap-
pearing after the part name.
<Part>
Parameter
MFX Switch
Value
ON
When the <Part> to be set is select-
ed, the name of the assigned tone ap-
pears.
OFF
Tone
You can select tone using the TONE
SELECT buttons.
Setting the Required Polyphony
(Voice Reserve)
The RD-700 has a maximum polyphony (the number of
sounds, or “voices” that can be produced simultaneously by
the sound generator) of 128 voices.
Setting the Receive Channel
(Receive Channel)
When using MIDI messages from an external MIDI device to
play the RD-700, set the Receive channels for each of the RD-
700’s parts so they’re matched up with the channels that’ll be
used for transmission by the external MIDI device.
This setting specifies the number of voices that will be
reserved for each Part when more than 128 voices are played
simultaneously. For example if Voice Reserve is set to 6 for
Part 1, Part 1 will always have 6 notes of sound-producing
capacity available to it even if a total of more than 128 notes
(total for all Parts) are being requested.
Parameter
Value
You can make separate Voice Reserve settings for each
individual Part.
Receive Channel
1–16
Setting the Volume and Pan
(Volume/Pan)
Parameter
Value
0–64
Sets the panning (localizes sound image) for each of the
* The figure in parentheses before the
settings value shows the remaining
number of voices that can be set. It is
not possible for the settings of all
Parts to total an amount greater than
64.
Tones.
The Volume setting is mainly used in the Split and Layer key
modes to obtain the desired balance in volume between each
part.
Voice Reserve
The Pan setting localizes the sound image of each part when
the output is in stereo. With an increase in the value for L,
more of the sound will be heard as coming from the left side.
Similarly, more of the sound will originate at the right if the
value of R is increased. When set to 0, the sound is heard as
coming from the center.
Parameter
Volume
Pan
Value
0–127
L63–0–63R
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Detailed Settings for Each Function ([EDIT])
Setting Reception and Blocking of
MIDI Messages from External
MIDI Controllers
You can change the RD-700’s tones by reception of MIDI
messages generated through the actions of modulation
levers, pedals, knobs, and other such external MIDI devices
controls.
Parameter
Value
Description
Just (Major). This scale
eliminates dissonance in
fifths and thirds. It is un-
suited to playing melodies
and cannot be transposed,
but is capable of beautiful
sonorities.
JUST MAJ
You can set whether to have the following MIDI messages
received (ON), or not (OFF) individually in each part.
Just (Minor). The scales of
the major and minor just
intonations are different.
You can get the same effect
with the minor scale as
with the major scale.
JUST MIN
Parameter
Rx.Bank Select
Value
Rx.Program Change
Rx.Modulation
Rx.Bender
This scale devised by the
philosopher Pythagoras
eliminates dissonance in
fourths and fifths. Disso-
nance is produced by
ON, OFF
PYTHAGOR
EAN
Rx.Volume
Rx.Hold-1
third-interval chords, but
melodies are euphonious.
Tempera-
ment
Rx.Pan
This scale is a modification
of the meantone and just
intonations that permits
greater freedom in trans-
position to other keys. Per-
formances are possible in
all keys (III).
Setting the Tuning Method
(Temperament/Key)
KIRNBERG-
ER
This sets the tuning and keynote (tonic) for each part.
Most modern songs are composed and played with the
assumption that equal temperament will be used, but when
classical music was composed, there were a wide variety of
other tuning systems in existence. Playing a composition
with its original tuning lets you enjoy the sonorities of the
chords that the composer originally intended.
This scale makes some
compromises in just into-
nation, enabling transposi-
tion to other keys.
MEAN TONE
When playing with tuning other than equal temperament,
you need to specify the keynote for tuning the song to be
performed (that is, the note that corresponds to C for a major
key or to A for a minor key).
This is a combination of the
mean tone and Pythagore-
anscales. Performancesare
possible in all keys (first
technique, III).
WERCK-
MEISTER
If you choose an equal temperament, there’s no need to select
a keynote.
Arabic Scale. This scale is
suitable for Arabic music.
ARABIC
Parameter
Value
Description
C, C#, D, D#,
E, F, F#, G,
G#, A, A#, B
Tempera-
ment Key
Sets the keynote.
Equal Temperament. This
tuning divides an octave
into 12 equal parts. Every
interval produces about
the same amount of slight
dissonance. This setting is
in effect when you turn on
the power.
Tempera-
ment
EQUAL
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Detailed Settings for Each Function ([EDIT])
] or [
] to select “Bulk Dump
Temporary” or “Bulk Dump SETUP.”
Utility includes functions for sending data to external MIDI
sequencers and other devices and for restoring the settings to
their original factory state.
Parameter
Bulk Dump
Value
The contents of the currently se-
lected Setup are transmitted.
Temporary
For more on “Rec Setting” in Utility menu, refer to “Settings
The contents of Setups in the
specified range are transmitted.
Bulk Dump SETUP
for Recording (Rec Setting)” (p. 95).
NOTE
Transferring the RD-700’s
Settings to an External MIDI
Device (Bulk Dump)
While the Bulk Dump is in progress, no sounds are produced
even when the keys are pressed. In addition, Rhythms and
arpeggios being played are also stopped.
You can transfer the contents of Setups and the RD-700’s
system settings to an external MIDI device. This operation is
called “bulk dump.”
Bulk Dump Temporary
6. Press CURSOR [
].
Use this procedure to save the data to an external MIDI
device in situations such as when you want to perform by
connecting another RD-700 with the same settings, or to
prevent your Setups and system settings from corruption.
A screen like the one shown below appears.
fig.Editmenu2.eps_150
1. Use a MIDI cable (optional) to connect the RD-700’s
MIDI OUT connector to the MIDI IN connector on an
external sequencer.
7. Put the external sequencer in record mode.
2. Press [EDIT] to turn it on.
The Edit Menu screen appears.
fig.Editmenu2.eps_150
8. Press [INC/YES] to transmit the settings.
To cancel the Bulk Dump, press [DEC/NO].
The message “Now, Executing...” appears in the display
during transmission of the data.
9. After the transmitting is finished, the display will
indicate “COMPLETED.”
You are returned to the Edit screen.
3. Press CURSOR [
] to select “9.Utility.”
10.Stop the external sequencer.
4. Press CURSOR [
fig.utility1.eps_150
] to display the Edit screen.
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Detailed Settings for Each Function ([EDIT])
Restoring saved settings to the RD-700
Bulk Dump SETUP
When returning settings saved to an external sequencer back
to the RD-700, an Exclusive message is transmitted from the
external sequencer, then the data is received by the RD-700.
6
Press CURSOR [
].
A screen like the one shown below appears.
NOTE
Be aware that when you restore SETUPs data to the RD-700,
the data in the RD-700 will be overwritten and lost.
RD-700.
Parameter
From
Value
2. Set the device ID number to the same setting as when
Setup number for the first Setup to
be transmitted.
you performed the bulk dump.
Setup number for the last Setup to be
transmitted.
To
Setting the Device ID Number ➔ “Setting the Device ID
Number (Device ID)” (p. 71)
Determines whether the system set-
tings are to be transmitted (YES), or
not (NO).
Send System
3. Make sure that [EDIT] indicator is extinguished.
If the [EDIT] indicator is lit, press [EDIT] to turn the
indicator light off and put the RD-700 in normal
performance mode.
7. Press CURSOR [
] / [
] and [INC/YES]/[DEC/
NO] to set the transmitted SETUPs.
4. Transmit (play back) the data from the external
sequencer.
8. Press CURSOR [
].
5. After the transmitting is finished, the display will
A screen like the one shown below appears.
fig.Editmenu2.eps_150
indicate “COMPLETED.”
NOTE
After playback of the Bulk Dump SETUP data, the RD-700
writes the data to the internal memory. Be sure never to turn
off the power while this data is being written (while “Now,
writing Bulk Dump Data. Keep on POWER!” is showing).
9. Put the external sequencer in record mode.
10.Press [INC/YES] to transmit the settings.
For details on transmitting exclusive data, refer to the
owner’s manual for your sequencer.
To cancel the Bulk Dump, press [DEC/NO].
A screen like the one shown below appears.
fig.Editmenu2.eps_150
NOTE
Play back the external sequencer at the same tempo you used
when performing the bulk dump. If you use a faster tempo,
the data may not be restored correctly.
NOTE
11.After the transmitting is finished, the display will
Data cannot be received if the Device ID of the receiving
device differs from the Device ID used when Bulk Dump was
carried out.
indicate “COMPLETED.”
You are returned to the Edit screen.
12.Stop the external sequencer.
NOTE
Exclusive messages cannot be received when set to GM
Mode (p. 98). Carry out the operation after first exiting GM
Mode.
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Detailed Settings for Each Function ([EDIT])
6. Press [INC/YES].
Restoring the settings to the
The confirmation message appears.
fig.LCD
factory settings.
NOTE
Executing “Factory Reset All” results in deletion of the
Setups (p. 54). If you want to keep any data you have stored,
use the “Bulk Dump SETUP” operation to save the data to an
external sequencer (p. 92).
To cancel the Factory Reset, press [DEC/NO].
7. Press [INC/YES] once again to start the Factory Reset
operation.
1. Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu2.eps_150
NOTE
Never turn off the power during Factory Reset (while “Now,
Executing” appears in the display).
8. After the Factory Reset operation is finished, the display
will indicate “COMPLETED.”
The Tone screen returns to the display.
2. Press CURSOR [
] to select “9.Utility.”
Factory Reset All
3. Press CURSOR [
fig.utility1.eps_150
] to display the Edit screen.
5
Press CURSOR [
].
A screen like the one shown below appears.
fig.LCD
4. Press CURSOR [
] or [
] to select “Factory Reset
Current” or “Factory Reset All.”
6. Press [INC/YES].
Parameter
Value
The confirmation message appears.
Factory Reset
Current
The currently selected Setup returned to
their factory settings.
fig.LCD
Factory Reset
All
The settings stored in the RD-700 can be
returned to their factory settings.
NOTE
While the Factory Reset is in progress, no sounds are
produced even when the keys are pressed. In addition,
Rhythms and arpeggios being played are also stopped.
To cancel the Factory Reset, press [DEC/NO].
7. Press [INC/YES] once again to start the Factory Reset
operation.
Factory Reset Current
NOTE
5. Press CURSOR [
].
Never turn off the power during Factory Reset (while “Now,
Executing” appears in the display).
A screen like the one shown below appears.
fig.LCD
8. After the Factory Reset operation is finished, the display
will indicate “COMPLETED.”
The Tone screen returns to the display.
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Connecting External MIDI Devices
2. Press CURSOR [
] to select “9.Utility.”
Recording RD-700 Performances
to an External MIDI Sequencer
Now, try using an external sequencer to record your music
onto multiple tracks, and then play back the recorded
performance.
3. Press CURSOR [
fig.utility1.eps_150
] to display the Edit screen.
Connecting to an External
Sequencer
fig.
4. Press CURSOR [
] to select “Rec Setting.”
5. Press CURSOR [
], and the following screen will
MIDI IN
MIDI OUT
appear:
fig.LCD
MIDI Sequencer
MIDI OUT
MIDI IN
Value
Description
Ordinarily this will be set
to OFF. Setting this to ON
enables Rec Mode,
switching the RD-700 to
the appropriate settings
for recording.
RD-700
Rec Mode
1. Before starting the connection procedure, make sure that
the power to all devices has been turned off.
2. After reading “Connecting the RD-700 to External
Equipment” (p. 22), connect an audio device/system or
headphones.
Switch on and off. Al-
though normally set to
ON, it should be set to
OFF when recording.
For details, refer to
“About the Local
ON, OFF
3. Connect the external MIDI sound device with the MIDI
Local Switch
cable as shown in the figure below.
4. As described in “Turning On the Power” (p. 24), turn on
the power of each device.
Switch” (p. 96).
Settings for Recording (Rec Setting)
6. Press CURSOR [
] or [
] and press [INC/YES] or
“Rec Mode” is a convenient feature to use when recording to
[DEC/NO] to set the values.
an external sequencer.
7. When you have finished making the settings, press
When using the REC Mode function, you can get the most
suitable settings for recording the RD-700’s data to an
external sequencer, without having to make all the Part and
channel settings.
[EDIT], extinguishing its indicator.
You are returned to the Tone screen.
The settings for recording to the external sequencer are
now selected.
1. Press [EDIT], getting the indicator to light.
The Edit Menu screen appears.
fig.Editmenu2.eps_150
NOTE
With Rec Mode set to ON, you cannot change the MIDI TX
Part settings (p. 60). Pressing [MIDI TX] does not call up the
MIDI TX screen when Rec Mode is set to ON.
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Connecting External MIDI Devices
Recording the Performance
Use the following procedure when recording to an external
About the Local Switch
The switch that connects and disconnects the MIDI
connection between the keyboard controller section and the
sound generator section (p. 31) is called the Local switch.
Since essential information describing what is being played
on the keyboard won’t reach the sound generator if the Local
switch is set to OFF, the Local switch should normally be left
ON.
sequencer.
1. Turn on the external sequencer’s Thru function.
For details, refer to the following section “About Local
Switch.”
Refer to your sequencer owner’s manual for instructions
on how to carry out this procedure.
However, if while performing you want to send that
performance data to an external sequencer as MIDI messages
to be recorded, you then perform with the externally
connected MIDI sequencer set to MIDI Thru (whereby data
received from MIDI IN is then output from the MIDI OUT
with no changes made to the data).
2. Select the Setup for the performance to be recorded.
For instructions on selecting the Setup, refer to p. 54.
3. Set the Rec Setting.
Use the procedure described in the previous section
“Settings for Recording” to make the following settings.
Rec Mode: ON
Sequencer
Recording
Local Switch: OFF
MIDI Thru: On
5. Bulk Dump the Setup.
MIDI IN
MIDI OUT
MIDI IN
Using the Utility Bulk Dump Temporary in Edit mode,
transmit the contents of the selected Setup to the external
sequencer.
MIDI OUT
For instructions on carrying out this operation, refer to
“Transferring the RD-700’s Settings to an External
MIDI Device (Bulk Dump)” (p. 92).
6. Perform on the RD-700.
Sound
Generator
Section
7. When the performance is finished, stop recording with
the external sequencer.
Local Switch: Off
Recording is now complete.
You can then listen to the recorded performance by
playing it back on the external sequencer.
Keyboard Controller
Section
Exiting Rec Mode
RD-700
When Rec Mode is set to ON, you cannot change the MIDI
In this case, the data sent over two paths, i.e., the data sent
directly from the keyboard controller section and the data
sent from the keyboard controller section via the external
sequencer, ends up being sent to the sound generator section
simultaneously. Thus, for example, even when you play a
“C” key only once, the note “C” cannot be sounded correctly,
as the sound is played by the sound generator section twice.
TX settings. When you have finished recording the
performance, use the procedure described in the previous
section “Settings for Recording” to set Rec Mode to OFF.
NOTE
The settings made in Rec Setting cannot be saved. Rec Setting
automatically switch to “Rec Mode: OFF, Local Switch:
ON” when the power is turned on.
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Connecting External MIDI Devices
Selecting RD-700 Sounds from an
External MIDI Device
Transmitting Bank Select (Controller Number 0, 32) and
Program Change messages from the external MIDI device to
the RD-700 allows you to switch Setups and Tones.
Playing the RD-700’s Internal
Sound Generator from an
External MIDI Device
Try Playing the RD-700 from an External MIDI Device.
Making connections
Switching Setups
The MIDI messages transmitted by the external MIDI device
will be received by the RD-700 to select Setups as shown in
the following table.
fig.
MIDI OUT
Bank Select
MSB LSB
85
Program Change
Number
Number
1–100
0
1–100
MIDI Sequencer
When switching setups, you must match the MIDI channel of
the transmitting device with the RD-700’s Control channel.
MIDI IN
When switching the tones in each part, match the MIDI
channel of the transmitting device with the RD-700’s Receive
channel. However, when the Control channel and the
Receive channel are both set to the same channel, the Control
RD-700
1. Before starting the connection procedure, make sure that
the power to all devices has been turned off.
2. After reading “Connecting the RD-700 to External
Equipment” (p. 22), connect an audio device/system or
headphones.
Switching Tones
The MIDI messages transmitted by the external MIDI device
will be received by the RD-700 to select Tones as shown in
the following table.
3. Connect the external MIDI device with the MIDI cable as
shown in the figure below.
4. As described in “Turning On the Power” (p. 24), turn on
Bank Select
MSB LSB
Program
Change
Number
Group
Number
PIANO
001 – 019
020 – 039
087
087
064
065
001 – 019
001 – 020
Setting the Channels
E.PIANO
Set the RD-700’s receive channel to match the external MIDI
CALV/
MALLET
040 – 059
087
066
001 – 020
device’s transmit channel.
ORGAN
STRINGS
PAD
060 – 089
090 – 109
110 – 129
087
087
087
067
068
069
001 – 030
001 – 020
001 – 020
For instructions on setting the RD-700’s Receive channel,
refer to “Setting the Receive Channel (Receive Channel)”
(p. 90).
When both channels are matched, playing the external MIDI
device produces sounds from the RD-700’s sound generator.
GTR/
BASS
130 – 159
160 – 179
180 – 199
200 – 203
087
087
087
086
070
071
072
064
001 – 030
001 – 020
001 – 020
001 – 004
BRASS/
WINDS
For instructions on how to set the transmit channel of the
external MIDI device, refer to the owner’s manual for your
external MIDI device.
VOICE/
SYNTH
Rhythm
Set
For details on the SRX Series, refer to the owner’s manual for
the SRX Series Wave Expansion Board.
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Connecting External MIDI Devices
Playback of the GM Score begins, and the following GM
Mode screen is displayed on the RD-700.
Using the RD-700 as a GM
Sound Module (GM Mode)
fig.LCD
The RD-700 features a GM mode—a convenient way to play
back or create GM score data (music files for GM sound
module).
Part 1~8
Part 9~16
Switching to GM mode not only enables proper playback of
GM Scores, but also allows you to mute specific Parts, play
the Parts using the RD-700’s keyboard, and change the Tones
for specific Parts.
When you play the RD-700’s keyboard, you can then
perform using the Tone for the currently selected Part.
Changing the tone of a specific part
1. In the GM Mode screen, press the CURSOR buttons to
Points to Note Regarding GM
Mode
move the cursor to the Part number.
• All buttons and knobs other than CURSOR buttons,
[INC/YES], [DEC/NO], ONE TOUCH [PIANO], and
[SETUP] are disabled in GM mode.
2. Press [DEC/NO] or [INC/YES] to select the Part whose
Tone is to be changed.
• Be sure to play back from the beginning of the song.
When playback of a song is started at any point other
than the beginning, the sound generator settings are not
reset to the GM and GM2 initial settings values, and the
song is not played back correctly.
3. Press CURSOR [
] to move the cursor to the Tone
number.
4. Press [DEC/NO] or [INC/YES] to select the tone.
The specified Part is played using the selected Tone.
• When the RD-700 receives a GS Reset message, the RD-
700 is enabled for the GS format (a shared set of
specifications proposed by Roland for standardization of
multi-timbral sound modules). This permits playback of
music data bearing the GS logo (GS music data).
However, Roland’s Sound Canvas Series (including the
SC-8850 and SC-8820 models) feature a different sound
module format and expanded tone map, so data created
exclusively for the Sound Canvas Series may not play
back properly on the RD-700.
Muting a Specific Part
1. In the GM Mode screen, use the CURSOR buttons to
move the cursor to the marker for the Part to be muted.
2. Press [DEC/NO] or [INC/YES] to select whether the
mute is turned on or off.
Display
Meaning
MIDI messages are received. The perfor-
mance is played back according to the MIDI
messages.
❍
• You cannot enter GM mode using solely the RD-700 on
its own. The RD-700 is switched to GM mode upon
contained within the setup data placed at the beginning
of a song that is to be played back.
MIDI messages are not received. This Part is
muted.
–
You can perform on the RD-700’s keyboard even when
Parts are muted.
• You cannot switch to GM mode if the Edit screen’s
System settings, or the Rx GM System ON, Rx GM2
details, refer to “Switching Between Reception of GM/
GM2 System On and GS Reset” (p. 70).
Exiting GM Mode
1. In the GM Mode screen, press [PIANO] or [SETUP].
The RD-700 goes out of GM mode and the Tone screen
appears in the display.
When the above step is carried out while playback of a
GM Score is in progress, the RD-700 switches out of GM
mode and the Tone screen is displayed while playback of
the song continues.
Playing Back GM Scores
1. Connect an external sequencer.
See p. 97.
2. Play back the GM Score with the external sequencer.
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Troubleshooting
If the RD-700 does not function in the way you expect, first
check the following points. If this does not resolve the
problem, consult your dealer or a nearby Roland Service
Station.
Problem
Check/Solution
Are the Wave Expansion Boards cor-
rectly installed?
• When selecting settings while us-
ing the EXPANSION [A] or [B]
Tones or Rhythm Sets, confirm that
the specified Wave Expansion
Boards are properly installed in the
specified slots (p. 16).
*
If certain messages appear in the display during operation,
please refer to “Error Messages/Other Messages” (p.
103).
No Sound
Problem
Check/Solution
Has the volume been lowered by
es (volume messages or expression
MIDI device?
Is the RD-700’s AC adapter properly
plugged into a power source as well
as connected to the RD-700?
Power Not Com-
ing On
Is the power for connected amps and
speakers turned on? Is the volume
turned all the way down?
Is the Part’s volume level turned
down?
• Check the PART LEVEL sliders (p.
45, p. 62) and the Internal Part Prm
Volume settings in Edit mode (p.
90).
Is the VOLUME slider turned all the
way down?
Are all connections properly made?
• When using the RD-700 as a stand-
alone instrument, be sure to con-
nect with audio cables or use head-
phones (p. 22).
No Sound for
Specific Part
Are the Part’s MIDI Receive channel
and the MIDI Transmit channel for
• Check the MIDI Receive channel
settings with Internal Part Prm Re-
ceive Channel in Edit mode (p. 90).
Are sounds audible with head-
phones connected?
headphones, it may indicate that
there is a short in an audio cable or
some sort of amp or mixer prob-
lem.Check the cables and equip-
ment once again.
Is the device enabled to transmit
MIDI messages?
• Set [MIDI TX] and PART SWITCH
to ON (p. 62). MIDI messages can-
not be transmitted if PART
SWITCH is set to OFF.
No Sound
No Sound From
the Connected
MIDI Device
Is PART SWITCH set to OFF (p. 45, p.
62)?
Is the RD-700’s keyboard controller
section MIDI Transmit channel
matched to the connected MIDI de-
• Make the Ch settings in the MIDI
TX screen (p. 60).
PART LEVEL slider (p. 45, p. 62)?
If the sound for a pressed key does is
not being played, is the Local Switch
set to OFF?
• In the Utility Rec Setting in Edit
mode, set the Local Switch to ON
(p. 95).
Has the range in which sounds are to
be played (the key range) been set?
• Check the settings for the LWR and
UPR Parts in the MIDI TX screen
(p. 63), as well as the Local Part
Param Key Range settings in Edit
mode (p. 88).
Are the effect settings correct?
• Check the ON/OFF settings for
MULTI EFFECTS [ON/OFF] (p.
53), and MFX/Reverb/Chorus
MFX <Other Prm> effect balance
and level settings in Edit mode (p.
77, p. 104).
No Sound in a
Specific Range
With certain Tones, for example
Rhythm Sets, bass Tones, Timpani,
and other Tones will not sound if a
portion of the Tone falls outside the
recommended range.
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Troubleshooting
Problem
Check/Solution
Problem
Check/Solution
Did you call up a Setup?
Has the System Clock Source setting
in Edit mode been set to MIDI (p. 70)?
Do you have an external MIDI device
connected?
• You cannot set the tempo with the
RD-700 when Clock Source is set to
MIDI. Accordingly, if no external
MIDI device is connected, then no
tempo setting is made for the
Rhythm, and so the Rhythm does
not sound.
• When a Setup is called up, the cur-
rent Tone, effect, and other settings
are disabled, and the selected Set-
up goes into effect (p. 54). Resave
required settings to a Setup (p. 56).
Did you press ONE TOUCH [PI-
ANO]?
• When ONE TOUCH [PIANO] is
pressed, the current Tone, effect,
and other settings are disabled,
and settings for use in piano per-
formances go into effect (p. 35). Re-
save required settings to a Setup
(p. 56).
Rhythm Not
Sounding
Tones Are Al-
tered
Is the MIDI TX screen (p. 59) active?
• Rhythms do not play when the
MIDI TX screen appears in the dis-
play. Press [MIDI TX] so that the
button’s indicator light goes off.
Is the Tone Control function assigned
to the [CONTROL] knob?
• Check the Control/EQ Control set-
tings in Edit mode (p. 74).
In Edit mode, is the Rhythm Pattern’s
Pattern setting turned OFF (p. 82)?
Rhythm Intro
Not Played/
Rhythm Not
Starting From
Beginning
Is the MIDI TX Part’s PART SWITCH
[RHYTHM] turned on?
• Are the Local Part’s Rhythm and
the MIDI TX Part’s Rhythms syn-
chronized (p. 51)?
When UPPER
Tone is Select-
ed, LOWER
Changes to
Are the UPPER Part and the LOWER
Part set to the same value in the Local
Part Param Part Assign settings in
Edit mode (p. 89)?
Same Tone
Is a Tone Wheel 1–10 Tone selected?
Effects are applied differently to the
Tone Wheel than they are with other
effects.
• Effects set in MFX/Reverb/Chorus
MFX Source (p. 77) are applied re-
gardless of each Part MFX Switch
ON/OFF setting in the Internal
Part Prm settings (p. 90), or the
MFX setting for each Tone in the
Tone Edit (p. 80).
Is [MIDI TX] set to ON?
• When [MIDI TX] is set to ON, the
external sound generator is con-
trolled. To change the RD-700’s
Tones and make settings in Key-
board mode, set [MIDI TX] to OFF
(p. 59).
Tone Doesn’t
Change/Key-
board Not
Switching to
Split or Layer
Is the PART SELECT button for the
Part containing the Tone you want to
change set to ON (p. 44)?
Effects Not Ap-
plied/Effects
Sound Wrong
multiple Parts, it is applied to all
the Parts, regardless of whether the
Rx Bender Switch and Rx Hold-1
Switch in the Internal Part Prm set-
tings are ON or OFF (p. 91).
Is [NUM LOCK] on?
• Tone categories cannot be selected
with the TONE SELECT buttons
when [NUM LOCK] is on.
Could you have the Tone Wheel
screen appearing in the display?
(p. 75)
• In the Tone Wheel screen, pressing
a TONE SELECT button selects
one of the Tone Wheels from 1
through 10.
Tone Doesn’t
Change When a
TONE SELECT
Button is
Is MULTI EFFECTS [ON/OFF] set to
OFF (p. 53)?
Is the [CONTROL] knob set to MFX
Control?
• In Edit mode, set the Control set-
ting in MFX/Reverb/Chorus to
MFX CONTROL (p. 77).
Pressed
Set the Part 10 Receive Channel set-
ting in Internal Part Prm in Edit
mode to 10 (p. 90).
Rhythm Not
Sounding
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Troubleshooting
Problem
Check/Solution
Problem
Check/Solution
In some cases where the delay timing
selected in the DELAY settings in
MFX/Reverb/Chorus is set to a note
heard. Either adjust the tempo or
change the numerical value of the de-
lay timing (p. 79).
Is the System Clock Source setting in
Edit mode set to MIDI?
• When you want to perform using
the RD-700’s tempo, set this to
“INT” (p. 70).
Tempo Doesn’t
Change
Depending on the Tone selected,
pitches played in certain registers
will be changed and played at other
pitches.
Effects Not Ap-
plied/Effects
Sound Wrong
Check the MFX Source and MFX Dest
settings for multi-effect that is not
sounding in the Lower Part to which
it is applied (p. 77).
• With certain settings, the Lower
Part’s MFX settings are disregard-
ed.
Is Coarse Tune, Fine Tune, or Stretch
Tune set for any specific Part?
Fine Tune and Stretch Tune set-
tings in Edit mode (p. 80, p. 81), or
C.T and F.T setting in MIDI TX
screen.(p. 65).
Is the Tone Wheel screen appearing
in the display?
No Pitch Bend
When Pitch
Bend Lever is
Moved
• The pitch bend effect cannot be ap-
plied with the pitch bend lever
while the Tone Wheel screen is in
the display. In this case, the pitch
bend lever functions as a slow/fast
switch for the Rotary effect (p. 75).
Has the RD-700 gone out of tune?
Check the System Master Tune set-
tings in Edit mode (p. 29).
Has the pitch been changed by pedal
operations or by Pitch Bend messag-
es received from an external MIDI
device?
Sounds Come
From Left or
RightEachTime
Key is Pressed
(Panned)
In some Tones, the settings are such
that sounds randomly play from the
left or right side (are panned) each
time the keys are pressed. These set-
tings cannot be changed.
When you try playing more than the
maximum 128 voices simultaneous-
ly, sounds currently being played
may be cut out.
equalizer, multi-effect, and Part vol-
settings.
• PART LEVEL sliders (p. 45).
• Edit mode MFX/Reverb/Chorus
MFX <Other Prm> effect levels (p.
77).
• Increase the Voice Reserve settings
for the Parts you do not want to
have cut off (p. 90).
Sound Keeps
Playing When
Key is Pressed
Is the hold pedal polarity reversed?
• Check the System Pedal Polarity
settings in Edit mode (p. 71).
Sound is Distort-
ed
Is the Device ID number of the trans-
mitting device matched to the RD-
700’s Device ID number?
tings in Edit mode (p. 71).
• System Master Volume settings (p.
70).
sages Cannot
Be Received
Is a distortion-type effect being ap-
plied to the sound (p. 77, p. 80)?
Is the RD-700 set to GM mode?
• Press ONE TOUCH [PIANO] or
[SETUP] to exit GM mode (p. 98).
The screen is displayed by selecting a
Organ Tone (Tone Wheel 1~10) for
any of the UPPER1, UPPER2, or
LOWER Parts in the Tone screen, and
Cannot Select
the Draw Bar
Screen (Tone
Wheel Screen)
When a Setup name is registered (p.
56), names with eight or more of the
letters M, N, or W are not displayed
correctly. Try reducing the number
of these letters.
SetupNameNot
Correctly Indi-
cated
then pressing CURSOR [ ] (p. 75).
Key Range Set-
tings Not Effec-
tive
Is [SPLIT] set to OFF?
• Key Range goes into effect when
[SPLIT] set to ON (p. 63, p. 88).
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Troubleshooting
Problem
Check/Solution
Is the Receive GM/GM2 System On
Switch set to ON?
• Set the System Rx GM System On
or System Rx GM2 System On to
ON in Edit mode (p. 70).
Does playback of the song start from
some point other than the beginning
of the song?
• Add a GM/GM2 System On mes-
sage at the beginning of GM Score
songs. In some cases, a GM Score
cannot be played back correctly
unless this message is received.
Song Data Not
Played Back
Correctly
Song Data Not
Played Back
Correctly
Are you playing back GS Format
song data?
• Once the RD-700 receives a GS Re-
set message, it then is enabled for
GS Format. This permits playback
of music files bearing the GS logo
(GS music files). However, data
created exclusively for the Sound
Canvas Series may not play back
properly on the RD-700.
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Error Messages/Other Messages
Error messages
Other Messages
Indication: MIDI Buffer Full
Indication: Now, Transmitting System Exclusive.
Situation:
Due to an inordinate volume of MIDI
messages received, the RD-700 has failed to
process them properly.
Situation:
Indicated when a Data Request message (RQ1)
is received.
Action:
Reduce the amount of MIDI messages to be
transmitted.
Action:
The RD-700 outputs the requested data while
this message continues to be displayed.
Indication: MIDI Communication Error
Indication: Now, writing Bulk Dump Data. Keep on
POWER!!
Situation:
A problem has occurred with the MIDI cable
connections.
Situation:
Indicated when Bulk Dump data is being
received.
Action:
Check that MIDI cables are not broken or
pulled out.
Action:
Once received, the data is written to the RD-
700’s internal memory; be absolutely sure not
to turn off the power until “COMPLETED”
appears in the display.
Indication: BULK DUMP: Receive Data Error
Situation:
Action:
A MIDI message was received incorrectly.
If the same error message is displayed
repeatedly, there is a problem with the MIDI
messages that are being transmitted to the RD-
700.
Indication: Unavailable while in Rec Mode
Situation:
This is displayed when the [MIDI TX] button is
pressed with Rec Mode “ON.”
Action:
When Rec Mode is “ON,” you cannot change
the MIDI TX settings. To make changes to the
MIDI TX settings, set Rec Mode to “OFF” (p.
97).
Indication: BULK DUMP: Check Sum Error
Situation:
There is a problem with the System Exclusive
message’s Check Sum.
Action:
Check the value of the Check Sum.
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Level (Output Level)
*
Parameters with the “#” showing can be assigned to the
MULTI-EFFECTS [CONTROL] knob. Set “MFX
CONTROL” following the instructions in “How to Make
Settings” (p. 76).
Adjust the output level.
It's a good idea to use the Output Level to adjust the difference
in volume between when Overdrive is applied and when it is
not applied.
01: STEREO EQ (Stereo Equalizer)
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
This is a four-band stereo equalizer (low, mid x 2, high).
Low Freq (Low Frequency)
Select the frequency of the low range (200 Hz/400 Hz).
High Gain
Low Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the gain of the low frequency.
Positive (+) settings will emphasize (boost) the low frequency
range.
Amp Type (Amp Simulator Type)
Select the type of guitar amp.
SMALL: small amp
High Freq (High Frequency)
Select the frequency of the high range (2000 Hz/4000 Hz/8000
Hz).
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
High Gain
Adjust the gain of the high frequency.
Positive (+) settings will emphasize (boost) the high frequency
range.
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Mid1 Freq (Middle 1 Frequency)
Adjust the frequency of Middle 1 (mid range).
03: DISTORTION
Mid1 Q (Middle 1 Q)
This effect produces a more intense distortion than Overdrive.
This parameter adjusts the width of the area around the Middle
1 Frequency that will be affected by the Gain setting. Higher
values of Middle 1 Q will result in a narrower area being
affected.
Drive #
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
Mid1 Gain (Middle1 Gain)
Level (Output Level)
Adjust the gain for the area specified by the Middle 1 Frequency
and Q settings.
Adjust the output level.
It's a good idea to use the Output Level to adjust the difference
in volume between when Distortion is applied and when it is
not applied.
Positive (+) settings will emphasize (boost) the Middle 1 range.
Mid2 Freq (Middle 2 Frequency)
Adjust the frequency of Middle 2 (mid range).
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Mid2 Q (Middle 2 Q)
This parameter adjusts the width of the area around the Middle
2 Frequency that will be affected by the Gain setting. Higher
values of Middle 2 Q will result in a narrower area being
affected.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Mid2 Gain (Middle 2 Gain)
Adjust the gain for the area specified by the Middle 2 Frequency
and Q settings.
Amp Type (Amp Simulator Type)
Select the type of guitar amp.
SMALL: small amp
Positive (+) settings will emphasize (boost) the Middle 2 range.
Level (Output Level) #
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Adjust the output level.
02: OVERDRIVE
Pan (Output Pan) #
This effect creates a soft distortion similar to that produced by
vacuum tube amplifiers.
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Drive #
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
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Effect/Parameter List
Pan (Output Pan) #
04: PHASER
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
A phaser adds a phase-shifted sound to the direct sound,
producing a twisting modulation that creates spaciousness and
depth.
Level (Output Level) #
Adjust the output level.
Manual #
Adjust the basic frequency from which the sound will be
modulated.
06: ENHANCER
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
Rate #
Adjust the frequency (period) of modulation.
Sens (Sensitivity) #
Depth
Adjust the depth of modulation.
Adjust the sensitivity of the enhancer.
Mix (Mix Level) #
Resonance
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Adjust the amount of feedback for the phaser.
The effect becomes more prominent as the value is increased.
Low Gain
Mix (Mix Level)
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the ratio with which the phase-shifted sound is
combined with the direct sound.
Pan (Output Pan)
High Gain
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Level (Output Level)
Adjust the output level.
Level (Output Level)
Adjust the output level.
05: SPECTRUM
07: AUTO WAH
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is similar
to an equalizer, but has 8 frequency points fixed at locations
most suitable for adding character to the sound.
The Auto Wah cyclically controls a filter to create cyclic change
in timbre.
Filter (Filter Type)
Band 1 (Band 1 Gain)
Select the type of filter.
Adjust the 250 Hz gain.
LPF: The wah effect will be applied over a wide frequency
range.
Band 2 (Band 2 Gain)
BPF: The wah effect will be applied over a narrow frequency
Adjust the 500 Hz gain.
range.
Band 3 (Band 3 Gain)
Sens (Sensitivity)
Adjust the 1000 Hz gain.
Adjust the sensitivity with which the filter is controlled.
Band 4 (Band 4 Gain)
Manual #
Adjust the 1250 Hz gain.
Adjust the frequency from which the effect is applied.
Band 5 (Band 5 Gain)
Peak
Adjust the 2000 Hz gain.
Adjust the amount of the wah effect that will occur in the area
of the frequency. Lower settings will cause the effect to be
applied in a broad area around the frequency. Higher settings
will cause the effect to be applied in a more narrow range.
Band 6 (Band 6 Gain)
Adjust the 3150 Hz gain.
Band 7 (Band 7 Gain)
Adjust the 4000 Hz gain.
Rate #
Adjust the frequency of the modulation.
Band 8 (Band 8 Gain)
Adjust the 8000 Hz gain.
Depth
Adjust the depth of the modulation.
Q
Simultaneously adjust the width of the adjusted areas for all the
frequency bands.
Level (Output Level)
Adjust the output level.
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Effect/Parameter List
Low Gain
Adjust the low frequency gain.
08: ROTARY
The Rotary effect simulates the sound of the rotary speakers
often used with the electric organs of the past. Since the
movement of the high range and low range rotors can be set
independently, the unique type of modulation characteristic of
these speakers can be simulated quite closely. This effect is most
suitable for electric organ Patches.
Positive (+) settings will emphasize (boost) the low frequency
range.
High Gain
Adjust the high frequency gain.
Positive (+) settings will emphasize (boost) the high frequency
range.
Low Slow (Low Frequency Slow Rate)
Adjust the slow speed (SLOW) of the low frequency rotor.
Pan (Output Pan) #
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Low Fast (Low Frequency Fast Rate)
Adjust the fast speed (FAST) of the low frequency rotor.
Level (Output Level) #
Low Accel (Low Frequency Acceleration)
Adjust the output level.
Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or slow
to fast) speed. Lower values will require longer times.
10: LIMITER
The Limiter compresses signals that exceed a specified volume
level, preventing distortion from occurring.
Low Level (Low Frequency Level)
Adjust the volume of the low frequency rotor.
Threshold (Threshold Level)
Hi Slow (High Frequency Slow Rate)
Adjust the volume at which compression will begin.
Adjust the slow speed (SLOW) of the high frequency rotor.
Ratio (Compression Ratio)
Hi Fast (High Frequency Fast Rate)
Adjust the compression ratio.
Adjust the fast speed (FAST) of the high frequency rotor.
Release (Release Time)
Hi Accel (High Frequency Acceleration)
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or slow
to fast) speed. Lower values will require longer times.
Post Gain
Adjust the output gain.
Hi Level (High Frequency Level)
Low Gain
Adjust the volume of the high frequency rotor.
Adjust the low frequency gain.
Separate
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the spatial dispersion of the sound.
Speed #
High Gain
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
SLOW: Slow down the rotation to the specified speed (the Low
Slow/Hi Slow values).
Adjust the high frequency gain.
Positive (+) settings will emphasize (boost) the high frequency
range.
Pan (Output Pan) #
FAST: Speed up the rotation to the specified speed (the Low
Fast/Hi Fast values).
Adjust the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Level (Output Level) #
Level (Output Level) #
Adjust the output level.
Adjust the output level.
09: COMPRESSOR
11: HEXA-CHORUS
The Compressor flattens out high levels and boosts low levels,
smoothing out unevenness in volume.
Hexa-chorus uses a six-phase chorus (six layers of chorused
sound) to give richness and spatial spread to the sound.
Attack
Pre Delay (Pre Delay Time)
Adjust the attack time of an input sound.
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
Sustain
Adjust the time over which low level sounds are boosted until
they reach the specified volume.
Rate #
Adjust the rate of modulation.
Post Gain
Depth
Adjust the output gain.
Adjust the depth of modulation.
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Effect/Parameter List
Delay Dev (Pre Delay Deviation)
Rate #
Adjust the rate of modulation.
Pre Delay determines the time from when the direct sound
begins until the processed sound is heard. Pre Delay Deviation
adjusts the differences in Pre Delay between each chorus sound.
Depth
Adjust the depth of modulation.
Depth Dev (Depth Deviation)
Phase
Adjust the spatial spread of the sound.
Adjust the difference in modulation depth between each chorus
sound. The shift between the start of each of the chorus sounds
increases as the value is increased.
Low Gain
Adjust the gain of the low frequency range.
Pan Dev (Pan Deviation)
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. With a setting of 20, each chorus sound will be spaced at
60 degree intervals relative to the center.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the chorus
sound will be output.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the chorus
sound will be output.
Level (Output Level)
Adjust the output level.
Level (Output Level)
12: TREMOLO CHO (Tremolo Chorus)
Adjust the output level.
Tremolo Chorus is a chorus effect with added Tremolo (cyclic
modulation of volume).
14: STEREO CHORUS
This is a stereo chorus. A filter is provided so that you can
Pre Delay (Pre Delay Time)
adjust the timbre of the chorus sound.
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the processed sound is heard.
Cho Rate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Rate #
Cho Depth (Chorus Depth)
Adjust the rate of modulation.
Adjust the modulation depth of the chorus effect.
Depth
Phase (Tremolo Phase)
Adjust the depth of modulation.
Adjust the spread of the tremolo effect.
Phase
Trem Rate (Tremolo Rate) #
Adjust the spatial spread of the sound.
Adjust the modulation speed of the tremolo effect.
Trem Sep (Tremolo Separation)
Filter (Filter Type)
Adjust the spread of the tremolo effect.
Select the type of filter.
OFF: a filter will not be used
Balance (Effect Balance) #
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
Adjust the volume balance between the direct sound and the
tremolo chorus sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W only
the tremolo chorus sound will be output.
Cutoff (Cutoff Frequency)
Adjust the basic frequency of the filter.
Level (Output Level)
Low Gain
Adjust the output level.
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
13: SPACE-D
Space-D is a multiple chorus that applies two-phase modulation
in stereo. It gives no impression of modulation, but produces a
transparent chorus effect.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the processed sound is heard.
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Effect/Parameter List
Balance (Effect Balance) #
16: STEP FLANGER
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the chorus
sound will be output.
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
Level (Output Level)
Adjust the output level.
Rate
15: ST.FLANGER (Stereo Flanger)
Adjust the rate of modulation.
This is a stereo flanger. (The LFO has the same phase for left
and right.) It produces a metallic resonance that rises and falls
like a jet airplane taking off or landing. A filter is provided so
that you can adjust the timbre of the flanged sound.
Depth
Adjust the depth of modulation.
Feedback (Feedback Level) #
Adjust the proportion (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
The effect becomes more prominent as the value is increased.
Rate #
Phase
Adjust the rate of modulation.
Adjust the spatial spread of the sound.
Depth
Step Rate #
Adjust the depth of modulation.
Adjust the rate (period) of pitch change.
Feedback (Feedback Level) #
➔
Step Rate parameter can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Adjust the proportion (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will return
the sound in reverse phase.
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
The effect becomes more prominent as the value is increased.
Phase
High Gain
Adjust the spatial spread of the sound.
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Filter (Filter Type)
Select the type of filter.
OFF: a filter will not be used
Balance (Effect Balance)
LPF: cut the frequency range above the cutoff frequency
HPF: cut the frequency range below the cutoff frequency
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the chorus
sound will be output.
Cutoff (Cutoff Frequency)
Adjust the basic frequency of the filter.
Low Gain
Level (Output Level)
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the output level.
17: STEREO DELAY
High Gain
Delay L (Delay Time Left)
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the time from the direct sound until when the left delay
sound is heard.
Delay R (Delay Time Right)
Balance (Effect Balance)
Adjust the time from the direct sound until when the right
delay sound is heard.
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the flanger
sound will be output.
Feedback (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Level (Output Level)
Adjust the output level.
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Effect/Parameter List
Mode (Feedback Mode)
Rate #
Adjust the speed of the modulation.
Select the way in which delay sound is fed back into the effect.
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS: The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
Depth
Adjust the depth of the modulation.
Phase
Adjust the spatial spread of the sound.
Phase L (Feedback Phase Left)
Select the phase of the left delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
HF Damp
Adjust the frequency above which sound fed back to the effect
will be cut. If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Phase R (Feedback Phase Right)
Select the phase of the right delay sound.
NORMAL: Phase is not changed.
INVERT: Phase is inverted.
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
HF Damp
Adjust the frequency above which sound fed back to the effect
will be cut. If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
modulation delay sound. With a setting of D100:0W only the
direct sound will be output, and with a setting of D0:100W only
the modulation delay sound will be output.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Level (Output Level)
Adjust the output level.
Balance (Effect Balance) #
19: TRI TAP DLY (Triple Tap Delay)
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
The Triple Tap Delay produces three delay sounds; center, left
and right.
Delay C (Delay Time Center)
Adjust the time delay from the direct sound until when the
center delay sound is heard.
Level (Output Level)
Adjust the output level.
Delay L (Delay Time Left)
18: MOD DELAY (Modulation Delay)
Adjust the time delay from the direct sound until when the left
delay sound is heard.
This effect adds modulation to the delayed sound, producing an
effect similar to a flanger.
Delay R (Delay Time Right)
Delay L (Delay Time Left)
Adjust the time delay from the direct sound until when the
right delay sound is heard.
Adjust the time from the direct sound until when the left delay
sound is heard.
➔
Delay C, Delay L and Delay R parameters can be set as a note-
value of a tempo. In this case, specify the value of the desired
note.
Delay R (Delay Time Right)
Adjust the time from the direct sound until when the right
delay sound is heard.
Feedback (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Feedback (Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Level C (Center Level)
Adjust the volume of the center delay sound.
Mode (Feedback Mode)
Select the way in which delay sound is fed back into the effect.
NORMAL: The left delay sound will be fed back into the left
delay, and the right delay sound into the right delay.
CROSS: The left delay sound will be fed back into the right
delay, and the right delay sound into the left delay.
Level L (Left Level)
Adjust the volume of the left delay sound.
Level R (Right Level)
Adjust the volume of the right delay sound.
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Effect/Parameter List
HF Damp
Feedback (Feedback Level) #
Adjust the frequency above which sound fed back to the effect
will be cut. If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
HF Damp
Low Gain
Adjust the frequency above which sound fed back to the effect
will be cut. If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Balance (Effect Balance) #
High Gain
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Balance (Effect Balance) #
Level (Output Level)
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Adjust the output level.
21: TIME CTRL DLY (Time Control Delay)
You can use MIDI messages assigned to the Control knob to
make changes in the delay time and pitch in real time.
Lengthening the delay will lower the pitch, and shortening it
will raise the pitch.
Level (Output Level)
Adjust the output level.
20: QUAD TAP DLY (Quadruple Tap Delay)
Delay (Delay time) #
The Quadruple Tap Delay has four delays.
Adjust the time delay from the direct sound until when each
delay sound is heard.
The stereo location of each delay sound is as follows.
fig.MFX-20b
Accel (Acceleration)
2
3
This parameter adjusts the time over which the Delay Time will
change from the current setting to a newly specified setting. The
rate of change for the Delay Time directly affects the rate of
pitch change.
4
1
R
L
Delay 1 (Delay Time 1)
Adjust the time delay from the direct sound until when delay 1
sound is heard.
Feedback (Feedback Level) #
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Delay 2 (Delay Time 2)
Adjust the time delay from the direct sound until when delay 2
sound is heard.
HF Damp
Adjust the frequency above which sound fed back to the effect
will be cut. If you do not want to cut the high frequencies of the
feedback, set this parameter to BYPASS.
Delay 3 (Delay Time 3)
Adjust the time delay from the direct sound until when delay 3
sound is heard.
Pan (Output Pan)
Adjust the stereo location of the delay sound. L64 is far left, 0 is
center, and 63R is far right.
Delay 4 (Delay Time 4)
Adjust the time delay from the direct sound until when delay 4
sound is heard.
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
➔
Delay 1–4 parameters can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Level 1
Adjust the volume of delay 1 sound.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Level 2
Adjust the volume of delay 2 sound.
Level 3
Adjust the volume of delay 3 sound.
Balance (Effect Balance)
Adjust the volume balance between the direct sound and the
delay sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the delay
sound will be output.
Level 4
Adjust the volume of delay 4 sound.
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Effect/Parameter List
Level (Output Level)
23: FBK PCH SHIFT (Feedback Pitch Shifter)
Adjust the output level.
This pitch shifter allows the pitch shifted sound to be fed back
into the effect.
22: 2V PCH SHIFT (2 Voice Pitch Shifter)
Coarse (Coarse Pitch) #1
A Pitch Shifter shifts the pitch of the direct sound. This 2-voice
pitch shifter has two pitch shifters, and can add two pitch
shifted sounds to the direct sound.
Adjust the pitch of the pitch shifted sound in semitone steps (-
2–+1 octaves).
Fine (Fine Pitch) #1
Coarse A (Coarse Pitch A) #1
Adjust the pitch of Pitch Shift A in semitone steps (-2–+1
octaves).
Make fine adjustments to the pitch of the pitch shifted sound in
2-cent steps (one cent is 1/100th of a semi tone).
Feedback (Feedback Level) #
Fine A (Fine Pitch A) #1
Adjust the proportion (%) of the processed sound that is fed
back into the effect. Negative (-) settings will invert the phase.
Make fine adjustments to the pitch of Pitch Shift A in 2-cent
steps (-100–+100 cents).
One cent is 1/100th of a semitone.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the pitch shifted sound is heard.
Pan A (Output Pan A)
Adjust the stereo location of the Pitch Shift A sound. L64 is far
left, 0 is center, and 63R is far right.
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower response,
but steadier pitch.
PreDelayA (Pre Delay Time A)
Adjust the time delay from when the direct sound begins until
the Pitch Shift A sound is heard.
Pan (Output Pan)
Adjust the stereo location of the pitch shifted sound. L64 is far
left, 0 is center, and 63R is far right.
Coarse B (Coarse Pitch B) #2
Adjust the pitch of Pitch Shift B in semitone steps (-2–+1
octaves).
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Fine B (Fine Pitch B) #2
Make fine adjustments to the pitch of Pitch Shift B in 2-cent
steps (-100–+100 cents).
One cent is 1/100th of a semitone.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Pan B (Output Pan B)
Adjust the stereo location of the Pitch Shift B sound. L64 is far
left, 0 is center, and 63R is far right.
Balance (Effect Balance)
PreDelayB (Pre Delay Time B)
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
Adjust the time delay from when the direct sound begins until
the Pitch Shift A sound is heard.
Mode (Pitch Shifter Mode)
Higher settings of this parameter will result in slower response,
but steadier pitch.
Level (Output Level)
Adjust the output level.
Level Bal (Level Balance)
Adjust the volume balance between the Pitch Shift A and Pitch
Shift B sounds.
24: REVERB
The Reverb effect adds reverberation to the sound, simulating
an acoustic space.
When set to A100:0B, only the sound of Pitch Shift A is output;
when set to A0:100B, only the sound of Pitch Shift B is output.
Type (Reverb Type)
Balance (Effect Balance)
Select the type of Reverb effect.
Adjust the volume balance between the direct sound and the
pitch shift sound. With a setting of D100:0W only the direct
sound will be output, and with a setting of D0:100W only the
pitch shift sound will be output.
ROOM1: dense reverb with short decay
ROOM2: sparse reverb with short decay
STAGE1: reverb with greater late reverberation
STAGE2: reverb with strong early reflections
HALL1: reverb with clear reverberance
HALL2: reverb with rich reverberance
Level (Output Level)
Adjust the output level.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the reverb sound is heard.
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Effect/Parameter List
Time (Reverb Time) #
Level (Output Level) #
Adjust the time length of reverberation.
Adjust the output level.
HF Damp
26: OD→CHORUS (Overdrive→Chorus)
Adjust the frequency above which the reverberant sound will
be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be cut,
set this parameter to BYPASS.
This effect connects an overdrive and a chorus in series.
OD Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Low Gain
OD Pan (Overdrive Pan) #
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the stereo location of the overdrive sound. L64 is far left,
0 is center, and 63R is far right.
Cho Delay (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
High Gain
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Cho Rate (Chorus Rate)
Adjust the modulation speed of the chorus effect.
Balance (Effect Balance) #
Cho Depth (Chorus Depth)
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the reverb
sound will be output.
Adjust the modulation depth of the chorus effect.
Cho Bal (Chorus Balance) #
Adjust the volume balance between the overdrive sound that is
sent through the chorus and the overdrive sound that is not sent
through the chorus. With a setting of “D100:0W,” only the
overdrive sound will be output. With a setting of “D0:100W,”
only the overdrive sound that is sent through the chorus will be
output.
Level (Output Level)
Adjust the output level.
25: GATED REVERB
Gate Reverb is a special type of reverb in which the reverberant
sound is cut off before its natural length.
Level (Output Level)
Adjust the output level.
Type (Gated Reverb Type)
Select the type of reverb.
27: OD→FLANGER (Overdrive→Flanger)
NORMAL: conventional gate reverb
REVERSE: backwards reverb
This effect connects an overdrive and a flanger in series.
SWEEP1: the reverberant sound moves from right to left
SWEEP2: the reverberant sound moves from left to right
OD Drive
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Pre Delay (Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the reverb sound is heard.
OD Pan (Overdrive Pan) #
Adjust the stereo location of the overdrive sound. L64 is far left,
0 is center, and 63R is far right.
Gate Time
Adjust the time from when the reverb is heard until when it
disappears.
Flg Delay (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
Low Gain
Adjust the gain of the low frequency range.
Positive (+) settings will emphasize (boost) the low frequency
range.
Flg Rate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Depth (Flanger Depth)
High Gain
Adjust the modulation depth of the flanger effect.
Adjust the gain of the high frequency range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Balance (Effect Balance) #
Adjust the volume balance between the direct sound and the
reverb sound. With a setting of D100:0W only the direct sound
will be output, and with a setting of D0:100W only the reverb
sound will be output.
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Effect/Parameter List
Flg Bal (Flanger Balance) #
31: DIST→DELAY (Distortion→Delay)
Adjust the volume balance between the overdrive sound that is
sent through the flanger and the overdrive sound that is not
sent through the flanger. With a setting of “D100:0W,” only the
overdrive sound will be output. With a setting of “D0:100W,”
only the overdrive sound that is sent through the flanger will be
output.
This effect connects distortion and delay in series. The
parameters are essentially the same as in “28: OD→DELAY,”
with the exception of the following two.
OD Drive →Dst Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
Level (Output Level)
32: ENHAN→CHORUS (Enhancer→Chorus)
Adjust the output level.
This effect connects an enhancer and a chorus in series.
28: OD→DELAY (Overdrive→Delay)
Enh Sens (Enhancer Sensitivity) #
This effect connects an overdrive and a delay in series.
Adjust the sensitivity of the enhancer.
OD Drive
Enh Mix (Enhancer Mix Level)
Adjust the degree of overdrive distortion. The volume will
change together with the degree of distortion.
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
OD Pan (Overdrive Pan) #
Cho Delay (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
Adjust the stereo location of the overdrive sound. L64 is far left,
0 is center, and 63R is far right.
Dly Time (Delay Time)
Cho Rate (Chorus Rate)
Adjust the time delay from when the direct sound begins until
the delay sound is heard.
Adjust the modulation speed of the chorus effect.
Cho Depth (Chorus Depth)
Delay Fbk (Delay Feedback Level)
Adjust the modulation depth of the chorus effect.
Adjust the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Cho Bal (Chorus Balance) #
Adjust the volume balance between the enhancer sound that is
sent through the chorus and the enhancer sound that is not sent
through the chorus. With a setting of “D100:0W,” only the
enhancer sound will be output. With a setting of “D0:100W,”
only the enhancer sound that is sent through the chorus will be
output.
Dly HFDmp
Adjust the frequency above which delayed sound fed back to
the effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Delay Bal (Delay Balance) #
Adjust the volume balance between the overdrive sound that is
sent through the delay and the overdrive sound that is not sent
through the delay. With a setting of “D100:0W,” only the
overdrive sound will be output. With a setting of “D0:100W,”
only the overdrive sound that is sent through the delay will be
output.
Level (Output Level)
Adjust the output level.
33: ENHAN→FLANGER (Enhancer→Chorus)
This effect connects an enhancer and a flanger in series.
Enh Sens (Enhancer Sensitivity) #
Level (Output Level)
Adjust the sensitivity of the enhancer.
Adjust the output level.
Enh Mix (Enhancer Mix Level)
29: DIST→CHORUS (Distortion→Chorus)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
This effect connects distortion and chorus in series. The
parameters are essentially the same as “26: OD→CHORUS,”
with the exception of the following two.
Flg Dly (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
OD Drive →Dst Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
Flg Rate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
30: DIST→FLANGER (Distortion→Flanger)
Flg Depth (Flanger Depth)
This effect connects distortion and flanger in series. The
parameters are essentially the same as in “27: OD→FLANGER,”
with the exception of the following two.
Adjust the modulation depth of the flanger effect.
Flg Fbk (Flanger Feedback Level)
Adjust the proportion (%) of the flanger sound that is fed back
into the effect. Negative (-) settings will invert the phase.
OD Drive →Dst Drive (Specify the amount of distortion.)
OD Pan →Dist Pan (Specify the stereo location of the
distortion sound.)
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Effect/Parameter List
Flg Bal (Flanger Balance) #
DelayTime
Adjust the time delay from when the direct sound begins until
Adjust the volume balance between the enhancer sound that is
sent through the flanger and the enhancer sound that is not sent
through the flanger. With a setting of “D100:0W,” only the
enhancer sound will be output. With a setting of “D0:100W,”
only the enhancer sound that is sent through the flanger will be
output.
the delay sound is heard.
Delay Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Dly HFDmp (Delay HFDamp)
Level (Output Level)
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to BYPASS.
Adjust the output level.
34: ENHANCR→DELAY (Enhancer→Delay)
Delay Bal (Delay Balance) #
This effect connects an enhancer and a delay in series.
Adjust the volume balance between the chorus sound that is
sent through the delay and the chorus sound that is not sent
through the delay. With a setting of “D100:0W,” only the chorus
sound will be output. With a setting of “D0:100W,” only the
chorus sound that is sent through the delay will be output.
Enh Sens (Enhancer Sensitivity) #
Adjust the sensitivity of the enhancer.
Enh Mix (Enhancer Mix Level)
Adjust the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Level (Output Level)
DelayTime
Adjust the output level.
Adjust the time delay from when the direct sound begins until
the delay sound is heard.
36: FLANGER→DELAY
This effect connects a flanger and a delay in series.
Delay Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Flg Delay (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
Dly HFDmp (Delay HF Damp)
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to
BYPASS.
Flg Rate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Flg Depth (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Delay Bal (Delay Balance) #
Flg Fbk (Flanger Feedback Level)
Adjust the volume balance between the enhancer sound that is
sent through the delay and the enhancer sound that is not sent
through the delay. With a setting of “D100:0W,” only the
enhancer sound will be output. With a setting of “D0:100W,”
only the enhancer sound that is sent through the delay will be
output.
Adjust the proportion (%) of the flanger sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Flg Bal (Flanger Balance) #
Adjust the volume balance between the direct sound and the
flanger sound. With a setting of “D100:0W,” only the direct
sound will be output. With a setting of “D0:100W,” only the
flanger sound will be output.
Level (Output Level)
Adjust the output level.
DelayTime
35: CHORUS→DELAY (Chorus→Delay)
Adjust the time delay from when the direct sound begins until
the delay sound is heard.
This effect connects a chorus and a delay unit in series.
Cho Delay (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
Delay Fbk (Delay Feedback Level)
Adjust the proportion (%) of the delay sound that is fed back
into the delay input. Negative (-) settings will invert the phase.
Cho Rate (Chorus Rate)
Dly HFDmp (Delay HFDamp)
Adjust the modulation speed of the chorus effect.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut. If you do not want to cut the high
frequencies of the delay feedback, set this parameter to
BYPASS.
Cho Depth (Chorus Depth)
Adjust the modulation depth of the chorus effect.
Cho Bal (Chorus Balance) #
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100:0W,” only the direct
sound will be output. With a setting of “D0:100W,” only the
chorus sound will be output.
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Effect/Parameter List
Delay Bal (Delay Balance) #
39: FLANGER/DELAY
Adjust the volume balance between the flanger sound that is
sent through the delay and the flanger sound that is not sent
through the delay. With a setting of “D100:0W,” only the
flanger sound will be output. With a setting of “D0:100W,” only
the flanger sound that is sent through the delay will be output.
This effect connects a flanger and a delay in parallel. The
parameters are the same as for “36: FLANGER→DELAY.”
However, the Delay Bal parameter adjusts the volume balance
between the direct sound and the delay sound.
40: CHORUS/FLANGER
Level (Output Level)
Adjust the output level.
This effect connects a chorus and a flanger in parallel. The
parameters are the same as for “37: CHORUS→FLANGER.”
However, the Flg Bal parameter adjusts the volume balance
between the direct sound and the flanger sound.
37: CHORUS→FLANGR (Chorus→Flanger)
This effect connects a chorus and a flanger in series.
Cho Delay (Chorus Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the chorus sound is heard.
41: STEREO PHASER
With the Step effects, you can also make stepped changes in the
pitch of sounds to which the Phaser effect is applied.
Cho Rate (Chorus Rate)
Type (Phaser Type)
Adjust the modulation speed of the chorus effect.
Selects the type of Phaser.
Cho Depth (Chorus Depth)
Type 2 adds more of the Phaser effect to the high frequencies
than Type 1.
Adjust the modulation depth of the chorus effect.
Cho Bal (Chorus Balance) #
Mode
Adjust the volume balance between the direct sound and the
chorus sound. With a setting of “D100:0W,” only the direct
sound will be output. With a setting of “D0:100W,” only the
chorus sound will be output.
Selects the number of stages in the phaser (4/8).
Polarity
Selects whether the left and right phase of the modulation will
be the same or the opposite.
Flg Delay (Flanger Pre Delay Time)
Adjust the time delay from when the direct sound begins until
the flanger sound is heard.
INVERSE: The left and right phase will be opposite. When
using a mono source, this spreads the sound.
SYNCHRO: The left and right phase will be the same. Select this
when inputting a stereo source.
Flg Rate (Flanger Rate)
Adjust the modulation speed of the flanger effect.
Manual #
Adjusts the center frequency to which the phase effect is
applied.
Flg Depth (Flanger Depth)
Adjust the modulation depth of the flanger effect.
Rate (Phaser Rate) #
Flg Fbk (Flanger Feedback Level)
Adjust the frequency of modulation.
Adjust the proportion (%) of the flanger sound that is fed back
into the effect. Negative (-) settings will invert the phase.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
Flg Bal (Flanger Balance) #
Adjust the volume balance between the chorus sound and the
chorus sound that is passed through the flanger. With a setting
of “D100:0W,” only the chorus sound will be output. With a
setting of “D0:100W,” only the chorus sound that passes
through the flanger will be output.
Depth (Phaser Depth)
Adjust the depth of modulation.
Resonance (Phaser Resonance)
Adjust the amount of feedback for the phaser. Higher settings
will give the sound a stronger character.
Level (Output Level)
Cross Fbk (Cross Feedback Level)
Adjust the output level.
Adjust the proportion (%) of the phaser sound that is to be
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase.
38: CHORUS/DELAY
This effect connects a chorus and a delay in parallel. The
parameters are the same as for “35: CHORUS→DELAY.”
However, the parameter adjusts the volume balance between
the direct sound and the delay sound.
Step Rate #
Adjust the frequency of pitch change.
➔
Step Rate parameter can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
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Effect/Parameter List
StpRateSw (Step Rate Switch)
StpRateSw (Step Rate Switch)
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
This setting determines whether the pitch is changed in a
stepped fashion (ON) or not (OFF).
Mix (Mix Level)
Key Sync (Keysync Switch)
Adjust the volume of the phase-shifted sound, relative to the
direct sound.
Determines whether the Flanger LFO is reset according to the
input sound (ON) or not (OFF).
Low Gain
Threshold (Keysync Threshold)
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the volume level for which reset will be applied.
KSync Phs (Keysync Phase)
Sets the LFO phase when the LFO is reset.
High Gain
Low Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the low frequency range gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Level (Output Level)
High Gain
Adjust the output level.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
42: KEYSYNC FLANG (Keysync Flanger)
Keysync Flanger controls the Flanger by resetting the effect at
the volume of the sound input to the effects device, restarting
from the same pitch each time the Flanger is reset.
This parameter lets your playing dynamics on the keyboard
control the flanger effect.
Balance #
Adjusts the volume balance between the direct sound and the
flanger sound.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W the flanger sound will be output.
Pre Delay (Pre Delay Time)
Level (Output Level)
Adjust the time delay from the direct sound until the flanger
sound is heard.
Adjust the output level.
Rate (LFO Rate) #
43: FORMANT FILTR (Formant Filter)
Adjust the modulation frequency of the flanger sound.
This adds a vowel character to the sound, making it similar to a
human voice.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
Drive Sw (Drive Switch)
Depth (LFO Depth)
Turns Drive on/off.
Adjust the modulation depth of the flanger sound.
Drive #
Feedback #
Specifies the depth of distortion. The volume will change
together with the degree of distortion.
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase. Higher settings will produce a more
distinctive sound.
Vowel 1
Selects the vowel 1.
Vowel 2
Phase
Selects the vowel 2.
Adjust the spaciousness of the flanger sound.
Rate #
Filter (Filter Type)
Sets the frequency at which the two vowels will be switched.
OFF: A filter will not be used.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
LPF: The frequency region above the Cutoff setting will be cut.
HPF: The frequency region below the Cutoff setting will be cut.
Depth #
Sets the effect depth.
Cutoff (Cutoff Frequency)
Sets the cutoff frequency when a specific frequency band is cut
off by a filter.
Key Sync (KeySync Switch)
Determines whether the LFO for switching the vowels is reset
according to the input sound (ON) or not (OFF).
Step Rate #
Adjust the frequency of pitch change.
Threshold (Keysync Threshold)
➔
Step Rate parameter can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Specifies the volume level for which reset will be applied.
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Effect/Parameter List
Manual #
Sets the point at which the two vowels will be switched. When
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the effect
sound.
set to 50, Vowels 1 and 2 switched in the same amount of time.
Setting this higher than 50 increases the time for Vowel 1;
setting this lower than 50 decreases the time for Vowel 1.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W the effect sound will be output.
Low Gain
Level (Output Level)
Specifies the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the output level.
45: MULTI TAP DLY (Multi Tap Delay)
The Multi Tap Delay has four delays. Each of the Delay Time
parameters can be specified as a note length of the selected
tempo. You can also set the panning and level of each delay
sound.
High Gain
Specifies the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Delay 1 (Delay Time 1)
Pan (Output Pan)
Adjust the delay time from the direct sound until the delay 1
sound is heard.
Specifies the stereo location of the output sound. L64 is far left, 0
is center, and 63R is far right.
Delay 2 (Delay Time 2)
Level (Output Level)
Adjust the delay time from the direct sound until the delay 2
sound is heard.
Specifies the output volume.
Delay 3 (Delay Time 3)
44: RING MODULAT (Ring Modulator)
Adjust the delay time from the direct sound until the delay 3
sound is heard.
Ring Modulator is an effect which applies amplitude
modulation (AM) to the input signal, producing bell-like
sounds.
Delay 4 (Delay Time 4)
Adjust the delay time from the direct sound until the delay 4
sound is heard.
You can also change the modulation frequency according to the
volume of the sound input to the effects device.
➔
Delay 1–4 parameters can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Frequency #
Sets the frequency at which modulation will be applied.
Pan 1 (Output Pan 1)
Modulate (Modulator)
Sets the stereo position of the delay sound (Delay 1). A setting
of L64 is far left, 0 is center, and 63R is far right.
Selects the input of the direct sound for the envelope controlling
the modulation.
When set to SOURCE, the frequency is modulated according to
the envelope of the sound input to the multi-effects.
When set to DIRECT, the frequency is modulated according to
the sound as it is without passing through the effects.
Pan 2 (Output Pan 2)
Sets the stereo position of the delay sound (Delay 2). A setting
of L64 is far left, 0 is center, and 63R is far right.
Pan 3 (Output Pan 3)
Sets the stereo position of the delay sound (Delay 3). A setting
of L64 is far left, 0 is center, and 63R is far right.
Mod_Mon (Modulator Monitor)
Determines whether the input sound used as the modulator is
output (ON) or not (OFF).
Pan 4 (Output Pan 4)
Sets the stereo position of the delay sound (Delay 4). A setting
of L64 is far left, 0 is center, and 63R is far right.
Sens (Sensitivity) #
Sets the amount of frequency modulation applied.
Level 1
Polarity
Adjust the output level of delay 1.
Determines whether the frequency modulation moves towards
higher frequencies (UP) or lower frequencies (DOWN).
Level 2
Adjust the output level of delay 2.
Low Gain
Adjust the low frequency gain (amount of boost or cut). Positive
(+) settings will emphasize (boost) the low frequency range.
Level 3
Adjust the output level of delay 3.
High Gain
Level 4
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the output level of delay 4.
Feedback #
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase.
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Effect/Parameter List
HF Damp
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Adjust the frequency at which the high frequency range of the
delayed sound returned to the input will be cut.
If you do not want to cut the high frequencies of the feedback,
set this parameter to BYPASS.
Positive (+) settings will emphasize (boost) the low frequency
range.
High Gain
Low Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the low frequency gain (amount of boost or cut). Positive
(+) settings will emphasize (boost) the low frequency range.
High Gain
Balance (Effect Balance) #
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Sets the volume balance between the direct sound and the effect
sound. With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound will
be output.
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the effect
sound. With a setting of D100:0W only the direct sound will be
output, and with a setting of D0:100W only the effect sound will
be output.
Level (Output Level)
Adjust the output level.
47: SHUFFLE DELAY
Level (Output Level)
Shuffle Delay adds a shuffle to the delay sound, giving the
sound a bouncy delay effect with a swing feel.
Adjust the output level.
46: REVERSE DELAY
Delay (Delay Time) #
Reverse Delay is a delay effect that adds the reverse of the input
sound as the delay sound.
Adjust the delay time from the direct sound until the delay
sound is heard.
Delay 1 (Delay Time 1)
➔
Delay parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
Adjust the delay time from the direct sound until the delay 1
sound is heard.
Shuffle (Shuffle Rate) #
Delay 2 (Delay Time 2)
Sets the ratio (as a percentage) of the time that elapses before
the sound plays in Delay B relative to the time that elapses
before the sound plays in Delay A. When set to 50%, the delay
times are the same.
Adjust the delay time from the direct sound until the delay 2
sound is heard.
Delay 3 (Delay Time 3)
Adjust the delay time from the direct sound until the delay 3
Accel (Acceleration)
sound is heard.
Adjust the time over which the Delay Time will change from the
current setting to a newly specified setting. The rate of change
for the Delay Time directly affects the rate of pitch change.
Delay 4 (Delay Time 4)
Adjust the delay time from the direct sound until the delay 4
sound is heard.
Feedback #
➔
Delay 1–4 parameters can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Adjust the proportion (%) of the delay sound that is to be
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase.
Feedback 1:4 #
Adjust the proportion (%) of the delay 1 and 4 sound that is fed
HF Damp
back into the effect. Positive (+) settings will return the signal to
the input with the original phase, while negative (-) settings
produce an inverted phase.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
If you do not want to cut the high frequencies of the feedback,
set this parameter to BYPASS.
HF Damp 1:4
Adjust the frequency above which delayed sound (Delay 1, 4)
fed back to the delay input will be cut.
If you do not want to cut the high frequencies of the feedback,
set this parameter to BYPASS.
Pan A
Adjust the pan of the delay A sound.
Pan B
Threshold (Threshold Level)
Specify the volume level at which the reverse delay will begin
to apply.
Adjust the pan of the delay B sound.
Level Bal (Level Balance)
Sets the balance for the levels of the delay A and the delay B.
Pan 1:2:3 (Output Pan 1:2:3)
Adjust the pan of delay sound (Delay 1–3). A setting of L64 is
Low Gain
far left, 0 is center, and 63R is far right.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Level 1:2:3
Adjust the output level of delay 1, 2 and 3.
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Effect/Parameter List
High Gain
Adjust the high frequency gain (amount of boost or cut).
High Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Positive (+) settings will emphasize (boost) the high frequency
range.
Balance (Effect Balance) #
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the effect
sound.
Sets the volume balance between the direct sound and the effect
sound.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the effect sound will be
output.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the effect sound will be
output.
Level (Output Level)
Level (Output Level)
Adjust the output level.
Adjust the output level.
48: 3D DELAY
49: 3V PCH SHIFT (3 Voice Pitch Shifter)
This applies a 3D effect to the delay sound. The delay sound
will be positioned 90 degrees left and 90 degrees right.
A Pitch Shifter shifts the pitch of the direct sound. This 3-voice
pitch shifter has three pitch shifters, and can add three pitch
shifted sounds to the direct sound.
Delay C (Delay Time Center)
Adjust the delay time from the direct sound until the center
delay sound is heard.
Coarse 1:2:3 (Coarse Pitch 1:2:3)
Specify the pitch in semitones for pitch shift 1–3.
Delay L (Delay Time Left)
Fine 1:2:3 (Fine Pitch 1:2:3)
Make fine adjustments to the pitch of the pitch shift 1–3 in 2-
cent steps.
Adjust the delay time from the direct sound until the left delay
sound is heard.
Delay R (Delay Time Right)
PreDelay1:2:3 (Pre Delay Time 1:2:3)
Specify the time delay from the direct sound until the pitch shift
1–3 sound is heard.
Adjust the delay time from the direct sound until the right delay
sound is heard.
➔
Delay C, Delay L and Delay R parameters can be set as a note-
value of a tempo. In this case, specify the value of the desired
note.
Feedback1:2:3 (Feedback Level 1:2:3)
Adjust the proportion (%) of the pitch shift 1–3 sound that is fed
back into the effect.
Feedback #
Adjust the proportion (%) of the delay sound that is to be
Pan 1:2:3 (Output Pan 1:2:3)
Specify the stereo location of the pitch shift 1–3 sound. L64 is far
left, 0 is center, and 63R is far right.
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase.
Level 1:2:3 (Level 1:2:3)
Specify the volume of the pitch shift 1–3.
Level C (Level Center)
Mode (Pitch Shifter Mode)
Adjust the volume of the center delay sound.
Higher settings of this parameter will result in slower response,
but steadier pitch.
Level L (Level Left)
Adjust the volume of the left delay sound.
Balance (Effect Balance)
Level R (Level Right)
Sets the volume balance between the direct sound and the effect
sound.
Adjust the volume of the right delay sound.
HF Damp
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W the effect sound will be output.
Adjust the frequency above which delayed sound fed back to
the delay input will be cut.
Level (Output Level)
If you do not want to cut the high frequencies of the feedback,
set this parameter to BYPASS.
Specifies the output volume.
Out (Output Mode)
50: LOFI COMPRESS
Adjust the method that will be used to hear the output sound.
The optimal 3D effect will be achieved if you select SPEAKER
when using speakers, or PHONES when using headphones.
This is an effect that intentionally degrades the sound quality.
Type (LoFi Type)
Lowers the audio quality. The audio quality will worsen as this
Low Gain
setting is increased.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
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Effect/Parameter List
PreFilter (Pre Filter Type)
Noise Lvl (Noise Level)
Adjust the type of filter that will be applied before the sound
Adjust the volume of the radio noise.
passes through the Lo-Fi effect.
Disc Type (Disc Noise Type)
Selects the type of record noise. The frequency at which the
PostFilter1 (Post Filter 1 Type)
Adjust the type of filter that will be applied after the sound
noise is heard will depend on the selected type.
passes through the Lo-Fi effect.
Disc LPF (Disc Low Pass Filter)
Adjust the cutoff frequency of the low pass filter that is applied
Post Fltr2 (Post Filter 2 Type)
OFF: A post filter 2 will not be used.
to the record noise.
LPF: The frequency region above the Frequency (Cutoff
Frequency) setting will be cut.
Disc Lvl (Disc Noise Level)
Adjust the volume of the record noise.
HPF: The frequency region below the Frequency (Cutoff
Frequency) setting will be cut.
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Frequency (Cutoff Frequency)
Sets the cutoff frequency when a specific frequency band is cut
off by a filter.
High Gain
Low Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Balance (Effect Balance) #
High Gain
Sets the volume balance between the direct sound and the effect
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
sound.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the effect sound will be
output.
Balance (Effect Balance) #
Sets the volume balance between the direct sound and the effect
Pan (Output Pan)
sound.
Adjust the stereo position of the delay sound. A setting of L64 is
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the effect sound will be
output.
far left, 0 is center, and 63R is far right.
Level (Output Level)
Adjust the output level.
Pan (Output Pan)
Adjust the stereo location of the output sound. A setting of L64
52: SP SIMULATOR (Speaker Simulator)
is far left, 0 is center, and 63R is far right.
Speaker Simulator is an effect that simulates the speaker type
and mic settings used to record the speaker sound.
Level (Output Level)
Adjust the output level.
Sp Type (Speaker Type)
Select the type of speaker. The specifications of each type are as
follows. The speaker column indicates the diameter of each
speaker unit (in inches) and the number of units.
51: LOFI NOISE
In addition to a Lo-Fi effect, this effect also generates various
types of noise, such as radio noise and disc noise.
Type
Cabinet
Speaker Microphone
SMALL 1
small open-back enclosure
small open-back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
open back enclosure
sealed enclosure
10
dynamic mic
dynamic mic
dynamic mic
dynamic mic
dynamic mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
condenser mic
Type (LoFi Type)
SMALL 2
10
Lowers the audio quality. The audio quality will worsen as this
MIDDLE
12 x 1
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 2
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
12 x 4
setting is increased.
JC-120
PstFilter (Post Filter Type)
BUILT IN 1
BUILT IN 2
BUILT IN 3
BUILT IN 4
BUILT IN 5
BG STACK 1
BG STACK 2
MS STACK 1
MS STACK 2
METAL STACK
2-STACK
OFF: A filter will not be used.
LPF: The frequency region above the Frequency (Cutoff
Frequency) setting will be cut.
HPF: The frequency region below the Frequency (Cutoff
Frequency) setting will be cut.
Frequency (Cutoff Frequency)
Sets the cutoff frequency when a specific frequency band is cut
off by a filter.
large sealed enclosure
large sealed enclosure
large sealed enclosure
large double stack
Radio Dtn (Radio Detune) #
large sealed enclosure
large sealed enclosure
Simulates the tuning noise of a radio. As this value is raised, the
3-STACK
tuning will drift further.
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Effect/Parameter List
Mic Set (Mic Setting)
High Gain
Adjust the location of the mic that is recording the sound of the
speaker. This can be adjusted in three steps, with the mic
becoming more distant in the order of 1, 2, and 3.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Mic Lvl (Mic Level) #
Amp Sw (Amp Simulator Switch)
Adjust the volume of the microphone.
Turns the Amp Simulator on/off.
Dir Lvl (Direct Level) #
Amp Type (Amp Simulator Type)
Adjust the type of guitar amp.
SMALL: small amp
Adjust the volume of the direct sound.
Level (Output Level) #
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Adjust the output level.
53: OVERDRIVE 2
Tone
This is an overdrive that provides heavy distortion.
Adjust the sound quality of the Overdrive effect.
Drive #
Pan (Output Pan) #
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
Adjust the stereo location of the output sound. A setting of L64
is far left, 0 is center, and 63R is far right.
Level (Output Level)
Adjust the output level.
55: STEREO COMPRESSOR
Low Gain
Sustain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the time over which low level sounds are boosted until
they reach the specified volume.
Attack (Attack Time)
High Gain
Adjust the attack time of an input sound.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Post Gain
Adjust the output gain.
Amp Sw (Amp Simulator Switch)
Low Gain
Turns the Amp Simulator on/off.
Adjust the low frequency gain.
Positive (+) settings will emphasize (boost) the low frequency
range.
Amp Type (Amp Simulator Type)
Adjust the type of guitar amp.
SMALL: small amp
High Gain
BUILT-IN: single-unit type amp
2-STACK: large double stack amp
3-STACK: large triple stack amp
Adjust the high frequency gain.
Positive (+) settings will emphasize (boost) the high frequency
range.
Level (Output Level) #
Tone
Adjust the output level.
Adjust the sound quality of the Overdrive effect.
Pan (Output Pan) #
56: STEREO LIMITER
Adjust the stereo location of the output sound. A setting of L64
is far left, 0 is center, and 63R is far right.
Threshold (Threshold Level)
Adjust the volume at which compression will begin.
54: DISTORTION 2
Release (Release Time)
This is a distortion effect that provides heavy distortion.
Adjust the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Drive #
Adjust the amount of distortion. The volume will change
together with the degree of distortion.
Ratio (Compression Ratio)
Adjust the compression ratio.
Level (Output Level)
Post Gain
Adjust the output level.
Adjust the output gain.
Low Gain
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjust the low frequency gain.
Positive (+) settings will emphasize (boost) the low frequency
range.
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Effect/Parameter List
High Gain
Beat 1-1–4-4
For a single measure containing four quarter notes, this sets the
Adjust the high frequency gain.
Positive (+) settings will emphasize (boost) the high frequency
range.
level of each sixteenth-note when the measure is divided into
sixteenth notes. When set to 0, no sound is output.
Level (Output Level) #
Rate #
Adjust the output level.
Determines the cycle for one measure.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
57: GATE
The Gate effect cuts the reverb’s delay according to the volume
of the sound input to the effects device. Use this in situations
such as when you want to force a decrease in the decay sound.
Attack
Sets the speed at which the volume changes between beats. The
higher the value, the faster the volume changes.
Key
Reset #
Selects the input of the sound that acts as the trigger closing the
gate.
Selects the input of the sound that acts as the trigger resetting
the one-measure pattern.
When set to SOURCE, the gate is closed by the sound input to
the Multi-effects.
When set to OFF, the pattern is not reset, even if the input is
present.
When set to DIRECT, the gate is closed by the direct sound that
bypasses the multi-effects.
When set to SOURCE, the pattern is reset by the sound input to
the multi-effects.
Threshold (Key Threshold)
When set to DIRECT, the Pattern is reset by the direct sound
that bypasses the multi-effects.
Sets the volume level at which the gate begins to close.
Monitor (Key Monitor)
Threshold (Reset Threshold)
Determines whether the sound used as the gate trigger is output
(ON) or not (OFF).
Sets the volume level at which the reset begins.
Monitor (Reset Monitor Switch)
Mode
Determines whether the sound used as the reset trigger is
output (ON) or not (OFF). This parameter is disabled when
Reset parameter is set to OFF or SRC.
GATE: Gate Reverb. When the source volume falls below a
certain level, the gate closes, giving the effect of the reverb
sound being cut with a gate reverb.
Mode
DUCK: Ducking Reverb. When the source volume gets high
enough, the gate closes, which gives a ducking reverb-type
effect. Stop the reverb sound only when input loud sound so
that prevent the play sound become unclear.
Sets the manner in which the volume changes as one beat
progresses to the next.
LEGATO: The change in volume from one beat’s level to the
next remains unaltered. If the level of a following beat is the
same as the one preceding it, then there is no change in volume.
SLASH: The level is momentarily set to 0 before progressing to
the level for the next beat. This change in volume occurs even if
the level of a following beat is the same as the one preceding it.
Attack (Attack Time)
Sets the time it takes the gate fully opens after being triggered.
Hold (Hold Time)
Sets the time it takes the gate starts closing after the instant the
direct sound goes under the threshold level.
Shuffle #
Sets the timing of volume changes in levels for even-numbered
Beats (Beat 1-2/Beat 1-4/Beat 2-2/...). The higher the value
selected, the later the timing with which the beat progresses.
Release (Release Time)
Sets the time it takes the gate fully closes after passes by the
hold time.
Level (Output Level)
Balance (Effect Balance) #
Adjust the output level.
Sets the volume balance between the direct sound and the effect
sound.
59: ISOLATOR
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the effect sound will be
output.
An equalizer which cuts the volume greatly, allowing you to
add a special effect to the sound by cutting the volume in
varying ranges.
Level (Output Level)
High Lvl (Level High) #
Mid Lvl (Level Middle) #
Adjust the output level.
58: SLICER
Low Lvl (Level Low) #
By applying successive cuts to the sound, this effect turns a
conventional sound into a sound that appears to be played as a
backing phrase. This is especially effective when applied to
sustain-type sounds.
These boost and cut each of the High, Middle, and Low
frequency ranges. At -60 dB, the sound becomes inaudible. 0 dB
is equivalent to the input level of the sound.
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Effect/Parameter List
AP Mid Sw (Anti Phase Middle Switch)
This turns the Anti-Phase function on and off and sets the level
settings for the Middle frequency ranges. When turned on, the
counter-channel of stereo sound is inverted and added to the
signal.
Cutoff (Cutoff Frequency)
Sets the cutoff frequency when a specific frequency band is cut
off by a filter.
Out (Output Mode)
Adjust the method that will be used to hear the output sound.
The optimal 3D effect will be achieved if you select SPEAKER
when using speakers, or PHONES when using headphones.
AP Mid (Anti Phase Middle Level)
Sets the level of the separate midrange (Middle) anti-phase
function. With some settings, you can get a sort of abstract
sound in the specified Part.
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Adjusting these levels for certain frequencies allows you to lend
emphasis to specific parts. (This is effective only for stereo
source.)
High Gain
AP Low Sw (Anti Phase Low Switch)
This turns the Anti-Phase function on and off and sets the level
settings for the Low frequency ranges. When turned on, the
counter-channel of stereo sound is inverted and added to the
signal.
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Balance #
AP Low Sw (Anti Phase Low Switch)
Sets the level of the separate Lowrange anti-phase function.
With some settings, you can get a sort of abstract sound in the
specified Part.
Adjust the volume balance between the direct sound and the
flanger sound.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the flanger sound will be
output.
Adjusting these levels for certain frequencies allows you to lend
emphasis to specific parts. (This is effective only for stereo
source.)
Level (Output Level)
Adjust the output level.
Boost Sw (Low Booster Switch)
Adjust whether Low Booster will be used (ON) or not (OFF).
This emphasizes the bottom to create a heavy bass sound.
61: 3D FLANGER
This applies a 3D effect to the flanger sound. The flanger sound
will be positioned 90 degrees left and 90 degrees right.
Boost Lvl (Low Booster Level)
Adjust the level. Increasing this value gives you a heavier low
end. (Depending on the Isolator and filter settings this effect
may be hard to distinguish.)
Pre Delay (Pre Delay Time)
Adjust the time delay from the direct sound until the flanger
sound is heard.
Level (Output Level)
Adjust the output level.
Rate (LFO Rate) #
Adjust the modulation speed of the flanger sound.
60: 3D CHORUS
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
This applies a 3D effect to the chorus sound. The chorus sound
will be positioned 90 degrees left and 90 degrees right.
Depth (LFO Depth)
Pre Delay (Pre Delay Time)
Adjust the modulation depth of the flanger sound.
Adjust the time delay from the direct sound until when the
chorus sound is heard.
Feedback #
Adjust the proportion (%) of the flanger sound that is to be
returned to the input. Positive (+) settings will return the signal
to the input with the original phase, while negative (-) settings
produce an inverted phase. Higher settings will produce a more
distinctive sound.
Rate (LFO Rate) #
Adjust the modulation frequency of the chorus sound.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
Depth (LFO Depth)
Phase
Adjust the modulation depth of the chorus sound.
Adjust the spaciousness of the flanger sound.
Phase
Filter (Filter Type)
Adjust the spaciousness of the chorus sound.
OFF: No filter is used.
Fltr Type
LPF: The frequency region above the Cutoff Freq setting will be
OFF: A filter will not be used.
cut.
LPF: The frequency region above the Cutoff Freq setting will be
HPF: The frequency region below the Cutoff Freq setting will be
cut.
cut.
HPF: The frequency region below the Cutoff Freq setting will be
cut.
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Effect/Parameter List
Cutoff (Cutoff Frequency)
High Gain
Adjust the high frequency gain (amount of boost or cut).
Sets the cutoff frequency when a specific frequency band is cut
off by a filter.
Positive (+) settings will emphasize (boost) the high frequency
range.
StpRateSw (Step Rate Switch)
Determines whether the pitch is changed in a stepped fashion
(ON) or not (OFF).
Level (Output Level)
Adjust the output level.
Step Rate #
63: AUTO PAN
Adjust the rate at which the pitch will change.
The Auto Pan effect cyclically modulates the stereo location of
the sound.
➔
Step Rate parameter can be set as a note-value of a tempo. In
this case, specify the value of the desired note.
Mod Wave (Modulation Wave)
Out (Output Mode)
TRI: The sound will be modulated like a triangle wave.
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
The teeth in SAW1 and SAW2 point at opposite directions.
Adjust the method that will be used to hear the output sound.
The optimal 3D effect will be achieved if you select SPEAKER
when using speakers, or PHONES when using headphones.
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Rate #
Adjust the frequency (speed) of the change.
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
High Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Depth #
Sets the depth to which the effect is applied.
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Balance #
Adjust the volume balance between the direct sound and the
flanger sound.
Positive (+) settings will emphasize (boost) the low frequency
range.
With a setting of D100:0W only the direct sound will be output,
and with a setting of D0:100W only the flanger sound will be
output.
High Gain
Adjust the high frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the high frequency
range.
Level (Output Level)
Adjust the output level.
Level (Output Level)
Adjust the output level.
62: TREMOLO
Tremolo cyclically modulates the volume to add tremolo effect
to the sound.
64: SYM.RESONANCE
(Sympathetic Resonance)
Mod Wave (Modulation Wave)
When you depress the damper pedal on an acoustic piano, the
sound from the strings that were struck resonates with other
strings, adding rich reverberations and broadness to the sound.
This effect simulates the resonance, called “Sympathetic
Resonance.”
TRI: The sound will be modulated like a triangle wave.
SQR: The sound will be modulated like a square wave.
SIN: The sound will be modulated like a sine wave.
SAW1/2: The sound will be modulated like a sawtooth wave.
The teeth in SAW1 and SAW2 point at opposite directions.
Depth
Rate #
Adjust the depth of Sympathetic Resonance.
Adjust the frequency (speed) of the change.
Damper
➔
Rate parameter can be set as a note-value of a tempo. In this
case, specify the value of the desired note.
This is controlled by a normal damper pedal, with the
resonance setting corresponding to the amount the pedal is
pressed.
Depth #
Sets the depth to which the effect is applied.
Pre LPF
This sets the reference frequency for the low-end input cutoff
filter.
Low Gain
Adjust the low frequency gain (amount of boost or cut).
Positive (+) settings will emphasize (boost) the low frequency
range.
Pre HPF
This sets the reference frequency for the high-end input cutoff
filter. When not cutting bass frequencies, set this to BYPASS.
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Effect/Parameter List
Pkg Freq
This sets the reference frequency for the filter used in adjusting
Hi Level (High Frequency Level)
Adjust the volume of the high frequency rotor.
the specific range of frequencies.
Separate (Separation)
When not cutting bass frequencies, set this to BYPASS.
Adjust the spatial dispersion of the sound.
Pkg Q
Speed #
The range of frequencies is based on the frequency set in Pkg
Freq.
Simultaneously switch the rotational speed of the low
frequency rotor and high frequency rotor.
SLOW: Slow down the rotation to the specified speed (the Low
Slow/Hi Slow values).
The smaller the value, the narrower the band of frequencies that
is adjusted with Pkg Gain.
Pkg Gain
FAST: Speed up the rotation to the specified speed (the Low
Fast/Hi Fast values).
This sets the gain (boost or cut) of the range of frequencies set in
Pkg Freq and Pkg Q.
Level (Output Level) #
LF Damp
Adjust the output level.
This sets the reference frequency used in cutting the resonance
sound's low-end component.
When not cutting these sounds, set this to BYPASS.
When Using 3D Effects
The following three 3D effects utilize RSS (Roland Sound
Space) technology to create a spaciousness that cannot be
produced by delay, reverb, chorus, etc.
48: 3D DELAY
HF Damp
This sets the reference frequency used in cutting the resonance
sound's high-end component.
When not cutting these sounds, set this to BYPASS.
60: 3D CHORUS
Diffusion
61: 3D FLANGER
Adjusts the change in the density of the resonance over time.
When using these effects, we recommend that you place
your speakers as follows. Also, make sure that the speakers
65: OD→ROTARY (Overdrive→Rotary)
are at a sufficient distance from the walls on either side.
fig.RSS
This effect connects an overdrive and a rotary in series.
Drive
Adjust the degree of distortion. The volume will change
together with the degree of distortion.
30˚ 30˚
OD OutLvl (Overdrive Level)
Sets the Overdrive output level.
OD Sw (Overdrive Switch)
Switches the Overdrive on and off.
Low Slow (Low Frequency Slow Rate)
Adjust the slow speed (SLOW) of the low frequency rotor.
If the left and right speakers are too far apart, or if there is
too much reverberation, the full 3D effect may not appear.
Each of these effects has an Out (Output Mode) parameter.
If the sound from the OUTPUT jacks is to be heard through
speakers, set this parameter to SPEAKER. If the sound is to
be heard through headphones, set it to PHONES. This will
ensure that the optimal 3D effect will be heard. If this
parameter is not set correctly, the full 3D effect may not
appear.
Low Fast (Low Frequency Fast Rate)
Adjust the fast speed (FAST) of the low frequency rotor.
Low Accel (Low Frequency Acceleration)
Adjust the time it takes the low frequency rotor to reach the
newly selected speed when switching from fast to slow (or slow
to fast) speed. Lower values will require longer times.
Low Level (Low Frequency Level)
Adjust the volume of the low frequency rotor.
Hi Slow (High Frequency Slow Rate)
Adjust the slow speed (SLOW) of the high frequency rotor.
Hi Fast (High Frequency Fast Rate)
Adjust the fast speed (FAST) of the high frequency rotor.
Hi Accel (High Frequency Acceleration)
Adjust the time it takes the high frequency rotor to reach the
newly selected speed when switching from fast to slow (or slow
to fast) speed. Lower values will require longer times.
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05: SPECTRUM
Parameter
Effects Parameter List
Value
Band 1
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
Q
Band 1 gain
Band 2 gain
Band 3 gain
Band 4 gain
Band 5 gain
Band 6 gain
Band 7 gain
Band 8 gain
Q
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
-15– +15 dB
0.5, 1.0, 2.0, 4.0, 8.0
L64–0–63R
0–127
➔ “Making Multi-Effects Settings” (p. 77)
Multi-effects Types are indicated in bold characters.
“Parameter” refers to the parameter assigned to <Other Prm> in
MFX Control.
“Value” refers to the values that can be set using the
[CONTROL] knobs or in Value.
Pan
Output pan
Output level
01: STEREO EQ
Level
Parameter
Value
06: ENHANCER
Parameter
Low Freq
Low Gain
High Freq
High Gain
Mid1 Freq
Mid1 Q
Low frequency
Low gain
200, 400 Hz
-15– +15 dB
Value
High frequency
High gain
2000, 4000, 8000 Hz
-15– +15 dB
Sens
Sensitivity
Mix level
0–127
Mix
0–127
Middle 1 frequency
Middle 1 Q
200–8000Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15– +15 dB
Low Gain
High Gain
Level
Low gain
High gain
Output level
-15– +15 dB
-15– +15 dB
0–127
Mid1 Gain
Mid2 Freq
Mid2 Q
Middle 1 gain
Middle 2 frequency
Middle 2 Q
200-8000 Hz (*1)
0.5, 1.0, 2.0, 4.0, 8.0
-15– +15 dB
Mid2 Gain
Level
Middle 2 gain
Output level
07: AUTO WAH
0–127
Parameter
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Filter
Filter type
Sensitivity
Manual
Peak
LPF, BPF
0–127
Sens
Manual
Peak
Rate
0–127
02: OVERDRIVE
Parameter
0–127
Rate
0.05–10.00 Hz
0–127
Value
Depth
Level
Depth
Drive
Drive
0–127
Output level
0–127
Level
Output level
Low gain
0–127
Low Gain
High Gain
Amp Type
-15– +15 dB
-15– +15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64–0–63R
High gain
08: ROTARY
Parameter
Amp simulator type
Value
Pan
Output pan
Low Slow
Low Fast
Low Accel
Low Level
Hi Slow
Hi Fast
Low frequency slow rate
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Low frequency fast rate
Low frequency acceleration
Low frequency level
High frequency slow rate
High frequency fast rate
High frequency acceleration
High frequency level
Separation
03: DISTORTION
Parameter
0–127
0.05–10.00 Hz
0.05–10.00 Hz
0–15
Value
Drive
Drive
0–127
Hi Accel
Hi Level
Separate
Speed
Level
Output level
Low gain
0–127
0–127
Low Gain
High Gain
Amp Type
-15– +15 dB
-15– +15 dB
SMALL, BUILT-IN,
2-STACK, 3-STACK
L64–0–63R
0–127
High gain
Speed
SLOW, FAST
0–127
Amp simulator type
Level
Output level
Pan
Output pan
09: COMPRESSOR
Parameter
04: PHASER
Parameter
Value
Attack
Attack time
Sustain
0–127
Value
Sustain
Post Gain
Low Gain
High Gain
Pan
0–127
Manual
Rate
Manual
Rate
100–8000 Hz
0.05–10.00 Hz
0–127
Post gain
Low gain
0, +6, +12, +18 dB
-15– +15 dB
-15– +15 dB
L64–0–63R
0–127
Depth
Depth
High gain
Output pan
Output level
Resonance Resonance
0–127
Mix
Mix level
0–127
Level
Pan
Level
Output pan
Output level
L64–0–63R
0–127
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Effect/Parameter List
10: LIMITER
Parameter
15: ST.FLANGER
Parameter
Value
Value
Threshold
Ratio
Threshold level
0–127
Pre Delay
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Compression ratio
Release time
Post gain
1.5:1, 2:1, 4:1, 100:1
0–127
Release
Post Gain
Low Gain
High Gain
Pan
Depth
Depth
0, +6, +12, +18 dB
-15– +15 dB
-15– +15 dB
L64–0–63R
0–127
Feedback
Phase
Feedback level
Phase
-98– +98%
Low gain
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
High gain
Filter
Filter type
Cutoff frequency
Low gain
Output pan
Output level
Cutoff
Level
Low Gain
High Gain
Balance
Level
High gain
Effect balance
Output level
11: HEXA-CHORUS
Parameter
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Pre Delay
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Depth
Depth
16: STEP FLANGER
Parameter
Delay Dev
Depth Dev
Pan Dev
Balance
Level
Pre delay deviation
Depth deviation
Pan deviation
Effect balance
Output level
0–20
Value
-20– +20
0-20
Pre Delay
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
D100:0W–D0:100W
0–127
Depth
Depth
Feedback
Phase
Feedback level
Phase
-98– +98%
0–180 degree
0.10–20.00 Hz, note
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
12: TREMOLO CHO
Parameter
Step Rate
Low Gain
High Gain
Balance
Level
Step rate
Value
Low gain
High gain
Effect balance
Output level
Pre Delay
Cho Rate
Cho Depth
Phase
Pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus depth
Tremolo phase
Tremolo rate
0–180 degree
0.05–10.00 Hz
0–127
Trem Rate
Trem Sep
Balance
Level
17: STEREO DELAY
Parameter
Tremolo separation
Effect balance
Output level
Value
D100:0W–D0:100W
0–127
Delay L
Delay R
Feedback
Mode
Delay time left
0.0–500.0 ms
0.0–500.0 ms
-98– +98%
Delay time right
Feedback level
Feedback mode
Feedback phase left
Feedback phase right
HF damp
13: SPACE-D
Parameter
NORMAL, CROSS
NORMAL, INVERT
NORMAL, INVERT
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
Value
Phase L
Phase R
HF Damp
Pre Delay
Rate
Pre delay time
0.0–100.0 ms
0.05–10.00 Hz
0–127
Rate
Depth
Depth
Low Gain
High Gain
Balance
Level
Low gain
Phase
Phase
0–180 degree
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
High gain
-15– +15 dB
Low Gain
High Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
Effect balance
Output level
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
14: STEREO CHORUS
Parameter
Value
Pre Delay
Rate
Pre delay time
Rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Depth
Depth
Phase
Phase
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Filter
Filter type
Cutoff frequency
Low gain
Cutoff
Low Gain
High Gain
Balance
Level
High gain
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
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Effect/Parameter List
18: MOD DELAY
Parameter
21: TIME CTRL DLY
Parameter
Value
Value
Delay L
Delay R
Feedback
Mode
Delay time left
Delay time right
Feedback level
Feedback mode
Rate
0.0–500.0 ms
0.0–500.0 ms
-98– +98%
Delay
Delay time
200–1000 ms
0–15
Accel
Acceleration
Feedback level
HF damp
Feedback
HF Damp
-98– +98%
200–8000 Hz,
BYPASS (*1)
L64–0–63R
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
NORMAL, CROSS
0.05–10.00 Hz
0–127
Rate
Depth
Depth
Pan
Output pan
Low gain
Phase
Phase
0–180 degree
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Low Gain
High Gain
Balance
Level
HF Damp
HF damp
High gain
Effect balance
Output level
Low Gain
High Gain
Balance
Level
Low gain
High gain
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
22: 2V PCH SHIFT
Parameter
Value
Coarse A
Fine A
Coarse pitch A
Fine pitch A
-24– +12 semitone
-100– +100 cent
L64–0–63R
19: TRI TAP DLY
Parameter
Value
Pan A
Output pan A
Pre delay time A
Coarse pitch B
Fine pitch B
Delay C
Delay L
Delay R
Feedback
Level C
Level L
Delay time center
Delay time left
Delay time right
Feedback level
Center level
Left level
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
-98– +98%
PreDelayA
Coarse B
Fine B
0.0–500.0 ms
-24– +12 semitone
-100– +100 cent
L64–0–63R
Pan B
Output pan B
Pre delay time B
Pitch shifter mode
Level balance
Effect balance
Output level
0–127
PreDelayB
Mode
0.0–500.0 ms
1, 2, 3, 4, 5
0–127
Level R
HF Damp
Right level
0–127
Level Bal
Balance
Level
A100:0B–A0:100B
D100:0W–D0:100W
0–127
HF damp
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Low Gain
High Gain
Balance
Level
Low gain
High gain
23: FBK PCH SHIFT
Parameter
Effect balance
Output level
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Coarse
Fine
Coarse pitch
Fine pitch
-24– +12 semitone
-100– +100 cent
-98– +98%
Feedback
Pre Delay
Mode
Feedback level
Pre delay time
Pitch shifter mode
Output pan
0.0-500.0 ms
1, 2, 3, 4, 5
20: QUAD TAP DLY
Parameter
Value
Pan
L64–0–63R
Low Gain
High Gain
Balance
Level
Low gain
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Delay 1
Delay 2
Delay 3
Delay 4
Level 1
Level 2
Level 3
Level 4
Feedback
HF Damp
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Level 1
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
200–1000 ms, note
0–127
High gain
Effect balance
Output level
Level 2
0–127
24: REVERB
Parameter
Level 3
0–127
Level 4
0–127
Value
Feedback level
HF damp
-98– +98%
Type
Reverb type
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
0.0–100.0 ms
0–127
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Balance
Level
Effect balance
Output level
Pre Delay
Time
Pre delay time
Reverb time
HF damp
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
HF Damp
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
Low Gain
High Gain
Balance
Level
Low gain
High gain
-15– +15 dB
Effect balance
Output level
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
128
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Effect/Parameter List
25: GATED REVERB
Parameter
31: DISTORTION→DELAY
The parameters are essentially the same as “28: OVERDRIVE→DELAY,” with
Value
the exception of the following two.
Type
Gated Reverb type
NORMAL, REVERSE,
SWEEP1, SWEEP2
0.0–100.0 ms
5–500 ms
OD Drive→Dst Drive, OD Pan→Dist Pan
Pre Delay
Gate Time
Low Gain
High Gain
Balance
Level
Pre delay time
Gate time
32: ENHAN→CHORUS
Parameter
Low gain
-15– +15 dB
Value
High gain
-15– +15 dB
Effect balance
Output level
D100:0W–D0:100W
0–127
Enh Sens
Enh Mix
Cho Delay
Cho Rate
Cho Depth
Cho Bal
Enhancer sensitivity
Enhancer mix level
Chorus pre delay time
Chorus rate
0–127
0–127
0.0-100.0 ms
0.05–10.00 Hz
0–127
26: OD→CHORUS
Parameter
Chorus depth
Value
Chorus balance
Output level
D100:0W–D0:100W
0–127
Level
OD Drive
OD Pan
Cho Delay
Cho Rate
Cho Depth
Cho Bal
Level
Drive
0–127
Overdrive pan
Chorus pre delay time
Chorus Rate
Chorus depth
Chorus balance
Output level
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
33: ENHAN→FLANGER
Parameter
Value
D100:0W-D0:100W
0–127
Enh Sens
Enh Mix
Flg Delay
Flg Rate
Flg Depth
Flg Fbk
Flg Bal
Enhancer sensitivity
Enhancer mix level
Flanger pre delay time
Flanger rate
0–127
0–127
0.0–100.0 ms
0.05–10.00 Hz
0–127
27: OD→FLANGER
Parameter
Flanger depth
Value
Flanger feedback level
Flanger balance
Output level
-98– +98%
D100:0W–D0:100W
0–127
OD Drive
OD Pan
Flg Delay
Flg Rate
Flg Depth
Flg Fbk
Flg Bal
Drive
0–127
Level
Overdrive pan
Flanger pre delay time
Flanger rate
L64–0–63R
0.0–100.0 ms
0.05–10.00 Hz
0–127
34: ENHANCR→DELAY
Parameter
Flanger depth
Flanger feedback level
Flanger balance
Output level
Value
-98– +98%
D100:0W–D0:100W
0–127
Enh Sens
Enh Mix
Enhancer sensitivity
Enhancer mix level
Delay time
0–127
Level
0–127
DelayTime
Delay Fbk
0.0–500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Delay feedback level
28: OD→DELAY
Dly HFDmp Delay HF damp
Parameter
Value
Delay Bal
Level
Delay balance
Output level
OD Drive
OD Pan
Drive
0–127
Overdrive pan
Delay time
L64–0–63R
0.0-500.0 ms
-98– +98%
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
DlyTime
Delay Fbk
Delay feedback level
Dly HFDmp Delay HF damp
35: CHORUS→DELAY
Parameter
Delay Bal
Level
Delay balance
Output level
Value
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Cho Delay
Cho Rate
Cho Depth
Cho Bal
Chorus pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus depth
Chorus balance
Delay time
D100:0W–D0:100W
0.0–500.0 ms
-98– +98%
29: DIST→CHORUS
The parameters are essentially the same as “26: OD→CHORUS,” with the
DelayTime
Delay Fbk
Delay Feedback level
exception of the following two.
Dly HFDmp Delay HF damp
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
OD Drive→Dst Drive, OD Pan→Dist Pan
Delay Bal
Level
Delay balance
Output level
30: DIST→FLANGER
The parameters are essentially the same as “27: OD→FLANGER,” with the
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
exception of the following two.
OD Drive→Dst Drive, OD Pan→Dist Pan
129
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Effect/Parameter List
36: FLANGER→DELAY
Parameter
42: KEYSYNC FLANG
Parameter
Value
Value
Flg Delay
Flg Rate
Flg Depth
Flg Fbk
Flanger pre delay time
Flanger rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Pre Delay
Rate
Pre delay time
LFO rate
0.0–100 ms
0.05–10.00 Hz, note
0–127
Flanger depth
Depth
LFO depth
Feedback
Phase
Flanger feedback level
Flanger balance
Delay time
-98– +98%
Feedback
Phase
-98– +98%
Flg Bal
D100:0W–D0:100W
0.0–500.0 ms
-98– +98%
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
0.1–20.0 Hz, note
OFF, ON
DelayTime
Delay Fbk
Filter
Filter type
Cutoff frequency
Step rate
Delay feedback level
Cutoff
Dly HFDmp HF damp
200–8000 Hz,
BYPASS (*1)
D100:0W–D0:100W
0–127
Step Rate
StpRateSw Step rate switch
Delay Bal
Level
Delay balance
Output level
Key Sync
Threshold
KSync Phs
Low Gain
High Gain
Balance
Keysync switch
Keysync threshold
Keysync phase
Low gain
OFF, ON
0–127
0–360 degree
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
High gain
Balance
37: CHORUS→FLANGR
Parameter
Level
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Value
Cho Delay
Cho Rate
Cho Depth
Cho Bal
Flg Delay
Flg Rate
Flg Depth
Flg Fbk
Chorus pre delay time
Chorus rate
0.0–100.0 ms
0.05–10.00 Hz
0–127
Chorus depth
43: FORMANT FILTR
Parameter
Chorus balance
Flanger pre delay time
Flanger rate
D100:0W–D0:100W
0.0–100.0 ms
0.05–10.00 Hz
0–127
Value
Drive Sw
Drive
Drive Switch
Drive
OFF, ON
0–127
Flanger depth
Flanger feedback level
Flanger balance
Output level
-98– +98%
Vowel 1
Vowel 2
Rate
Vowel 1
a, e, i, o, u
a, e, i, o, u
0.05–10.00 Hz, note
0–127
Flg Bal
D100:0W–D0:100W
0–127
Vowel 2
Level
Rate
Depth
Depth
Key Sync
Threshold
Manual
Low Gain
High Gain
Pan
Keysync switch
Keysync threshold
Manual
OFF, ON
0–127
38: CHORUS/DELAY
Refer to “35: CHORUS→DELAY.”
0–100
Low gain
High gain
Output pan
Output level
-15– +15 dB
-15– +15 dB
L64–63R
0–127
39: FLANGER/DELAY
Refer to “36: FLANGER→DELAY.”
Level
44: RING MODULAT
Parameter
40: CHORUS/FLANGR
Refer to “37: CHORUS→FLANGR.”
Value
Frequency
Modulator
Mod_Mon
Sens
Frequency
Modulator
0–127
OFF, SOURCE, DIRECT
OFF, ON
41: STEREO PHASER
Parameter
Modulator monitor
Sensitivity
0–127
Value
Polarity
Polarity
UP, DOWN
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Type
Phaser type
Mode
1, 2
Low Gain
High Gain
Balance
Level
Low gain
Mode
Polarity
Manual
Rate
4-STAGE, 8-STAGE
INVERSE, SYNCHRO
0–127
High gain
Polarity
Effect balance
Output level
Manual
Phaser rate
Phaser depth
0.05–10.00 Hz, note
0–127
Depth
Resonance Phaser resonance
0–127
Cross Fbk
Step Rate
Cross feedback level
Step rate
-98– +98%
0.1–20.0 Hz, note
OFF, ON
StpRateSw Step rate switch
Mix
Mix level
0–127
Low Gain
High Gain
Level
Low gain
High gain
Output level
-15– +15 dB
-15– +15 dB
0–127
130
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Effect/Parameter List
45: MULTI TAP DLY
Parameter
48: 3D DELAY
Parameter
Value
Value
Delay 1
Delay 2
Delay 3
Delay 4
Pan 1
Delay time 1
Delay time 2
Delay time 3
Delay time 4
Output pan 1
Output pan 2
Output pan 3
Output pan 4
Level 1
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
L64–63R
Delay C
Delay L
Delay R
Feedback
Level C
Level L
Delay time center
0–1800 ms, note
0–1800 ms, note
0–1800 ms, note
-98– +98%
Delay time left
Delay time right
Feedback
Level center
Level left
0–127
Pan 2
L64–63R
0–127
Pan 3
L64–63R
Level R
HF Damp
Level right
0–127
Pan 4
L64–63R
HF Damp
200–8000 Hz,
BYPASS (*1)
SPEAKER, PHONES
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Level 1
Level 2
Level 3
Level 4
Feedback
HF Damp
0–127
Level 2
0–127
Out
Output mode
Low gain
Level 3
0–127
Low Gain
High Gain
Balance
Level
Level 4
0–127
High gain
Feedback
HF Damp
-98– +98%
200–8000 Hz,
BYPASS (*1)
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Low Gain
High Gain
Balance
Level
Low gain
High gain
Effect balance
Output level
49: 3V PCH SHIFT
Parameter
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Value
Coarse 1:2:3
Fine 1:2:3
Coarse pitch 1:2:3
Fine pitch 1:2:3
-24– +12
-100– +100 cent
0.0–500 ms
-98– +98%
L64–63R
PreDelay1:2:3 Pre Delay time 1:2:3
Feesback1:2:3 Feedback level1:2:3
46: REVERSE DELAY
Parameter
Value
Pan 1:2:3
Level 1:2:3
Mode
Output pan 1:2:3
Level 1:2:3
Delay 1
Delay 2
Delay 3
Delay 4
Delay time 1
Delay time 2
Delay time 3
Delay time 4
0–900 ms, note
0–900 ms, note
0–900 ms, note
0–900 ms, note
-98– +98%
0–127
Pitch shifter mode
Effect balance
Output level
1, 2, 3, 4, 5
D100:0W–D0:100W
0–127
Balance
Level
Feedback 1 Feedback 1
Feedback 4 Feedback 4
HF Damp 1 HF Damp 1
-98– +98%
50: LOFI COMPRESS
Parameter
200–8000 Hz,
BYPASS (*1)
200–8000 Hz,
BYPASS (*1)
0–127
Value
HF Damp 4 HF Damp 4
Type
LoFi type
1–9
PreFilter
PostFltr 1
PostFltr 2
Frequency
Low Gain
High Gain
Balance
Pan
Pre filter type
Post filter 1 type
Post filter 2 type
Post filter cutoff frequency
Low gain
TYPE1–6
Threshold
Pan 1:2:3
Level 1:2:3
Low Gain
High Gain
Balance
Threshold level
Output pan 1:2:3
Level 1:2:3
TYPE1–6
L64–63R
OFF, LPF, HPF
200-8000 Hz
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
L64–63R
0–127
Low gain
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
High gain
High gain
Effect balance
Output level
Effect balance
Output pan
Level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
Level
Output level
0–127
*1: Post filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
47: SHUFFLE DELAY
Parameter
Value
Delay
Delay time
Shuffle rate
Acceleration
Feedback
HF Damp
0–1800 ms, note
0–100%
Shuffle
Accel
0–15
Feedback
HF Damp
-98– +98%
200–8000 Hz,
BYPASS (*1)
L64–63R
Pan A
Pan A
Pan B
Pan B
L64–63R
Level Bal
Low Gain
High Gain
Balance
Level
Level balance
Low gain
A100:0B–A0:100B
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
0–127
High gain
Effect balance
Output level
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
131
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Effect/Parameter List
51: LOFI NOISE
Parameter
55: ST.COMPRESSOR
Parameter
Value
Value
Type
LoFi type
1–9
Sustain
Attack
Sustain
0–127
Pst Filter
Frequency
Radio Dtn
Noise Lvl
Disc Type
Disc LPF
Post Filter type
Post Filter cutoff frequency
Radio detune
OFF, LPF, HPF
200-8000 Hz:(*1)
0–127
Attack time
Post gain
Low gain
High gain
Output level
0–127
Post Gain
Low Gain
High Gain
Level
0, +6, +12, +18
-15– +15
-15– +15
0–127
Noise Level
0–127
Disc NoiseType
Disc Noise LPF
LP, EP, SP, RND
200-8000 Hz
BYPASS (*2)
0-127
56: ST.LIMITER
Parameter
Disc Lvl
Low Gain
High Gain
Balance
Pan
Disc Noise Level
Low gain
-15– +15 dB
-15– +15 dB
D100:0W–D0:100W
L64–63R
Value
High gain
Threshold
Release
Ratio
Threshold level
Release time
Compression ratio
Post gain
0–127
Effect balance
Output pan
Output level
0–127
1.5:1, 2:1, 4:1, 100:1
0, +6, +12, +18
-15– +15
Level
0–127
Post Gain
Low Gain
High Gain
Level
*1: Post Filter cutoff frequency:200, 250, 315, 400, 500, 630, 800, 1000, 1250,
1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000 Hz
Low gain
High gain
-15– +15
*2: Disc noise LPF:200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000,
2500, 3150, 4000, 5000, 6300, 8000 Hz, BYPS
Output level
0–127
57: GATE
Parameter
52: SP SIMULATOR
Value
Parameter
Value
Key
Key
SOURCE, DIRECT
0–127
Sp Type
Mic Set
Mic Lvl
Dir Lvl
Level
Speaker type
Mic setting
Mic level
(*1)
Threshold
Monitor
Mode
Key threshold
Key monitor
Mode
1, 2, 3
0-127
0–127
0–127
OFF, ON
GATE, DUCK
0–127
Direct level
Output level
Attack
Hold
Attack time
Hold time
0–127
Release
Balance
Level
Release time
Effect balance
Output level
0–127
*1: SMALL 1, SMALL 2, MIDDLE, JC-120, BUILT IN 1, BUILT IN 2, BUILT IN
3, BUILT IN 4, BUILT IN 5, BG STACK 1, BG STACK 2, MS STACK 1, MS
STACK 2, METAL STACK, 2-STACK, 3-STACK
D100:0W–D0:100W
0–127
58: SLICER
Parameter
53: OVERDRIVE 2
Parameter
Value
Value
Beat 1-1–4-4 Beat 1-1–4-4
0–127
Drive
Drive
0–127
Rate
Rate
0.05–10.0 Hz, note
0–127
Level
Output level
Low gain
0–127
Attack
Reset
Attack
Low Gain
High Gain
Amp Sw
Amp Type
-15– +15 dB
-15– +15 dB
OFF, ON
Reset
OFF, SOURCE, DIRECT
0–127
High gain
Threshold
Monitor
Mode
Reset threshold
Reset monitor switch
Mode
Amp simulator switch
Amp simulator type
OFF, ON
SMALL, BUILT-IN,
2-STACK, 3-STACK
0–127
LEGATO, SLASH
0–127
Shuffle
Level
Shuffle
Tone
Pan
Tone
Output level
0–127
Output pan
L64–63R
59: ISOLATOR
Parameter
54: DISTORTION 2
Parameter
Value
Value
High Lvl
Mid Lvl
Level high
-60– +4 dB
-60– +4 dB
-60– +4 dB
OFF, ON
0–127
Drive
Drive
0–127
Level middle
Level
Output level
Low gain
0–127
Low Lvl
AP Mid Sw
AP Mid
Level low
Low Gain
High Gain
Amp Type
-15– +15 dB
-15– +15 dB
OFF, ON
Anti phase middle switch
Anti phase middle level
High gain
Amp simulator switch
Amp simulator type
AP Low Sw Anti phase low switch
OFF, ON
0–127
SMALL, BUILT-IN,
2-STACK, 3-STACK
0–127
AP Low
Boost Sw
Boost Sw
Level
Anti phase low level
Low Booster switch
Low Booster level
Output level
OFF, ON
0–127
Tone
Pan
Tone
Output pan
L64–63R
0–127
132
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Effect/Parameter List
60: 3D CHORUS
Parameter
64: SYM. RESONANCE
Parameter
Value
Value
Pre Delay
Rate
Pre delay time
LFO rate
0.0–100 ms
Depth
Depth
0 - 127
0.05–10.00 Hz, note
0–127
Damper
Pre LPF
Pre HPF
Pkg Freq
Pkg Q
Damper
0 - 127
Depth
LFO depth
Phase
Pre LPF
*1
Phase
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
SPEAKER, PHONES
-15– +15 dB
Pre HPF
*1
Fltr Type
Cutoff
Filter Type
Cutoff frequency
Output mode
Low gain
Peeking Frequency
Peeking Q
Peeking Gain
LF Damp
*2
0.5, 1.0, 2.0, 4.0, 8.0
Out
Pkg Gain
LF Damp
HF Damp
Diffusion
-15 - +15 dB
Low Gain
High Gain
Balance
Level
*1
High gain
-15– +15 dB
HF Damp
Diffusion
*1
Balance
D100:0W–D0:100W
0–127
0 - 64
Output level
*1: 16, 20, 25, 32, 40, 50, 63, 80, 100, 125, 160, 200, 250, 315, 400, 500, 630,
800, 1000, 1250, 1600, 2000, 2500, 3150, 4000, 5000, 6300, 8000,
10000, 12500, 15000 Hz, BYPASS
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
*2: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
61: 3D FLANGER
Parameter
Value
65: OD→ROTARY
Parameter
Pre Delay
Rate
Pre delay time
LFO rate
0.0–100 ms
Value
0.05–10.00 Hz, note
0–127
Depth
LFO depth
Feedback
Drive
Drive
0 - 127
Feedback
Phase
Filter
-98– +98%
OD OutLvl
OD Sw
Overdrive Output Level
Overdrive Switch
0 - 127
Phase
0–180 degree
OFF, LPF, HPF
200-8000 Hz (*1)
OFF, ON
OFF, ON
0.05 - 10.00 Hz
0.05 - 10.00 Hz
0 - 15
Filter Type
Cutoff frequency
Low Slow
Low Fast
Low Accel
Low Level
Hi Slow
Hi Fast
Low Frequency Slow Rate
Low Frequency Fast Rate
Low Frequency Acceleration
Low Frequency Level
High Frequency Slow Rate
High Frequency Fast Rate
High Frequency Acceleration
High Frequency Level
Separation
Cutoff
StpRateSw Step rate switch
Step Rate
Out
Step rate
0.1–20.0 Hz, note
SPEAKER, PHONES
-15– +15 dB
0 - 127
Output mode
Low gain
0.05 - 10.00 Hz
0.05 - 10.00 Hz
0 - 15
Low Gain
High Gain
Balance
Level
High gain
Balance
-15– +15 dB
Hi Accel
Hi Level
Separate
Speed
D100:0W–D0:100W
0–127
0 - 127
Output level
0 - 127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
Speed
SLOW, FAST
0 - 127
Level
Output Level
62: TREMOLO
Parameter
Value
Mod Wave
Modulation wave
TRI, SQR, SIN, SAW1,
SAW2
Rate
Rate
0.05–10.0 Hz, note
0–127
Depth
Depth
Low Gain
High Gain
Level
Low gain
High gain
Output level
-15– +15 dB
-15– +15 dB
0–127
63: AUTO PAN
Parameter
Value
Mod Wave
Modulation wave
TRI, SQR, SIN, SAW1,
SAW2
Rate
Rate
0.05–10.0 Hz, note
0–127
Depth
Depth
Low Gain
High Gain
Level
Low gain
High gain
Output level
-15– +15 dB
-15– +15 dB
0–127
133
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Effect/Parameter List
→“Making Reverb Settings” (p. 78)
→“Setting Chorus and Delay” (p. 78)
“Parameter” refers to the parameter assigned to <Other Prm>.
“Parameter” refers to the parameter assigned to <Other Prm>.
“Value” refers to the values that can be set in Value.
“Value” refers to the values that can be set in Value.
Reverb Parameters
Chorus Parameters
REVERB
Parameter
CHORUS
Parameter
Value
Value
Type
Reverb/Delay type
ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2
DELAY, PAN-DLY
200–8000 Hz,
BYPASS (*1)
Depth
Chorus depth
Phase
0–127
Phase
Flt Type
Cutoff
0–180 degree
OFF, LPF, HPF
200–8000 Hz (*1)
Filter type
Cutoff frequency
HF Damp
Feedback
Reverb/Delay HF damp
Delay feedback
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz
0–127
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
DELAY
Parameter
Value
Feedback
Level C
Feedback
-98– +98%
0–127
SRV ROOM/SRV HALL/SRV PLATE
Delay center level
Delay left level
(Delay right level
HF damp
Parameter
Value
Level L
0–127
Size
Size
1–8
Level R
0–127
Diffusion
Density
LF Damp
LF Gain
HF Damp
Reverb diffusion
Reverb density
LF damp frequency
LF damp gain
HF damp frequency
0–127
HF Damp
200–8000 Hz,
BYPASS (*1)
0–127
50–4000 Hz (*1)
-36–0 dB
*1: 200, 250, 315, 400, 500, 630, 800, 1000, 1250, 1600, 2000, 2500, 3150,
4000, 5000, 6300, 8000 Hz, BYPASS
4000, 5000, 6400,
8000, 10000, 12500 Hz
-36–0 dB
HF Gain
HF damp gain
*1: 50, 64, 80, 100, 125, 160, 200, 250, 320, 1600, 2000, 2500, 3200, 4000 Hz
134
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Tone List
MSB: Bank Select MSB (Control Number: 0)
LSB: Bank Select LSB (Control Number: 32)
PC: Program Change
[PIANO]
[CLAV/MALLET]
[STRINGS]
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
St.Concert 1
St.Concert 2
Dynamic Pno1
Dynamic Pno2
St.Concert 3
BrightPiano1
BrightPiano2
MellowPiano1
MellowPiano2
Band Piano 1
Band Piano 2
Honky-Tonk
Rock Piano 1
Rock Piano 2
Soft Piano
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
064
064
064
064
064
064
064
064
064
064
064
064
064
064
064
064
064
064
064
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
040
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
Clav 1
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
066
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
090
091
092
093
094
095
096
097
098
099
100
101
102
103
104
105
106
107
108
109
RD Strings 1
RD Strings 2
Velo String
St.Strings
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
068
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
Clav 2
Mute Clav
Phase Clav
WahWah Clav
Digital Clav
Analog Clav
Harpsichord
St.Harpsichd
Vibes
Fat Strings
RD Orchestra
ChmbrStrings
ChamberSect.
Str Quartet
Prelude
Warm Vibes
AmbienceVibe
Celesta
Marcato Str1
Marcato Str2
Film Strings
Film Octaves
Pizzicato
Marimba
Dyna Marimba
Islands Mlt
Morning Lite
Digi Bell
Forte Grand1
Forte Grand2
Piano 1
JP-8 Str 1
JP-8 Str 2
JP-8 Str 3
Piano 2
Air Bell
JP-8 Str 4
Chime Bells
JP-8 Str 5
[E.PIANO]
[ORGAN]
[PAD]
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
020
021
022
023
024
025
026
027
028
029
030
031
032
033
034
035
036
037
038
039
Rhodes 1
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
065
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
Rhodes 2
060
061
062
063
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
Mellow Bars
Click Organ
Full Stops
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
067
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
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
ClassicJPpad
Soft Pad 1
Soft Pad 2
Lunar Strngs
Morph Pad
Saw Strings
ORBit Pad
Spin Pad
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
069
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
Stage Rhodes
Suitcase
NY Rhodes
Tremolo Rhd
Phaser Dyno
Rholitzer
Ballad B
Gospel Spin
Full Jazz
Perky B
Hit Rhodes
Wurly
British B
Rock Organ 1
Rock Organ 2
Rock Organ 3
The Big Spin
Rocker Spin
Purple Spin
96 Years
Silky Way
Hard Wurly
60s E.Piano
S.A.E.P.1
Velcropad
Gluey Pad
Soundtraque
Combing
S.A.E.P.2
D-50 E.Piano
FM E.Piano 1
FM E.Piano 2
Vibra Rhodes
E.Grand 1
E.Grand 2
Glassy Pad
Glasswaves
JP-8Haunting
Earth Blow
JX SqrCarpet
Heirborne
Surf's Up!
D-50 Organ
Cathedral
Nason Flute
Theater Org
Tone Wheel 1
Tone Wheel 2
Tone Wheel 3
Tone Wheel 4
Tone Wheel 5
Tone Wheel 6
Tone Wheel 7
Tone Wheel 8
Tone Wheel 9
Tone Wheel 10
SteppingPhsr
135
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Tone List
No.
Tone Name
MSB LSB PC
[GTR/BASS]
[VOICE/SYNTH]
235
236
237
238
239
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
300
301
302
Clav.
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
000
001
000
000
000
000
001
000
001
000
000
001
002
000
000
001
002
003
000
001
002
000
000
001
002
000
001
000
001
000
000
000
001
002
003
000
001
002
003
000
001
000
001
002
000
001
002
003
000
001
000
001
002
000
001
000
000
001
000
000
000
000
000
001
002
003
004
000
008
008
009
010
011
012
012
013
013
014
015
015
015
016
017
017
017
017
018
018
018
019
020
020
020
021
021
022
022
023
024
025
025
025
025
026
026
026
026
027
027
028
028
028
029
029
029
029
030
030
031
031
031
032
032
033
034
034
035
036
037
038
039
039
039
039
039
040
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
Pulse Clav
Celesta
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
Nylon Gtr 1
Nylon Gtr 2
Steel Gtr
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
070
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
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
Jazz Scat
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
072
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
St.Choir
Glockenspiel
Music Box
Vibraphone
Vibraphone w
Marimba
Aahs Vox
Solo Steel
Steel Away
12str Gtr
GregorianChr
Doo Bap Sw
Doo Dat Sw
Voice Oohs
Angels Sing
Beauty Vox
Synth Vox
Jz Gtr Hall
LetterFrmPat
JC Strat
Marimba w
Xylophone
Tubular-bell
Church Bell
Carillon
Clear Guitar
Searing Lead
Dist Gtr
Vox Bass
Saw Mass
Poly Rock
Santur
Feed Me!
Organ 1
Blusey OD
RD Ac.Bass
RD Upright
Ac.Upright
RD Fretless
Fretless Dry
Finger Bass
Pick Bass
D-50 Stack
Galactic RD
SquareLead 1
SquareLead 2
MG Lead
Trem. Organ
60's Organ 1
70's E.Organ
Organ 2
Chorus Or.2
Perc. Organ
Organ 3
SH-2000
Soaring Sync
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Harmonica
Bandoneon
Nylon-str.Gt
Ukulele
Slap Bass
MG Bs
[RHYTHM/GM2]
Rubber Bass
Wonder Bass
Creamy Bass
Hefty Bass
House Bass
101 Bass
No.
Tone Name
MSB LSB PC
200
201
202
203
RD Pop Kit
RD Rock Kit
RD Jazz Kit
RD House Kit
086
086
086
086
064
064
064
064
001
002
003
004
8VCO MonoSyn
<GM2 Rhythm Sets>
No.
Tone Name
MSB LSB PC
Nylon Gt.o
Nylon Gt.2
Steel-str.Gt
12-str.Gt
[BRASS/WINDS]
204
205
206
207
208
209
210
211
212
GM2 STANDARD 120
000
000
000
000
000
000
000
000
000
001
009
017
025
026
033
041
049
057
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
GM2 JAZZ
120
120
120
120
120
120
No.
Tone Name
MSB LSB PC
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
R&R Brass
FullSt Brass
VoyagerBrass
Simply Brass
Bigband Sax
Soprano Sax
Alto Sax
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
087
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
071
001
002
003
004
005
006
007
008
009
010
011
012
013
014
015
016
017
018
019
020
Mandolin
Steel + Body
Jazz Gt.
GM2 BRUSH
Pedal Steel
Clean Gt.
GM2 ORCHSTRA 120
GM2 SFX 120
Chorus Gt.
Mid Tone GTR
Muted Gt.
Tenor Sax
Honker Bari
Flute
<GM2 Tones>
No.
Tone Name
MSB LSB PC
Funk Pop
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
Piano 1
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
000
001
002
000
001
000
001
000
001
000
001
002
003
000
001
002
003
004
000
001
002
003
001
001
001
002
002
003
003
004
004
005
005
005
005
006
006
006
006
006
007
007
007
007
Funk Gt.2
Oboe
Piano 1w
European Pf
Piano 2
Jazz Man
ChamberWinds
Pan Pipes
Poly Brass
Rugby Horn
Afro Horns
Triumph Brs
Saw Brass 1
Saw Brass 2
OB Brass
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt.
Dist Rtm GTR
Gt.Harmonics
Gt. Feedback
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
SynthBass101
Acid Bass
Piano 2w
Piano 3
Piano 3w
Honky-tonk
Honky-tonk 2
E.Piano 1
St.Soft EP
FM+SA EP
Wurly
E.Piano 2
Detuned EP 2
St.FM EP
EP Legend
EP Phase
Harpsichord
Coupled Hps.
Harpsi.w
Clavi Bass
Hammer
Harpsi.o
Synth Bass 2
136
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Tone List
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
No.
Tone Name
MSB LSB PC
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
361
362
363
364
365
366
367
368
369
370
Beef FM Bass
RubberBass 2
Attack Pulse
Violin
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
001
002
003
000
001
000
000
000
000
000
000
001
000
000
001
002
000
000
001
000
000
001
000
001
000
001
000
001
002
003
000
001
000
001
002
000
000
001
000
001
000
001
000
001
002
003
000
001
002
000
000
000
000
000
000
000
000
000
000
000
000
000
000
000
000
000
001
002
040
040
040
041
041
042
043
044
045
046
047
047
048
049
049
049
050
051
051
052
053
053
054
054
055
055
056
056
056
056
057
057
058
058
058
059
060
060
061
061
062
062
063
063
063
063
064
064
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
081
081
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
420
421
422
423
424
425
426
427
428
429
430
431
432
433
434
435
436
437
438
Saw Wave
OB2 Saw
Doctor Solo
Natural Lead
SequencedSaw
Syn.Calliope
Chiffer Lead
Charang
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
000
001
002
003
004
000
000
000
001
000
000
000
001
000
000
001
000
000
001
000
000
000
000
000
000
000
001
000
000
000
000
001
002
000
000
001
000
000
000
001
000
000
000
000
000
000
000
000
001
000
001
000
001
000
001
002
000
000
001
002
000
001
000
001
002
003
004
005
082
082
082
082
082
083
084
085
085
086
087
088
088
089
090
090
091
092
092
093
094
095
096
097
098
099
099
100
101
102
103
103
103
104
105
105
106
107
108
108
109
110
111
112
113
114
115
116
116
117
117
118
118
119
119
119
120
121
121
121
122
122
123
123
123
123
123
123
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
Bird
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
121
000
001
002
003
000
001
002
003
004
005
000
001
002
003
004
005
006
007
008
009
000
001
002
003
004
005
000
001
002
003
124
124
124
124
125
125
125
125
125
125
126
126
126
126
126
126
126
126
126
126
127
127
127
127
127
127
128
128
128
128
Dog
Horse-Gallop
Bird 2
Slow Violin
Viola
Telephone 1
Telephone 2
DoorCreaking
Door
Cello
Contrabass
Tremolo Str
PizzicatoStr
Harp
Wire Lead
Solo Vox
Scratch
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
5th Saw Wave
Bass & Lead
Delayed Lead
Fantasia
Yang Qin
Timpani
Orche str
Orchestra
60s Strings
Slow Strings
Syn.Strings1
Syn.Strings3
Syn.Strings2
Choir Aahs
Chorus Aahs
Voice Oohs
Humming
SynVox
Warm Pad
Sine Pad
Polysynth
Space Voice
Itopia
Train
Jetplane
Starship
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
Ice Rain
Burst Noise
Applause
Laughing
Screaming
Punch
Soundtrack
Crystal
Heart Beat
Footsteps
Gun Shot
Machine Gun
Laser
Analog Voice
OrchestraHit
Bass Hit
Syn Mallet
Atmosphere
Brightness
Goblin
6th Hit
Euro Hit
Explosion
Trumpet
Echo Drops
Echo Bell
Echo Pan
Star Theme
Sitar
Dark Trumpet
Trombone
Trombone 2
Bright Tb
Tuba
Sitar 2
MutedTrumpet
MuteTrumpet2
French Horns
Fr.Horn 2
Brass 1
Banjo
Shamisen
Koto
Taisho Koto
Kalimba
Brass 2
Bagpipe
Synth Brass1
Pro Brass
Oct SynBrass
Jump Brass
Synth Brass2
SynBrass sfz
Velo Brass 1
Soprano Sax
Alto Sax
Fiddle
Shanai
Tinkle Bell
Agogo
Steel Drums
Woodblock
Castanets
Taiko
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
Tenor Sax
Baritone Sax
Oboe
English Horn
Bassoon
Elec Perc
Reverse Cym.
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
Clarinet
Piccolo
Flute
Recorder
Pan Flute
Bottle Blow
Shakuhachi
Whistle
Ocarina
Thunder
Square Wave
MG Square
2600 Sine
Wind
Stream
Bubble
137
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Tone List
Rhythm Set List
* ---: No sound.
* [EXC]: will not sound simultaneously with other percussion instruments of the same number.
Note No.
21
RD Pop Kit
RD Rock Kit
RD Jazz Kit
RD House Kit
R&B Snare
R&B Snare
R&B Snare
Dance Kick
22
-----
-----
-----
-----
-----
Finger Snap
707 Claps
-----
-----
-----
-----
-----
Finger Snap
707 Claps
-----
-----
Jazz Swish
Jazz Tap 1
Jazz Tap 2
Finger Snap
707 Claps
MC-500 Beep 1
MC-500 Beep 2
Concert Snare
Snare Roll
Finger Snap
High-Q
23
24
25
26
27
28
C1
Slap
Hand Clap 1
Hand Clap 2
Hand Clap 3
Pop Pedal HH
Hand Clap 4
Snare Roll
Hand Clap 1
Hand Clap 2
Hand Clap 3
Pop Pedal HH
Hand Clap 4
Snare Roll
Rock Kick 1
Rock Kick 2
Rock Side Stick
Rock Sanre 1
Rock Snare Ghost
Rock Snare 2
Rock Low Tom Flm
Rock CHH 1
Rock Low Tom
Rock CHH 2
Rock Mid Tom Flm
Rock OHH
Rock Mid Tom
Rock High Tom Flm
Rock Crash Cymbal
Rock High Tom
Pop Ride Cymbal 2
Rock Chinees Cymbal
Rock Ride Bell
Tambourine
Rock Splash Cymbal
Cha Cha Cowbell
Rock Chinees Cymbal 2
Vibra-slap
Pop Ride Cymbal 1
High Bongo
Low Bongo
Mute Conga
High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Shaker 2
Shaker 3
Short Hi Whistle
Long Low Whistle
Short Guiro
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Gospel Hand Clap
Snare Roll
Scratch Push
Scratch Pull
Sticks
Square Click
Metronome Click
Metronome Bell
House Kick 1
29
30
31
32
33
[EXC1]
[EXC1]
[EXC1]
34
35
Pop Kick 1
Pop Kick 2
Pop Kick
Pop Kick
House Kick 2
36
37
38
39
40
C2
Pop Side Stick
Pop Sanre 1
Pop Snare Ghost
Pop Snare 2
Pop Low Tom Flm
Pop CHH 1
Pop Low Tom
Pop CHH 2
Pop Mid Tom Flm
Pop OHH
Pop Mid Tom
Pop High Tom Flm
Pop Crash Cymbal 1
Pop High Tom
Pop Ride Cymbal 1
Pop Chinees Cymbal
Pop Ride Bell
Tambourine
Pop Splash Cymbal
Cha Cha Cowbell
Pop Crash Cymbal 2
Vibra-slap
Pop Ride Cymbal 2
High Bongo
Low Bongo
Mute Conga
High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Jazz Snare Swing
Jazz Sanre 1
Pop Snare Swing
Jazz Sanre 2
Jazz Low Tom Flm
Pop CHH 1
Jazz Low Tom
Pop CHH 2
Jazz Mid Tom Flm
Pop OHH
Jazz Mid Tom
Jazz High Tom Flm
Jazz Crash Cymbal 1
Jazz High Tom
Jazz Ride Cymbal 1
Jazz Chinees Cymbal
Jazz Ride Cymbal 2
Tambourine
Pop Splash Cymbal
Cha Cha Cowbell
Jazz Crash Cymbal 2
Vibra-slap
Pop Ride Cymbal 2
High Bongo
Low Bongo
Mute Conga
High Conga
Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Shaker 2
Shaker 3
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker 1
House Snare Rim
House Snare 1
House Claps
House Snare 2
House Low Tom 1
House Closed Hi-Hat
House Low Tom 2
House Pedal Hi-Hat
House Mid Tom 1
House Open Hi-Hat
House Mid Tom 2
House High Tom 1
House Crash Cymbal
House High Tom 2
House Ride Cymbal
Reverse Cymbal
House Ride Bell
Shake Tambourine
House Splash Cymbal
House Cowbell
House Crash Cymbal
Vibra-slap
Pop Ride Cymbal 2
House High Bongo
House Low Bongo
House High Conga
House Mute Conga
House Low Conga
High Timbale
Low Timbale
High Agogo
Low Agogo
Cabasa
41
42
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
43
44
45
46
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
Shaker 2
Shaker 3
Short Hi Whistle
Long Low Whistle
Short Guiro
Long Guiro
69
House Maracas
Short High Whistle
Long Low Whistle
Short Guiro
71
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
Long Guiro
Claves
House Guiro
Claves
House Claves
High Wood Block
Low Wood Block
High Hoo
76
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker 1
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker 1
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
78
80
82
Low Hoo
79
Electric Mute Triangle [EXC5]
Electric Open Triangle [EXC5]
Shaker
81
83
Jingle Bell
Jingle Bell
Jingle Bell
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
Cana
Bell Tree
Castanets
Mute Surdo
Open Surdo
Cana
Bell Tree
Castanets
Mute Surdo
Open Surdo
Cana
Bell Tree
Castanets
Mute Surdo
Open Surdo
Cana
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
138
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Tone List
RD Pop Kit
RD Rock Kit
RD Jazz Kit
RD House Kit
Note No.
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco TmblFlam
Shekere 1
89
90
91
92
93
Shekere 2
Shekere 2
Shekere 2
Shekere 2
94
Low Bongo Mute
-----
Low Bongo Mute
-----
Low Bongo Mute
-----
Low Bongo Mute
LoFi Snare 1
95
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
------
-----
-----
-----
-----
-----
-----
-----
Jungle Snare
Techni Hit
Philly Hit
C7 96
97
99
98
TR-808 Kick
TR-808 Kick 2
Jungle Kick
Techno Kick
Rock Snare Dry
Electric Snare
Jungle Snare 2
Slappy
100
101
102
104
106
103
105
-----
-----
-----
-----
-----
-----
-----
-----
-----
107
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 2
Wah Gtr Noise 2
Wah Gtr Noise 2
C8 108
139
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Tone List
GM2 STANDARD
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
Note No.
High-Q
High-Q
High-Q
High-Q
High-Q
27
Slap
Slap
Slap
Slap
Slap
28
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
29
30
31
32
33
34
35
Standard KK1
Side Stick
Standard KK1
Side Stick
Power Kick1
Side Stick
Elec Kick 1
Side Stick
TR-808 Kick
808 Rimshot
808 Snare 1
909 HandClap
Elec Snare 3
808 Tom 2
TR-808 CHH
808 Tom 2
808__chh
808 Tom 2
TR-808 OHH
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808cowbe
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
36
37
38
39
40
C2
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Standard SN1
909 HandClap
Elec Snare 3
Room Tom 5
Close HiHat2
Room Tom 5
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Room Tom 2
Crash Cym.1
Room Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Dance Snare1
909 HandClap
Elec Snare 3
Rock Tom 4
Close HiHat2
Rock Tom 4
Pedal HiHat2
Rock Tom 4
Open HiHat2
Rock Tom 4
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
Elec. Snare
909 HandClap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
41
42
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
43
44
45
46
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
808 Conga
808 Conga
808 Conga
High Timbale
Low Timbale
Agogo
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
69
808marac
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
140
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Tone List
GM2 JAZZ
GM2 BRUSH
GM2 ORCHSTRA
GM2 SFX
Note No.
High-Q
Slap
High-Q
Slap
ScratchPush
ScratchPull
Sticks
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal
Sticks
[EXC1]
[EXC1]
[EXC1]
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
High-Q
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise
Gt.CutNoise
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps
Footsteps
Applause
Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
27
28
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Standard SN1
909 HandClap
Elec Snare 3
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
[EXC7]
[EXC7]
[EXC7]
[EXC7]
29
30
31
32
33
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 2
Jazz Kick 1
Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
ConcertBD Mt
Side Stick
Concert Snr
Castanets
Concert Snr
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
Timpani
34
35
36
37
38
39
40
C2
[EXC7]
[EXC7]
41
42
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
43
44
45
46
47
C3 48
50
49
51
Timpani
Timpani
Timpani
Timpani
52
53
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
Conga Hi Opn
Conga Lo Opn
High Timbale
Low Timbale
Agogo
54
56
58
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Agogo
Cabasa
Maracas
Train
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
69
71
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
Jingle Bell
Bell Tree
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShrtWhistle
LongWhistle
Short Guiro
Long Guiro
Claves
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
Woodblock
Woodblock
Mute Cuica
Open Cuica
MuteTriangl
OpenTriangl
Shaker
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
Jingle Bell
Bell Tree
C6 84
86
Castanets
Mute Surdo
Open Surdo
Applause
-----
-----
-----
-----
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
141
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Arpeggio Style List
Style
Motif
Beat Pattern
Accent Rate Shuffle Rate
1/4
all
all
all
all
all
1/ 4
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
1/6
1/ 6
1/8
1/ 8
1/12
1/16
1/32
1/12
1/16 1–3
1/32 1–3
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
PORTAMENTO A
PORTAMENTO B
GLISSANDO
all
PORTA-A 01–11
PORTA-B 01–15
1/16 1–3, 1/32 1–3
SEQ-A 1–7
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
all
GLISSANDO
SEQUENCE A
SEQUENCE B
SEQUENCE C
all
all
SEQ-B 1–5
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
SEQ-C 1–2
SEQUENCE D
ECHO
all
SEQ-D 1–8
ECHO 1–3
0–100%
0–100%
50–90%
50–90%
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER
SYNTH BASS
HEAVY SLAP
LIGHT SLAP
WALK BASS
BASS+UP 2
SEQ-A 1, SEQ-C 1
MUTE 02, 03
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
BASS+UP 5, TOP+UP 5
BASS+UP 5, TOP+UP 5
MUTE 02, 03
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, NOTE ORDER, GLISSANDO
WALKBS, REFRAIN 1
RHYTHM GTR 1
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
MUTE 01, 04
0–100%
50–90%
RHYTHM GTR 2
RHYTHM GTR 3
RHYTHM GTR 4
RHYTHM GTR 5
3 FINGER GTR
STRUM GTR UP
STRUM GTR DOWN
STRUM GTR UP&DW
PIANO BACKING
CLAVI CHORD
WALTZ
CHORD
MUTE 07, 13, 14
MUTE 08, 12, 15
MUTE 09, 10, 11, 16
STRUM 1–6
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
50–90%
CHORD
CHORD
SINGLE UP, SINGLE DOWN
BASS+UP+TOP
SEQ-A 7
SINGLE UP
STRUM 7–8
SINGLE DOWN
STRUM 7–8
SINGLE UP&DOWN
STRUM 7–8
CHORD
MUTE 12, REFRAIN 2
MUTE 05, 06
BASS+CHORD 4, BASS+CHORD 5
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2
BASS+CHORD 2, BASS+UP 2, BASS+RND 2, TOP+UP 2
CHORD, BASS+CHORD 1
3/4, 1/ 6, 1/12
SWING 3/4, 1/16 1–3
REGGAE 1–2
PERC 1–4
SWING WALTZ
REGGAE
PERCUSSION
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, BASS+UP 1–8,
BASS+RND 1–3, TOP+UP 1–6
HARP
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN, GLISSANDO
TOP+UP 4–6
HARP
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
SHAMISEN
BOUND BALL
SEQ-A 2
BOUND
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
RANDOM
SINGLE RANDOM, DUAL RANDOM, BASS+RND 1–3
1/ 4, 1/6, 1/8, 1/12, 1/16 1–3,
1/32 1–3, RANDOM
0–100%
50–90%
BOSSA NOVA
SALSA
all
BOSSA NOVA
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
all
SALSA 1–4
MAMBO
all
MAMBO 1–2
LATIN PERCUSSION
SINGLE UP, SINGLE DOWN, SINGLE UP&DOWN,
CLAVE, REV CLA, GUIRO, AGOGO
SINGLE RANDOM, DUAL UP, DUAL DOWN, DUAL UP&DOWN,
DUAL RANDOM, NOTE ORDER, GLISSANDO
SAMBA
all
all
all
all
SAMBA
0–100%
0–100%
0–100%
0–100%
50–90%
50–90%
50–90%
50–90%
TANGO
TANGO 1–4
HOUSE 1–2
all
HOUSE
LIMITLESS
all: there is no restriction on the value which can be set
142
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Rhythm Pattern List
No. Rhythm Pattern
Recommended
Tempo
No. Rhythm Pattern
Recommended
Tempo
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
OFF
---
92
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
081
082
083
084
085
Motown
130
84
ShufflePop 1
ShuffleR&B 1
R&B 1
Gospel 1
96
Gospel 2
50
108
124
92
Blue Grass
Swing 2
150
111
130
140
160
114
55
Funk 1
8Beat Pop 1
16Beat Pop 1
8Beat Rock 1
16BeatRock 1
Acid Jazz
Swing 3
86
Combo 1
106
124
96
Combo 2
Fast Swing 2
Jazz Brush 1
Jazz Brush 2
Free Jazz
Jazz Waltz
5/4 Swing
6/8 Swing
7/4 Swing
Bossa Nova 1
Bossa Nova 2
Bossa Nova 3
Fast Bossa
Pop Bossa
Salsa 2
Hip Hop
98
60
Swing 1
160
110
120
152
110
92
128
106
140
120
140
120
130
160
110
120
98
Fast Swing 1
Blues 1
Blues 2
Latin Pop
Salsa 1
8Bt Fusion 1
16BtFusion 1
Ballad 1
112
100
83
Ballad 2
84
8Beat Pop 2
8Beat Pop 3
8Beat Pop 4
8Bt Fusion 2
16Beat Pop 2
16Beat Pop 3
16BtFusion 2
16BtFusion 3
PowerFusion1
PowerFusion2
West Coast
Latin Fusion
R&B 2
96
108
75
Samba 1
105
124
94
Samba 2
112
110
75
Mambo 1
Mambo 2
92
Rhumba
120
106
120
89
124
124
128
120
124
125
85
Merengue
Rockaballad1
Rockaballad2
Piano Ballad
3/4 Brush
60
90
8Beat Rock 2
8Beat Rock 3
16BeatRock 2
Progressive
5/8 Progress
6/8 Progress
7/8 Progress
Techno
130
136
140
80
R&B 3
112
86
Funk 2
Funk 3
120
184
110
100
160
160
160
80
ShufflePop 2
ShuffleR&B 2
ShuffleR&B 3
5/4 Fusion
6/4 Fusion
7/4 Fusion
80
80
140
125
130
160
Dance
House
Jungle
143
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→ Owner’s Manual “Selecting Stored Settings ([SETUP])” (p. 54).
No.001–020 “RHY: Setup”: These Setups let you enjoy performing with a session-like feel while playing a Rhythm.
Be sure to check it out. For more on Rhythms, refer to the “Playing Rhythm
([RHYTHM])” (p. 51).
No.
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
Setup Name
RHY: Shuffle
RHY: R&B Sfl
RHY: R&B
No.
041
042
043
044
045
046
047
048
049
050
051
052
053
054
055
056
057
058
059
060
061
062
063
064
065
066
067
068
069
070
071
072
073
074
075
076
077
078
079
080
Setup Name
Marcato Str
Chamber Wind
Brass String
Slow Strings
Octave Str
No.
081
082
083
084
085
086
087
088
089
090
091
092
093
094
095
096
097
098
099
100
Setup Name
Scat Vox
Air Piano
Jazz Scat
RHY: Funk
Glass Voices
Poly SynSaw
Humaniser
RHY: Pop 1
RHY: Pop 2
RHY: Rock 1
RHY: Rock 2
RHY: Groove
RHY: Hip Hop
RHY: Dance
RHY: House
RHY: Swing 1
RHY: Swing 2
RHY: Blues 1
RHY: Blues 2
RHY:Slo Grv1
RHY:Slo Grv2
RHY: Phaser
RHY: Salsa
Stereo Clav
Piano&Strngs
Rock Piano
Piano&Choir
Piano&Pad
Christmas
Syn Strings
Harpsi&Str
Deep Strings
Organ Str
Synth Stack
E.Piano/Scat
Tubular Vox
Techno Combo
Warm Pno Pad
Groove EP
Church
Warm OrgPad
Slicing Svox
Slicing Pad
Cultivate
Pno-Stage EP
12Str Beauty
Organ Layer
Killer Brass
Bell Pad
Heirbone RD
RandomBellPd
Glassy Pad
Air Pad
2Phazed Pno
Talking Stab
Sop-Vibes/EP
Glass Rhodes
SpaceVox Pad
Nylon&Str
Jazz Combo
SearingLd/Bs
Gtr Lead/Org
SynthLead/Bs
West Coast
Harpsi&Gtr
Nylon Rhodes
Yang Qin
PhsClav/Bs
Quan-Clav
Vibes&Glockn
EP/Arp Clav
Tone Wheel
MIDI Rhodes
E.Grand
3 Finger
Orch Brass
Flute/Harp
Brs&Str Orch
Flute/String
SopSax/Str
Soft SynBrs
Big Band
EP Pad
Rocker Organ
Soap Opera
Rock Split
Synth Organ
Bass/Rhodes
Cathedral
Fr.Horn Sect
Synth Brass
PsychoRhodes
144
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Shortcut List
You can easily change settings for the following functions using a number of related buttons.
* “[A] + [B]” indicates that you are to hold down [A] and press [B].
What to do
Operation
[ARPEGGIO] + [TRANSPOSE]
[ARPEGGIO] + PART SWITCH
[TRANSPOSE] + Key
Page
p. 87
p. 84
p. 46
p. 44
p. 77
Switching Arpeggio Hold On and Off
Selecting Parts to Play Arpeggios
Changing Transpose setting
Changing the Keyboard’s Split Point
Changing the MFX Source
[SPLIT] + Key
MULTI EFFECTS[ON/OFF] + PART SWITCH
Setting the Reverb/Chorus Amount for
each Part
PART SWITCH + REVERB or CHORUS knob
p. 80
You can easily call up Edit screens for related parameters for the following functions by holding
down [EDIT] while pressing buttons, turning knobs, or operating other controllers.
* “aaa : bbb” indicates the bbb parameter in Edit screen aaa.
What to do
Operation
[EDIT] + Damper
Page
Page
Switching the Pedal’s Po-
larity
System: Damper Polarity
p. 71
Assigning Functions to
Pedals
Control/EQ: FC1/FC2
[EDIT] + FC1/2
p. 73
p. 74
Changing the Equalizer
Frequency Settings
[EDIT] + EQUALIZER Knob
Control/EQ: EQ Low/Mid/
High Freq
[EDIT] + EQUALIZER [ON/OFF]
Switching the Chorus and
Delay
MFX/Reverb/Chorus:
Chorus/Delay
[EDIT] + CHORUS Knob
[EDIT] + REVERB Knob
[EDIT] + [CONTROL] Knob
[EDIT] + MULTI EFFECTS [ON/OFF]
[EDIT] + [RHYTHM]
p. 78
p. 78
p. 77
p. 77
p. 82
p. 84
p. 88
p. 88
Selecting the Reverb
Type
MFX/Reverb/Chorus:
Reverb Type
Changing the [CON-
TROL] knob parameter
MFX/Reverb/Chorus: MFX
Control
Changing the Multi-ef-
fects Type
MFX/Reverb/Chorus: MFX
Type
Changing the Rhythm
Patterns
Rhythm Pattern: Pattern
Changing the Arpeggio
Style
Arpeggio: Style
[EDIT] + [ARPEGGIO]
[EDIT] + [TRANSPOSE]
[EDIT] + [SPLIT]
Setting the Transposition
for Local Part
Local Part Param:
Key Transpose
Setting the Key Range for
Local Part
Local Part Param: Key Range
Turning the Controllers
are used to control the
Local Parts On and Off
[EDIT] + BENDER
Local Part: Bender Sw
p. 89
Local Part: Modulation Sw
[EDIT] + Modulation
145
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MIDI Implementation
Model:
Date:
RD-700 (Digital Piano)
Mar. 1, 2001
1.00
❍Data Entry (Controller number 6, 38)
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
Version:
BnH
26H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
1. Receive data
❍Volume (Controller number 7)
■Channel Voice Messages
Status
BnH
2nd byte
07H
3rd byte
vvH
●Note off
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Status
2nd byte
kkH
3rd byte
8nH
vvH
9nH
kkH
00H
*
*
Not received when the Rx Volume (EDIT:Internal Part Parameter:Rx Volume) is OFF.
The Part Level parameter will change.
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vv = note off velocity:
❍Panpot (Controller number 10)
Status
BnH
2nd byte
0AH
3rd byte
*
*
Some instruments are not received in Rhythm set.
The velocity values of Note Off messages are ignored.
vvH
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
00H - 40H - 7FH (Left - Center - Right),
●Note on
Status
2nd byte
kkH
3rd byte
*
*
Not received when the Rx Pan (EDIT:Internal Part Parameter:Rx Pan) is OFF.
The pan parameter (EDIT:Internal Part Parameter:Pan) will change.
9nH
vvH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
❍Expression (Controller number 11)
vv = note on velocity:
Status
BnH
2nd byte
0BH
3rd byte
vvH
●Control Change
n = MIDI channel number:
vv = Expression:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
If the corresponding Controller number is selected for the Control Source parameter
(EDIT:CONTROL/EQ:Src), the corresponding effect will occur.
❍ General Purpose Controller 1 (Controller number 16)
❍Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
10H
3rd byte
vvH
Status
BnH
2nd byte
00H
3rd byte
mmH
n = MIDI channel number:0H - FH (ch.1 - 16)
vv = Control value: 00H - 7FH (0 - 127)
BnH
20H
llH
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
00 00H - 7F 7FH (bank.1 - bank.16384)
*
Initial function is MFX Control.
*
Not received when the Rx Bank Select (EDIT:Internal Part Parameter:Rx Bank Select) is
❍Hold 1 (Controller number 64)
OFF.
Status
BnH
2nd byte
40H
3rd byte
*
*
The SETUP, Rhythms, and Tones corresponding to each Bank Select are as follows.
The SRX series corresponding to each Bank Select are to see the SRX series owner’s
manual.
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
BANK SELECT
MSB | LSB
| PROGRAM
| NUMBER
| GROUP
|
| NUMBER
|
*
Not received when the Rx Hold-1 (EDIT:Internal Part Parameter:Rx Hold-1) is OFF.
-----+-----------+-----------+----------------------+-----------
000 |
| 001 - 128 | GM Patch
|
:
|
|
|
|
❍Portamento (Controller number 65)
Status
BnH
032 |
| 001 - 128 | GM Patch
| 001 - 100 | SETUP
|
085 | 000
| 064
| 001 - 100
2nd byte
41H
3rd byte
| 001
| One Touch Piano SETUP| 001
vvH
086 | 064
087 | 064
| 065
| 001 - 004 | Rhythm Set
| 001 - 019 | Tone (PIANO)
| 001 - 020 | Tone (E.PIANO)
| 001 - 020 | Tone (CALV/MALLET)
| 001 - 030 | Tone (ORGAN)
| 001 - 020 | Tone (STRINGS)
| 001 - 020 | Tone (PAD)
| 001 - 030 | Tone (GTR/BASS)
| 001 - 020 | Tone (BRASS/WINDS)
| 001 - 020 | Tone (VOICE/SYNTH)
| 200 - 203
| 001 - 019
| 020 - 039
| 040 - 059
| 060 - 089
| 090 - 109
| 110 - 129
| 130 - 159
| 160 - 179
| 180 - 199
|
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
| 066
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
| 067
| 068
| 069
| 070
*
The Portamento Sw parameter (EDIT:Tone Edit:Portament Sw) will change.
| 071
| 072
|
:
|
|
:
❍Sostenuto (Controller number 66)
Status
BnH
092 | 000 -
| 001 -
| SRX Rhythm
| 001 -
|
:
|
|
:
|
2nd byte
42H
3rd byte
093 | 000 -
| 001 -
|
| SRX Patch
| 001 -
|
:
|
:
|
vvH
120 |
| 001 - 057 | GM Rhythm
| 001 - 128 | GM Patch
| 204 - 212
| 213 - 468
121 | 000 -
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
❍Modulation (Controller number 1)
Status
BnH
2nd byte
01H
3rd byte
vvH
❍Soft (Controller number 67)
Status
BnH
2nd byte
43H
3rd byte
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
*
Not received when the Rx Modulation (EDIT:Internal Part Parameter:Rx Modulation) is
OFF.
❍Resonance (Controller number 71)
Status
BnH
2nd byte
47H
3rd byte
❍Portamento Time (Controller number 5)
vvH
Status
BnH
2nd byte
05H
3rd byte
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63),
vvH
vv= Resonance value (relative change):
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
The Resonanse parameter (EDIT:Tone Edit:Resonance) will change.
*
The Portament Time parameter (EDIT:Tone Parameter:Portament Time) will change.
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MIDI Implementation
❍Release Time (Controller number 72)
❍Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
48H
3rd byte
Status
BnH
2nd byte
5DH
3rd byte
vvH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
n = MIDI channel number:
vv = Chorus Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
vv = Release Time value (relative change): 00H - 7FH (-64 - 0 - +63),
*
The Release Time parameter (EDIT:Tone Edit:Release Time) will change.
*
The Chorus Amount parameter (EDIT:Tone Edit:Chorus Amount) will change.
❍Attack time (Controller number 73)
❍RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
49H
3rd byte
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
BnH
64H
vv = Attack time value (relative change): 00H - 7FH (-64 - 0 - +63),
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
<<< RPN >>>
*
The Attack Time parameter (EDIT:Tone Edit:Attack Time) will change.
❍Cutoff (Controller number 74)
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
Status
BnH
2nd byte
4AH
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63)
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
vv = Cutoff value (relative change):
*
The Cutoff parameter (EDIT:Tone Edit:Cutoff) will change.
❍Decay Time (Controller number 75)
Status
BnH
2nd byte
4BH
3rd byte
This device receives the following RPNs.
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
RPN
Data entry
MSB, LSB
mmH, llH
vv = Decay Time value (relative change): 00H - 7FH (-64 - 0 - +63)
The decay time will change in GM mode.
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
*
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Up to 2 octave can be specified in semitone steps.
❍Vibrato Rate (Controller number 76)
Status
BnH
2nd byte
4CH
3rd byte
*
The Bend Range parameter (EDIT:Tone Edit:Bend
Range) will change.
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Rate value (relative change): 00H - 7FH (-64 - 0 - +63)
The vibrato rate will change in GM mode.
00H, 01H
00H, 02H
mmH, llH
mmH, llH
Channel Fine Tuning
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
*
*
The Fine Tune parameter (EDIT:Tone Edit:Fine Tune)
will change.
❍Vibrato Depth (Controller number 77)
Status
BnH
2nd byte
4DH
3rd byte
vvH
Channel Coarse Tuning
n = MIDI channel number:
0H - FH (ch.1 - 16)
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
vv = Vibrato Depth Value (relative change):00H - 7FH (-64 - 0 - +63)
The vibrato depth will change in GM mode.
*
The Coarse Tune parameter (EDIT:Tone Edit:Coarse
Tune) will change.
*
❍Vibrato Delay (Controller number 78)
00H, 05H
7FH, 7FH
mmH, llH
---, ---
Modulation Depth Range
Status
BnH
2nd byte
4EH
3rd byte
mm, ll: 00 00H - 06 00H ( 0 - 16384 * 600 / 16384 cent)
vvH
*
The modulation depth range will change in GM mode.
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Vibrato Delay value (relative change):00H - 7FH (-64 - 0 - +63)
The vibrato delay will change in GM mode.
RPN null
RPN and NRPN will be set as “unspecified.” Once this
setting has been made, subsequent Parameter values that
were previously set will not change.
mm, ll: ignored
*
❍Portamento Control (Controller number 84)
Status
BnH
2nd byte
54H
3rd byte
kkH
●Program Change
Status
n = MIDI channel number:
kk = source note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
2nd byte
CnH
ppH
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
*
*
A
Note-on received immediately after
a
Portamento Control message will change
00H - 7FH (prog.1 - prog.128)
continuously in pitch, starting from the pitch of the Source Note Number.
If a voice is already sounding for a note number identical to the Source Note Number,
this voice will continue sounding (i.e., legato) and will, when the next Note-on is
received, smoothly change to the pitch of that Note-on.
*
Not received when the Rx Program Change parameter (EDIT:Internal Part Parameter:Rx
Program Chanage) is OFF.
*
The rate of the pitch change caused by Portamento Control is determined by the
Portamento Time value.
●Pitch Bend Change
Status
2nd byte
3rd byte
EnH
llH
mmH
❍Effect 1 (Reverb Send Level) (Controller number 91)
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
Status
BnH
2nd byte
5BH
3rd byte
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
vvH
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
Not received when the Rx Bender parameter (EDIT:Internal Part Parameter:Rx Bender)
is OFF.
*
The Reverb Amount parameter (EDIT:Tone Edit:Reverb Amount) will change.
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MIDI Implementation
■Channel Mode Messages
■System Realtime Message
●All Sounds Off (Controller number 120)
●Timing Clock
Status
Status
2nd byte
3rd byte
BnH
78H
00H
F8H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
This message will be received if the Clock Source parameter (EDIT:SYSTEM:Clock
Source) is MIDI.
*
When this message is received, all notes currently sounding on the corresponding
channel will be turned off.
●Active Sensing
●Reset All Controllers (Controller number 121)
Status
Status
2nd byte
3rd byte
FEH
BnH
79H
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
When this message is received, the following controllers will be set to their reset values.
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further messages. While monitoring, if the interval between messages exceeds 420 ms,
the same processing will be carried out as when All Sounds Off, All Notes Off and Reset
All Controllers are received, and message interval monitoring will be halted.
*
Controller
Pitch Bend Change
Channel Pressure
Modulation
Breath Type
Expression
Hold 1
Reset value
0 (center)
■System Exclusive Message
0 (off)
Status
F0H
Data byte
Status
F7H
0 (off)
iiH, ddH, ......,eeH
0 (min)
F0H:
System Exclusive Message status
127 (max)
0 (off)
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
Sostenuto
Soft
0 (off)
0 (off)
Hold 2
0 (off)
RPN
unset; previously set data will not change
unset; previously set data will not change
NRPN
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
●All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
Of the System Exclusive messages received by this device, the Universal Non-realtime
messages and the Universal Realtime messages and the Data Request (RQ1) messages and
the Data Set (DT1) messages will be set automatically.
BnH
7BH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However, if Hold 1 or Sostenuto is ON, the sound will be continued until these are
turned off.
●Universal Non-realtime System Exclusive Messages
❍Identity Request Message
Status
F0H
Data byte
Status
F7H
●OMNI OFF (Controller number 124)
7EH, dev, 06H, 01H
Status
2nd byte
3rd byte
BnH
7CH
00H
Byte
F0H
7EH
dev
Explanation
n = MIDI channel number: 0H - FH (ch.1 - 16)
The same processing will be carried out as when All Notes Off is received.
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (dev: 00H - 1FH (1 - 32), the initial value is 10H (17).)
Sub ID#1 (General Information)
*
06H
01H
F7H
●OMNI ON (Controller number 125)
Status
Sub ID#2 (Identity Request)
EOX (End Of Exclusive)
2nd byte
3rd byte
BnH
7DH
00H
*
When this message is received, Identity Reply message (p. 153) will be transmitted.
n = MIDI channel number: 0H - FH (ch.1 - 16)
❍GM1 System On
*
The same processing will be carried out as when All Notes Off is received. OMNI ON
will not be turned on.
Status
F0H
Data byte
Status
F7H
7EH, 7FH, 09H, 01H
●MONO (Controller number 126)
Byte
F0H
7EH
7FH
09H
01H
F7H
Explanation
Status
2nd byte
3rd byte
Exclusive status
BnH
7EH
mmH
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - 16)
00H - 10H (0 - 16)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 1 On)
EOX (End Of Exclusive)
*
*
The same processing will be carried out as when All Notes Off is received.
The Mono/Poly parameter (EDIT:Tone Edit:Mono/Poly) will change.
*
*
When this messages are received, this instrument will turn to the GM mode.
Not received when the Rx GM1 System On parameter (EDIT:System:Rx GM1 System
ON) is OFF.
●POLY (Controller number 127)
Status
2nd byte
3rd byte
BnH
7FH
00H
n = MIDI channel number: 0H - FH (ch.1 - 16)
*
*
The same processing will be carried out as when All Notes Off is received.
The Mono/Poly parameter (EDIT:Tone Edit:Mono/Poly) will change.
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MIDI Implementation
❍GM2 System On
❍Master Coarse Tuning
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
7EH 7FH 09H 03H
7FH, 7FH, 04H, 04H, llH, mmH
F7H
Byte
F0H
7EH
7FH
09H
03H
F7H
Explanation
Byte
F0H
7FH
7FH
04H
04H
llH
Explanation
Exclusive status
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI 2 On)
EOX (End Of Exclusive)
Sub ID#1 (Device Control)
Sub ID#2 (Master Coarse Tuning)
Master Coarse Tuning LSB
Master Coarse Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
llH:
*
*
When this messages is received, this instrument will turn to the GM mode.
Not received when the Rx GM2 System On parameter (EDIT:System:Rx GM2 System
ON) is OFF.
ignored (processed as 00H)
28H - 40H - 58H (-24 - 0 - +24 [semitones])
mmH:
❍GM System Off
Status
F0H
●Global Parameter Control
Data byte
Status
F7H
*
Not Received when the GM Mode is OFF.
7EH, 7F, 09H, 02H
❍Reverb Parameters
Byte
F0H
7EH
7FH
09H
02H
F7H
Explanation
Status
F0H
Data byte
Status
F7H
Exclusive status
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 01H, ppH, vvH
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
Sub ID#1 (General MIDI Message)
Sub ID#2 (General MIDI Off)
EOX (End Of Exclusive)
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
01H
ppH
vvH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
*
When this messages is received, this instrument will return to Normal mode.
●Universal Realtime System Exclusive Messages
Parameter ID width
❍Master Volume
Status
F0H
Value width
Data byte
Status
F7H
Slot path MSB
7FH, 7FH, 04H, 01H, llH, mmH
Slot path LSB (Effect 0101: Reverb)
Parameter to be controlled.
Value for the parameter.
pp=0 Reverb Type
Byte
F0H
7FH
7FH
04H
01H
llH
Explanation
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
vv = 00H Small Room
vv = 01H Medium Room
vv = 02H Large Room
vv = 03H Medium Hall
vv = 04H Large Hall
vv = 08H Plate
Sub ID#1 (Device Control messages)
Sub ID#2 (Master Volume)
Master Volume lower byte
Master Volume upper byte
EOX (End Of Exclusive)
mmH
F7H
pp=1 Reverb Time
vv = 00H - 7FH 0 - 127
EOX (End Of Exclusive)
*
*
The lower byte (llH) of Master Volume will be handled as 00H.
F7H
The Master Volume parameter (EDIT:System:Master Volume) will change.
❍Chorus Parameters
❍Master Fine Tuning
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 04H, 05H, 01H, 01H,
01H, 01H, 02H, ppH, vvH
7FH, 7FH, 04H, 03H, llH, mmH
Byte
F0H
7FH
7FH
04H
03H
llH
Explanation
Byte
F0H
7FH
7FH
04H
05H
01H
01H
01H
01H
02H
ppH
vvH
Explanation
Exclusive status
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Device Control)
Sub ID#2 (Global Parameter Control)
Slot path length
Sub ID#1 (Device Control)
Sub ID#2 (Master Fine Tuning)
Master Fine Tuning LSB
Master Fine Tuning MSB
EOX (End Of Exclusive)
mmH
F7H
Parameter width
Value width
mm, ll: 00 00H - 40 00H - 7F 7FH (-100 - 0 - +99.9 [cents])
Slot path MSB
Slot path LSB (Effect 0102: Chorus)
Parameter to be controlled.
Value for the parameter.
pp=0 Chorus Type
vv=0 Chorus1
vv=1 Chorus2
vv=2 Chorus3
vv=3 Chorus4
vv=4 FB Chorus
vv=5 Flanger
pp=1 Mod Rate
vv= 00H - 7FH 0 - 127
pp=2 Mod Depth
vv = 00H - 7FH 0 - 127
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MIDI Implementation
pp=3 Feedback
ssH
12 byte tuning offset of 12 semitones from C to B
00H = -64 [cents]
vv = 00H - 7FH 0 - 127
pp=4 Send To Reverb
vv = 00H - 7FH 0 - 127
40H = 0 [cents] (equal temperament)
7FH = +63 [cents]
F7H
EOX (End Of Exclusive)
F7H
EOX (End Of Exclusive)
❍Channel Pressure
❍Key-based Instrument Controllers
Status
F0H
Data byte
Status
F7H
Status
F0H
Data byte
Status
F7H
7FH, 7FH, 09H, 01H, 0nH, ppH, rrH
7FH, 7FH, 0AH, 01H, 0nH, kkH, nnH, vvH
Byte
F0H
7FH
7FH
09H
01H
0nH
ppH
rrH
Explanation
Byte
F0H
7FH
7FH
0AH
01H
0nH
kkH
nnH
vvH
Explanation
Exclusive status
Exclusive status
ID number (universal realtime message)
Device ID (Broadcast)
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Key-Based Instrument Control)
Sub ID#2 (Controller)
MIDI Channel (00 - 0F)
Key Number
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Channel Pressure)
MIDI Channel (00 - 0F)
Controlled parameter
Controlled range
Control Number
pp=0 Pitch Control
Value
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
pp=3 LFO Pitch Depth
nn=07H Level
vv = 00H - 7FH
nn=0AH
0 - 200% (Relative)
Pan
vv = 00H - 7FH
nn=5BH
Left - Right (Absolute)
Reverb Send
vv = 00H - 7FH
nn=5D
0 - 127 (Absolute)
Chorus Send
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
vv = 00H - 7FH
:
0 - 127 (Absolute)
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
EOX (End Of Exclusive)
:
F7
EOX (End Of Exclusive)
This parameter affects drum instruments only.
F7H
*
❍Controller
Status
●Data Transmission
Data byte
Status
This instrument can use exclusive messages to exchange many varieties of internal settings
F0H
7FH, 7FH, 09H, 03H, 0nH, ccH, ppH, rrH
F7H
with other devices.
The model ID of the exclusive messages used by this instrument is 00H 43H.
Byte
F0H
7FH
7FH
09H
03H
0nH
ccH
ppH
rrH
Explanation
Exclusive status
❍Data Request 1RQ1 (11H)
This message requests the other device to transmit data. The address and size indicate the
type and amount of data that is requested.
ID number (universal realtime message)
Device ID (Broadcast)
Sub ID#1 (Controller Destination Setting)
Sub ID#2 (Control Change)
MIDI Channel (00 - 0F)
When a Data Request message is received, if the device is in a state in which it is able to
transmit data, and if the address and size are appropriate, the requested data is transmitted
as a Data Set 1 (DT1) message. If the conditions are not met, nothing is transmitted.
Controller number (01 - 1F, 40 - 5F)
Controlled parameter
Status
F0H
data byte
status
F7H
Controlled range
41H, dev, 00H, 43H, 11H, aaH, bbH, ccH,
ddH, ssH, ttH, uuH, vvH, sum
pp=0 Pitch Control
rr = 28H - 58H -24 - +24 [semitones]
pp=1 Filter Cutoff Control
rr = 00H - 7FH -9600 - +9450 [cents]
pp=2 Amplitude Control
rr = 00H - 7FH 0 - 200%
Byte
F0H
41H
dev
Remarks
Exclusive status
ID number (Roland)
devdevice ID (dev: 10H - 1FH, 7FH)
model ID #1 (RD-700)
model ID #2 (RD-700)
command ID (RQ1)
address MSB
address
pp=3 LFO Pitch Depth
00H
43H
11H
aaH
bbH
ccH
ddH
ssH
ttH
rr = 00H - 7FH 0 - 600 [cents]
pp=4 LFO Filter Depth
rr = 00H - 7FH 0 - 2400 [cents]
pp=5 LFO Amplitude Depth
rr = 00H - 7FH 0 - 100%
address
F7H
EOX (End Of Exclusive)
address LSB
size MSB
❍Scale/Octave Tuning Adjust
Status
F0H
size
Data byte
Status
F7H
uuH
vvH
sum
F7H
size
7EH, 7FH, 08H, 08H, ffH, ggH, hhH, ssH...
size LSB
checksum
Byte
F0H
7EH
7FH
08H
08H
ffH
Explanation
EOX (End Of Exclusive)
Exclusive status
ID number (Universal Non-realtime Message)
Device ID (Broadcast)
*
The size of data that can be transmitted at one time is fixed for each type of data. And
data requests must be made with a fixed starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 153).
Sub ID#1 (MIDI Tuning Standard)
Sub ID#2 (scale/octave tuning 1-byte form)
Channel/Option byte 1
bits 0 to 1 = channel 15 to 16
bit 2 to 6 = Undefined
*
*
For the checksum, refer to (p. 160).
Not Received when the GM Mode is ON.
ggH
hhH
Channel byte 2
bits 0 to 6 = channel 8 to 14
Channel byte 3
bits 0 to 6 = channel 1 to 7
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MIDI Implementation
❍Data set 1DT1
2. Data Transmission
This is the message that actually performs data transmission, and is used when you wish to
transmit the data.
■Channel Voice Messages
Status
F0H
Data byte
Status
F7H
●Note off
Status
41H, dev, 00H, 43H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
2nd byte
kkH
3rd byte
8nH
40H
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Byte
F0H
41H
dev
Explanation
Exclusive status
ID number (Roland)
*
Note off message is sent out with the velocity of 40H.
Device ID (dev: 00H - 1FH, 7FH, Initial value is 10H)
00H
43H
12H
aaH
bbH
Model ID #1 (RD-700)
●Note on
Model ID #2 (RD-700)
Status
2nd byte
kkH
3rd byte
Command ID (DT1)
9nH
vvH
Address MSB: upper byte of the starting address of the data to be sent
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
Address: upper middle byte of the starting address of the data to be
sent
vv = note on velocity:
ccH
Address: lower middle byte of the starting address of the data to be
sent
●Control Change
ddH
eeH
Data: the actual data to be sent. Multiple bytes of data are transmitted
*
By selecting
a
controller number that corresponds to the setting of parameters of
in order starting from the address.
controllers (Control Src, Foot Controller Assign), the RD-700 can transmit any control
change message.
:
:
ffH
sum
F7H
Data
*
These messages are not transmitted when MIDI Tx Parameter is OFF.
Checksum
❍Bank Select (Controller number 0, 32)
EOX (End Of Exclusive)
Status
BnH
2nd byte
00H
3rd byte
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 153).
mmH
BnH
20H
llH
n = MIDI channel number:
mm, ll = Bank number:
0H - FH (ch.1 - 16)
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
00 00H - 7F 7FH (bank.1 - bank.16384)
*
*
Regarding the checksum, please refer to (p. 160)
*
When Rec Mode is ON (EDIT:Utility:Rec Setting:Rec Mode), these messages are
transmitted when Tone is selected.
Not Received when the GM Mode is ON.
*
*
These messages are transmitted when Bank Select parameter is Set on MIDI Tx Part.
The Bank Select Numbers corresponding to SRX series should be referred to the SRX
series owner’s manual.
❍Data set 1DT1 (GM Mode)
Status
F0H
Data byte
Status
F7H
41H, dev, 42H, 12H, aaH, bbH, ccH,
ddH, ... eeH, sum
❍Modulation (Controller number 1)
Status
BnH
2nd byte
01H
3rd byte
Byte
F0H
41H
dev
Explanation
vvH
Exclusive status
ID number (Roland)
Device ID (dev: 10H)
Model ID (GS)
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
42H
12H
aaH
*
These messages are transmitted when Modulation lever is operated.
Command ID (DT1)
❍Portamento Time (Controller number 5)
Address MSB: upper byte of the starting address of the transmitted
Status
BnH
2nd byte
05H
3rd byte
data
vvH
bbH
ccH
Address: middle byte of the starting address of the transmitted data
n = MIDI channel number:
vv = Portamento Time:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
Address LSB: lower byte of the starting address of the transmitted
data
ddH
Data: the actual data to be transmitted. Multiple bytes of data are
*
These messages are transmitted when Portament Time is set in MIDI Tx Mode.
transmitted starting from the address.
:
:
❍Data Entry (Controller number 6, 38)
eeH
sum
F7H
Data
Status
BnH
2nd byte
06H
3rd byte
mmH
llH
Checksum
EOX (End Of Exclusive)
BnH
26H
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm, ll = the value of the parameter specified by RPN/NRPN
mm = MSB, ll = LSB
*
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 153).
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
*
These messages are transmitted when Bend Range value is set in MIDI Tx Mode.
*
*
Regarding the checksum, please refer to (p. 160)
❍Volume (Controller number 7)
Not Received when the GM Mode is OFF.
Status
BnH
2nd byte
07H
3rd byte
vvH
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
*
These messages are transmitted when PART VOLUME Slider is operated.
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MIDI Implementation
❍Panpot (Controller number 10)
❍Effect 1 (Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
0AH
3rd byte
Status
BnH
2nd byte
5BH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Panpot:
0H - FH (ch.1 - 16)
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 40H - 7FH (Left - Center - Right)
*
These messages are transmitted when Pan value is set in MIDI Tx Mode.
*
These messages are transmitted when Reverb value is set in MIDI Tx Mode.
❍Hold 1 (Controller number 64)
❍Effect 3 (Chorus Send Level) (Controller number 93)
Status
BnH
2nd byte
40H
3rd byte
Status
BnH
2nd byte
5DH
3rd byte
vvH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
vv = Reverb Send Level:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
*
These messages are transmitted when Damper pedal is operated.
*
These messages are transmitted when Chorus value is set in MIDI Tx Mode.
❍Portamento (Controller number 65)
❍RPN MSB/LSB (Controller number 100, 101)
Status
BnH
2nd byte
41H
3rd byte
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
BnH
64H
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
n = MIDI channel number: 0H - FH (ch.1 - 16)
mm = upper byte (MSB) of parameter number specified by RPN
ll = lower byte (LSB) of parameter number specified by RPN
*
These messages are transmitted when Portament Swicth is set in MIDI Tx Mode.
❍Sostenuto (Controller number 66)
<<< RPN >>>
Status
BnH
2nd byte
42H
3rd byte
Control Changes include RPN (Registered Parameter Numbers), which are extended.
When using RPNs, first RPN (Controller numbers 100 and 101; they can be sent in any
order) should be sent in order to select the parameter, then
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
Data Entry (Controller numbers 6 and 38) should be sent to set the value. Once RPN
messages are received, Data Entry messages that is received at the same MIDI channel after
that are recognized as changing toward the value of the RPN messages. In order not to
make any mistakes, transmitting RPN Null is recommended after setting parameters you
need.
*
These messages are transmitted when Foot Contolloer 2 is operated in One Touch Piano
Mode.
❍Soft (Controller number 67)
Status
BnH
2nd byte
43H
3rd byte
This device transmits the following RPNs.
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - 16)
RPN
Data entry
MSB, LSB
mmH, llH
00H - 7FH (0 - 127) 0 - 63 = OFF, 64 - 127 = ON
MSB, LSB
00H, 00H
Notes
Pitch Bend Sensitivity
*
These messages are transmitted when Foot Contolloer 1 is operated in One Touch Piano
Mode.
mm: 00H - 18H (0 - 24 semitones)
ll: ignored (processed as 00H)
Channel Fine Tuning
00H, 01H
00H, 02H
00H, 05H
7FH, 7FH
mmH, llH
mmH, llH
mmH, llH
---, ---
❍Resonance (Controller number 71)
Status
BnH
mm, ll: 20 00H - 40 00H - 60 00H
(-4096 x 100 / 8192 - 0 - +4096 x 100 / 8192 cent)
Channel Coarse Tuning
2nd byte
47H
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63)
mm: 10H - 40H - 70H (-48 - 0 - +48 semitones)
ll: ignored (processed as 00H)
Modulation Depth Range
vv= Resonance value (relative change):
*
These messages are transmitted when Resonance value is set in MIDI Tx Mode.
mm, ll: 00 00H - 06 00H
(0 - 16384 x 600 / 16384 cent)
RPN null
❍Release Time (Controller number 72)
Status
BnH
2nd byte
48H
3rd byte
RPN and NRPN will be set as “unspecified.”
Once this setting has been made, subsequent
vvH
n = MIDI channel number:
0H - FH (ch.1 - 16)
vv = Release Time value (relative change): 00H - 7FH (-64 - 0 - +63)
These messages are transmitted when Release Time is set in MIDI Tx Mode.
●Program Change
Status
2nd byte
*
CnH
ppH
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - 16)
❍Attack time (Controller number 73)
00H - 7FH (prog.1 - prog.128)
Status
BnH
2nd byte
49H
3rd byte
vvH
*
*
When Rec Mode is ON (EDIT:Utility:Rec Setting:Rec Mode), these messages are
n = MIDI channel number:
0H - FH (ch.1 - 16)
transmitted when Tone is selected.
vv = Attack time value (relative change): 00H - 7FH (-64 - 0 - +63)
These messages are transmitted when Attack Time is set in MIDI Tx Mode.
These messages are transmitted when Program Change parameter is Set on MIDI Tx
Part.
*
●Pitch Bend Change
❍Cutoff (Controller number 74)
Status
2nd byte
3rd byte
Status
BnH
2nd byte
4AH
3rd byte
EnH
llH
mmH
vvH
n = MIDI channel number:
mm, ll = Pitch Bend value:
0H - FH (ch.1 - 16)
n = MIDI channel number:
0H - FH (ch.1 - 16)
00H - 7FH (-64 - 0 - +63)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
vv = Cutoff value (relative change):
*
These messages are transmitted when Cutoff value is set in MIDI Tx Mode.
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MIDI Implementation
■System Realtime Messages
3. Parameter Address Map
*
Transmission of “#” marked address is divided to some packets. For example, ABH in
hexadecimal notation will be divided to 0AH and 0BH, and is sent/received in this
order.
●Continue
Status
FBH
1 RD-700 (Model ID = 00H 43H)
*
This message is sent on START operation when START/STOP function is selected on
Foot Controller.
❍Indivisual Parameters
●Stop
Status
*
*
*
These messages are transmitted when Bulk Dump Temporary funcion is executed.
Please don’t use a parameter or a address marked <Reserved>.
FCH
The parameters for Setup are temporary. If you want to leave the parameters after the
RD-700 is turned off , execute SETUP Write.
*
This message is sent on STOP operation when START/STOP function is selected on Foot
Controller.
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
●Active Sensing
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 00 | System
|—————————————+————————————————————————————————————————————————————————————————|
Status
|
FEH
| 10 00 00 00 | Setup (Temporary)
|
+——————————————————————————————————————————————————————————————————————————————+
*
This message is transmitted at intervals of approximately 250 msec.
❍System
+——————————————————————————————————————————————————————————————————————————————+
■System Exclusive Messages
Universal Non-realtime System Exclusive Message” and Data Set 1 (DT1) are the only
System Exclusive messages transmitted by the RD-700.
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
00 00 00 | System Common
00 10 00 | System Onetouch Piano Tone Backup
|
|
+——————————————————————————————————————————————————————————————————————————————+
●Universal Non-realtime System Exclusive Message
❍Identity Reply Message
❍Setup
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Receiving Identity Request Message, the RD-700 send this message.
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
Status
F0H
Data byte
Status
F7H
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | Setup Common
02 00 | Setup Common MFX
04 00 | Setup Common Chorus
06 00 | Setup Common Reverb
10 00 | Setup Local Part (Upper1)
11 00 | Setup Local Part (Upper2)
12 00 | Setup Local Part (Lower)
13 00 | Setup MIDI Tx Part (Upper1)
14 00 | Setup MIDI Tx Part (Upper2)
15 00 | Setup MIDI Tx Part (Lower)
16 00 | Setup MIDI Tx Part (Rhythm)
20 00 | Setup Internal Part (Part: 01)
21 00 | Setup Internal Part (Part: 02)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7EH, dev, 06H, 02H, 41H, 43H, 01H,
00H, 00H, 00H, 01H, 00H, 00H
Byte
Explanation
F0H
Exclusive status
7EH
ID number (Universal Non-realtime Message)
Device ID (use the same as the device ID of Roland)
Sub ID#1 (General Information)
Sub ID#2 (Identity Reply)
dev
:
|
06H
2F 00 | Setup Internal Part (Part: 16)
02H
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
40 00 | Setup Internal Part 1 Tone Backup
41 00 | Setup Internal Part 2 Tone Backup
|
|
|
|
41H
ID number (Roland)
:
|
43H 01H
00H 00H
Device family code (RD-700)
4F 00 | Setup Internal Part 16 Tone Backup
|—————————————+————————————————————————————————————————————————————————————————|
Device family number code (RD-700)
|
|
|
|
60 00 | Setup Tone Wheel 1 Backup
61 00 | Setup Tone Wheel 2 Backup
|
|
|
|
00H 01H 00H 00H Software revision level
F7H EOX (End of Exclusive)
:
|
69 00 | Setup Tone Wheel 10 Backup
+——————————————————————————————————————————————————————————————————————————————+
●Data Transmission
❍System Common
❍Data set 1DT1 (12H)
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
Status
F0H
Data byte
Status
F7H
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
41H, dev, 00H, 43H, 12H, aaH, bbH,
ccH, ddH, eeH, ... ffH, sum
|#
|
00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | Master Tune
(24 — 2024) |
|
|
|
—100.0 — 100.0 [cent]
|
Byte
F0H
41H
dev
Explanation
|
00 04 | 0aaa aaaa | Master Level
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
Exclusive status
ID number (Roland)
|
|
00 05 | 000a aaaa | Setup Control Channel
(0 — 16) |
1 — 16, OFF |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 06 | 0000 000a | Clock Source
(0 — 1) |
INT, MIDI |
Device ID (dev: 00H - 1FH, Initial value is 10H)
|
|
00H
43H
12H
aaH
bbH
Model ID #1 (RD-700)
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 07 | 0000 000a | Damper Polarity
(0 — 1) |
Model ID #2 (RD-700)
|
|
STANDARD, REVERSE
|
00 08 | 0000 000a | FC1 Polarity
(0 — 1) |
Command ID (DT1)
|
|
STANDARD, REVERSE
|
00 09 | 0000 000a | FC2 Polarity
(0 — 1) |
Address MSB: upper byte of the starting address of the data to be sent
|
|
STANDARD, REVERSE
|
|—————————————+———————————+————————————————————————————————————————————————————|
Address: upper middle byte of the starting address of the data to be
|
|
00 0A | 0000 000a | EQ Control
(0 — 1) |
SETUP, SYSTEM |
sent
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
ccH
Address: lower middle byte of the starting address of the data to be
|
|
|
|
|
|
|
|
00 0B | 0000 000a | Tone Remain
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
|
|
sent
00 0C | 0000 000a | Receive GM1 System On
|
|
|
ddH
eeH
Address LSB: lower byte of the starting address of the data to be sent.
00 0D | 0000 000a | Receive GM2 System On
|
|
|
Data: the actual data to be sent. Multiple bytes of data are transmitted
00 0E | 0000 000a | Receive GS Reset
in order starting from the address.
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
:
:
|
|
|
|
|
|
00 0F | 0000 aaaa | One Touch Piano Tone
(0 — 15) |
1 — 16 |
(0 — 127) |
|
|
ffH
sum
F7H
Data
00 10 | 0aaa aaaa | One Touch Piano Reverb Level
|
|
|
|
|
Checksum
00 11 | 0aaa aaaa | <Reserved>
|
|
EOX (End Of Exclusive)
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 12 | Total Size
|
+——————————————————————————————————————————————————————————————————————————————+
*
The amount of data that can be transmitted at one time depends on the type of data, and
data will be transmitted from the specified starting address and size. Refer to the address
and size given in “Parameter Address Map” (p. 153).
*
Data larger than 256 bytes will be divided into packets of 256 bytes or less, and each
packet will be sent at an interval of about 20 ms.
153
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MIDI Implementation
|
|
|
|
|
|
00 3E | 0aaa aaaa | Control Source
(0 — 97) |
❍System Onetouch Piano Tone Backup
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT
|
00 3F | 0000 00aa | Control Assgin
(0 — 3) |
| Offset
|
|
|
|
|
|
|
OFF, MFX CONTROL, |
|
Address |
Description
TONE CONTROL, TEMPO CONTROL
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 00aa aaaa | Piano Stereo Width
00 01 | 0000 aaaa | Piano Nuance
(0 — 63) |
(0 — 3) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 40 | 0000 000a | EQ Switch
(0 — 1) |
|
|
BYPASS, ON
|
|
|
OFF, TYPE1, TYPE2, TYPE3
|
(0 — 5) |
(0 — 1) |
00 41 | 0000 000a | EQ Low Frequency
(0 — 1) |
00 02 | 0000 0aaa | Piano Ambience
00 03 | 0000 000a | Piano EQ Switch
|
|
200, 400 [Hz]
|
00 42 | 0aaa aaaa | EQ Low Gain
(4 — 124) |
|
|
BYPASS, ON
|
|
|
—12.0 — +12.0[dB] (1step = 0.2dB)
|
00 04 | 000a aaaa | Piano EQ Frequency
(0 — 16) |
00 43 | 000a aaaa | EQ Mid Frequency
(0 — 16) |
|
|
|
|
|
|
200, 250, 315, 400, 500, 630, 800, |
1000, 1250, 1600, 2000, 2500, |
|
|
|
|
|
|
200, 250, 315, 400, 500, 630, 800, |
1000, 1250, 1600, 2000, 2500, |
3150, 4000, 5000, 6300, 8000[Hz]
|
3150, 4000, 5000, 6300, 8000[Hz]
|
00 05 | 0aaa aaaa | Piano EQ Mid Gain
(0 — 30) |
00 44 | 0aaa aaaa | EQ Mid Gain
(4 — 124) |
|
|
—15.0 — +15.0[dB] (1step = 1dB)
|
|
|
—12.0 — +12.0[dB] (1step = 0.2dB)
|
00 06 | 0000 0aaa | Piano EQ Mid Q
(0 — 4) |
00 45 | 0000 0aaa | EQ Mid Q
(0 — 4) |
|
|
0.5, 1.0, 2.0, 4.0, 8.0
|
|
|
0.5, 1.0, 2.0, 4.0, 8.0
|
|—————————————+————————————————————————————————————————————————————————————————|
00 46 | 0000 00aa | EQ High Frequency
(0 — 2) |
| 00 00 00 07 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
2000, 4000, 8000 [Hz]
|
00 47 | 0aaa aaaa | EQ High Gain
(4 — 124) |
|
|
—12.0 — +12.0[dB] (1step = 0.2dB)
|
❍Setup Common
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 48 | 0aaa aaaa | Keyboard Velocity
(0 — 127) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
REAL, 1 — 127
|
| Offset
|
|
|
00 49 | 0000 0aaa | Keyboard Sens
(1 — 5) |
|
Address |
Description
|
|
|
|
SUPER LIGHT, LIGHT, |
|—————————————+————————————————————————————————————————————————————————————————|
00 00 | 0aaa aaaa | Setup Name 1 (32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
(32 — 127) |
32 — 127 [ASCII]
|—————————————+———————————+————————————————————————————————————————————————————|
MEDIUM, HEAVY, SUPER HEAVY
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 4A | 000a aaaa | Keyboard Sens offset
(54 — 74) |
—10 — +10
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63 |
|
|
|
|
|
|
00 01 | 0aaa aaaa | Setup Name 2
00 4B | 0aaa aaaa | Key Touch Velocity Delay Sens
|
|
|
|
|
|
00 02 | 0aaa aaaa | Setup Name 3
00 4C | 0aaa aaaa | Key Touch Velocity Key Follow
|
|
|
|
|
00 03 | 0aaa aaaa | Setup Name 4
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 4D | 0000 000a | Transpose Switch
(0 — 1) |
OFF, ON
(23 — 106) |
—41 — +42 |
00 04 | 0aaa aaaa | Setup Name 5
|
|
|
|
|
|
00 4E | 0aaa aaaa | Transpose Value
00 05 | 0aaa aaaa | Setup Name 6
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 06 | 0aaa aaaa | Setup Name 7
|
|
|
|
|
|
00 4F | 0000 00aa | Keyboard Mode (Local)
(0 — 3) |
|
|
|
|
|
SINGLE, LAYER, SPLIT,SPLIT/LAYER
|
|
00 07 | 0aaa aaaa | Setup Name 8
00 50 | 0aaa aaaa | <Reserved>
|
|
|
00 51 | 0000 00aa | Keyboard Mode (External)
(0 — 3) |
SINGLE, LAYER, SPLIT,SPLIT/LAYER
00 08 | 0aaa aaaa | Setup Name 9
|
|
|
|
|
|
|
00 52 | 0aaa aaaa | <Reserved>
00 09 | 0aaa aaaa | Setup Name 10
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 53 | 0aaa aaaa | Rhythm Pattern
00 54 | 0000 00aa | Rhythm Type
(0 — 127) |
(0 — 1) |
00 0A | 0aaa aaaa | Setup Name 11
|
|
|
|
|
1, 2
|
|
|
|
00 0B | 0aaa aaaa | Setup Name 12
00 55 | 0aaa aaaa | <Reserved>
|
|
|
00 56 | 0aaa aaaa | <Reserved>
00 57 | 0aaa aaaa | <Reserved>
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 0C | 0aaa aaaa | Voice Reserve 1
(0 — 64) |
00 58 | 0000 000a | Rhythm Intro/Ending Switch
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
|
0 — 63, FULL
|
|
|
|
00 0D | 0aaa aaaa | Voice Reserve 2
(0 — 64) |
00 59 | 0000 000a | Rhythm Set Change
|
|
0 — 63, FULL
|
|
|
00 0E | 0aaa aaaa | Voice Reserve 3
(0 — 64) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
0 — 63, FULL
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 5A | 0000 00aa | Arpeggio Part
(0 — 3) |
00 0F | 0aaa aaaa | Voice Reserve 4
(0 — 64) |
|
|
UPPER1, UPPER2, LOWER, ALL
|
|
|
0 — 63, FULL
|
00 5B | 0000 000a | Arpeggio Switch
(0 — 1) |
00 10 | 0aaa aaaa | Voice Reserve 5
(0 — 64) |
|
|
OFF, ON
|
|
|
0 — 63, FULL
|
00 5C | 00aa aaaa | Arpeggio Style
(0 — 44) |
1 — 45
(0 — 37) |
1 — 38
(0 — 114) |
1 — 115 |
00 11 | 0aaa aaaa | Voice Reserve 6
(0 — 64) |
|
|
|
|
|
0 — 63, FULL
|
00 5D | 00aa aaaa | Arpeggio Motif
00 12 | 0aaa aaaa | Voice Reserve 7
(0 — 64) |
|
|
|
|
|
0 — 63, FULL
|
00 5E | 0aaa aaaa | Arpeggio Beat Pattern
00 13 | 0aaa aaaa | Voice Reserve 8
(0 — 64) |
|
|
|
|
0 — 63, FULL
|
00 5F | 0aaa aaaa | Arpeggio Accent Rate
00 60 | 0aaa aaaa | Arpeggio Shuffle Rate
00 61 | 0aaa aaaa | Arpeggio Keyboard Velocity
(0 — 100) |
(50 — 90) |
(0 — 127) |
00 14 | 0aaa aaaa | Voice Reserve 9
(0 — 64) |
|
|
0 — 63, FULL
|
00 15 | 0aaa aaaa | Voice Reserve 10
(0 — 64) |
|
|
REAL, 1 — 127
|
|
|
0 — 63, FULL
|
00 62 | 0000 0aaa | Arpeggio Octave Range
(61 — 67) |
00 16 | 0aaa aaaa | Voice Reserve 11
(0 — 64) |
|
|
—3 — +3
(0 — 1) |
OFF, ON
(21 — 108) |
A0 — UPPER
(21 — 108) |
|
|
|
0 — 63, FULL
|
00 63 | 0000 000a | Arpeggio Hold Sw
00 17 | 0aaa aaaa | Voice Reserve 12
(0 — 64) |
|
|
|
|
|
0 — 63, FULL
|
00 64 | 0aaa aaaa | Arpeggio Range Lower
00 18 | 0aaa aaaa | Voice Reserve 13
(0 — 64) |
|
|
|
|
|
0 — 63, FULL
|
00 65 | 0aaa aaaa | Arpeggio Range Upper
00 19 | 0aaa aaaa | Voice Reserve 14
(0 — 64) |
|
|
LOWER — C8
|
|
|
|
|
0 — 63, FULL
|
00 66 | 0000 000a | <Reserved>
00 67 | 000a aaaa | <Reserved>
00 1A | 0aaa aaaa | Voice Reserve 15
(0 — 64) |
|
|
0 — 63, FULL
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 1B | 0aaa aaaa | Voice Reserve 16
(0 — 64) |
|
|
|
|
|
|
|
00 68 | 0000 000a | MFX Switch
(0 — 1) |
|
|
0 — 63, FULL
|
|
|
OFF, ON
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 69 | 0000 0aaa | MFX Source
(0 — 4) |
|#
|
00 1C | 0000 aaaa |
| 0000 bbbb | SETUP Tempo
|
|
|
|
|
FIXED, UPPER1, UPPER2, |
(20 — 250) |
LOWER, RHYTHM
(0 — 2) |
SOURCE PART, SAME MFX PART, ALL |
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 6A | 0000 00aa | MFX Destination
|#
|
|
00 1E | 0000 000a |
| 0000 bbbb |
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 6B | 0000 aaaa | Harmonic Bar Assign (RHYTHM:ON) (1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
1—3/5,2',1—1/3',1'|'
(1 — 9) |
16,5—1/3',8',4',2—2/3',|'
| 0000 cccc | Tone Category 1
(0 — 511) |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|#
|
|
00 21 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 2
(0 — 511) |
00 6C | 0000 aaaa | Harmonic Bar Assign (RHYTHM:OFF)
|#
|
|
00 24 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 3
(0 — 511) |
00 6D | 0000 aaaa | Harmonic Bar Assign (LOWER:ON)
|#
|
|
00 27 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 4
(0 — 511) |
00 6E | 0000 aaaa | Harmonic Bar Assign (LOWER:OFF)
|#
|
|
00 2A | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 5
(0 — 511) |
00 6F | 0000 aaaa | Harmonic Bar Assign (UPPER2:ON)
|#
|
|
00 2D | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 6
(0 — 511) |
00 70 | 0000 aaaa | Harmonic Bar Assign (UPPER2:OFF)
|#
|
|
00 30 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 7
(0 — 511) |
00 71 | 0000 aaaa | Harmonic Bar Assign (UPPER1:ON)
|#
|
|
00 33 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
| 0000 cccc | Tone Category 8
(0 — 511) |
00 72 | 0000 aaaa | Harmonic Bar Assign (UPPER1:OFF)
|#
|
|
00 36 | 0000 000a |
| 0000 bbbb |
|
|
|
|
|
|
|
| 0000 cccc | Tone Category 9
(0 — 511) |
|—————————————+————————————————————————————————————————————————————————————————|
|#
|
|
00 39 | 0000 000a |
| 0000 bbbb |
|
|
| 00 00 00 73 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
| 0000 cccc | Tone Category 10
(0 — 511) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 3C | 0aaa aaaa | FC 1 Assign
(0 — 106) |
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, OCT—UP, OCT—DOWN, |
START/STOP, TAP—TEMPO, |
❍Setup Common MFX
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Address |
Description
RHYTHM START/STOP, RHYTHM TYPE
|
|—————————————+————————————————————————————————————————————————————————————————|
ARPEGGIO ON/OFF, MFX ON/OFF, |
CONTROL SRC, |
|
|
|
|
00 00 | 0aaa aaaa | MFX Type
00 01 | 0aaa aaaa | <Reserved>
00 02 | 0aaa aaaa | <Reserved>
00 03 | 0aaa aaaa | <Reserved>
(0 — 65) |
|
|
|
00 3D | 0aaa aaaa | FC 2 Assign
(0 — 106) |
|
|
|
|
|
|
|
|
|
|
|
|
OFF, CC01 — CC31, CC33 — CC95, |
BEND, AFT, OCT—UP, OCT—DOWN, |
START/STOP, TAP—TEMPO, |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 04 | 000a aaaa | MFX Control Assign
(0 — 16) |
RHYTHM START/STOP, RHYTHM TYPE
|
|
|
OFF, 1 — 16
|
|
|
|
ARPEGGIO ON/OFF, MFX ON/OFF, |
CONTROL SRC, |
|#
|
|
00 05 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
| 0000 cccc |
154
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|
| 0000 dddd | MFX Parameter 1
(12768 — 52768) |
|
| 0000 bbbb |
|
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|
|#
|
00 09 | 0000 aaaa |
| 0000 bbbb |
|
|
| 0000 dddd | MFX Parameter 29
(12768 — 52768) |
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 79 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 2
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 0D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 30
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 7D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 3
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 11 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 31
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
01 01 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 4
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 15 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | MFX Parameter 32
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 5
(12768 — 52768) |
—20000 — +20000
| 00 00 01 05 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 19 | 0000 aaaa |
| 0000 bbbb |
❍Setup Common Chorus
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 6
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
|
|#
|
00 1D | 0000 aaaa |
| 0000 bbbb |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 00 | 0000 aaaa | Chorus Type
(0 — 2) |
(0 — 127) |
(0 — 2) |
|
| 0000 dddd | MFX Parameter 7
(12768 — 52768) |
—20000 — +20000
00 01 | 0aaa aaaa | Chorus Level
00 02 | 0000 00aa | Chorus Output Select
|
|
|
|
|
|
|
|#
|
00 21 | 0000 aaaa |
| 0000 bbbb |
|
|
MAIN, REV, MAIN+REV
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|#
|
00 03 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 dddd | MFX Parameter 8
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 25 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 1
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 07 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 9
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 29 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 2
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 0B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 10
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 2D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 3
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 0F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 11
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 31 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 4
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 13 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 12
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 35 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 5
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 17 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 13
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 39 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 6
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 14
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 3D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 7
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 1F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 15
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 41 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 8
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 23 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 16
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 45 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 9
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 27 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 17
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 49 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 10
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2B | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 18
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 4D | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | Chorus Parameter 11
(12768 — 52768) |
|
|
|
—20000 — +20000
|
|
|
|
|
| 0000 cccc |
|#
|
00 2F | 0000 aaaa |
| 0000 bbbb |
|
| 0000 dddd | MFX Parameter 19
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|
|
| 0000 cccc |
|#
|
00 51 | 0000 aaaa |
| 0000 bbbb |
| 0000 dddd | Chorus Parameter 12
(12768 — 52768) |
—20000 — +20000 |
|
|
|
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 20
(12768 — 52768) |
—20000 — +20000
| 00 00 00 33 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
|
|
|
|#
|
00 55 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
❍Setup Common Reverb
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
| 0000 dddd | MFX Parameter 21
(12768 — 52768) |
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 59 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
Address |
Description
|
| 0000 cccc |
|—————————————+————————————————————————————————————————————————————————————————|
|
| 0000 dddd | MFX Parameter 22
(12768 — 52768) |
—20000 — +20000
|
|
00 00 | 0000 aaaa | Reverb Type
00 01 | 0aaa aaaa | Reverb Level
(0 — 4) |
(0 — 127) |
|
|
|
|
|
|
|
|#
|
00 5D | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|#
|
00 02 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 23
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 1
(12768 — 52768) |
|#
|
00 61 | 0000 aaaa |
| 0000 bbbb |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 06 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 24
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 2
(12768 — 52768) |
|#
|
00 65 | 0000 aaaa |
| 0000 bbbb |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 0A | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 25
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 3
(12768 — 52768) |
|#
|
00 69 | 0000 aaaa |
| 0000 bbbb |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 0E | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 26
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 4
(12768 — 52768) |
|#
|
00 6D | 0000 aaaa |
| 0000 bbbb |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 12 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 27
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 5
(12768 — 52768) |
|#
|
00 71 | 0000 aaaa |
| 0000 bbbb |
|
|
|
—20000 — +20000
|
|
|
|
|#
|
00 16 | 0000 aaaa |
| 0000 bbbb |
|
| 0000 cccc |
|
| 0000 dddd | MFX Parameter 28
(12768 — 52768) |
—20000 — +20000
|
| 0000 cccc |
|
|
|
|
|
|
| 0000 dddd | Reverb Parameter 6
(12768 — 52768) |
—20000 — +20000 |
|#
00 75 | 0000 aaaa |
|
|
|
155
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
|#
00 1A | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
|
|
|
|
|
|
|
|
00 07 | 0000 000a | Foot Controller1 Switch
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
|
|
|
|
| 0000 cccc |
00 08 | 0000 000a | Foot Controller2 Switch
|
| 0000 dddd | Reverb Parameter 7
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 09 | 0000 000a | Modulation Switch
|#
|
00 1E | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 0A | 0000 000a | Bender Switch
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 8
(12768 — 52768) |
00 0B | 0000 000a | Control Switch
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 22 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 0C | 0000 aaaa | Transmit Channel
(0 — 15) |
1 — 16 |
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 9
(12768 — 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|
00 0D | 0000 000a | Transmit Bank Select Switch
(0 — 1) |
OFF, ON |
(0 — 127) |
(0 — 127) |
|#
|
00 26 | 0000 aaaa |
| 0000 bbbb |
|
|
00 0E | 0aaa aaaa | Transmit Bank Select MSB (CC# 0)
00 0F | 0aaa aaaa | Transmit Bank Select LSB (CC# 32)
|
| 0000 cccc |
|
| 0000 dddd | Reverb Parameter 10
(12768 — 52768) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
00 10 | 0000 000a | Transmit Program Change Switch
(0 — 1) |
OFF, ON
(0 — 127) |
|#
|
00 2A | 0000 aaaa |
| 0000 bbbb |
|
|
|
00 11 | 0aaa aaaa | Transmit Program Change#
|
| 0000 cccc |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 dddd | Reverb Parameter 11
(12768 — 52768) |
|
|
|
00 12 | 0000 000a | Transmit Level Switch
(0 — 1) |
OFF, ON
(0 — 127) |
|
|
|
—20000 — +20000
|
|
|
|
|
|
|
|#
|
00 2E | 0000 aaaa |
| 0000 bbbb |
00 13 | 0aaa aaaa | Transmit Level (CC# 7)
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 14 | 0000 000a | Transmit Pan Switch
(0 — 1) |
OFF, ON
(1 — 127) |
L63 — R63 |
|
| 0000 dddd | Reverb Parameter 12
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 15 | 0aaa aaaa | Transmit Pan(CC# 10)
|#
|
00 32 | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 16 | 0000 000a | Transmit Coarse Tune Switch
(0 — 1) |
OFF, ON
(16 — 112) |
—48 — +48 |
|
| 0000 dddd | Reverb Parameter 13
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 17 | 0aaa aaaa | Transmit Coarse Tune
|#
|
00 36 | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 18 | 0000 000a | Transmit Fine Tune Switch
(0 — 1) |
OFF, ON
(14 — 114) |
—50 — +50 |
|
| 0000 dddd | Reverb Parameter 14
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 19 | 0aaa aaaa | Transmit Fine Tune
|#
|
00 3A | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 1A | 0000 000a | <Reserved>
|
|
|
|
|
| 0000 dddd | Reverb Parameter 15
(12768 — 52768) |
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 1B | 0000 00aa | <Reserved>
|#
|
00 3E | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
|
00 1C | 0000 000a | Transmit Portamento Switch
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
|
| 0000 dddd | Reverb Parameter 16
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 1D | 0000 000a | Transmit Portamento Switch Value
|#
|
00 42 | 0000 aaaa |
| 0000 bbbb |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
| 0000 cccc |
|
|
|
00 1E | 0000 000a | Transmit Portamento Time Switch
(0 — 1) |
OFF, ON
(0 — 127) |
|
| 0000 dddd | Reverb Parameter 17
(12768 — 52768) |
|
|
|
|
|
|
—20000 — +20000
|
|
|
|
00 1F | 0aaa aaaa | Transmit Portamento Time
|#
|
00 46 | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 20 | 0000 000a | Transmit Cutoff Switch
(0 — 1) |
OFF, ON
(1 — 127) |
—63 — +63 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 18
(12768 — 52768) |
00 21 | 0aaa aaaa | Transmit Cutoff
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 4A | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 22 | 0000 000a | Transmit Resonance Switch
(0 — 1) |
OFF, ON
(1 — 127) |
—63 — +63 |
|
| 0000 cccc |
|
|
|
|
| 0000 dddd | Reverb Parameter 19
(12768 — 52768) |
00 23 | 0aaa aaaa | Transmit Resonance
|
|
|
—20000 — +20000
|
|
|
|
|
|
|#
|
00 4E | 0000 aaaa |
| 0000 bbbb |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
00 24 | 0000 000a | Transmit Attack Time Switch
(0 — 1) |
OFF, ON
(1 — 127) |
—63 — +63 |
|
|
| 0000 cccc |
|
|
|
| 0000 dddd | Reverb Parameter 20
(12768 — 52768) |
—20000 — +20000
00 25 | 0aaa aaaa | Transmit Attack Time
|
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 00 00 52 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
|
00 26 | 0000 000a | Transmit Release Time Switch
(0 — 1) |
OFF, ON
(1 — 127) |
—63 — +63 |
|
|
|
00 27 | 0aaa aaaa | Transmit Release Time
|
|
❍Setup Local Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
00 28 | 0000 000a | Transmit Pitch Bend Range Switch
(0 — 1) |
OFF, ON
(0 — 48) |
|
|
|
|
|
|
00 29 | 00aa aaaa | Transmit Pitch Bend Range
|
Address |
Description
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
00 2A | 0000 000a | Transmit Chorus Level Switch
(0 — 1) |
OFF, ON
(0 — 127) |
|
|
|
|
00 00 | 0aaa aaaa | Keyboard Range Lower
(21 — 108) |
A0 — UPPER
(21 — 108) |
LOWER — C8 |
|
|
|
|
|
|
00 2B | 0aaa aaaa | Transmit Chorus Level
00 01 | 0aaa aaaa | Keyboard Range Upper
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
00 2C | 0000 000a | Transmit Reverb Level Switch
(0 — 1) |
OFF, ON
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 02 | 0aaa aaaa | Velocity Sensitivity
(1 — 127) |
—63 — +63
(1 — 127) |
00 2D | 0aaa aaaa | Transmit Reverb Level
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 03 | 0aaa aaaa | Velocity Max
| 00 00 00 2E | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 04 | 0aaa aaaa | keyboard Transpose
(16 — 112) |
—48 — +48 |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
❍Setup Internal Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
00 05 | 0000 000a | Part Switch
(0 — 1) |
OFF, ON
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 06 | 0000 000a | Damper Switch
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 07 | 0000 000a | FC1 Switch
|
|
00 00 | 0000 aaaa | Receive Channel
(0 — 15) |
1 — 16 |
|
|
|
|
|
00 08 | 0000 000a | FC2 Switch
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 01 | 0aaa aaaa | Patch Bank Select MSB (CC# 0)
00 02 | 0aaa aaaa | Patch Bank Select LSB (CC# 32)
00 03 | 0aaa aaaa | Patch Program Change#
(0 — 127) |
(0 — 127) |
(0 — 127) |
00 09 | 0000 000a | Modulation Switch
|
|
|
00 0A | 0000 000a | Bender Switch
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
00 04 | 0aaa aaaa | Part Level (CC# 7)
00 05 | 0aaa aaaa | Part Pan (CC# 10)
(0 — 127) |
(1 — 127) |
00 0B | 0000 000a | Control Switch
|
|
|
|
|
L63 — 63R
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 0C | 0000 aaaa | Local Part Assign
(0 — 15) |
1 — 16
|
|
00 06 | 0000 000a | Part MFX Switch
(0 — 1) |
OFF, ON |
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+———————————+————————————————————————————————————————————————————|
| 00 00 00 0D | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
|
|
00 07 | 0000 0aaa | Temperament Type
00 08 | 0000 aaaa | Temperament Key
(0 — 7) |
(0 — 11) |
|
|
C, C# — Bb, B
|
|—————————————+———————————+————————————————————————————————————————————————————|
❍Setup MIDI Tx Part
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 09 | 0000 000a | Receive Bank Select Switch
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|
|
|
00 0A | 0000 000a | Receive Program Change Switch
|
|
|
|
|
|
|
Address |
Description
00 0B | 0000 000a | Receive Bender Switch
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Keyboard Range Lower
(21 — 108) |
A0 — UPPER
(21 — 108) |
LOWER — C8 |
00 0C | 0000 000a | Receive Modulation Switch
|
|
|
|
|
|
00 01 | 0aaa aaaa | Keyboard Range Upper
00 0D | 0000 000a | Receive Volume Switch
|
|
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
00 0E | 0000 000a | Receive Pan Switch
|
|
|
00 02 | 0aaa aaaa | Velocity Sensitivity
(1 — 127) |
—63 — +63
(1 — 127) |
|
|
|
|
|
|
00 0F | 0000 000a | Receive Hold—1 Switch
00 03 | 0aaa aaaa | Velocity Max
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 10 | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
|
00 04 | 0aaa aaaa | keyboard Transpose
(16 — 112) |
—48 — +48 |
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 05 | 0000 000a | Part Switch
(0 — 1) |
OFF, ON |
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
00 06 | 0000 000a | Damper Switch
(0 — 1) |
OFF, ON |
|
|
156
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Implementation
❍Setup Tone Backup
+——————————————————————————————————————————————————————————————————————————————+
4. GS (Model ID = 42H)
| Offset
|
|
|
|
Address |
Description
❍System Parameter
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0aaa aaaa | Coarse Tune
(16 — 112) |
—48 — +48
(14 — 114) |
—50 — +50
|
|
|
| Start
|
|
|
00 01 | 0aaa aaaa | Fine Tune
|
Address |
Description
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 02 | 0000 00aa | Stretch Tune Depth
(0 — 3) |
|#
|
|
|
|
|
|
|
|
|
40 00 00 | 0000 aaaa |
| 0000 bbbb |
|
|
|
|
|
OFF, 1 — 3
|
00 03 | 0000 00aa | Mono/Poly
(0 — 2) |
| 0000 cccc |
|
|
MONO, POLY, MONO/LEGATO
|
| 0000 dddd | Master Tune
(24 — 2024) |
00 04 | 0000 000a | Portamento Switch
(0 — 1) |
|
|
—100.0 — 100.0 [cent]
|
|
|
OFF, ON
|
40 00 04 | 0aaa aaaa | Master Volume
40 00 05 | 0aaa aaaa | Master Key Shift
(0 — 127) |
(40 — 88) |
00 05 | 0aaa aaaa | Portamento Time
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—24 — +24 [semitone]
|
|
|
|
|
|
|
|
|
00 06 | 0aaa aaaa | Cutoff
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
(1 — 127) |
—63 — +63
40 00 06 | 0aaa aaaa | Master Pan
(1 — 127) |
|
|
|
|
|
L63 — 63R
|
00 07 | 0aaa aaaa | Resonance
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
40 00 7F | 0aaa aaaa | Mode Set
(0, 127) |
GS—RESET, GS—EXIT |
00 08 | 0aaa aaaa | Attack Time
|
|
|
|
|
|—————————————+————————————————————————————————————————————————————————————————|
00 09 | 0aaa aaaa | Release Time
|
|
|
❍Common Parameter
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
00 0A | 00aa aaaa | Pitch Bend Range (0 — 24) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
| Start
|
|
|
|
|
|
00 0B | 0aaa aaaa | Chorus Amount
00 0C | 0aaa aaaa | Reverb Amount
00 0D | 0aaa aaaa | MFX Type
(0 — 127) |
(0 — 127) |
(0 — 65) |
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 01 10 | 0aaa aaaa | Voice Reserve 1
40 01 11 | 0aaa aaaa | Voice Reserve 2
40 01 12 | 0aaa aaaa | Voice Reserve 3
40 01 13 | 0aaa aaaa | Voice Reserve 4
40 01 14 | 0aaa aaaa | Voice Reserve 5
40 01 15 | 0aaa aaaa | Voice Reserve 6
40 01 16 | 0aaa aaaa | Voice Reserve 7
40 01 17 | 0aaa aaaa | Voice Reserve 8
40 01 18 | 0aaa aaaa | Voice Reserve 9
40 01 19 | 0aaa aaaa | Voice Reserve 10
40 01 1A | 0aaa aaaa | Voice Reserve 11
40 01 1B | 0aaa aaaa | Voice Reserve 12
40 01 1C | 0aaa aaaa | Voice Reserve 13
40 01 1D | 0aaa aaaa | Voice Reserve 14
40 01 1E | 0aaa aaaa | Voice Reserve 15
40 01 1F | 0aaa aaaa | Voice Reserve 16
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
(0 — 24) |
|—————————————+————————————————————————————————————————————————————————————————|
| 00 00 00 0E | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
❍Setup VK Tone Backup
+——————————————————————————————————————————————————————————————————————————————+
| Offset
|
|
|
|
Address |
Description
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | 0000 00aa | Percussion Harmonic
(0 — 2) |
|
|
OFF, 2ND, 3RD
|
00 01 | 0000 000a | Percussion Decay
(0 — 1) |
|
|
SLOW, FAST
|
(0—8) |
(0—8) |
(0—8) |
(0—8) |
(0—8) |
(0—8) |
(0—8) |
(0—8) |
(0—8) |
00 02 | 0000 aaaa | Harmonic Bar 16'
00 03 | 0000 aaaa | Harmonic Bar 5—1/3
00 04 | 0000 aaaa | Harmonic Bar 8'
00 05 | 0000 aaaa | Harmonic Bar 4'
00 06 | 0000 aaaa | Harmonic Bar 2—2/3'
00 07 | 0000 aaaa | Harmonic Bar 2'
00 08 | 0000 aaaa | Harmonic Bar 1—3/5'
00 09 | 0000 aaaa | Harmonic Bar 1—1/3'
00 0A | 0000 aaaa | Harmonic Bar 1'
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
|
|
|
|
|
40 01 30 | 0aaa aaaa | Reverb Macro
(0 — 7) |
(0 — 7) |
(0 — 7) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
40 01 31 | 0aaa aaaa | Reverb Character
40 01 32 | 0aaa aaaa | Reverb Pre—LPF
40 01 33 | 0aaa aaaa | Reverb Level
40 01 34 | 0aaa aaaa | Reverb Time
40 01 35 | 0aaa aaaa | Reverb Delay Feedback
40 01 36 | 0aaa aaaa | Reverb Send Level to Chorus
|—————————————+———————————+————————————————————————————————————————————————————|
|—————————————+————————————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
40 01 38 | 0aaa aaaa | Chorus Macro
40 01 39 | 0aaa aaaa | Chorus Pre—LPF
40 01 3A | 0aaa aaaa | Chorus Level
40 01 3B | 0aaa aaaa | Chorus Feedback
40 01 3C | 0aaa aaaa | Chorus Delay
40 01 3D | 0aaa aaaa | Chorus Rate
40 01 3E | 0aaa aaaa | Chorus Depth
40 01 3F | 0aaa aaaa | Chorus Send Level to Reverb
(0 — 7) |
(0 — 7) |
| 00 00 00 0B | Total Size
+——————————————————————————————————————————————————————————————————————————————+
|
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
(0 — 127) |
❍Bulk Dump parameters
*
*
These messages are transmitted when Bulk Dump SETUP function is executed.
These messages will be written when SETUP write message is received.
|—————————————+————————————————————————————————————————————————————————————————|
❍Part Parameter
+——————————————————————————————————————————————————————————————————————————————+
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
|
|
| Start
|
|
|
|
|
|
Address |
Description
|
Address |
Description
Size
|—————————————+————————————————————————————————————————————————————————————————|
|—————————————+——————————————————————————————————————————————————+—————————————|
|#
|
40 1x 00 | 0aaa aaaa | Tone Number CC#00 Value
| 0aaa aaaa | Tone Number PC Value
(0 — 127) |
(0 — 127) |
| 10 01 00 00 | Setup 001
| 10 02 00 00 | Setup 002
| 00 00 05 6C |
| 00 00 05 6C |
|—————————————+———————————+————————————————————————————————————————————————————|
|
:
|
:
|
:
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
40 1x 02 | 0aaa aaaa | Rx. Channel
(0 — 16) |
| 10 64 00 00 | Setup 100
+——————————————————————————————————————————————————————————————————————————————+
| 00 00 05 6C |
|
|
1 — 16, OFF
|
40 1x 03 | 0000 000a | Rx. Pitch Bend
(0 — 1) |
|
|
OFF, ON
|
40 1x 04 | 0000 000a | Rx. Channel Pressure
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON
|—————————————+———————————+————————————————————————————————————————————————————|
❍SETUP Write
|
|
|
40 1x 05 | 0000 000a | Rx. Program Change
*
*
These messages are transmitted when Bulk Dump SETUP function is executed.
After receiving Bulk dump parameters, when this message is received, execute Write
Setup function.
|
|
|
40 1x 06 | 0000 000a | Rx. Control Change
|
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|
40 1x 07 | 0000 000a | Rx. Poly Pressure
|
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|
40 1x 08 | 0000 000a | Rx. Note Message
|
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|
Status
F0H
Data byte
Status
F7H
40 1x 09 | 0000 000a | Rx. RPN
|
|
|
41H, dev, 00H, 43H, 12H, 7FH, 7FH,
7EH, ssH, nnH, sum
40 1x 0A | 0000 000a | Rx. NRPN
|
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|
40 1x 0B | 0000 000a | Rx. Modulation
|
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|
40 1x 0C | 0000 000a | Rx. Volume
|
|
|
Byte
F0H
41H
dev
Explanation
40 1x 0D | 0000 000a | Rx. Panpot
Exclusive status
ID number (Roland)
device ID (dev: 10H - 1FH)
model ID #1 (RD-700)
model ID #2 (RD-700)
command ID (DT1)
address
|
|
|
40 1x 0E | 0000 000a | Rx. Expression
|
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|
40 1x 0F | 0000 000a | Rx. Hold—1
|
|
|
40 1x 10 | 0000 000a | Rx. Portamento
00H
43H
12H
7FH
7FH
7EH
ssH
|
|
|
40 1x 11 | 0000 000a | Rx. Sostenuto
|
|
|
40 1x 12 | 0000 000a | Rx. Soft
|
|
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|
|
|
40 1x 13 | 0aaa aaaa | Mono / Poly Mode
(0 — 1) |
address
|
|
MODE, POLY
|
40 1x 14 | 0aaa aaaa | Assign Mode
(0 — 2) |
address
|
|
|
|
SINGLE, LIMITED—MULTI, |
FULL—MULTI
(0 — 2) |
OFF, MAP1, MAP2 |
|
From
40 1x 15 | 0aaa aaaa | Use for Rhythm Part
nnH
sum
F7H
Num
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
check sum
|
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|#
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|
40 1x 16 | 0aaa aaaa | Pitch Key Shift
(40 — 88) |
|
|
—24 — +24 [semitone]
|
|
EOX (End Of Exclusive)
40 1x 17 | 0000 aaaa |
| 0000 bbbb | Pitch Offset Fine
(8 — 248) |
|
|
—12.0 — +12.0 [Hz]
|
(0 — 127) |
(0 — 127) |
40 1x 19 | 0aaa aaaa | Part Level (CC# 7)
40 1x 1A | 0aaa aaaa | Velocity Sens Depth
|
|
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
|
40 1x 1B | 0aaa aaaa | Velocity Sens Offset
|
|
|
40 1x 1C | 0aaa aaaa | Part Panpot (CC# 10)
|
|
RANDOM, L63 — 63R
|
(0 — 127) |
(0 — 127) |
(0 — 95) |
(0 — 95) |
(0 — 127) |
(0 — 127) |
(0 — 1) |
40 1x 1D | 0aaa aaaa | Keyboard Range Low
40 1x 1E | 0aaa aaaa | Keyboard Range High
40 1x 1F | 0aaa aaaa | CC1 Controller Number
40 1x 20 | 0aaa aaaa | CC2 Controller Number
40 1x 21 | 0aaa aaaa | Chorus Send Level (CC# 93)
40 1x 22 | 0aaa aaaa | Reverb Send Level (CC# 93)
40 1x 23 | 0000 000a | Rx. Bank Select
|
|
OFF, ON
|
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MIDI Implementation
|
|
40 1x 24 | 0000 000a | Rx. Bank Select LSB
(0 — 1) |
OFF, ON
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40 2x 40 | 0aaa aaaa | CC1 Pitch Control
(40 — 88) |
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—24 — +24 [semitone]
|
|—————————————+———————————+————————————————————————————————————————————————————|
40 2x 41 | 0aaa aaaa | CC1 TVF Cutoff Control
(0 — 127) |
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40 1x 30 | 0aaa aaaa | Tone Modify 1 (Vibrato Rate)
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
(0 — 127) |
—64 — +63
|
|
—9600 — +9600 [cent]
|
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|
40 2x 42 | 0aaa aaaa | CC1 Amplitude Control
(0 — 127) |
40 1x 31 | 0aaa aaaa | Tone Modify 2 (Vibrato Depth)
|
|
—100.0 — +100.0 [%]
|
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|
40 2x 43 | 0aaa aaaa | CC1 LFO1 Rate Control
(0 — 127) |
40 1x 32 | 0aaa aaaa | Tone Modify 3 (TVF Cutoff Freq.)
|
|
—10.0 — +10.0 [Hz]
|
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|
40 2x 44 | 0aaa aaaa | CC1 LFO1 Pitch Control
(0 — 127) |
40 1x 33 | 0aaa aaaa | Tone Modify 4 (TVF Resonance)
|
|
0 — 600 [cent]
|
|
|
|
40 2x 45 | 0aaa aaaa | CC1 LFO1 TVF Depth
(0 — 127) |
40 1x 34 | 0aaa aaaa | Tone Modify 5 (TVF&TVA Env. Attack)
|
|
0 — 2400 [cent]
|
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|
|
40 2x 46 | 0aaa aaaa | CC1 LFO1 TVA Depth
(0 — 127) |
40 1x 35 | 0aaa aaaa | Tone Modify 6 (TVF&TVA Env. Decay)
|
|
0 — 100.0 [%]
|
|
|
|
40 2x 47 | 0aaa aaaa | CC1 LFO2 Rate Control
(0 — 127) |
40 1x 36 | 0aaa aaaa | Tone Modify 7 (TVF&TVA ENv. Release)
|
|
—10.0 — +10.0 [Hz]
|
|
|
|
40 2x 48 | 0aaa aaaa | CC1 LFO2 Pitch Control
(0 — 127) |
40 1x 37 | 0aaa aaaa | Tone Modify 8 (Vibrato Delay)
|
|
0 — 600 [cent]
|
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|
40 2x 49 | 0aaa aaaa | CC1 LFO2 TVF Depth
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
0 — 2400 [cent]
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40 1x 40 | 0aaa aaaa | Scale Tuning C
(0 — 127) |
40 2x 4A | 0aaa aaaa | CC1 LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
|
—64 — +63 [cent]
|
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|
40 1x 41 | 0aaa aaaa | Scale Tuning C#
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
|
—64 — +63 [cent]
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40 2x 50 | 0aaa aaaa | CC2 Pitch Control
(40 — 88) |
40 1x 42 | 0aaa aaaa | Scale Tuning D
(0 — 127) |
|
|
—24 — +24 [semitone]
|
|
|
—64 — +63 [cent]
|
40 2x 51 | 0aaa aaaa | CC2 TVF Cutoff Control
(0 — 127) |
40 1x 43 | 0aaa aaaa | Scale Tuning D#
(0 — 127) |
|
|
—9600 — +9600 [cent]
|
|
|
—64 — +63 [cent]
|
40 2x 52 | 0aaa aaaa | CC2 Amplitude Control
(0 — 127) |
40 1x 44 | 0aaa aaaa | Scale Tuning E
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
|
|
—64 — +63 [cent]
|
40 2x 53 | 0aaa aaaa | CC2 LFO1 Rate Control
(0 — 127) |
40 1x 45 | 0aaa aaaa | Scale Tuning F
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
|
|
—64 — +63 [cent]
|
40 2x 54 | 0aaa aaaa | CC2 LFO1 Pitch Control
(0 — 127) |
40 1x 46 | 0aaa aaaa | Scale Tuning F#
(0 — 127) |
|
|
0 — 600 [cent]
|
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|
—64 — +63 [cent]
|
40 2x 55 | 0aaa aaaa | CC2 LFO1 TVF Depth
(0 — 127) |
40 1x 47 | 0aaa aaaa | Scale Tuning G
(0 — 127) |
|
|
0 — 2400 [cent]
|
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|
—64 — +63 [cent]
|
40 2x 56 | 0aaa aaaa | CC2 LFO1 TVA Depth
(0 — 127) |
40 1x 48 | 0aaa aaaa | Scale Tuning G#
(0 — 127) |
|
|
0 — 100.0 [%]
|
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|
—64 — +63 [cent]
|
40 2x 57 | 0aaa aaaa | CC2 LFO2 Rate Control
(0 — 127) |
40 1x 49 | 0aaa aaaa | Scale Tuning A
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
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|
—64 — +63 [cent]
|
40 2x 58 | 0aaa aaaa | CC2 LFO2 Pitch Control
(0 — 127) |
40 1x 4A | 0aaa aaaa | Scale Tuning A#
(0 — 127) |
|
|
0 — 600 [cent]
|
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|
—64 — +63 [cent]
|
40 2x 59 | 0aaa aaaa | CC2 LFO2 TVF Depth
(0 — 127) |
40 1x 4B | 0aaa aaaa | Scale Tuning B
(0 — 127) |
|
|
0 — 2400 [cent]
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|
—64 — +63 [cent]
|
40 2x 5A | 0aaa aaaa | CC2 LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|—————————————+———————————+————————————————————————————————————————————————————|
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40 2x 00 | 0aaa aaaa | Mod Pitch Control
(40 — 88) |
+——————————————————————————————————————————————————————————————————————————————+
|
|
—24 — +24 [semitone]
|
40 2x 01 | 0aaa aaaa | Mod TVF Cutoff Control
(0 — 127) |
x: BLOCK NUMBER (0-F)
Part 1 (MIDI ch = 1) x = 1
Part 2 (MIDI ch = 2) x = 2
|
|
—9600 — +9600 [cent]
|
40 2x 02 | 0aaa aaaa | Mod Amplitude Control
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
40 2x 03 | 0aaa aaaa | Mod LFO1 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
40 2x 04 | 0aaa aaaa | Mod LFO1 Pitch Control
(0 — 127) |
:
:
:
|
|
0 — 600 [cent]
|
40 2x 05 | 0aaa aaaa | Mod LFO1 TVF Depth
(0 — 127) |
Part 9 (MIDI ch = 9) x = 9
Part10 (MIDI ch = 10) x = 0
Part11 (MIDI ch = 11) x = A
Part12 (MIDI ch = 12) x = B
|
|
0 — 2400 [cent]
|
40 2x 06 | 0aaa aaaa | Mod LFO1 TVA Depth
(0 — 127) |
|
|
0 — 100.0 [%]
|
40 2x 07 | 0aaa aaaa | Mod LFO2 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
40 2x 08 | 0aaa aaaa | Mod LFO2 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
:
:
:
40 2x 09 | 0aaa aaaa | Mod LFO2 TVF Depth
(0 — 127) |
|
|
0 — 2400 [cent]
|
Part16 (MIDI ch = 16) x = F
40 2x 0A | 0aaa aaaa | Mod LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
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|—————————————+———————————+————————————————————————————————————————————————————|
❍Drum Setup Parameter
+——————————————————————————————————————————————————————————————————————————————+
| Start
|
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40 2x 10 | 0aaa aaaa | Bend Pitch Control
(64 — 88) |
|
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0 — 24 [semitone]
|
40 2x 11 | 0aaa aaaa | Bend TVF Cutoff Control
(0 — 127) |
|
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|
—9600 — +9600 [cent]
|
|
Address |
Description
40 2x 12 | 0aaa aaaa | Bend Amplitude Control
(0 — 127) |
|—————————————+————————————————————————————————————————————————————————————————|
|
|
—100.0 — +100.0 [%]
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41 m0 00 | 0aaa aaaa | Drum Map Name 1
(32 — 127) |
40 2x 13 | 0aaa aaaa | Bend LFO1 Rate Control
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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|
—10.0 — +10.0 [Hz]
|
41 m0 01 | 0aaa aaaa | Drum Map Name 2
(32 — 127) |
40 2x 14 | 0aaa aaaa | Bend LFO1 Pitch Control
(0 — 127) |
|
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32 — 127 [ASCII]
|
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0 — 600 [cent]
|
41 m0 02 | 0aaa aaaa | Drum Map Name 3
(32 — 127) |
40 2x 15 | 0aaa aaaa | Bend LFO1 TVF Depth
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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0 — 2400 [cent]
|
41 m0 03 | 0aaa aaaa | Drum Map Name 4
(32 — 127) |
40 2x 16 | 0aaa aaaa | Bend LFO1 TVA Depth
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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0 — 100.0 [%]
|
41 m0 04 | 0aaa aaaa | Drum Map Name 5
(32 — 127) |
40 2x 17 | 0aaa aaaa | Bend LFO2 Rate Control
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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|
—10.0 — +10.0 [Hz]
|
41 m0 05 | 0aaa aaaa | Drum Map Name 6
(32 — 127) |
40 2x 18 | 0aaa aaaa | Bend LFO2 Pitch Control
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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|
0 — 600 [cent]
|
41 m0 06 | 0aaa aaaa | Drum Map Name 7
(32 — 127) |
40 2x 19 | 0aaa aaaa | Bend LFO2 TVF Depth
(0 — 127) |
|
|
32 — 127 [ASCII]
|
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|
0 — 2400 [cent]
|
41 m0 07 | 0aaa aaaa | Drum Map Name 8
(32 — 127) |
40 2x 1A | 0aaa aaaa | Bend LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
|
32 — 127 [ASCII]
|
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|
41 m0 08 | 0aaa aaaa | Drum Map Name 9
(32 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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32 — 127 [ASCII]
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40 2x 20 | 0aaa aaaa | CAf Pitch Control
(40 — 88) |
41 m0 09 | 0aaa aaaa | Drum Map Name 10
(32 — 127) |
|
|
—24 — +24 [semitone]
|
|
|
32 — 127 [ASCII]
|
40 2x 21 | 0aaa aaaa | CAf TVF Cutoff Control
(0 — 127) |
41 m0 0A | 0aaa aaaa | Drum Map Name 11
(32 — 127) |
|
|
—9600 — +9600 [cent]
|
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|
32 — 127 [ASCII]
|
40 2x 22 | 0aaa aaaa | CAf Amplitude Control
(0 — 127) |
41 m0 0B | 0aaa aaaa | Drum Map Name 12
(32 — 127) |
|
|
—100.0 — +100.0 [%]
|
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|
32 — 127 [ASCII]
|
40 2x 23 | 0aaa aaaa | CAf LFO1 Rate Control
(0 — 127) |
|—————————————+———————————+————————————————————————————————————————————————————|
|
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—10.0 — +10.0 [Hz]
|
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41 m1 rr | 0aaa aaaa | Play Note Number
41 m2 rr | 0aaa aaaa | Level
(0 — 127) |
(0 — 127) |
(0 — 127) |
40 2x 24 | 0aaa aaaa | CAf LFO1 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
41 m3 rr | 0aaa aaaa | Assign Group Number
40 2x 25 | 0aaa aaaa | CAf LFO1 TVF Depth
(0 — 127) |
|
|
NON, 1 — 127
|
|
|
0 — 2400 [cent]
|
41 m4 rr | 0aaa aaaa | Panpot
(0 — 127) |
40 2x 26 | 0aaa aaaa | CAf LFO1 TVA Depth
(0 — 127) |
|
|
RANDOM, L63 — 63R
|
|
|
0 — 100.0 [%]
|
41 m5 rr | 0aaa aaaa | Reverb Send Level
(0 — 127) |
0.0 — 1.0
40 2x 27 | 0aaa aaaa | CAf LFO2 Rate Control
(0 — 127) |
|
|
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|
|
—10.0 — +10.0 [Hz]
|
41 m6 rr | 0aaa aaaa | Chorus Send Level
(0 — 127) |
0.0 — 1.0
(0 — 1) |
OFF, ON
(0 — 1) |
OFF, ON |
40 2x 28 | 0aaa aaaa | CAf LFO2 Pitch Control
(0 — 127) |
|
|
|
|
|
0 — 600 [cent]
|
41 m7 rr | 0000 000a | Rx. Note Off
40 2x 29 | 0aaa aaaa | CAf LFO2 TVF Depth
(0 — 127) |
|
|
|
|
|
0 — 2400 [cent]
|
41 m8 rr | 0000 000a | Rx. Note On
40 2x 2A | 0aaa aaaa | CAf LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
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|
|
+——————————————————————————————————————————————————————————————————————————————+
|—————————————+———————————+————————————————————————————————————————————————————|
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40 2x 30 | 0aaa aaaa | PAf Pitch Control
(40 — 88) |
|
|
—24 — +24 [semitone]
|
m: Map number (0 = MAP1, 1 = MAP2)
rr: drum part note number (00H-7FH)
40 2x 31 | 0aaa aaaa | PAf TVF Cutoff Control
(0 — 127) |
|
|
—9600 — +9600 [cent]
|
40 2x 32 | 0aaa aaaa | PAf Amplitude Control
(0 — 127) |
|
|
—100.0 — +100.0 [%]
|
40 2x 33 | 0aaa aaaa | PAf LFO1 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
40 2x 34 | 0aaa aaaa | PAf LFO1 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
40 2x 35 | 0aaa aaaa | PAf LFO1 TVF Depth
(0 — 127) |
|
|
0 — 2400 [cent]
|
40 2x 36 | 0aaa aaaa | PAf LFO1 TVA Depth
(0 — 127) |
|
|
0 — 100.0 [%]
|
40 2x 37 | 0aaa aaaa | PAf LFO2 Rate Control
(0 — 127) |
|
|
—10.0 — +10.0 [Hz]
|
40 2x 38 | 0aaa aaaa | PAf LFO2 Pitch Control
(0 — 127) |
|
|
0 — 600 [cent]
|
40 2x 39 | 0aaa aaaa | PAf LFO2 TVF Depth
(0 — 127) |
|
|
0 — 2400 [cent]
|
40 2x 3A | 0aaa aaaa | PAf LFO2 TVA Depth
(0 — 127) |
0 — 100.0 [%]
|
|
|
|—————————————+———————————+————————————————————————————————————————————————————|
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MIDI Implementation
■Arpeggio Parameter List
■Decimal and Hexadecimal Table
(An “H” is appended to the end of numbers in hexadecimal notation.)
In MIDI documentation, data values and addresses/sizes of Exclusive messages, etc. are
expressed as hexadecimal values for each 7 bits.
●Arpeggio Style
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
The following table shows how these correspond to decimal numbers.
+——————+——————++——————+——————++——————+——————++——————+——————+
+—————————————————————————+—————————————————————————+—————————————————————————+
|
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0 | 1/ 4
|
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15 | HEAVY SLAP
16 | LIGHT SLAP
17 | WALK BASS
18 | RHYTHM GTR 1
19 | RHYTHM GTR 2
20 | RHYTHM GTR 3
21 | RHYTHM GTR 4
22 | RHYTHM GTR 5
23 | 3 FINGER
24 | STRUM GTR UP
25 | STRUM GTR DOWN
26 | STRUM GTR UP&DW
27 | PIANO BACKING
28 | CLAVI CHORD
29 | WALTZ
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30 | SWING WALTZ
31 | REGGAE
32 | PERCUSSION
33 | HARP
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1 | 1/ 6
|
D
|
H
||
D
|
H
||
D
|
H
||
D
|
H
|
2 | 1/ 8
+——————+——————++——————+——————++——————+——————++——————+——————+
3 | 1/12
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0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
4 | 1/16
34 | SHAMISEN
35 | BOUND BALL
36 | RANDOM
37 | BOSSA NOVA
38 | SALSA
5 | 1/32
6 | PORTAMENTO A
7 | PORTAMENTO B
8 | GLISSANDO
9 | SEQUENCE A
10 | SEQUENCE B
11 | SEQUENCE C
12 | SEQUENCE D
13 | ECHO
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
39 | MAMBO
40 | LATIN PERCUSSION
41 | SAMBA
42 | TANGO
43 | HOUSE
14 | SYNTH BASS
|
+—————————————————————————+—————————————————————————+—————————————————————————+
●Arpeggio Motif
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
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+—————————————————————————+—————————————————————————+—————————————————————————+
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0 | SINGLE UP
1 | SINGLE DOWN
2 | SINGLE UP&DOWN
3 | SINGLE RANDOM
4 | DUAL UP
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13 | GLISSANDO
14 | CHORD
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26 | BASS+UP 7
27 | BASS+UP 8
28 | BASS+RND 1
29 | BASS+RND 2
30 | BASS+RND 3
31 | TOP+UP 1
32 | TOP+UP 2
33 | TOP+UP 3
34 | TOP+UP 4
35 | TOP+UP 5
36 | TOP+UP 6
37 | BASS+UP+TOP
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15 | BASS+CHORD 1
16 | BASS+CHORD 2
17 | BASS+CHORD 3
18 | BASS+CHORD 4
19 | BASS+CHORD 5
20 | BASS+UP 1
21 | BASS+UP 2
22 | BASS+UP 3
23 | BASS+UP 4
24 | BASS+UP 5
25 | BASS+UP 6
5 | DUAL DOWN
6 | DUAL UP&DOWN
7 | DUAL RANDOM
8 | TRIPLE UP
9 | TRIPLE DOWN
10 | TRIPLE UP&DOWN
11 | TRIPLE RANDOM
12 | NOTE ORDER
+——————+——————++——————+——————++——————+——————++——————+——————+
+—————————————————————————+—————————————————————————+—————————————————————————+
D: decimal
H: hexadecimal
●Arpeggio Beat Pattern
+—————————————————————————+—————————————————————————+—————————————————————————+
|value| parameter
|value| parameter
|value| parameter
|
*
*
Decimal values such as MIDI channel and program change are listed as one greater than
the values given in the above table.
+—————————————————————————+—————————————————————————+—————————————————————————+
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0 | 1/ 4
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40 | SEQ—A 5
41 | SEQ—A 6
42 | SEQ—A 7
43 | SEQ—B 1
44 | SEQ—B 2
45 | SEQ—B 3
46 | SEQ—B 4
47 | SEQ—B 5
48 | SEQ—C 1
49 | SEQ—C 2
50 | SEQ—D 1
51 | SEQ—D 2
52 | SEQ—D 3
53 | SEQ—D 4
54 | SEQ—D 5
55 | SEQ—D 6
56 | SEQ—D 7
57 | SEQ—D 8
58 | ECHO 1
59 | ECHO 2
60 | ECHO 3
61 | MUTE 01
62 | MUTE 02
63 | MUTE 03
64 | MUTE 04
65 | MUTE 05
66 | MUTE 06
67 | MUTE 07
68 | MUTE 08
69 | MUTE 09
70 | MUTE 10
71 | MUTE 11
72 | MUTE 12
73 | MUTE 13
74 | MUTE 14
75 | MUTE 15
76 | MUTE 16
77 | STRUM 1
78 | STRUM 2
79 | STRUM 3
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80 | STRUM 4
81 | STRUM 5
82 | STRUM 6
83 | STRUM 7
84 | STRUM 8
85 | REGGAE 1
86 | REGGAE 2
87 | REFRAIN 1
88 | REFRAIN 2
89 | PERC 1
90 | PERC 2
91 | PERC 3
92 | PERC 4
93 | WALKBS
94 | HARP
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1 | 1/ 6
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128+bb.
2 | 1/ 8
3 | 1/12
4 | 1/16 1
5 | 1/16 2
6 | 1/16 3
7 | 1/32 1
*
*
In the case of values which have a sign, 00H = -64, 40H = 0, and 7FH = +63, so that the
decimal expression would be 64 less than the value given in the above chart. In the case
of two types, 00 00H = -8192, 40 00H = 0, and 7F 7FH = +8191. For example, if aa bbH
were expressed as decimal, this would be aa bbH - 40 00H = aa x 128+bb - 64 x 128.
Data marked “Use nibbled data” is expressed in hexadecimal in 4-bit units. A value
expressed as a 2-byte nibble 0a 0bH has the value of a x 16+b.
8 | 1/32 2
9 | 1/32 3
10 | PORTA—A 01
11 | PORTA—A 02
12 | PORTA—A 03
13 | PORTA—A 04
14 | PORTA—A 05
15 | PORTA—A 06
16 | PORTA—A 07
17 | PORTA—A 08
18 | PORTA—A 09
19 | PORTA—A 10
20 | PORTA—A 11
21 | PORTA—B 01
22 | PORTA—B 02
23 | PORTA—B 03
24 | PORTA—B 04
25 | PORTA—B 05
26 | PORTA—B 06
27 | PORTA—B 07
28 | PORTA—B 08
29 | PORTA—B 09
30 | PORTA—B 10
31 | PORTA—B 11
32 | PORTA—B 12
33 | PORTA—B 13
34 | PORTA—B 14
35 | PORTA—B 15
36 | SEQ—A 1
95 | BOUND
96 | RANDOM
97 | BOSSA NOVA
98 | SALSA 1
99 | SALSA 2
| 100 | SALSA 3
| 101 | SALSA 4
| 102 | MAMBO 1
| 103 | MAMBO 2
| 104 | CLAVE
<Example1> What is the decimal expression of 5AH?
From the preceding table, 5AH = 90
| 105 | REV CLA
| 106 | GUIRO
<Example2> What is the decimal expression of the value 12 34H given as
hexadecimal for each 7 bits?
| 107 | AGOGO
| 108 | SAMBA
| 109 | TANGO 1
| 110 | TANGO 2
| 111 | TANGO 3
| 112 | TANGO 4
| 113 | HOUSE 1
| 114 | HOUSE 2
From the preceding table, since 12H = 18 and 34H = 52
18 x 128+52 = 2356
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<Example3> What is the decimal expression of the nibbled value 0A 03
09 0D?
37 | SEQ—A 2
38 | SEQ—A 3
39 | SEQ—A 4
+—————————————————————————+—————————————————————————+—————————————————————————+
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16+3) x 16+9) x 16+13 = 41885
<Example4> What is the nibbled expression of the decimal value 1258?
16 ) 1258
16 )
16 )
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 0 = 00H, 4 = 04H, 14 = 0EH, 10 = 0AH, the result is: 00 04 0E
0AH.
159
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MIDI Implementation
■Example of an Exclusive Message and Calculating a
■Examples of Actual MIDI Messages
Checksum
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted Exclusive message.
<Example1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
●How to calculate the checksum
(hexadecimal numbers are indicated by “H”)
<Example2> CE 49
The checksum is a value derived by adding the address, size, and checksum itself and
inverting the lower 7 bits.
CnH is the Program Change status, and n is the MIDI channel number. Since EH = 14 and
49H = 73, this is a Program Change message with MIDI CH = 15, program number 74 (Flute
in GS).
Here’s an example of how the check sum is calculated. We will assume that in the Exclusive
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ffH.
<Example3> EA 00 28
aa + bb + cc + dd + ee + ff = sum
sum ÷ 128 = quotient ... remainder
128 - remainder = checksum
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte (00H
= 0) is the LSB and the 3rd byte (28H = 40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H (= 64 x 12+80 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 12+80 - (64 x 12+80) = 5120 - 8192 = -3072
<Example1> Setting CHORUS TYPE to DELAY (DT1)
If the Pitch Bend Sensitivity is set to 2 semitones, -8192 (00 00H) will cause the pitch to
change -200 cents, so in this case -200 x (-3072) ÷ (-8192) = -75 cents of Pitch Bend is being
applied to MIDI channel 11.
According to the “Parameter Address Map” (p. 153), the start address of Temporary Setup
is 10 00 00 00H, the offset address of CHORUS at Setup is 04 00H, and the address of
CHORUS TYPE is 00 00H. Therefore the address of CHORUS TYPE of Setup is;
10 00 00 00H
04 00H
<Example4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
BnH is the Control Change status, and n is the MIDI channel number. For Control Changes,
the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or
more messages consecutive messages have the same status, MIDI has a provision called
“running status” which allows the status byte of the second and following messages to be
omitted. Thus, the above messages have the following meaning.
+)
00 00H
10 00 04 00H
DELAY has the value of 02H.
So the system exclusive message should be sent is;
B3 64 00
(B3) 65 00
(B3) 06 0C
(B3) 26 00
(B3) 64 7F
(B3) 65 7F
MIDI ch.4, lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
(MIDI ch.4) upper byte of parameter value:
00H
00H
0CH
00H
7FH
7FH
F0
41
10
00 43
(4)
12
10 00 04 00
address
02
??
F7
(1)
(2)
(3)
(5)
data
checksum
(6)
(1) Exclusive Status
(2) ID (Roland)
(3) Device ID (17)
(MIDI ch.4) lower byte of parameter value:
(4) Model ID (RD-700)
(5) Command ID (DT1)
(6) End of Exclusive
(MIDI ch.4) lower byte of RPN parameter number:
(MIDI ch.4) upper byte of RPN parameter number:
Then calculate the checksum.
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
10H + 00H + 04H + 00H + 02H = 16 + 0 + 4 + 0 + 2 = 22 (sum)
22 (sum) ÷ 128 = 0 (quotient) ... 22 (remainder)
checksum = 128 - 22 (remainder) = 106 = 6AH
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to 12 semitones
(1 octave). (On GS sound generators the LSB of Pitch Bend Sensitivity is ignored, but the
LSB should be transmitted anyway (with a value of 0) so that operation will be correct on
any device.)
This means that F0 41 10 00 43 12 10 00 04 00 02 6A F7 is the message should be sent.
<Example2> Getting Temporary Performance data (RQ1)
cf.) This operation is the same as Bulk Dump Temporary function in Utility.
According to the “Parameter Address Map” (p. 153), the start address of Temporary Setup
is assigned as following:
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B3) 64 7F (B3) 65 7F at the end.
10 00 00 00H
10 00 69 00H
Setup Common
:
Setup Tone Wheel 10 Backup
It is not desirable for Performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound generator will then misinterpret the data. Take
care to give each event its own status.
As the data size of Setup Tone Wheel Back up is 00 00 00 0BH, summation of the size and
the start address of Setup Tone Wheel 10 Back up at Temporary Setup will be;
10 00 69 00H
+) 00 00 00 0BH
10 00 69 0BH
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or
consecutive) clock may be transmitted in an order different than the order in which they
were received. For this reason it is a good idea to slightly skew the time of each event (about
1 tick for TPQN = 96, and about 5 ticks for TPQN = 480).
And the size that have to be got should be;
10 00 69 0BH
-) 10 00 00 00H
00 00 69 0BH
*
TPQN: Ticks Per Quarter Note
Therefore the system exclusive message should be sent is;
F0
41
10
00 43
(4)
11
10 00 00 00
address
00 00 69 0B
data
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
(1) Exclusive Status
(4) Model ID (RD-700)
(2) ID (Roland)
(3) Device ID (17)
(6) End of Exclusive
(5) Command ID (RQ1)
Calculating the checksum as shown in <Example 2>, we get a message of F0 41 10 00 43 11
10 00 00 00 00 00 69 0B 7C to be transmitted.
160
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MIDI Implementation
■The Scale Tune Feature (address: 40 1x 40)
The scale Tune feature allows you to finely adjust the individual pitch of the notes from C
through B. Though the settings are made while working with one octave, the fine
adjustments will affect all octaves. By making the appropriate Scale Tune settings, you can
obtain a complete variety of tuning methods other than equal temperament. As examples,
three possible types of scale setting are explained below.
❍Equal Temperament
This method of tuning divides the octave into 12 equal parts. It is currently the most widely
used form of tuning, especially in occidental music. On the RD-700, the default settings for
the Scale Tune feature produce equal temperament.
❍Just Temperament (Tonic of C)
The principal triads resound much more beautifully than with equal temperament, but this
benefit can only be obtained in one key. If transposed, the chords tend to become
ambiguous. The example given involves settings for a key in which C is the keynote.
❍Arabian Scale
By altering the setting for Scale Tune, you can obtain a variety of other tunings suited for
ethnic music. For example, the settings introduced below will set the unit to use the Arabian
Scale.
Example Settings
Note name
Equal Temperament
Just Temperament (Key-tone C)
Arabian Scale
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-8
-6
+45
-2
+4
Eb
E
+16
-14
-2
-12
-51
-8
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
The values in the table are given in cents. Convert these values to hexadecimal, and transmit
them as Exclusive data.
For example, to set the tune (C-B) of the Part 1 Arabian Scale, send the following data:
F0 41 10 42 12 40 11 40 3A 6D 3E 34 0D 38 6B 3C 6F 40 36 0F 76 F7
■ASCII Code Table
Setup Name of MIDI data are described the ASCII code in the table below.
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
D
|
H
| Char ||
D
|
H
| Char ||
D
|
H
| Char |
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
|
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32 | 20H | SP ||
64 | 40H |
65 | 41H |
66 | 42H |
67 | 43H |
68 | 44H |
69 | 45H |
70 | 46H |
71 | 47H |
72 | 48H |
73 | 49H |
74 | 4AH |
75 | 4BH |
76 | 4CH |
77 | 4DH |
78 | 4EH |
79 | 4FH |
80 | 50H |
81 | 51H |
82 | 52H |
83 | 53H |
84 | 54H |
85 | 55H |
86 | 56H |
87 | 57H |
88 | 58H |
89 | 59H |
90 | 5AH |
91 | 5BH |
92 | 5CH |
93 | 5DH |
94 | 5EH |
95 | 5FH |
@
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
[
\
]
^
_
||
||
||
||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
`
a
b
c
d
e
f
g
h
i
j
k
l
m
n
o
p
q
r
s
t
u
v
w
x
y
z
{
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}
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33 | 21H |
34 | 22H |
35 | 23H |
36 | 24H |
37 | 25H |
38 | 26H |
39 | 27H |
40 | 28H |
41 | 29H |
42 | 2AH |
43 | 2BH |
44 | 2CH |
45 | 2DH |
46 | 2EH |
47 | 2FH |
48 | 30H |
49 | 31H |
50 | 32H |
51 | 33H |
52 | 34H |
53 | 35H |
54 | 36H |
55 | 37H |
56 | 38H |
57 | 39H |
58 | 3AH |
59 | 3BH |
60 | 3CH |
61 | 3DH |
62 | 3EH |
63 | 3FH |
!
"
#
$
%
&
`
(
)
*
+
,
—
.
/
0
1
2
3
4
5
6
7
8
9
:
;
<
=
>
?
||
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||
||
||
||
||
||
||
||
||
||
||
||
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||
||
||
|| 100 | 64H |
|| 101 | 65H |
|| 102 | 66H |
|| 103 | 67H |
|| 104 | 68H |
|| 105 | 69H |
|| 106 | 6AH |
|| 107 | 6BH |
|| 108 | 6CH |
|| 109 | 6DH |
|| 110 | 6EH |
|| 111 | 6FH |
|| 112 | 70H |
|| 113 | 71H |
|| 114 | 72H |
|| 115 | 73H |
|| 116 | 74H |
|| 117 | 75H |
|| 118 | 76H |
|| 119 | 77H |
|| 120 | 78H |
|| 121 | 79H |
|| 122 | 7AH |
|| 123 | 7BH |
|| 124 | 7CH |
|| 125 | 7DH |
||
||
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|
+——————+——————+——————++——————+——————+——————++——————+——————+——————+
D: decimal
H: hexadecimal
*
“SP” is space.
161
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MIDI Implementation
162
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MIDI Implementation
163
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Main Specifications
RD-700: Digital Piano (Conforms to General MIDI 2 System)
● Keyboard
● Display
88 keys (Progressive Hammer Action Keyboard)
128 x 64 dots, Full Graphic LCD (backlit LCD)
● Part
● Connectors
16
Output Jacks (L/MONO, R)
Pedal Jacks (Damper, FC 1, FC 2)
MIDI Connectors (IN, OUT, THRU)
Headphones Jack
● Maximum Polyphony
128 voices
● Wave Memory
● Power Supply
64 M bytes (16-bit linear equivalent)
AC 117 V, AC 230 V, AC 240 V
● Expansion Slot
● Power Consumption
Wave Expansion Board SRX Series: 2 slots (*1)
12 W
● Tones
● Dimensions
468
1,414 (W) x 374 (D) x 143 (H) mm
55-11/16 (W) x 14-3/4 (D) x 5-11/16 (H) inches
(Normal Tones:189, Tone Wheel Organ: 10,
General MIDI 2 Tones: 256, Rhythm Sets: 4,
General MIDI 2 Rhythm Sets: 9)
● Weight
24.1 kg / 53 lbs 3 oz
● Setups
100
● Accessories
Owner’s Manual
Pedal
● Effects
Multi-Effects: 65 types
Power Cable
Reverb:
4 types
Chorus:
Equalizer:
2 types
● Options
Digital 3 Band
Wave Expansion Board SRX Series (*1)
Keyboard Stand (KS-17)
Pedal (DP Series)
● Arpeggiator
45 styles
Expression Pedal (EV-5)
● Rhythm Pattern
85 styles
*1 Tones may sound differently, and the number of them that can
be selected may differ compared with synthesizers in the
Roland XV series.
● Controllers
PART VOLUME slider (x 4),
EQUALIZER knobs,
REVERB knob, CHORUS knob,
MULTI EFFECTS CONTROL knob,
Pitch Bend/Modulation lever
NOTE
In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
prior notice.
164
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A
Adjusting the Display Contrast ...................................28
Arpeggio ....................................................................49, 83
Arpeggio Hold ................................................................87
Arpeggio Style ................................................................50
Arpeggio Tempo ............................................................50
ATK
Damper
Delay ................................................................................79
Delay-Left ........................................................................79
B
B.R
Bend Range (MIDI TX Part) ....................................64
<Band>
Bend Range (Tone) .........................................................81
Bender Sw (Local Part) ..................................................89
Bender/Modulation Lever ............................................48
BND
Bender Switch (MIDI TX Part) ................................65
Bulk Dump SETUP ........................................................92
EQ Control (System) ......................................................70
C
C.T
CHO
Chorus
Chorus parameters .................................................134
Chorus Effect ..................................................................47
COF
Cutoff (MIDI TX Part) ..............................................64
Pedals .........................................................................23
Control .............................................................................74
Control Channel (System) .............................................71
[CONTROL] Knob ...................................................12, 53
Control Sw (Local Part) .................................................89
Control/EQ .....................................................................73
CTR
F
Factory Reset .............................................................26, 94
FC2
FC2 Pedal Assign ......................................................73
FC2 Pedal Polarity (System) ....................................71
FC2 Pedal Swtich (MIDI TX Part) ..........................65
FC2 Pedal Sw (Local Part) .............................................89
Feet ...................................................................................75
Fine Tune (Tone) .............................................................80
Function Button ..............................................................32
CONTROL Knob Switch (MIDI TX Part) ..............65
165
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Index
G
GM Mode ........................................................................98
GM Sound Module ........................................................98
Modulation ......................................................................48
Modulation Sw (Local Part) ..........................................89
MULTI EFFECTS ............................................................53
H
Headphones ....................................................................14
[HIGH] knob ...................................................................12
I
[NUM LOCK] ......................................................13, 33, 37
K
Key Range .......................................................................63
Arpeggio ....................................................................84
Portamento Time (MIDI TX Part) ...........................65
PART LEVEL Slider .................................................45, 62
Pattern
<Perc>
L
[LAYER] .....................................................................12, 42
LCD Contrast ..................................................................28
Local Part ...................................................................31, 45
[LOW] knob ....................................................................12
LWR
Key Range Lower (MIDI TX Part) ..........................63
[POWER] Switch ............................................................24
Program Change .............................................................97
Program Number ...........................................................61
M
MAX
MFX Dest .........................................................................77
MFX Switch .....................................................................90
MFX/Reverb/Chorus ....................................................76
MIDI .................................................................................59
MIDI Connector ........................................................14, 59
[MIDI TX] ............................................................13, 33, 63
MIDI TX Part .............................................................31, 62
[MIDI TX]
R
Rec Mode .........................................................................95
Rec Setting .......................................................................95
Receive Channel .............................................................90
[MID] Knob .....................................................................12
166
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Recording
To an External MIDI Sequencer .............................95
REL
Release Time (MIDI TX Part) ..................................64
RES
REV
Reverb
Src
Tone Wheel Screen .........................................................32
Rx GS Reset (System) .....................................................70
Rx.Bank Select .................................................................91
Transmit channel ............................................................60
Voice Reserve ..................................................................90
Internal Part ...............................................................90
VOLUME Slider ........................................................12, 25
S
[SETUP] .....................................................................12, 54
Shortcut List ..................................................................145
Shuffle Rate .....................................................................86
Single Mode ....................................................................41
SNS
W
Wave Expansion Board ...........................................15, 39
Wave Expansion Board Installation Slot .....................14
[WRITE] ...........................................................................56
Velocity Sensitivity (MIDI TX Part) .......................65
Sound Generator Section ...............................................31
[SPLIT] .......................................................................12, 43
Split Mode .................................................................41, 43
167
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Purpose-Oriented Index
This index lists the main setting items relevant to play of the RD-700's keyboard.
* [Edit]: aaa: bbb” indicates the bbb parameter in Edit screen aaa.
Volume Setting
Effects (Reverb, Chorus, Multi-Effects)
Changing the Volume for the entire RD-700
......................................................VOLUME Slider (p. 25)
Changing the amount of reverb for the entire RD-700
........................................................REVERB knob (p. 47)
Changing the amount of reverb for each Tone
.........................[EDIT]: Tone Edit: Reverb Amount (p. 80)
Changing the amount of reverb for Piano Tone
....................................PIANO EDIT: Reverb Level (p. 67)
Changing the reverb type
.............................[EDIT]: System: Master Volume (p. 70)
Changing the volume for Individual Local Parts
............................................... PART LEVEL Slider (p. 45)
Changing the volume for each Internal Part
..........................[EDIT]: Internal Part Prm: Volume (p. 90)
............[EDIT]: MFX/Reverb/Chorus: Reverb Type (p. 80)
Changing the amount of chorus for the entire RD-700
.......................................................CHORUS knob (p. 47)
.........................[EDIT]: Tone Edit: Chorus Amount (p. 80)
Key Touch and Velocity
Changing the key touch ............[EDIT]: Key Touch (p. 71)
Changing the value of velocity for each Local Part
................[EDIT]: Local Part Param: Velocity Sens (p. 88)
.................[EDIT]: Local Part Param: Velocity Max (p. 88)
Equalizer
.......... [EDIT]: MFX/Reverb/Chorus: Chorus/Delay (p. 78)
Changing the Multi-Effects type
Preventing equalizer settings from being switched
................................... [EDIT]: System: EQ Control (p. 70)
........................ [EDIT]: MFX/Reverb/Chorus: Type (p. 77)
Selecting the Part that the Multi-Effects applied to
............ [EDIT]: MFX/Reverb/Chorus: MFX Source (p. 77)
...................[EDIT]: Internal Part Prm: MFX Switch (p. 90)
Setting the Equalizer................. EQUALIZER knob (p. 48)
................................................. [EDIT]: Control/EQ (p. 73)
....................................................PIANO EDIT: EQ (p. 67)
Pitch and Tuning
Changing the pitch for the entire RD-700
.................................[EDIT]: System: Master Tune (p. 29)
Transposing the entire keyboard ......[TRNSPOSE] (p. 46)
Changing the pitch for each Tone
Control
...................... [EDIT]: Local Part Param: ** Switch (p. 89)
....................................[EDIT]: Control/EQ: Control (p. 74)
Changing the function of the pedals
.............................[EDIT]: Tone Edit: Coarse Tune (p. 80)
..................................[EDIT]: Tone Edit: Fine Tune (p. 80)
............................. [EDIT]: Tone Edit: Stretch Tune (p. 81)
Changing the pitch for each Local Part
................................[EDIT]: Control/EQ: FC1, FC2 (p. 73)
............. [EDIT]: Local Part Param: Key Transpose (p. 88)
Changing the temperament for Internal Part
................[EDIT]: Internal Part Prm: Temperament (p. 91)
Key Range
Setting the Key Range for each Local Part
................... [EDIT]: Local Part Param: Key Range (p. 88)
168
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MEMO
169
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Information
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
MEXICO
IRELAND
PHILIPPINES
IRAN
AFRICA
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
Roland Ireland
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
MOCO, INC.
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: (55) 5668-6699
TEL: (02) 899 9801
TEL: (021) 285-4169
PANAMA
SINGAPORE
ISRAEL
ITALY
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
TEL: 20-2-417-1828
Swee Lee Company
150 Sims Drive,
Halilit P. Greenspoon &
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Sons Ltd.
REUNION
SINGAPORE 387381
TEL: 6846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
CRISTOFORI MUSIC PTE
PARAGUAY
NORWAY
LTD
Distribuidora De
JORDAN
Roland Scandinavia Avd.
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
REUNION ISLAND
TEL: (0262) 218-429
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
SOUTH AFRICA
TAIWAN
That Other Music Shop
TEL: 2273 0074
ROLAND TAIWAN
URUGUAY
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
KUWAIT
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Easa Husain Al Yousifi Est.
Abdullah Salem Street,
Safat, KUWAIT
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
Montevideo, URUGUAY
TEL: (02) 924-2335
TEL: 243-6399
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
TEL: (02) 2561 3339
LEBANON
THAILAND
VENEZUELA
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
Chahine S.A.L.
PORTUGAL
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/9-1 Dto
4050-465 PORTO
TEL: (01) 20-1441
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
VENEZUELA
TEL: (212) 285-8586
PORTUGAL
TEL: (022) 608 00 60
VIETNAM
QATAR
Saigon Music
Al Emadi Co. (Badie Studio
& Stores)
Suite DP-8
ROMANIA
EUROPE
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
Tel: (08) 930-1969
P.O. Box 62, Doha, QATAR
TEL: 4423-554
ASIA
FBS LINES
Piata Libertatii 1,
AUSTRIA
535500 Gheorgheni, ROMANIA
TEL: (266) 364 609
CHINA
Roland Elektronische
Musikinstrumente HmbH.
SAUDI ARABIA
Roland Shanghai Electronics
aDawliah Universal
AUSTRALIA/
NEW ZEALAND
Co.,Ltd.
Austrian Office
RUSSIA
Electronics APL
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
MuTek
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing 100011
CHINA
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
BELGIUM/HOLLAND/
LUXEMBOURG
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
SPAIN
Roland Electronics
Roland Benelux N. V
.
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
TEL: (93) 308 1000
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
SYRIA
TEL: (02) 9982 8266
Technical Light & Sound
TEL: (010) 6426-5050
Center
NEW ZEALAND
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie Yi
Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
Tel: (020) 8736-0428
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
TEL: (011) 223-5384
TURKEY
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
TEL: (2) 666 10529
CENTRAL/LATIN
AMERICA
Ant Muzik Aletleri Ithalat
Ve Ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
DENMARK
HONG KONG
SWITZERLAND
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
Tom Lee Music Co., Ltd.
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
SWITZERLAND
TEL: (061) 927-8383
TEL: 3916 6200
U.A.E.
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
TEL: 2415 0911
Zak Electronics & Musical
FRANCE
UKRAINE
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
Parsons Music Ltd.
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
Roland France SA
TIC-TAC
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
BRAZIL
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
INDIA
FINLAND
NORTH AMERICA
UNITED KINGDOM
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
Roland Scandinavia As,
Filial Finland
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
CANADA
COSTA RICA
Elannontie 5
Roland Canada Music Ltd.
JUAN Bansbach
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
(Head Office)
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
UNITED KINGDOM
TEL: (01792) 702701
TEL: (022) 2493 9051
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (604) 270 6626
GERMANY
INDONESIA
Roland Elektronische
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
Roland Canada Music Ltd.
CHILE
MIDDLE EAST
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
Comercial Fancy S.A.
Rut.: 96.919.420-1
INDONESIA
TEL: (021) 6324170
TEL: (040) 52 60090
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
BAHRAIN
GREECE
Moon Stores
KOREA
TEL: (905) 362 9707
STOLLAS S.A.
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
U. S. A.
EL SALVADOR
Roland Corporation U.S
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
.
TEL: 211 005
OMNI MUSIC
75 Avenida Norte y Final
CYPRUS
Alameda Juan Pablo
Edificio No.4010 San Salvador,
EL SALVADOR
,
MALAYSIA
HUNGARY
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (323) 890 3700
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
TEL: 262-0788
TEL: (022) 66-9426
As of May 1, 2004 (Roland)
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For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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This owner’s manual is printed on recycled paper.
02565478
’04-5-9N
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